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Haunted by Homes
Get PDFWhile home is often theorized as a category of space, the question of home for migrants is a complicated one. It brings to the forefront complex relations beyond the reductive dichotomies of ‘home’ and ‘away’, place of origin and place of residence, which postcolonial and diaspora studies often focus on. With the upsurge in migration rates in the past years, it becomes crucial to reflect on how to define home or the process of homemaking in an attempt to explore the experience of ‘home’ for mobile individuals. This two-day symposium will explore experiences and narratives of home and/or homelessness in literature, art, and film. By focusing on expression as a process of homing; on home as an open, ongoing process; on its temporal and spatial dimensions; on its existence as a set of relations with objects, people and the world at large; and on its imagined and imaginary dimensions in defining such relations, the symposium tackles questions about home, home making, belonging, migration, memory, nostalgia, and affect
Home as Motion, Being Away as Re-existence:Brazilian Black Diaspora in Grace Passô’s lm República
No full textHeavier Than Air:Resisting the Military State
Get PDFThe starting point is a novel entitled Gas gegen Gas (Gas against Gas) written by the chemist, editor, and translator Dora Sophie Kellner (1890–1960), which was serialized in a number of newspapers between 1930–32. The novel takes place between Berlin and a number of islands in the Adriatic Sea in the interwar years. It centres on two female protagonists, one of whom assists in the invention of a gas that might shield urban populations from the effects of chemical warfare: an antidote to chloroacetophenone, or tear gas. It is a work of ambiguous genre, suspended between capitalist crime novel, bourgeois family drama, and feminist sci-fi, born out of the traumatic events of the First World War, foreshadowing years of conflict to come. Gas gegen Gas builds on a short piece of journalism, entitled ‘The Weapons of Tomorrow’ (1925), which was subsumed into Kellner’s husband Walter Benjamin’s Gesammelte Schriften, though it is likely to be, at least partially, written by her. If this article describes in terrifying detail the body’s experience of contact with chemical gases, inflicted by a conspiracy of technology and the state, the novel is an attempt to map its technical, scientific, and political resistance. Eva Weissweiler’s recent biography of Dora Sophie Kellner, Das Echo deiner Frage. Dora und Walter Benjamin — Biographie einer Beziehung (2020), has made Kellner’s intellectual career and this novel in particular more widely known in the German-speaking world. Over the past year, Sam Dolbear and Flossie Draper (who is also the great-granddaughter of Dora Sophie Kellner and Walter Benjamin) have collected and collated the novel’s installments from the three different periodicals in which they were printed and embarked on its first complete publication in both German and English. This symposium will begin with a synopsis of the novel, followed by an exploration of its various themes. It aims to introduce the life and work of Dora Sophie Kellner and place the novel within its contemporary and subsequent historical contexts, particularly anti-war aesthetic and political currents in the 1920s; to consider the place of the city and the vulnerability of the body in the endurance of, and resistance to, war and state violence; to investigate the relationship between the technologies of war and colonialism, capitalism, and science, and the place of tear gas within the histories of riot, protest, and insurrection; and to explore histories of science fiction, questions of forensics, trauma, genre, and seriality, the possibility of an anti-militarist or feminist science, and the politics of breath and turbidity
Proust List Impulse
Get PDFLists litter Marcel Proust’s pages of À la recherche du temps perdu (In Search of Lost Time), but also the works about it. This short contribution collects together a number of those lists, and offers some reflection on the list’s place and function within the work, on the level of the sentence and as a form in its own right
