FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Das Private bleibt politisch. Symptomatische Subjektentwürfe der Gegenwart
No full textSIGRID ADORF, JENNIFER JOHN The Private Remains Political: Concepts of Subjectivity Symptomatic of the Present (Introduction) This issue addresses one of the central claims of feminist discourse of the 1970s, namely, that “The private is political.” Starting from the significance of this insight during that historical period, contributors to the present issue explore whether and, if so, how this idea might be reformulated in 2010, as well as linked to Foucault’s concept of governmentality. They thus take up the calls issued in the previous issue, Kanones (No. 48), for rendering fruitful feminist insights gained during recent decades for contemporary discourse. Does it make any sense, in an age characterised increasingly by the blending of work and leisure and the related debate on precarisation, to return to the modern concept of “public versus private”? And if such a return does make sense, then on which premises? What is political about displaying privateness? How do artists engage with the current stagings of privateness? And which other connections relevant to cultural analysis can be established with other prominent discourses within the debate on aesthetics
Das Handhaben von Paradoxien in Bilder von Sexualität und Ökonomie. Queere kulturelle Politiken im Neoliberalismus von Antke Engel
No full textDie Mobilisierung des Privaten
No full textMatilda Felix Mobilising PrivatenessTaking the example of the commercial art produced by Delaware, a Japanese art collective, this paper illustrates how applications for mobile phone displays reminiscent of embroidery patterns express a paradoxical reference to privateness: whereas the mobile phone stands for the location-independence of contemporary subjects, that is, an apparently gained freedom and autonomy, it serves precisely to locate individuals in everyday life. As the paper shows, the use of mobile phones even strengthens the traditional Japanese family model, in that it enables mothers to have permanent contact with other family members and thus changes nothing about traditional allocations of roles and space. Delaware’s digital embroidery applications redouble and intensify this paradoxical perpetuation of the status quo in that their hybridisation of digital and manual technology, advanced graphics and traditional motifs, helps create an image free of contradiction
Das Subjekt, das nicht eins ist
No full textSabeth Buchmann The Subject that is Not WholeThis paper discusses the aesthetic processes of German artist Simone Schardt, whose work explores the languages of (post-)conceptualism, which are situated between strategies of objectification and subjectification, in terms of the current demands placed on the artist’s existence. Like many of her notes, made on lined paper using a pencil, typewriter, coffee and so on, her Grammatik der Härte – Grammatik der Weichheit, a drawing the artist has specially chosen to contribute to this issue, marks an attempt to translate traditional techniques of critiquing authorship and an artist’s work into the language of governmental concepts of subjectivity. Schardt’s work reflects on the subject or the first person as that particular site provided in a discourse that can and must (albeit never completely) be occupied by way of identification
The Power of Pink: Children's Bedrooms and Gender Identity
No full textANNMARIE ADAMS The Power of Pink: Children’s Bedrooms and Gender Identity Annmarie Adams’ article engages material culture in order to explore the highly contested site of the middle-class child’s bedroom in the late 20th century. As an architectural historian she charts changing bedroom design over time, working between ideal and real rooms. She outlines strategies for the decoration and arrangement of these rooms within the North American detached house, including children regarded as “gender variant”. Variation from traditional patterns contributes to our understanding of the relationship between material culture and the early formation of gender identity. Adams points out how the conventional methods of architectural history fall short in such an investigation as the roles of architects and sometimes even parents are often irrelevant. Instead, this exploratory paper suggests that the practices of stabilization as well as resistance against cultural codes may be a more fruitful focus of investigation.
Kulturelle Mythen, peinliche Phantasien, künstlerische Verlockungsprämien: Tracy Emin
No full textINSA HÄRTEL Cultural myths, disconcerting fantasies, artistic incentive bonuses: Tracey EminEmin’s work is sometimes discussed under the premise of being either “authentic” or “strategic” in the sense of the artist’s positioning in art business. The tension between these perceptions is just the starting point of my contribution – especially with reference to Emin’s video piece Riding for a Fall (1999). The work’s “incitement” or allurement seems to oscillate between irony and intimacy. Just in view of the staged mythical images that include e.g. Wild West fantasies the article’s focus is on the entangled wishes coming about. Judging by the smile emerging on Emin’s face in the course of the video the representation somehow starts to refer to itself; momentarily an exhibition of the involved libidinal investments into the shown fantasies seems to take place – that’s at least the article’s conclusion.