FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
Not a member yet
1367 research outputs found
Sort by
"A Scandal for Thought": Le neutre
Get PDFHow to think beyond the either-or without thinking a third? How to think beyond (the) beyond? How to think neither the one, nor the other, but to think (from) somewhere else? How, then, to think an outside, how to think outside, how to think with/in an elsewhere?This text focuses on le neutre sensu (not only) Maurice Blanchot:Trans/gender, trans/categorical, un/translatable, un/locatable, un/veiled, un/seeable, always as elsewhere, otherwhere, somewhere else, always im/possible, un/connected, a/s No(t) and Yes, not No(t), no(t) Yes and yet not Nothing, neither here nor there, either and
"Man There Ain't No Film in That Shit." Materiality, Temporality and Politics of Pixelvision Video
Get PDFPixelvision der Firma Fisher-Prize war als explizites low-tech-Videosystem für Kinder konzipiert, bevor die amerikanische Künstlerin Sadie Benning Ende der 1980er Jahre ihren ersten Videofilm mit der PXL-2000 (so der Produktname dieser Spielzeugkamera) produzierte. Die Kamera war ein kommerzieller Misserfolg und Fisher Price stellte ihre Produktion nach nur einem Jahr wieder ein. In einer Zeit perfektionierter Videobilder, hochauflösender Fernsehstandards und ‚verlustfreier’ Computerbilder entdeckten in den 1990er Jahren immer mehr Künstler und Künstlerinnen den Reiz der pixeligen Bilder in Schwarz-Weiß, deren Bildauflösung von nur 100 Zeilen den normalen Fernsehstandard von rund 600 Zeilen um ein Vielfaches unterschreitet. Neben den Videos von Sadie Benning, die Fragen von Queerness und Gender unter autobiographischem Blickwinkel verhandeln, stellt mein Beitrag auch Another Girl, Another Planet (USA 1992) von Michael Almereyda zur Diskussion, einen experimentellen Kurzspielfilm, der die ästhetischen Qualitäten von Pixelvision mit der Thematik des Sich-Erinnerns in Verbindung bringt. Am Beispiel dieser case studies soll die Rolle obsoleter Medientechnologien in zeitgenössischen Kunstpraktiken untersucht, der besonderen Materialität und Textur von Pixelvision Rechnung getragen und Fragen der Temporalität verhandelt werden
Irene Below/Burcu Dogramaci (Hg.) (2016): Kunst und Gesellschaft zwischen den Kulturen. Die Kunsthistorikerin Hanna Levy-Deinhard im Exil und ihre Aktualität heute. Schriftenreihe: Frauen und Exil. München, edition text+kritik, Bd. 9.
Get PDFInterview mit dem Schleier
Get PDFInterviewing means mutually seeing one another. When the gaze hits a veil, it is doubled and broken in another gaze that also sees and is seen, although not simultaneously. Instead of registering objectively, we speak in a room where the lines of flight seem to go dark in the beyond, from where they come back into the world authorized. But the veil is a blind spot between these two poles, confusing the division into the profane and the sacred. Through stories coming from elsewhere and colonized by its own mythology, it circulates in the informational space of an opacity that indirectly relates flight and line to one another, inventing new ways to use media to work out difference and to move what is inadequate. Perhaps this attests to a lack in the power of imagination and need not signify anything unreal. Deliberately and systematically indirect, we look the complexity of the world in the face
Staring Back: A Response to Body Shamers in Haley Morris-Cafiero’s Self-Portraiture
Get PDFIn 2010, Memphis-based artist Haley Morris-Cafiero set out on a global photographic project entitled Wait Watchers (2010-2015), a series of self-portraits that explore the issue of body shaming. Within these works Morris-Cafiero performs the role of a vacationer, dressing in locale-appropriate attire and striking classic tourist poses. Nothing about her fashion or demeanor would strike many as unusual, but captured within the larger shot are onlookers, unaware of being photographed, who become characters in her performance as they react to her appearance. Though repeatedly capturing looks of disgust, contempt and ridicule, Morris-Cafiero does not claim to know the thoughts of passersby. She finds proof of viewers’ perceptions in hostile online comments posted to her work. Utilizing these comments Morris-Cafiero created a second performance-based series, In the Time of Trump (2015-present), in which she photographs herself adopting the role of the online trolls in order to subvert their gaze, strip the perception of online anonymity, and to re-present their words to the world. Exploring the intersection of fat studies and disability studies, this paper locates Morris-Cafiero’s two series within the framework of Tobin Siebers’ concept of disability aesthetics. Siebers argues to broaden our definition of aesthetics to encompass new conceptions of beauty and to recognize that our aesthetic response is based on an embodied experience. This paper argues that Morris-Cafiero’s work successfully embraces unique corporeality and challenges socio-cultural distinctions of the outsider‘ body
