Results tagged by Art & diversity

Vulnerable Looking

Vulnerable Looking

This essay attempts to consider more responsive and responsible forms of perception, which help reflect on artworks and ourselves through the shared experience of embodied vulnerability. I argue that transforming one’s practice of looking by engaging in disability art and vulnerability will be a potentially radical tool in one’s art-making practices and in what such art-making can provoke. Technological and media developments in the use of artistic tools have reordered our relationship between visual perception and spatial and bodily experience. By introducing ‘tools’ such as vulnerability and disability aesthetics to our art making and visual practices, we will allow ourselves to reorder more critically the artistic impact on the meaning-making of ‘disability’ and other forms of culturally excluded forms of diverse and variant embodiment. keywords; visual thinking, vulnerability, disability aesthetics, art-making, embodied reflection, ableism, variation vs deviance, unlearning artistic and visual practices

Subversive Affirmation

Subversive Affirmation

This essay looks into critical mimesis as an artistic strategy, discussing how artists imitate or copy non-theatre systems or formats while subtly subverting them, thus critiquing these existing systems and ideologies ‘from within.’ After providing a brief example—Julian Hetzel’s Schuldfabrik—the essay further introduces the concept of subversive affirmation and the closely related notion of over-identification, referring to scholars Inke Arns and Sylvia Sasse, Slavoj Žižek and the BAVO research collective. The concept of subversive affirmation is then used to analyse the large-scale project Unified Estonia by Theatre NO99 (2010), in which the Estonian theatre company created a fictious political party to investigate the performance of populist politics. Zooming in on (moral) ambiguity and ethical dilemmas as key characteristics of the strategy, the essay closes with a brief discussion of Samira Elagoz’s solo Cock, Cock … Who’s There? (2016), in which she cleverly plays with the logics of online dating platforms in order to re-appropriate the male gaze. keywords; camouflage acts, imitation as critical practice, mimesis, over-identification, performance and politics, subversive affirmation