ästhetik

ästhetik, wie der begriff konventionell benutzt wird, ist die macht_volle, machtbestimmte einlesung von etwas als schön brilliant künstlerisch beeindruckend wichtig ausdrucksstark literarisch wichtig –oder eben das alles nicht

wie kann oder sollte etwas das alles jenseits von politischen bedeutungen und belegungen sein?

wie kann etwas schön sein wenn es rassistisch ist?

in diskussionen um rassistische sprachhandlungen, um den wunsch und die forderung von Schwarzen personen und PoC bestimmte rassistische begriffliche handlungen sein zu lassen, bestimmte begriffe nicht zu benutzen, wird immer wieder von entnannten weißen personen die expertix für alles sind angeführt, dass bestimmte begriffsbenutzungen oder bestimmte texte doch literarisch wertvoll, also ästhetisch seien. deshalb könnten einzelne begriffe nicht einfach verändert werden. was aber ist das dann für ein ästhetikbegriff?

da wird dann so getan, als gäbe es schönheit oder ästhetik als einen wert und eine vorstellung jenseits von konkreten politischen effekten, politischen handlungen, konkreten situationen, konkreten diskriminierungen, konkreten äußerungen diskriminierter zu ihrer verwendung. wex sollte das dann noch schön finden können, wenn es diskriminierend ist? oder heißt das, dass schönheit teil diskriminierender regimes ist?

was könnte an einer begriffsverwendung von weißen, in welcher historisierenden verwendung auch immer, ästhetisch sein, wenn Schwarze personen oder PoC dadurch diskriminiert sind? was für ein begriff von ästhetik wäre das dann? eine ästhetik des rassismus?

wie kann eine infragestellung von x-formen, unterstrichformen und sogar immer noch die einlesung und bewertung von binnen-I formen als unästethisch möglich sein, wenn es so klar ist, dass dies die formen sind, die genderistisch diskriminierte für sich gewählt haben? was sagt das dann über ästhetikverständnisse aus, wex ästhetikverständnisse werden so als eine pseudoneutrale norm gesetzt und wex verständnisse werden als betroffen_emotional_zu extrem hergestellt – aber sicher nicht als ästhetisch? ist ästhetik also eine privilegierte diskriminierende normsetzung?

ästhetik in einer entpolitisierenden verwendung, in einer entkoppelten verwendung von der präsenz und wirkhaftigkeit und wirkmächtigkeit von strukturellen diskriminierungen ist damit selbst diskriminierend, strukturell, künstlxsch verharmlosend, als in und aus einer anderen sphäre darstellbar. ein solcher ästhetikbegriff ist teil eines politisch strukturell diskriminierenden kunstbegriffs, den wir von xart splitta nicht teilen, sondern herausfordern.

leseinspirationen: habt ihr welche? schickt uns die gerne!

 

 

kritik

kritik ist lebendig sein

kritisiert werden ist wahrgenommen werden, ist die bereitschaft sich mit mir, meinen positionen_äußerungen_handlungen auseinanderzusetzen

kritik ist offenheit zu kontakt

ist wunsch nach verständigung

nach formulierung von differenz

differenz als positive ressource

kritik ist produktiv

kritik ist wichtig als umgangsform, als lernform, als kommunikationsform, als arbeitsform

kritik beginnt für uns mit einer würdigung dessen was eine andere person denkt_macht_meint

kritik ist respektvoll und akzeptieren von differenz, wenn es nicht genderistisch_rassistisch_ableistisch_klassistisch_migratistisch diskriminierend ist – dann ist kritik scharf und klar und stark und laut, denn das, was vorher war ist nicht respektvoll.

kritik als umgangsform versuchen wir von xart splitta umzusetzen durch offene fragen, nachfragen, durch zuhören, durch formulieren eigener standpunkte und ideen, durch vermeidung von universalismen, von allgemeinen bewertungen, durch vermeidung von herabsetzungen und hierarchisierungen in unseren äußerungen

kritik verstehen wir als ein sich aufeinander zu bewegen, miteinander sich bewegen, bewegungen in kontakt und differenz.

kunst

je länger wir über kunst nachdenken, umso unsicherer werden wir.

es gibt viele formen von kunst, die wir nicht meinen, wenn wir xart splitta auch als künstlixsch aktiv verstehen.

