FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Dorothea Rust: Floating Gaps. Affektive Politiken von Performance-Kunst zwischen Erinnerung und Ereignis
Get PDFDorothea Rust: Floating Gaps. Affective politics of performance art between recall and happeningPerformance art today takes place on an ambiguous site: close to everyday life, yet relying on a range of predecessors, it should be aware of recalling existing bodies and images and of anticipated forms of acting. Not simply reminiscent, performance art may also offer opportunities for actualizing and shifting these images. This essay examines how these processes of iteration could give way to alternative performance histories written by performance. It contextualizes this idea with reference to reflections on an aesthetics of affect that maintains a certain sense of reflection. The example discussed is Floating Gaps (2012) by the Swiss choreographer and artist Dorothea Rust, who approaches performance as a “historiographic tool” and as a means of figurative citation and “practical theory.
Two Blue Crocodiles [...] Theorie_Praxis - Eine Frage der Verkehrsregelung?
Get PDFBy reference to Mart Busche's and Olaf Stuve's animated Video Clip “Two Blue Crocodiles and the Gap in the System”, designed as an „educational film“ for further education and prevention of violence in order to “‘introduce’ the concept of intersectionality” (Busche/Stuve 2012) the article interlinks the following issues: Discussing the Video Clip as an audio-visual format conceptualized to communicate intersectionality, and its perception by experts from the field of education and training, it analyses the role of visual representation in this context, as well as the preconditions of perception, and the relation between intersectionality and Visual Culture. Further, a rereading of Kimberlé Crenshaw's metaphor of “intersection” introduced in 1989 in her article “Demarginalizing the Intersection of Race and Sex” – which had a lasting effect until today not only by coining a term but also in shaping a notion – prompts focussing on the concept of responsibility. Interlinking the questions of responsibility, the critique of representation, the relation of theory and practice, and the consequences to draw for an anti-discriminatory theory_practice, the article with respect to aspirations to challenge hegemonic constructions of reality – and contrary to popular juxtapositions of theory and practice – argues for an understanding of theory_practice fully aware of its responsibility.Der als „Lehrfilm“ für eine „‚Einführung‘ in das Intersektionalitätskonzept“ in der Erwachsenenbildung und Gewaltprävention konzipierte animierte Videoclip Zwei blaue Krokodile und die Lücke im System (Busche/Stuve 2012) bildet den Ausgangspunkt für die Analyse und Verknüpfung folgender Fragenkomplexe: Zum einen werden ausgehend von der Analyse dieses Videos als audiovisuelles Format zur Vermittlung von Intersektionalität sowie dessen Rezeption im Bildungs-/Beratungsbereich kritische Überlegungen zur Rolle visueller Repräsentation in diesem Kontext, den Voraussetzungen von Wahrnehmung und zum Verhältnis der Konzepte von Intersektionalität und von Visueller Kultur entwickelt. Zum anderen wird über eine Relektüre von Kimberlé Crenshaws – in ihrem begriffsprägenden Aufsatz Demarginalizing the Intersection of Race and Sex 1989 formulierter – Metapher der Straßenkreuzung, die ein bis heute nachhaltig wirksames Vorstellungsbild generierte, der Fokus auf den Begriff der Verantwortung gerichtet. Die Fragen der Verantwortung, der Repräsentationskritik, des Verhältnisses von Theorie und Praxis und der Konsequenzen für eine antidiskriminatorische Theorie_Praxis miteinander verknüpfend, wird, entgegen gängigen Gegenüberstellungen von Theorie und Praxis, in Hinblick auf kritische Interventionen in hegemoniale Realitätskonstruktionen für eine verantwortungs-bewusste Konzeption von Theorie_Praxis argumentiert.
