FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Treffende Zusammenschnitte. Moira Zoitls Installation "Fliehkraft"
No full textUte VorkoeperTrenchant Montages: Moira Zoitl’s Installation “Fliehkraft”This paper explores the ambivalence of migration in Moira Zoitl’s video installation “Fliehkraft” (2010). On the one hand, migration is a crossing of borders undertaken with a view to completing a journey and to finding at new home; on the other, it involves the threat of confusion and a loss of control, of potential disruption and the risk of rejection. The video features a tailor, an Afghan refugee, commissioned by the artist to make a bespoke black suit—an ever-present item in photographs of guest workers dating from the 1960s and 70s. While tailoring the suit, the man tells his story, during which a complex structure of semantic shifts and superimposed images evolves. Amid the force field of fleeing his homeland, subsequent migration, and the attempted new beginning, the suit becomes a mobile surrogate home for men who have been forced to leave their homeland and way of life, but most of all their wives and families
FormatWechsel, Bilderzirkulation und visuelle queere Politiken. Iké Udé und das strukturelle Paradox des Cover Girls
No full textFormatChange, Image Circulations and Visual Queer Politics. Iké Udé and the Structural Paradox of the Cover GirlThe article is a slightly modified reprint of the chapter “Iké Udé: Cover Girl” from my book “FormatWechsel. Kunst, populäre Medien und Gender-Politiken / FormatChange. Art, Popular Media and Gender Politics, Wien: Sonderzahl Verlag 2008, pp. 17-33 (Linzer Augen. Schriftenreihe des Instituts für Bildende Kunst und Kulturwissenschaften an der Kunstuniversität Linz, Band 2). In regard to the given thematic context, some additions were made at its beginning and end. Taking Nigerian artist Iké Udé’s photo series “Cover Girl” as an example, the text demonstrates how the artistic strategy of format change may keep in motion the hegemonic power effects of knowledge and orders of knowledge and, thus, may also keep them open to new inscriptions of meaning achieved through change of context. This may also happen by way of diverting and transforming processes of circulation. In his photographic self-representations that quote the covers of well-respected journals, use camp aesthetics and play with stereotypes of “the black man” as well as with the performativity of gender, Udé proposes a queer perspective which subverts the hegemonic regimes of normality and normativity
Nachrichten aus dem Black Atlantic. Das Schiff als Bedeutungsträger im Kontext von (Post-)Kolonialismus und Globalisierung
No full textNews from the Black Atlantic. The Boat as Sign within the Context of (Post-)Colonialism and GlobalisationThe image of the ship or boat is currently undergoing a shift in meaning from being a symbol of solidarity to now being one of delimitation. The text discusses a number of art projects that use the ship or boat in order to intervene into constellations of migration, thereby transforming the transgression of geographical borders into a shifting of cultural boundaries. Focused aspects are the Gastarbeiter in 1960s/70s Germany, African boat people who are presently hypervisible in the media, and the so far more or less invisible hybridization of cultures which goes along with migration and has found its historically specified image, which, nevertheless, may also be used in a more generalized way, in Paul Gilroy’s concept of the Black Atlantic. In making use of the boat as a mobile cultural signifier, the artworks, exactly in Gilroy’s sense, open up transcultural spaces (of discourse), that offer altered perspectives on migration movements, perspectives that go beyond alleged invasiveness or threat
Fiction is Plural – nation, gender, autofiction
No full textElse Lasker Schüler’s Egyptian male alter ego sketched on the back of an envelope, Bruce Nauman impersonating Duchamp's Fountain, Julian Assange coining Sweden as “the Saudi Arabia of Feminism” - and a rare collection of modern hijabs: We have assembled parts of our research material into a collage of subconscious connections, assumptive associations and strange kinships between past and present notions and representational strategies of Self and Other. Eurozentrika is a young art & theory group reflecting on current theories, discourses, medial and political polemics on the concept of “European Identity”
Fashion & Textile Studies, [dt.:] Mode- & textilwissenschaftliche Studien – kulturwissenschaftliche und künstlerische Studien zu Mode und Textilien. Positionen und Perspektiven eines neuen transdisziplinären Fach- und Forschungsprofils
Get PDFELKE GAUGLER Fashion & Textile Studies: Cultural and Aesthetic Studies on Fashion and Textiles; Positions and Perspectives for a New Transdisciplinary Subject and Research ProfileThis paper surveys current textile and fashion studies. Starting from the Anglo-American debate, it traces the development of textile studies at various German-speaking universities and arts universities, reviews their key topics and transdisciplinary approaches and methods, and discusses the significance of gender and postcolonial studies for this research field
Portrait, Travelogues und Weblogs – zu visuellen Migrationen der Hottentotten-Venus
No full textPortrait, Travelogues, and Weblogs – On Visual Migrations of the Hottentot VenusThe article focuses on visual migrations of the so-called Hottentot Venus – likewise the stage name of an historical person known as Saartjie or Sarah Baartman who was taken from Africa to Europe in the early 19th century and of a phantasmatic figure circulating within the (male) European imaginary, historically constituted within the ever shifting and yet stable paradigms of sexuality, femininity and beauty, alterity and racism. It discusses the Hottentot Venus with reference to historical processes of image invention and image circulation as they are indispensably entangled with media developments. In, thus, exploring the very relationship between the continuities and shifts in meaning as they are evoked by the (certain) use of (certain) images, the text introduces an approach that has so far remained desideratum in respective research, but has an important impact on both the notion of the historical figure and conceptualizations of (black) femininity past and present. Exemplified scenarios are the portrait, travelogues, and weblogs
Bildlektüren und Migrationen
No full textThe reading of images and migrationThe article is an extract taken from the larger essay “Analyzing the Migration of People and Images: Perspectives and Methods in the Field of Visual Culture”, which was written within the context of the EU-funded interdisciplinary project “Research Integration. Changing Knowledges and Disciplinary Boundaries through Integrated Methods in the Social Sciences and Humanities” (2004-2007). The complete text discusses methods of art history (from iconology to semiology) and their productivity concerning the analysis of visual culture as a field that is structured by debates on visibility, by power and hegemony. The extract published here argues against the phantasm of a universal comprehensibility of images that re-occured through the claiming of a pictorial turn in the mid-1990s. In focusing various scenarios of migration – the photograph of the one-millionth Gastarbeiter in Germany, 1964, or the “full boat” as central metaphor of contemporary European discourses on migration –, it analyzes the pre-conditions of “correct” reading on the one hand and the functioning of a culturally determined image repertoire on the other. The complete text can be downloaded here: http://www.york.ac.uk/res/researchintegration/Integrative_Research_Methods.ht