Klimawandel:Psychoanalytischer Versuch über die Schwierigkeit nein zu sagen
No full textDer Titel verweist auf das Werk des Religionsphilosophen Klaus Heinrich, Versuch über die Schwierigkeit nein zu sagen. Einige Grundthesen dieses Buchs sollen den Weg dafür bereiten, Antworten auf die Frage zu finden, warum es so schwer ist, gegen den Klimawandel, der uns alle immer stärker bedroht, einzuschreiten. Nein sagen setzt voraus, die Katastrophe, die wir erleben, anzuerkennen und Klimaschutz-Ausreden zu überwinden. Um nein sagen zu können, muss eine Sprache gefunden werden, die der Katastrophe gerecht wird. Klaus Heinrich betont die Gefahr, auch im Sprechen sprachlos zu bleiben; daher wird in einem nächsten Schritt die Sprache in der Klimadiskussion untersucht. Die Psychoanalyse kann darüber aufklären, wie Sprache durch Abwehr verloren gehen kann. Psychoanalyse erlaubt zudem, «jenseits des Lustprinzips» zu untersuchen, ob der Klimawandel auch als eine Form der kollektiven Selbstzerstörung betrachtet werden kann. Nein sagen zur Klimakrise und zur Umweltzerstörung erfordert demnach nicht nur, Abwehr aufzuheben, um die Krise besser wahrzunehmen und sie zur Sprache bringen zu können, sondern auch, die Umweltzerstörung als Selbstzerstörung zu verstehen, die sich gegen die eigenen Lebensverhältnisse richtet, vor allem aber spätere Generationen der Vernichtung anheimgibt. Joachim Küchenhoff ist Facharzt für Psychiatrie und für Psychosomatische Medizin und Psychotherapie und Psychoanalytiker (DPV, SGPSa, IPA). Bis 2018 war er Direktor der Erwachsenenpsychiatrie Basel-Land und ist seither in freier Praxis in Binningen bei Basel tätig. Er ist emeritierter Professor der Universität Basel und aktuell Gastprofessor der Internationalen Psychoanalytischen Universität Berlin. Küchenhoffs Arbeitsschwerpunkte sind die Behandlung schwerer seelischer Störungen, Möglichkeiten und Grenzen psychischer Repräsentation, Körpererleben und Psychosomatik sowie interdisziplinäre Forschung in Kulturwissenschaften, Literaturwissenschaften, Philosophie und Psychoanalyse. Neueste Buchpublikationen: Vom Dringlichen und vom Grundsätzlichen. Psychoanalytische Gedanken zu existenziellen, gesellschaftspolitischen und erkenntnistheoretischen Fragen (2022); (hrsg. zusammen mit M. Teising) Sich selbst töten mit Hilfe Anderer (2022)
‘Everything is a Filter’?:The Electrical Filter Becomes Tool and Model (1903–15)
Get PDFA key proposition of computer music and signal processing is that ‘everything’s a filter’. The human throat, a musical instrument, an algorithm — anything, to paraphrase Julius Smith, that modifies sound in some way. Filtering is also considered a central cultural technique within media studies. But where did the concept of ‘filtering’ sound and other signals come from? In her talk, Mara Mills draws on the manuscripts of the engineer George Campbell, who between 1899 and 1903 developed electrical filtering as an unexpected by-product of his work on ‘loading coils’ — devices inserted along telephone wires to extend the distance that a signal could be carried in the years before electronic amplification was possible. Mills situates Campbell’s filter within the context of several decades of public and engineering dreams of ‘long distance’ to show that filtering resulted from attempts to harness the ‘hearing loss’ induced by wild disturbances of distortion, noise, and interference from other wires in the burgeoning electroscape. The talk will also address the semantic and technical shifts that filtering underwent as it became electroacoustic: it henceforth referred to the separation of signal components, the removal of unwanted components, and various ways of shaping or processing a signal. Mara Mills is Associate Professor of Media, Culture, and Communication at New York University, where she co-founded and co-directs the Center for Disability Studies. She is a founding member of the editorial board for the journal Catalyst: Feminism, Theory, Technoscience. She recently co-edited Testing Hearing: The Making of Modern Aurality (Oxford, 2020) and Crip Authorship: Disability as Method (NYU, 2023)
Over and Over and Over Again:Reenactment Strategies in Contemporary Arts and Theory
