scholarly journals VAGINA DA ARTISTA - PERFORMANCE FEMINISTA EM POÉTICAS DE DUAS ARTISTAS MULHERES

polemica ◽  
2021 ◽  
Vol 20 (3) ◽  
pp. 163-182
Author(s):  
Renata Andrea de Lucia Santana Lucia ◽  
João Paulo Baliscei
Keyword(s):  
Women Artists ◽  
Feminist Movement ◽  
Artistic Practice ◽  
Feminist Activism ◽  
Collective Memories ◽  
Autobiographical Performance ◽  
Collective Levels ◽  
Personal Experiences ◽  
Black Movement ◽  
A Performance

Resumo: O artigo tem como objetivo problematizar a performance enquanto prática artística que promove a resistência, a pluralidade e a diferença, discutindo como ela pode favorecer aspectos educativos. Apresenta o conceito de performance em seus aspectos históricos, antropológicos e artísticos, bem como a performance autobiográfica, que possibilita o resgate de experiências pessoais, memórias coletivas e, no recorte apontado aqui, o exercício do ativismo feminista. Aborda aspectos do movimento feminista e analisa performances de duas artistas mulheres e feministas: a artista norte-americana Carolee Schneemann e a artista brasileira Panmela Castro. Por fim, avalia o caminho evocado pela performance como viável ao estabelecimento de estratégias de resistência e sensibilização por meio da experiência artística compartilhada entre performer e espectadoras. Ademais, aponta a performance como alternativa para instigar o pensamento crítico, a liberdade e a criação de possibilidades de transformações no âmbito pessoal e coletivo, por meio de ações que abordam temáticas identitárias que refletem as lutas de movimentos sociais, como o movimento feminista, movimento negro e movimento LGBTQI+.Palavras-chave: Arte contemporânea. Performance. Performance autobiográfica. Feminismo. Mulheres artistas. Abstract: The article aims to problematize performance as an artistic practice that promotes resistance, plurality and difference, discussing how it (the performance) can favor educational aspects. This paper presents the concept of performance in its historical, anthropological and artistic aspects, as well as the autobiographical performance, which enables the recovery of personal experiences, collective memories, and, in the clipping pointed here, the exercise of feminist activism. The article also addresses aspects of the feminist movement and analyzes the performances of two women and feminist artists: US artist Carolee Schneemann and Brazilian artist Pammela Castro. Finally, it evaluates the path evoked by the performance as feasible for the establishment of resistance and sensitization strategies through the shared artistic experience between performer and spectators. In addition, the article points to performance as an alternative to instigate critical thinking, freedom, and the creation of possibilities for transformations at both the personal and collective levels, through actions that address identity themes which reflect the struggles of social movements, such as the feminist movement, the black movement, and the “LGBTQI+” movement.Keywords: Contemporary art. Performance. Autobiographical Performance. Feminism. Women Artists.

Clothing Matter: Thomas Carlyle’s Sartor Resartus

2018 ◽  
pp. 259-271
Author(s):  
Philipp Erchinger
Keyword(s):  
Scientific Knowledge ◽  
Ways Of Knowing ◽  
Literary Work ◽  
Material World ◽  
Personal Experiences ◽  
Building Activities ◽  
Bridge Building ◽  
The Relationship ◽  
A Performance

The book concludes with a reading of Thomas Carlyle’s Sartor Resartus. For this work can be characterised, the chapter suggests, as a performance of, and meditation on, what the foregoing sections were meant to examine: namely the bridge-building activities or ways of knowing through which personal experiences of the material world come to be dressed in recognisable social or ideal forms. The chapter ends with an attempt to situate the practice-based approach developed in Artful Experiments within a wider theoretical debate about the relationship between literary work and scientific knowledge.

scholarly journals How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

2021 ◽  
Author(s):  
Traci Mark
Keyword(s):  
New York ◽  
Artistic Practice ◽  
Art Scene ◽  
Film Archives ◽  
Conducting Research ◽  
A Performance

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

scholarly journals Building Strength

Diacrítica ◽  
2019 ◽  
Vol 33 (1) ◽  
pp. 143-157
Author(s):  
Telma João Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Relational Model ◽  
Artistic Practice ◽  
A Performance

