FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Techniken der Veranderung. Die Ich-Perspektive von Video und ihre kritische Wendung in Arbeiten von Lisa Steele
No full textSIGRID ADORF Techniques of Change: The First-person Perspective of Video and its Critical Turn in the Work of Lisa SteeleThis paper considers the disruptions of powerful gender attributions in and by the video works of various feminist artists in the 1970s. These artists make use of and critically reflect on so-called video feedback, a new technical possibility at the time, as a site of (political) interventions and “inter(re)actions.” Analysing the projected “intimate conversations” and relationships between artists, medium/work, and viewers, the paper traces “the shifts in the subjective discourse,” which present the subject rather as “one finding it-self—but a different one.” Following Lacan, Adorf interprets the “mirror stage,” or rather the “video stage” (Baudrillard), as a “transformation of the subject brought about by the recording of an image”—or as “change” induced by the interplay between close-ups and long shots.
Freunde zählen. Das Private im Format eines aufgespeicherten Verrats
No full textAndrea SickCounting your friends. The private formatted as stored treason (Verrat)A steadily expanding network including websites such as Facebook, StudiVZ, Youtube,Xing, and especially Twitter and similar microblogs serves to make and publicize friends, store communications created by the spilling of intimacies, multiply references and enable evaluations. In this realm, the media society reproduces secrets that circulate in a loop of endless repetition. Friendship turns into a sign of attention and the number of friends turns into a measure of successful networking. Building on André Gorz’ concept of the traitor and Walter Benjamin’s concept of the destructive character, we’ll raise the question under which conditions tattling and twittering turn into preconditions and functions of treason. Within the reproductive circuitry of the social network, these mechanisms of “telling it all” constantly move references, leading to an interleaving of previously established spheres of public and private life that can be termed stored treason. This inevitably raises the question of how to read, interpret and sort the collected data
Virtuosität zwischen Dienstbarkeit und Exodus. Postfordistische Öffentlichkeit, soziale Produktion und politisches Handeln
No full textIsabell Lorey Virtuosity between Servility and Exodus. The Postfordist Public, Social Production, and Political ActionIn what fundamental ways is the present relationship between the public, work, and intellect changing – the Aristotelian three-way partition of social praxis, which figures mainly in the work of Hanna Arendt? What is the function of the creative work in these postfordist transformations? On this question, Pablo Virno has delivered inspiring deliberations with his concept of virtuosity. But he has not extended his inquiry into a current postfordian and governmental idea of freedom. Not only in the example of contribution of culture producers does to the precariousness of their own existence does this freedom mean obedience and servility. But how can one escape this servile virtuosity? And how would political action become conceivable
Ein Sprechen wird organisiert. Andrea Frasers Projekt Eine Gesellschaft des Geschmacks
No full textSILKE BANGERT A Speaking/Vocalisation is Organised - Andrea Fraser’s Project A Society of TasteIn 1993 the US-American artist Andrea Fraser realised the exhibition project A Society of Taste with and at the Kunstverein München. In the run-up to it she interviewed board members of the Kunstverein on questions of self-conception and taste. She arranged the answers into an audio collage that could have been heard in the Kunstverein’s exhibition rooms, the written version was printed in a publication. Artworks borrowed from the board members that were partly mentioned in the audio installation were also part of the exhibition and publication.In this article this project setting is analyzed according to its different speaker positions by means of Pierre Bourdieu’s explanations on “What Does Speaking Mean”[1]. To explain the mechanism and efficacy of existing speech acts the author adopts the stylistic device of passing a skeptron (scepter) used by Bourdieu, the passing of a scepter as a symbolic gesture authorization to speak. Thus, she develops a chain of authorizations for speakers not excluding herself.[1] Pierre Bourdieu, What Does Speaking Mean? On the Economy of LinguisticChanges, German edition, Vienna 2005.
Doing Fiction oder "Authentizität" als Darstellung. Über Videoarbeiten von Saskia Holmkvist
No full textSønke Gau Doing Fiction or Authenticity as Representation. On videoworks by Saskia HolmkvistIn her videoworks “Interview with Saskia Holmkvist”, “In Character”, and “Role Control” Swedish artist Saskia Holmkvist investigates performative aspects of everyday life . She looks into the question how the impression of “authenticity” and credibility can be produce and in doing so she visualises their implicit structures of power and manipulation. Here, Holmkvist succeeds in eluding the verdict of simulation and dissimulation more by performing something like representation itself than by displaying, i.e. to stage those works, thus making them “transparent”. Holmkvist’s videos act as criticism of representation that stage relations between communication and representation, mediality, identity and power thus presenting “freedom of action”. Therefore, a second topic of her works is the opening of (inter-)subjective, social and political spaces and the consolidation of potentially emancipative “capacities to act” of subjects and groups.
Unterschiede auf der Leinwand: Wie sich Gender in Spielfilmen über Künstlerinnen manifestiert
No full textDoris BergerDifferences on Screen: How Gender Plays Out in Biopics about Women ArtistsRepresentations of artists in biographical movies are highly gendered. After the film genre of biopics is presented, crucial elements that influence biopics next to their biographical content are in focus, such as artist myths related to art history and star legends related to the film industry. With these parameters in mind, gendered elements of biopics are described, highlighting recurring narratives and representations in films about women artists. Different depictions of the suffering of male and female artists, or a narrative that understands motherhood and creativity as incompatible are focused on. Finally, the recent biopic Séraphine (Martin Provost, 2008), which tells the story about the relationship between the painter Séraphine de Senlis and the art dealer Wilhelm Uhde, is evaluated for its mostly conscious approach to the film genre