Get PDFOver the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.The Reactivation of Time | CRISTINA BALDACCI, CLIO NICASTRO, and ARIANNA SFORZINI | ix–xiiFrom Re- to Pre- and Back Again | SVEN LÜTTICKEN | 1–16\EXPAND{-4} I. UNCOVERING THE HISTORICAL PAST, PERFORMING THE POLITICAL PRESENTThe Reenacted Double: Repetition as a Creative Paradox | ARIANNA SFORZINI | 19–27“The Reconstruction of the Past is the Task of Historians and not Agents” : Operative Reenactment in State Security Archives | KATA KRASZNAHORKAI | 29–36The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ | PIO ABAD | 37–46Insistence: The Temporality of the Death Fast and the Political | ÖZGE SERIN | 47–55‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa | KATJA GENTRIC | 57–67Resounding Difficult Histories | JULIANA HODKINSON | 69–80Archival Diffractions: A Response to Le Nemesiache’s Call | GIULIA DAMIANI | 81–89Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive | ROBERTA AGNESE | 91–98II. AESTHETIC FORMS OF REHABILITATIONUnintentional Reenactments: Yella by Christian Petzold | CLIO NICASTRO | 101–11Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson | ULRIKE WAGNER | 113–20Speculative Writing: Unfilmed Scripts and Premediation Events | PABLO GONÇALO | 121–29Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging | DANIELA SACCO | 131–40Re-search, Re-enactment, Re-design, Re-programmed Art | SERENA CANGIANO, DAVIDE FORNARI, and AZALEA SERATONI | 141–50In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat | MALIN ARNELL | 151–59Performance Art in the 1990s and the Generation Gap | PIERRE SAURISSE | 161–69III. RESISTANCE AND RECONCILIATION IN THE MUSEUMRe-Presenting Art History: An Unfinished Process | CRISTINA BALDACCI | 173–82Reconciling Authenticity and Reenactment: An Art Conservation Perspective | AMY BROST | 183–92UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation | GABY WIJERS | 193–203Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation | VERA SOFIA MOTA and FRANSIEN VAN DER PUTT | 205–18Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ | JOANNA KILISZEK | 219–29‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum | MICHELA ALESSANDRINI | 231–38‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization | HÉLIA MARÇAL and DANIELA SALAZAR | 239–54‘We Are Gathering Experience’: Restaging the History of Art Education | ALETHEA ROCKWELL | 255–6
The Collection of Jane Ryan & William Saunders:Reconstruction as ‘Democratic Gesture’
Get PDFThis paper focuses on an ongoing project that began in 2012, entitled The Collection of Jane Ryan & William Saunders. This project is an attempt to reconstitute the Marcos Collection. Sourced from auction catalogues, museum archives, and scant government records, their lavish inventory of commissioned portraits, jewellery, Regency silverware, and old master paintings is reproduced as photographic installations, postcards, and three-dimensional prints. Reconstruction, in this instance, becomes a sustained democratic gesture, allowing an increasingly forgetful public to access a collection that has remained unavailable through a systemic failure by successive post-dictatorial governments to institutionalize collective acts of remembering
Re-search, Re-enactment, Re-design, Re-programmed Art
Get PDFKinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T
‘Repetition: Summer Display 1983’ at Van Abbemuseum:Or, What Institutional Curatorial Archives Can Tell Us about the Museum
Get PDFThe reactivation of Rudi Fuchs’ 1983 exhibition ‘Summer Display’ took place in 2009 as part of the collection series, ‘Play van Abbe part 1: The Game and the Players’, and was entitled ‘Repetition: Summer Display 1983’. The reconstruction questioned the codes and systems used within (but also consciously and unconsciously outside) the museum and raised several questions, including: what story did the original composers want to tell, and how can this piece of history be understood today? Is the new presentation a separate exhibition entirely or a copy of the ‘original’ one? What is then the difference between the idea of copy, repetition, and reenactment? And what is the role of the museum’s archive in the process of restaging? What can curatorial institutional archives tell us about the museum itself