FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Zwischen Prager Frühling und Dissidententum. Was machten sowjetische Künstler_innen des Undergrounds?
Get PDFWhat did the year 1968 mean for the Soviet Union? It was mainly the end of the Khrushchev Thawperiod that found its expression in the Prague Springand the dissident movement. There are tendencies to compare this fateful year in the Soviet Union with that in the West. Although there are similarities, but the more differences can be detected. For example, hardly someone would search for feminist tendencies or aesthetics in the work of Soviet artists of that time. This is the main task of this article: In the first step, the nonconformist scene of the 1960s will be searched for female protagonists and in the second step it will be examined, whether there were certain couplings in the work of female artists of the Soviet underground and nonconformist art scene with political and social protest forms, or whether it is rather characterized by the absence of such practices
Candy Perfume Girl: Colouring in Fat Bodies
Get PDFFat bodies have long been used for the purposes of entertainment. But unlike their negative presentations in circuses and seaside attractions, members of the fat activist community are embracing ways to show positive representations of fatness and fat bodies; One of these ways is coloring books. Fat positive coloring books are exploring the ways in which fat activists use the medium to queer fatness and provide alternative visual representations of fat bodies. Works included Fat ladies in spaaaaaaaace by Theo Nicole Lorenz (2011), FATSPO coloring book by Brian Stuart (2013), Big-bellied Merbabes: A body positive coloring by Rachelle Bellar (2013), Body love: A fact activist coloring book by Allison Tunis (2016), Fat bodies coloring by Sarah Burns (2016), The big fat little coloring zine by Natalie Perkins (2016), and Superfat crop top girl gang coloring book Zine by Rachele Cateyes (2016). Fat positive coloring books embrace subversive themes, queer fatness, and display positive representations of fat bodies and fatness.
Notationen aus Zorn. Auto-ethnographische Texte zu einer Performance über den Dritten Raum
Get PDFThis auto-ethnography explores wrath as a material and inspiration for my compositional practice, drawing on Donald W. Winnicott’s conception of a third space as an intermediary between the individual and the surrounding environment. Written for a lecture performance, the text compiles theoretical, practical, and poetic reflections about my process as a composer, performer, artist, and feminist. Rethinking listening as a tool to creatively interact with an environment, I propose that listening must be inclusive. As a listener, I explore the interior dimension of social interactions and my own inner space, my mind: thinking mind is an inner vocality. Composing is an intimate process that begins inside, progresses towards an ,outside’, and is well adjusted through the exchange with the environment. An important phase is the zone when an imagined sound becomes manifest as a notated image, to be further developed, performed, and perceived by an audience. I identify this time-space continuum as a third space linking my artistic process to a wider social context. Alongside my composition SETZUNG (2014), inspired by the work and life of the author Sor Juana Inés de la Cruz (Mexico 1651-1695), I look into aspects of veiling from artistic and cultural angles
Archival Romances: Found, Compressed and Loved Again
Get PDFImages have a life cycle that is material, social, and imaginative. Their trajectories are especially evident in the work of Arab media artists. Like others in places where official image archives are difficult to access, value glitch, error, and loss of resolution not only for their own aesthetic interest but also as indications of the labor of love required to access the past. Analog demagnetization and lossy digital compression; glitch, error, and artifacts introduced by compression; and layers of formatting draw attention to the trajectories and life cycles of images. Rania Stephan, Mohammad Allam, Riad Yassin, Roy Dib, and other Arab media artists painstakingly amass VHS collections of popular movies and TV shows, in archives that augment in care while they diminish in quality. Other artists including Akram Zaatari, Sophia Al-Maria, and Joana Hadjithomas and Khalil Joreige draw attention to the new meanings that attach to anonymous images as they travel online, finally to be embraced by the recipient
Noise, Agency, and the Sound of Obsolete Technology
Get PDFIn a recently published collection on materiality in art Petra Lange-Berndt asks, “what does it mean to give agency to the material, to follow the material and to act with the material” (2015:13). My article attempts to consider this question, focusing on the work of a number of musicians and composers who have chosen to engage creatively with the sounds produced by obsolete – or near obsolete – technologies of sound recording and reproduction.Every sound technology has the capacity to generate as well reproduce sound: in the case of the wax cylinder or shellac disc, surface noise is generated by physical contact between the recording medium and the needle/stylus, and with magnetic tape noise is created by the oxides used to make the tape. We might think of these sounds as the sound of technology itself – a sounding of each medium’s material and technological bases. Historically these sounds have usually been treated a problem, and successive waves of technological innovation have been directed at removing or repressing the sound of technology. Thus the move from shellac to vinyl, the development of Dolby noise reduction, and the broader the shift from analogue to digital technology, have all been partly motivated by a desire to silence the medium itself. But what happens if we choose to work with these sounds rather than repress them; and following Lange-Berndt’s prompt, what would this change in attitude mean?My aim in this article is to consider what the political potential of the sound of technology might be, explored through a discussion of works by Walter Ruttmann and John Oswald.The well-established discourses around the political potential of noise in the arts have tended to construct it as a form of attack: as Jacques Attali states, “Noise is a weapon” (1985: 24). But might there be other ways in which we could consider the political dimensions of noise, and if so, how might issues of materiality and agency within play though an alternative approach to the politics of noise?In addressing these questions, my article examines the historical and temporal dynamics at work in the sound of technology. Here I argue that the temporal displacement we witness in the contemporary use of past technologies results in an intensification and re-energisation of the various forms of noise. For the artist working with archive material or obsolete sound recording and playback equipment, temporal displacement of this sort materialises the sound of technology – materializing or rematerialising the sounds with which they work - and in so doing releases forms of potentiality that can be understood in political terms
