Karin Michalski bei

queer positionings poster_web_klein.pdf

*_/*_/*_\*_\New Queer Positioningsin Media Art & Theory*_/*_/*_\*_\


Vika Kirchenbauer, Aykan Safoğlu, Hasan Aksaygın, Karin Michalski und Anja Michaelsen präsentieren Auszüge aus ihren aktuellen künstlerischen bzw. theoretischen Arbeiten zu queeren Themen. Was für Strategien des “Queerings” werden in aktueller (Medien-)Kunst bearbeitet oder aus ihr hervorgebracht? Gibt es ein neues Verständnis von Queerness in Kunst und wie sie (nicht) dargestellt werden sollte? (Wie) Hat sich queere Kunst in den letzten Jahrzehnten verändert? Die Präsentationen und Diskussionen behandeln Themen an den Schnittstellen von Queer Theory, Kunst- und Medienwissenschaften.
Raum: Hochschule für Bildende Künste Braunschweig, Gebäude 19, Raum 100/101 (Pippelweg)

Zeit: Freitag, 16.6.2017 – 14.30 Uhr bis ca. 19.30 Uhr Kontakt: r.onat@hbk-bs.de
Die hochschulöffentliche Veranstaltung findet in Anbindung an das Seminar „Medienkunst“ von Rena Onat im Sommersemester 2017 statt. Es wird größtenteils Englisch gesprochen.
„Queere Kunst“ meint Kunst, die eine Kritik an Heteronormativität und der Zweigeschlechtermatrix formuliert, queere Lebensweisen, Begehren und Subjektpositionen repräsentiert sowie Fragen nach dem Konstruktionscharakter von Geschlecht und Sexualität aufwirft. Queere Theorie und -Aktivismus wenden sich gegen die Festschreibung von Identitätskategorien und gegen naturalisierende und essentialisierende Vorstellungen von Sexualität und Geschlecht. Wie werden diese Ansätze in Kunst bearbeitet und übersetzt und wie wird Kunst wiederum in Theorie übersetzt? 
(Selbst-)Repräsentationen und Ausdrucksweisen aus nicht-heterosexueller und gender-nonconforming Perspektiven waren (und sind), bedingt durch Repression, Pathologisierung oder Kriminalisierung, lange Zeit äußerst prekär. Das Schaffen von positiver Sichtbarkeit sowie das Erbringen von visuellen Beweisen für die eigene Existenz waren aus diesem Grund ein wichtiges Anliegen Queerer Kunst. Ein wichtiges Medium war und ist die Fotografie, insbesondere die Porträtfotografie als künstlerisches Mittel um andere Bilder zu schaffen, welche Queers nicht pathologisieren und dennoch sichtbar werden lassen. In queertheoretischen sowie künstlerischen Auseinandersetzungen wird diese Strategie der Sichtbarkeit sowie bestimmte Darstellungen queerer Körper bereits seit längerem ambivalent betrachtet. Zum einen kann mehr Sichtbarkeit auch mehr Vulnerabilität bedeuten, zum anderen können Körperbilder zur Produktion neuer Normen, Schönheitsideale, bzw. zu einer Fixierung queerer Subjekte beitragen. Aktuelle Ansätze fragen beispielsweise nach Potentialen der Opazität. Was sind queere Potentiale des Nicht-Zeigens? Wie wirken sich Veränderungen der visuellen Kultur auf aktuelle Positionen queerer Medienkunst aus? Wie hat sich auch die Medialität queerer Kunst in den letzten Jahren verändert (oder nicht)? Wie werden neuere queertheoretische Ansätze in aktueller Kunst verhandelt? 
Vika Kirchenbauer untersucht in ihrer Kunst Opazität in Verbindung mit der Repräsentation des „Geanderten“. Sie beschäftigt sich mit Fragen des Blicks, des Sehens und Angesehen-Werdens in verschiedenen größeren Kontexten wie z.B. den Bereichen Arbeit, Ausstellungen Zeitgenössischer Kunst und thematisiert queere Politiken der Repräsentation sowie die Alltagserfahrungen von nicht-binär gegenderten Individuen. Hasan Aksaygın macht sein cis-geschlechtliches homosexuelles und sogenanntes “orientalisches” Selbst zum Gegenstand seiner Kunst, wobei er sich immer wieder auf Theorien zum Orientalismus von Edward Said und Sara Ahmed bezieht und zugleich eurozentristische und heteronormative Konstruktionen im Kunstbetrieb vorführt. Karin Michalski beschäftigt sich in ihren künstlerischen, kuratorischen und theoretischen Arbeiten intensiv mit queeren Theorien zum Affekt - so auch in ihrer Videokunstarbeit The Alphabet of Feeling Bad mit Ann Cvetkovich (Autorin u.a. von An Archive of Feelings und Depression. A Public Feeling).In seiner Kunst formt Aykan Safoğlu Beziehungen – sogar Freundschaften – über kulturelle,geografische, sprachliche und zeitliche Grenzen hinweg. Ausgehend von Recherchen queert, verkompliziert und revidiert Safoğlu die Biografien berühmter Figuren wie die des Schriftstellers James Baldwin oder der Künstler Paul Thek und Ulay, indem er sie mit seiner eigenen Geschichte verwebt. Mit den Mitteln des Films, der Fotografie und der Performance erkundet er kulturelle Zugehörigkeit, Kreativität und Verwandtschaften – mit offenem Ausgang. Die Medienwissenschaftlerin Anja Michaelsen nimmt in ihrem theoretischen Input einige Überlegungen zum Verhältnis von Sichtbarkeit und dem Reparativen nach Eve Kosofsky Sedgwick vor.