This paper presents a performance art piece, Building Strength, as a case study for a relational model in performing arts, especially in performance art. I proposed this model several years ago e already presented some applications as well as some reformulations. Here, it was not used to construct a performance art piece, but it is reformulated as a model used for me to relate with my own artistic practice, as usually done with another artists’ work.  

scholarly journals Memory Machines: Infrastructural Performance as an Art Method

Leonardo ◽  
2020 ◽  
pp. 1-11
Author(s):  
Samir Bhowmik ◽  
Jussi Parikka
Keyword(s):  
Public Library ◽  
Media Theory ◽  
Artistic Practice ◽  
Walking Tours ◽  
A Performance

Through a performance tour conducted in a public library, the authors analyze multi-sensory methods, including immersive performance and walking tours, as probes into cultural infrastructures. Combining discussions of media theory and artistic practice, the authors present infrastructural performance as an art method for creative infrastructural research.

Feminist activism in digital space: Postfeminist contradictions in #WhyIStayed

2019 ◽  
Vol 22 (10) ◽  
pp. 1827-1848 ◽  
Author(s):  
Jasmine R Linabary ◽  
Danielle J Corple ◽  
Cheryl Cooky
Keyword(s):  
Social Media ◽  
Domestic Violence ◽  
Qualitative Analysis ◽  
Victim Blaming ◽  
Structured Interviews ◽  
Feminist Activism ◽  
Digital Space ◽  
Personal Experiences ◽  
Key Sites ◽  
Use Of Social Media

Scholars have argued that digital spaces are key sites for feminist activism, which can be seen in the emergence of “hashtag feminism,” or the use of social media hashtags to address feminist-identified issues through sharing personal experiences of inequality, constructing counter-discourses, and critiquing cultural figures and institutions. However, more empirical research is needed that examines both the possibilities and constraints of hashtag feminism. Through a qualitative analysis of 51,577 archived tweets and semi-structured interviews, we trace the ways #WhyIStayed creates a space for feminist activism in response to victim-blaming related to domestic violence through voice, multivocality, and visibility. More specifically, we critically analyze postfeminist discourses within #WhyIStayed in order to examine contradictions within the hashtag event as well as how these postfeminist contradictions shape possibilities for feminist activism online.

scholarly journals The Wear Project

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 107-112
Author(s):  
Nadia Malik
Keyword(s):  
Artistic Practice ◽  
The Subject ◽  
One Year ◽  
A Performance

When we meet a character in a performance, the implicit understanding is that they have existed until the point where we join their journey and will continue existing after we leave them. Their clothing tells a hi/story to the audience before we hear them speak and before any action takes place. As a Costume Designer and Lecturer, my awareness of costuming as an anthropological practice has led me to explore these principles using myself as the subject of scrutiny. For one year I am logging every clothing combination I go through along with memories, prices, locations and dates, etc. in order to explore the sub/conscious clothing decisions I make and the stories, embedded in my clothes, that I am surrounded by every day. What does my wardrobe mean to me inwardly and reveal to my audience outwardly, and how does this ‘me-search’ extend my artistic practice?

Academic Autobiography and Transdisciplinary Crossings in Shirley Geok-lin Lim's Among the White Moon Faces

2009 ◽  
Vol 43 (3) ◽  
pp. 441-457
Author(s):  
ROCÍO G. DAVIS
Keyword(s):  
Cultural Knowledge ◽  
Personal History ◽  
Professional Writing ◽  
Autobiographical Writing ◽  
Autobiographical Performance ◽  
Personal Experiences ◽  
Professional Perspectives ◽  
Race Ethnicity ◽  
Scholarly Production ◽  
And Function

