FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Aufgeribbelt und durchgewalkt: historische Entwicklung und kritische Reflexion des Spannungsfeldes von Kunst, Handwerk und Geschlecht von der Moderne bis in die Gegenwart
No full textEinleitung. Unentschieden – Paradoxien des Hypes von Feminismen in Kunst und Kultur
Get PDFRachel Mader Introduction - Undecided – Paradoxes surrounding the Hype of Feminism in Art and CultureIn recent years, one of the most striking phenomena in discussions of feminism has been the undecided and even oppositional valuation of the achievements of this movement. This diagnosis can be found in society in general as well as in art, where it has very specific modes of appearance. It is precisely these different moments and situations that this issue of FrauenKunstWissenschaft examines by studying certain examples. The aim is not to dissolve the paradoxes found, but rather to name them precisely and situate them within a broader cultural, social, and historical context. It is with reference to Joan Scott’s analysis of French feminism Only Paradoxes to Offer (1996) that we consider the figure of the paradox as a basic criterion of debates about gender issues today. Based on this diagnosis, we plead for continued controversial discussions, as this is the only way for feminism to remain vital and effective.
Von der Sichtbarkeit zur Anerkennung. Johanna Schaffer, Ambivalenzen der Sichtbarkeit. Über die visuellen Strukturen der Anerkennung, Bielefeld 2008
Get PDFMehr Öffentlichkeit für weniger Feminismus. Ein kommentiertes Gespräch mit Andrea Saemann und Katrin Grögel über das Projekt Performance Saga und die Verweigerung eines politischen Bekenntnisses
Get PDFBarbara Preisig More Publicity for Less FeminismWhy has feminism become so popular in the arts in the last few years? How can recent references to early feminist positions of the 1960s and 1970s, which have been updated and restored from a contemporary point of view through exhibition projects and events, be interpreted?“Performance Saga – Encounters with Pioneers of Performance Art” is an example of the renewed approval of gender-related topics in the arts. In their eight-DVD collection, Katrin Grögel and Andrea Saemann assemble interviews with Valie Export, Martha Rosler, Joan Jonas, and Carolee Schneemann, among others. In so doing, they contribute to feminist art history of the twentieth century.Talking to the editors of “Performance Saga”, I was particularly interested in the reasons for the big media coverage of the project and in their marketing and self-marketing strategies. We will discuss their seemingly paradoxical decision to deny feminist concerns in the media and the public in order to avoid the negative connotations of the term feminism and hence to gain more publicity. Is this the expression of a post-feminist approach or rather the concealment of a political statement?The text will discuss complexities and antagonisms occurring in connection with gender related projects in the art context.
Nach dem Kanon ist vor dem Kanon? Aktuelle queer-feministische Debatten in Kunst und Wissenschaft
No full textBarbara Paul After the Canon is before the Canon? Recent Queer-feminist Debates in Art and Art HistoryCombining theoretical as well as artistic contributions to the function of the canon in art history, the article argues for a self-critical evaluation of traditional as well as queer-feminist canon formation. Using examples of contemporary art such as Mary Kelly’s 2005 installation “Love Songs”, Zwelethu Mthethwa’s photo-series “Ticket to the Other Side” from 2003 or Destiny Deacon’s work “Last Laugh” from 2004, Paul focuses on the visual deconstruction of different kinds of canons. She also critically takes into account proposals for a new “feminist canon”
Das reflexive Lachen der Anderen. Feministische Kunstkritik, dokumentarische Videokunst und die Frage des Politischen
No full textAngelika Bartl Angelika Bartl: The Reflexive Smile of the Other. Feminist Art Criticism, Documentary Video Art, and the Question of the PoliticalHaving itself become canonical in the past few decades, feminist art critique may run the risk of essentializing its own notion of feminist politics. The article shows how dealing with new documentary video art representing marginalized women (in this case the video essay “operculum” [1993] by Tran T. Kim-Trang) confronts us with a complexity of political discourses – feminist, postcolonial, anti-capitalist, etc. – that question our desire for essential meanings and assignments
"... Ich kann nicht anders ..." oder "Canon paradox": Zur biographischen und künstlerischen Neuaufstellung der Paula Modersohn-Becker
Get PDFCarola Muysers “... Ich can’t do it any differently...” or the “Canon Paradox”: New Perspectives on Life and Work of Paula Modersohn-BeckerPaula Modersohn-Becker (1876-1907) is the most famous German woman artist. She left a huge oeuvre of paintings, drawings, etches, journals, and letters to her family, friends, and her husband, Otto Modersohn. Shortly after she has died, her biography and work became public. Her paintings found their way into famous collections, several retrospectives were devoted to her, selected diaries and letters were published in 1917, and the Paula Modersohn-Becker Museum opened its doors in Bremen in 1927. The Nazis declared her art to be “degenerate”, and after 1945 she was upheld as one of the artists who had represented modern and progressive German art at the beginning of the twentieth century. In 1998, a catalogue of the oeuvre was completed and published. Modersohn-Becker has been featured in all major exhibitions dedicated to women artists within the last thirty years. For this reason, she seems to occupy a solid position in the history of art and in art history.At the same time, however, in the general and male-dominated “canon”, she, together with the other members of the art colony Worpswede (which included Otto Modersohn), was ascribed the stereotypical role of the creative, girlish, unprofessional woman artist and naive-sensitive diarist, who her predicted her own death and became a martyr, dying shortly after the birth of her first and only child. Modersohn-Becker fit perfectly into art history in that she did not affect the canon of modern and avant-garde art at all. But since the centenary of her death, everything has changed. Huge exhibitions, lectures, and a symposium have shown a “new” Paula Modersohn-Becker.This essay outlines the shift in the interpretation of her biography and work. Beyond her special role in European and French avant-garde art, it focuses on her artistic and biographical path, reinterpreted by different writers and historians, especially Barbara Beuys and Renate Berger. Now Modersohn-Becker is clearly seen as a female avant-garde artist as well as part of an artistic couple. The couple’s problems, including sexual ones, shaped her artistic development. They led her to leave Otto for Paris, where she tried to live her own life and where she reached the pinnacle of her creativity. Her biographical and artistic position can be understand as a polyphonic piece of music – the “other” meaning of “canon” – which opposed its general meaning as a single bar or leveling board