*_/*_/*_\*_\New Queer Positionings in Media Art & Theory*_/*_/*_\*_\

Vika Kirchenbauer, Aykan Safoğlu, Hasan Aksaygın, Karin Michalski and Anja Michaelsenpresent excerpts from their latest artwork, academic work and/or curational work on queer issues. What queering strategies are being developed and employed in recent art production? Is there a new understanding of queerness in and through art and how it should (not) be depicted? (How) has queer art changed in the last decades? The presentations and discussions will engage issues at the intersections of queer theory, art and media studies.
The term „Queer Art“ refers to art, which represents non-heteronormative ways of living, of desires and subjects who are not in line with the two-gender matrix or heteronormativity but also art that generally poses questions from a queer perspective or that raises questions about how gender and sexuality are being constructed. Since queer theory and activism seek to resist fixations of identities and essentialist or naturalizing understandings of sexuality and gender, we ask how these ideas get translated into art and from art into theory.
Because of the precariousness of non-heterosexual and gender-nonconforming (self-)expressions and because of the repression, criminalization, pathologization and violence of and against queers, queer art, for a very long time, was very invested in creating queer visibility, create visual evidence of our existence to make queer subjects intelligible or to satisfy the desire to have pictures of queer, trans*, homosexual bodies that are portrayed as beautiful. Photography, especially portraiture, was a prominent medium for queer art, especially in the 1990s. A lot of artwork revolved around the body, especially the androgynous or gender-nonconforming body i.e. to irritate the two-gender matrix by creating visual evidence of the existence of more than two genders. For a while now, the political and artistic strategy to create visibility has been critically challenged. Visibility can also mean exposure and vulnerability thus potentially exposing people to violence. Another question was and is, how queer art, by focussing so much on images of the body, actually fixates and determines what „queer“ is and what „queer“ looks like, that it creates a certain beautystandard and/or assigns desirability to few select subjects within queer subcultures. What potential may the concept of opacity contain for queer art and theory? What other concepts are being engaged by more recent queer art and theory productions? What is the artistic, visual, auditive or haptic language of recent queer art?
Vika Kirchenbauer explores opacity in relation to representation of the ʻotheredʼ. She examines the troublesome nature of “looking” and “being looked at” in larger contexts including labour, contemporary art display and queer representational politics as well as the everyday life experience of ambiguously gendered individuals. Hasan Aksaygın is working with canvas and site-specific mural paintings and beside these sculptural objects. In his works, Aksaygın examines his own cis-gender homosexual and so called oriental self / identity / body / appearance, its meanings in different social contexts like Europe and in his own psychic. Karin Michalski‘s recent art-, curational- and theoretical work engages queer theories of affect, one of those outcomes includes the videoart piece Alphabet of Feeling Bad with Ann Cvetkovich, author among others of Depression. A Public Feeling and An Archive of Feelings. By keeping the dialectics of a friendship at the center of his artistic strategy, Aykan Safoğlu tenderly revisits contemporary notions of community, gender and migration. In his recent video and performance work, Safoğlu re-introduces known analog and digital image-making techniques in order to intervene in widespread narratives of social norms and to conflate binary perceptions. In her theoretical input Anja Michaelsen, who is a media studies scholar, will lay out her thoughts on the relation between visibility and Eve Kosofsky Sedgwicks concept of the reparative.
The public event is associated with seminar on “Media Art” by Rena Onat this semester.
Place: University of the Arts Braunschweig, Building No. 19, Room 100/101 (Pippelweg)Time: Friday, June 16th 2017, 2.30 pm – 7.30 pm

