Hydro-sztuka w Polsce z perspektywy błękitnej humanistyki jako tratwy ratunkowej wobec katastrofy ekologicznej

Hydro-art in Poland from the Perspective of the Blue Humanities as a Life Raft in the Face of Ecological Catastrophe The aim of my article is to analyze the contemporary diversified notion of practices in the field of visual arts, performative arts, and artivism as related to the care of the aquatic ecosystems. I also intend to introduce the hydro-art in Poland as the category of the blue humanities – relatively recent branch of the new humanities, conceptualized in the Western academies and still little know in the Polish context of Central-Eastern Europe. I apply the navigating tools offered by the blue humanities are to argue for a visually non-obvious and discoursively experimental narrative, sensitive to the areas of ignorance and embarrassing truths hidden behind colors. The following examples of artistic or artivist projects form Poland are included to broaden the narrative of the blue humanities: Ewa Ciepielewska’s artistic and ethnographic drift on the Vistula River, the artistic residency FLOW/Przepływ; the hydrofeminist collectives such as Cecylia Malik and Sister Rives, and Bojka Diving Collective, the paintings of hydro-ecotopia by Małgorzata Wielek, and Justyna Górowska’s WetMeWild. The article also announces the transnational cooperation – the hydrofeminist artistic research project, Anti-Monument to a Shrimp, which I intend to implement together with Górowska, and the American ecosexual artists, Annie Sprinkle and Beth Stephens.

The Matter of Metaphor: Remembering Phillip

As an undergraduate student in Birmingham in the early 1990s, I spent a lot of time in the stacks in the library where I had discovered, through back issues of TDR for the most part, something called ‘performance studies’. It didn't really figure on our curriculum, but having become duly exposed to Richard Foreman scripts, photographs of Annie Sprinkle shows and various essays on ritual, I wished like hell that it did. It was this that led me to a book, By Means of Performance, edited by Richard Schechner and Willa Appel. One chapter in particular floored me completely. Entitled ‘What Does It Mean to “Become the Character”: Power, Presence and Transcendence in Asian In-Body Disciplines of Practice’, it combined a deep knowledge of the practices it discussed that could only have come from doing them in depth, with a level of philosophical and ethnographic detail that made tangible, material sense of the apparently esoteric premise of its title. The chapter was Phillip's, and his great gift as both teacher and scholar was always that ability to place the relationship between ‘the doer and the thing done’ at the heart of things. This is, of course, a key tenet of the American pragmatist tradition (the phrase is John Dewey's, I believe, although I often heard Phillip make use of it) and I don't think he would object to me aligning him with it.

Goodbye Gauley Mountain, hello eco-camp: Queer environmentalism in the Anthropocene

This article considers the effectiveness of queer environmental ethics in the Anthropocene, a word increasingly used to describe the anthropogenic destruction of ecosystems that marks our current geological era. Taking as my subject the contemporary ecosexuality movement popularised by performance artists Annie Sprinkle and her co-collaborator and partner Elizabeth Stephens, I explore the ethics behind ecosexuals’ encounters with the natural environment. Stephens and Sprinkle's performances, captured in their documentary Goodbye Gauley Mountain: An Ecosexual Love Story (2013), make clear ecosexuality's concurrent urgency and playfulness, which is embodied in a theatrical environmental sensibility that I call eco-camp. Eco-camp is a mode of florid performance, spectacle and ostentatious sex-positivity that champions new forms of relationality between humans and other earthly inhabitants. Drawing from diverse theoretical perspectives, including Mikhail Bakhtin's (1968) carnivalesque, Chris Cuomo's (1998) ethics of flourishing and Cynthia Willett's (Willett et al., 2012; Willett, 2014) theorisation of feminist humour, I argue that ecosexuality's campy ecological ethics provide an alternative to the didacticism and moralism that characterise much contemporary environmentalism. In the spirit of carnival, the tragi-comic and, at times, parodic tone of ecosexuality generates an affective dissonance that spurs us to feel the full effects of our discordance with nature.

La post-pornographie comme art féministe

Dans un contexte de pluralisation des stratégies féministes, le développement d’une pornographie féministe,queer, ou encore ce que les Européennes ou Annie Sprinkle appellent la « post-pornographie », peut-il être envisagé comme un projet féministe viable ou même souhaitable? L’auteure présente une analyse de cette création de pornographie critique et féministe, à la lumière du concept de post-pornographie, dans le champ des arts visuels, plus particulièrement des images en mouvements. Elle trace une généalogie de cette pratique à partir de trois oeuvres réalisées à trois moments clés de cette production : le film expérimentalFuses(1965), de Carolee Schneemann, la vidéoSluts and Goddesses Video Workshop or How to Be a Sex Goddess in 101 Easy Steps(1992), d’Annie Sprinkle, et le filmToo much Pussy.Feminist Sluts in Queer X Show(2010), d’Émilie Jouvet.