The growing number of academic autobiographies published in recent years has sparked interesting debates on the nature and function of life writing. We now grapple with the question of the degrees to which autobiographical and professional writing function in conjunction – if we can read autobiographical writing from professional perspectives or, alternatively, to what extent scholarship grows from personal experiences. This approach to the academic autobiography links our notions about processes of self-inscription to the forms of production of historical and cultural knowledge. This essay examines these ideas by reading Shirley Geok-lin Lim's Among the White Moon Faces (1997). Lim's literary and scholarly production superlatively illustrates the development of contemporary perspectives on national identity and language, migration, and homelands. Her work, which includes poetry collections, novels, short stories, academic studies and a memoir – compels readers to engage the interplay between the competing forces of race, ethnicity, gender, and nationality within spaces that embody these conflicts. I argue that a comparative reading of personal and professional narratives invites us to reconsider how, working within specific epistemic contexts, academics like Lim consciously negotiate the intersection between personal history and academic commitment, a vital subtext in their autobiographical performance.

scholarly journals Memory Machines: Infrastructural Performance as an Art Method

2019 ◽  
Author(s):  
Jussi Parikka ◽  
Samir Bhowmik
Keyword(s):  
Peer Review ◽  
Public Library ◽  
Media Theory ◽  
Artistic Practice ◽  
Forthcoming Article ◽  
Final Version ◽  
Walking Tours ◽  
A Performance

This is the authors' final version of a forthcoming article, accepted through peer-review for Leonardo journal (MIT Press) -- (forthcoming estimated 2022). Abstract: Through a performance tour conducted in a public library, the authors analyze multi-sensory methods, including immersive performance and walking tours, as probes into cultural infrastructures. Combining discussions of media theory and artistic practice, the authors present infrastructural performance as an art method for creative infrastructural research.

scholarly journals How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

2021 ◽  
Author(s):  
Traci Mark
Keyword(s):  
New York ◽  
Artistic Practice ◽  
Art Scene ◽  
Film Archives ◽  
Conducting Research ◽  
A Performance

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

scholarly journals Hacer espacio: Museos y feminismos = Making Space: Museums and Feminisms

2020 ◽  
pp. 75
Author(s):  
Ana Pol Colmenares ◽  
María Rosón Villena
Keyword(s):  
Women Artists ◽  
Artistic Practice ◽  
Museum Displays ◽  
Feminist Phenomenology ◽  
Museum Practice ◽  
Theoretical Proposal ◽  
Sobre Todo

En este artículo desarrollamos una propuesta teórica que expone y se interroga sobre algunas de las prácticas posibles de un museo que se piensa feminista. Bajo nuestra perspectiva, la inclusión de obras de artistas mujeres no solo tiene que ver con la premisa de incorporar a un colectivo invisibilizado sino que su importancia, sobre todo, radica en la transformación de los modelos de hacer historia y su impugnación a la construcción de un relato simplificado, autorreferencial, teleológico-desarrollista, etnocéntrico y patriarcal. Desarrollamos nuestro planteamiento a través de la discusión de cinco conceptos: reunir, proponer, mantener, contar y divagar. En la segunda parte del artículo nos detenemos extensamente en el último concepto, divagar, al ser una propuesta propia que tiene que ver con una aproximación al museo desde la fenomenología feminista. Pensamos que las intersecciones entre espacio, práctica artística y feminismo pueden proporcionar lecturas ricas y renovadoras para los museos. En esta ocasión, trazamos un recorrido a través de dos figuras: la flâneuse y la exiliada. Ambas desvelan algunos aspectos de las relaciones históricas entre espacio y mujeres y de forma activa combaten el espacio patriarcal con sus ausencias/presencias.AbstractIn this article we develop a theoretical proposal that exposes and questions possible museum practices framed as feminist ones. From our perspective, the inclusion of works by women artists in museum displays certainly has to do with the premise of incorporating an invisible collective. However above all, its importance lies in its ability to transform models for making history and the challenge implicit in the construction of a simplified, self-referential, teleological-developmental, ethnocentric and patriarchal narrative. We develop our approach through the discussion of five actions linked to museum practice: to gather, to propose, to maintain, to tell and to digress. In the second part of the article, we dwell extensively on the last concept, «to digress», and its importance in our own proposals that outline an approach to the museum that is rooted in feminist phenomenology. We think that the intersections between space, artistic practice and feminism can provide rich and renewing readings of and interactions with museums. On this occasion, we trace a journey through two figures: the flâneuse and the exiled. Both reveal aspects of the historical relationships between women and space and women while also actively combatting patriarchal spaces marked by different absences/presences.

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