 


*_/*_/*_\*_\New Queer Positionings in Media Art & Theory*_/*_/*_\*_\



Vika Kirchenbauer, Aykan Safoğlu, Hasan Aksaygın, Karin Michalski and Anja Michaelsen

present excerpts from their latest artwork, academic work and/or curational work on queer issues. What queering strategies are being developed and employed in recent art production? Is there a new understanding of queerness in and through art and how it should (not) be depicted? (How) has queer art changed in the last decades? The presentations and discussions will engage issues at the intersections of queer theory, art and media studies.


The term „Queer Art“ refers to art, which represents non-heteronormative ways of living, of desires and subjects who are not in line with the two-gender matrix or heteronormativity but also art that generally poses questions from a queer perspective or that raises questions about how gender and sexuality are being constructed. Since queer theory and activism seek to resist fixations of identities and essentialist or naturalizing understandings of sexuality and gender, we ask how these ideas get translated into art and from art into theory.


Because of the precariousness of non-heterosexual and gender-nonconforming (self-)expressions and because of the repression, criminalization, pathologization and violence of and against queers, queer art, for a very long time, was very invested in creating queer visibility, create visual evidence of our existence to make queer subjects intelligible or to satisfy the desire to have pictures of queer, trans*, homosexual bodies that are portrayed as beautiful. Photography, especially portraiture, was a prominent medium for queer art, especially in the 1990s. A lot of artwork revolved around the body, especially the androgynous or gender-nonconforming body i.e. to irritate the two-gender matrix by creating visual evidence of the existence of more than two genders. For a while now, the political and artistic strategy to create visibility has been critically challenged. Visibility can also mean exposure and vulnerability thus potentially exposing people to violence. Another question was and is, how queer art, by focussing so much on images of the body, actually fixates and determines what „queer“ is and what „queer“ looks like, that it creates a certain beautystandard and/or assigns desirability to few select subjects within queer subcultures. What potential may the concept of opacity contain for queer art and theory? What other concepts are being engaged by more recent queer art and theory productions? What is the artistic, visual, auditive or haptic language of recent queer art?


Vika Kirchenbauer explores opacity in relation to representation of the ʻotheredʼ. She examines the troublesome nature of “looking” and “being looked at” in larger contexts including labour, contemporary art display and queer representational politics as well as the everyday life experience of ambiguously gendered individuals. Hasan Aksaygın is working with canvas and site-specific mural paintings and beside these sculptural objects. In his works, Aksaygın examines his own cis-gender homosexual and so called oriental self / identity / body / appearance, its meanings in different social contexts like Europe and in his own psychic. Karin Michalski‘s recent art-, curational- and theoretical work engages queer theories of affect, one of those outcomes includes the videoart piece Alphabet of Feeling Bad with Ann Cvetkovich, author among others of Depression. A Public Feeling and An Archive of Feelings. By keeping the dialectics of a friendship at the center of his artistic strategy, Aykan Safoğlu tenderly revisits contemporary notions of community, gender and migration. In his recent video and performance work, Safoğlu re-introduces known analog and digital image-making techniques in order to intervene in widespread narratives of social norms and to conflate binary perceptions. In her theoretical input Anja Michaelsen, who is a media studies scholar, will lay out her thoughts on the relation between visibility and Eve Kosofsky Sedgwicks concept of the reparative.


The public event is associated with seminar on “Media Art” by Rena Onat this semester.


Place: University of the Arts Braunschweig, Building No. 19, Room 100/101 (Pippelweg)Time: Friday, June 16th 2017, 2.30 pm – 7.30 pm

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