Choreography as Form as Dance as AN Activity
Get PDFDuring the 1990s, perhaps as part of several strategies aimed at slowing down the boom of the 1980s, a discursivation of the body and its activity took place in the field of dance in analogy to speech acts. This analogy was much needed to help dance become more intellectual and self-reflexive, but it also made it difficult to think about bodies outside the cultural and ideological grids capturing them. Two further assumptions go hand in hand with this approach: first, that all bodily movements write from the perspective of those performing them; and second, that these movements be read from the perspective of those observing or even performing them. What can a body do? In short, the answer to this famous Spinozian question with regard to a body being understood in terms of language is that it can parody the grid, subvert the discourses, and write singularily. In the 1990s, therefore, the body often moved through already codified spaces of culture and ideology, but it rarely constructed its own spaces
Representing Medieval Genders and Sexualities in Europe. Construction, Transforma-tion, and Subversion, 600-1530. Ed. by Elizabeth L’Estrange/ Alison More 2011. Farnham, Ashgate. (210 pages)
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Eugen_ia. Oder: Im Netz der Ähnlichkeiten. Über Formen des visuellen Othering im 12. Jahrhundert
Get PDFEugen_ia. Or: The Netting of SimilaritiesAbout Forms of Visual Othering in the 12th CenturyRecent research shows that 12th-century Christian art did not use exclusive features to designate Jews, Muslims, Africans, or heretics. In pictorial representations dating from that period, the others share certain physiognomic and iconographic features. However, this ambiguity indicates not only a deficiency, namely, the lacking development of the discriminatory codes, but it can also be interpreted as part of a semiotic practice in which a rigid policy of exclusion and the construction of the enemy did not depend on a denotative formalization of certain physical properties. This paper traces some of the principles of naming and evaluating other(s) (as against the male Christian) in 12th-century art. The starting points for this discussion are on the one hand claims about the production of meaning in that period and on the other hand the representation of Eugenia of Alexandria on a nave capital in the abbey church of Vézelay, which combines both male- and female-connotated characteristics. Wie neuere Forschungsergebnisse zeigen, wurden in der christlichen Kunst des 12. Jahrhundert noch keine exklusiven Merkmale für die Bezeichnung von Jüd_innen, Muslim_innen, Afrikaner_innen oder Häretiker_innen verwendet. In bildlichen Darstellungen teilen die Anderen bestimmte physiognomische und ikonographische Züge. Doch lässt sich diese Ambiguität nicht nur als Indiz eines Mangels beschreiben, nämlich des niedrigen Entwicklungsstandes jenes diskriminierenden Codes. Sie kann auch als Teil einer semiotischen Praxis gedeutet werden, in der eine rigide Ausgrenzungspolitik und Feindbildkonstruktion nicht auf die denotative Festschreibung bestimmter physischen Eigenschaften angewiesen ist. In diesem Artikel werde ich einige der Prinzipien der Benennung und Bewertung der/des Anderen (gegenüber dem männlichen Christen) in der Visualisierungspraxis der 12. Jahrhunderts nachzeichnen. Ausgangspunkte sind dabei einerseits Thesen zur Sinnproduktion in jener Zeit und andererseits die Darstellung der Eugenia von Alexandria an einem Langhauskapitell der Abteikirche von Vézelay, bei der weiblich und männlich konnotierte Merkmale kombiniert wurden
Queer/Posthuman in Marie de France's Eliduc: Sanctuaires à Répit, Female Couples, and Human/Animal/Bare Life
Get PDFIn Eliduc, two female weasels show the heroine how to resurrect her rival using a plant pharmacon, implying an essential identity between animal and human life. This indistinction is frequent in Marie de France's Lais, where the plot turns on human/animal hybrids (Bisclavret and Yonec) and things (a knot, a bird/martyr/relic of love). I also place Eliducin the context of sanctuaires à répit (respite shrines) where infants were returned to life long enough to be baptized. Respite miracles testify to the deeply felt need for indistinction between bare life and human life and they, along with Eliduc, show that posthumanism can be grounds for ethics, against Agamben and Aristotle who ground rights in exception and hierarchy