FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Das Bild als Akteur – das Bild als Queereur. Methodologische Überlegungen zur sozialen Produktivität der Bilder
Get PDFThe Image as Agent and as Queering Agent. Methodological Reflections on the Social Productivity of Images The article investigates the social productivity of images, or, more specifically, their capacity to queer the heteronormative social order. Focusing on the agency function of images, it suggests a form of ekphrastic reading that acknowledges the power relations at work in the reading process itself. This process doubles the image through a detailed description, which step by step takes in elements of an unexpected discourse. Such an approach is exemplified through the reading of the series Pin Ups For Beginners, produced by the Hamburg-based artist durbahn in 2005. The work is viewed in the light of queer and feminist discourses on sexual representations and critical disability studies.
Von Gespenstern und unheimlichen Doppelgängern. Zur fotografischen Repräsentation von Freundschaft
Get PDFOn Spectres and Uncanny Doubles. On the Photographic Representation of FriendshipHow can one visualize a specter? How can one enduringly visualize something that so radically eludes the categories of physical presence und visibility? According to Jacques Derrida, friendship can be described as a relationship that has always transcended physical presence, while being based on absence, thus becoming an eerie, imperceptible, spectral interspace. By analyzing the photo book “MILK – Moments of Intimacy, Laughter and Kinship”, the possibilities and impossibilities of photographically representing friendship will be exemplified, and the underlying stereotypes, restrictions, and (in- /) exclusions will be reconstructed
Embrace Domesticity – Freundschaft schließen mit der Häuslichkeit? Von der schönen neuen Welt der Handarbeit in Katharina Krenkels Welt der Heimarbeit
No full textMATRIX – Geschlechter/Verhältnisse/Revisionen. MUSA – Museum auf Abruf, Wien, 13.März-7.Juni 2008
No full textLabels & Love: Freundinnenschaft unter neoliberalen Vorzeichen
No full textLabels & Love. Female Friendship under Neo-liberal ConditionsThe article aims to analyze female friendship under neoliberal conditions using the example of Sex and the City (US 2008). By reading the film as a postmodern fairy tale, new figurations are pointed out. Discussing today’s friendship (in media) from a sociological point of view, the contribution focuses on contradictions of the new regimes of self-regulation and tries to open new perspectives on the issue
Sappho am Fenster der Guillotine. Zu intermedialen Reflexionen von Visualität und Queerness bei Claude Cahun
Get PDFJULIKA FUNK: Sappho at the Guillotine Window: Intermedia Reflections of Visuality and Queerness in the Work of Claude CahunThe paper explores Claude Cahun’s literary work and contemporaneous art contexts around 1900 to reappraise the problem of gender identity and gender attribution in Cahun’s stagings of the self. It traces both the complex, semiotic vector field spanning the manifold interrelations between Cahun’s works and the references therein to the prevailing discourse on homosexuality and the state of aesthetic debates at the time. Particular attention is devoted to the continuing resistance of Cahun’s photographic work, the resistance offered by identity images produced in the genre of self-portraits, and the possible resistance of these works to becoming photographic images. The paper thus sheds light on the media-specific conditions of such representations and on the possibilities available to Cahun for figuring at once as a female artist, photographer, writer, and lesbian. Such figuration is intimately related to the performance and visibility of body images which, however, are unable to elude their own masquerading. The actual project of Cahun’s texts is described as a poetics of double or multiple exposure, as a negative-positive process of photography, that is, as a form of critical experimentation in the field of visibility. Using the example of Cahun’s Aveux, a series of autobiographical texts, this paper traces the interaction between photographic and linguistic (literary) processes. It shows how Cahun’s photographic reflection on the gaze regime and its playing with the camera’s gaze discovers its identity-logical analogy in writing: both techniques, the photographic and the literary, resist a definitive attribution of identity as regards their motifs (contents) and form.