FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Bilderpolitik in Zeiten von Krieg und Terror. Medien, Macht und Geschlechterverhältnisse, hg. v. Linda Hentschel, Berlin 2008
Get PDFErfrischend andres. Ines Doujaks friends 1-3 (2008)
Get PDFKerstin Brandes Refreshingly Different – Ines Doujak’s Friends 1-3 (2008)Although women are said to get along swimmingly, to enjoy themselves, and to feel at ease with each other, today the non-gendered term “friends” carries particular weight. This paper shows that the attempt to align representations of friends with the conceptions of femininity and gender on offer in the collective Western European repertoire of images, moreover to try to determine such figures in distinction to these images, and to classify and attribute them at all, proves less than satisfactory. Friends are refreshingly different and invite one to conceive of relationships we actually desire in more complex and multifaceted terms, which at once leave open and open up manifold possibilities
Einleitung. "Indem es sich weigert, eine feste Form anzunehmen" - Kunst, Sichtbarkeit, Queer Theory
Get PDFKERSTIN BRANDES / SIGRID ADORF: “By refusing to crystallise in any specific form”—Art, Visibility, Queer Theory: An IntroductionThis issue, entitled “By refusing to crystallise in any specific form”—Art, Visibility, Queer Theory, gathers contributions devoted to the question what queer theory on the one hand and (feminist) art history, visual culture, and media studies on the other have to offer one another. Although the question of visibility is central to both the politics of representation and the discourse of queer theory, which opposes normative definitions of the body and subjectivity, it is seldom tangibly related to the visual field. We hypothesise in this issue that the tools established by critical art history for analysing images within (their) specific contextualisations and areas of tension, such as the manifold interactions between historical images, viewers, and institutional frameworks, can crucially help extend queer theory’s productive engagement with visual culture. Thus, at stake is not only a critical discourse on images, but also the political scope of action that images can provide themselves with, that is, whether and how images can be regarded as agents in the sense of agency and how they might become (artistically) usable.
Einleitung. Heavenly creatures? Bilder kontingenter, komplizenhafter FreundInnenschaft
Get PDFEdith Futscher Introduction. Heavenly Creatures? Images of Contingent, Complicit FriendshipThe starting point for this issue is the following discrepancy: while sociologists are observing an increasing normalisation of the social phenomenon of friendship, as supported by visual media, recent theoretical debates are emphasising instances of contingency, subversive complicity, and non-presence (Bataille, Foucault, Derrida, Bovenschen, etc.). On the one hand, a model is constructed and deployed that promises stability, that is unburdened by issues of sexuality and is gaining political acceptance, but that is also becoming increasingly recognized as a structure that replaces society and solidarity. On the other hand, phenomena such as withdrawal and absence or ghostliness are gaining prominence. This issue explores the currently dominant strategies of visual enactment and staging in various media, which reveal a transformation of the discourse. It further examines the omissions in the discourse on friendship from a critical gender perspective and sheds light on neglected, contingent aspects and their (gender) political relevance in visual culture
No palm trees! Repräsentationen von Körpern ohne Körper
Get PDFNo Palm Trees! Representations of Bodies without BodiesWhat makes an artistic visual representation “queer”? My wider project is to develop methods and terms of a queer art theory, which involves desire and sexuality as a main focus. The considerations of “No Palm Trees” concentrate on an installation by the artist Felix Gonzalez Torres. His work represents bodies, but it refuses to explicitly show bodies that are supposed to visually demonstrate a deviation from the norm. My analysis of Gonzalez-Torres’ work instead introduces the terms “desire”, “fantasy”, and “queer spatial sex” (“queerer Raumsex”) – not as something being represented in the work, but as a “method” (Probyn 1996) between work, space, and spectators; a method of building and cutting connections (here towards “conceptual art”, “AIDS-politics”, “camp and queer aesthetics”), of creating and disrupting belongings. The analysis is thus built on the hypothesis that a disruption of dominant representations not only depends on a certain quality of an image or a text, but is in fact dependent on certain social constellations. Reference is made to Amy Robinson’s model of a “triangular theatre of identities” (Robinson 1994, see also Sieg 2002). Following this model, a group of spectators may produce a social constellation called an “in-group”, which is able to read practices as queer sexuality, while viewers that do not belong to this group may for example read the same practices – passing as conceptual art – only in relation to positions of art history. The thesis is that the “representations of bodies without bodies” represent the desire for different, plural, not clearly delimited subjectivities, outside the ideals of binary genders, heterosexuality, and being-American