was wir meinen mit kunst: formen von intervenierenden empowernden handlungs- und ausdrucksweisen gegen interdependente diskriminierungen, die genregrenzen überschreiten, die was wagen, die neue sprachen ausprobieren, die sich nicht in funktionslogiken einpassen, die kreativ sind, unangepasst, irritierend, herausfordernd, die neue orte wählen, neue w_orte, neue blicke, neue eindrücke und ausdrücke, die immer auch politisch gegen interdependente diskriminierungen positioniert sind, interdependente strukturelle diskriminierungen immer auch reflektieren und in kommunikationsformen umsetzen, die sich kapitalistischen verwertungslogiken immer wieder ein stückweit versuchen zu entziehen, die zum anhalten, verharren, verändern von blickrichtungen einladen, die bewegen, herausfordern, spaß machen, verbinden, ver_orten.

zum weiterlesen:

talking visions. multicultural feminism in a transnational age. ella shohat (ed.) 1998, mit press.

sprache

ist living

mit_teilung

handeln, immer wieder neu immer wieder anders

hegemonial

zurichtend

diskriminierungen und privilegierungen aus_drückend (für mich: mich einzwingend in zweigenderungen und meine weißen und ableistischen privilegierungen entnennend)

 

und dabei immer wieder

auch

möglichkeit

aus_druck zu suchen

vermittlung zu ver_suchen

kontakt

kommunikation

 

sprache ist immer auch handlung

ob ich spreche oder ob ich nicht spreche

ob ich schweige und wegsehe

ob ich mitlache oder nicke

ob ich laut über andere hinwegrede

wenn privilegierte diskriminierte als zu emotional zu aggressiv herstellen und damit von den eigenen aggressivitäten ablenken

wenn priviligierte nicht zuhören wollen wenn diskriminierte sprechen

und immer weiter nicht zuhören, wenn diskriminierte darum bitten und fordern, dass bestimmte begriffe nicht benutzt werden

wenn ich nicht unterbreche, wenn diskriminierende sachen gesagt werden

wenn ich unterbreche oder zumache, wenn andere was sagen, was mich irritiert, ungewohnt ist, aus einer anderen perspektive

 

alles das sprachliche handlungen

und auch alle versuche ent-diskriminierenden sprechens, schreibens, zu_hörens, lesens:

alle neuen worte wie x-formen, sternchen, @-formen

wie trans_xende ausdrucksweisen: handlungen und nicht identitäten formulierend versuchen

und alles noch nicht gesagte und geschriebene, mit dem zwangszweigenderungen herausgefordert werden, mit dem interdependente positionierungen explizit und kritische ver_ortungen ausgesprochen werden

alle konkreten benennungen von sprechpositionen

und auflösungen universalisierender ‘wir’s’

alle entscheidungen diskriminierte stimmen zu hören, zu zitieren, zu autorisieren

und alle offenen fragen

 

sprache ist leben gestalten

ist handeln

ist möglichkeit

ist immer in bewegung

immer herausfordernd herausforderbar

artists’ (self) presentations

we, ja’n and lann, decided to ask the artists to come up themselves with some kind of self-presentation that they would like to see_read_listen to in the context of a booklet for this exhibition. we also used info from the artists’ homepages for some of the presentations. for claude cahun, who is no longer alive, we had to find another solution.

 

anja weber

anja weber is a photographer and video-artist. anja produces her works in series and in un_disciplinary and collaborative ways. she develops her narrative-portraying photographic works in collaboration with the protagonists. questions on re_presentations_identities_localizations and space as well as their interconnections and interdependencies are important aspects of anja weber’s artistic production. reflecting upon both forms of performance and assertions of realism in photographic depictions is another aspect of anja’s work.

anja’s pieces always reflect the point in time when they are produced. the series california beautiful, started in 2007, investigates different concepts, forms of expression and appropriations of masculinities – starting from the idea that the categorization “man” is a socio-culturally framed norm.

in 2002, anja created a series with protagonists from the – at that time – very active drag king scene in berlin.

anja weber collaborates with other artists, as for example the sound artist sabine ercklentz. together they developed the audio-visual installation serious game (2009), based on portraits and interviews with trans*activists.

anja weber studied photography in dortmund (germany), exeter (uk) and new york. she was a fulbright scholar at new york university and the international center of photography.

anja lives in berlin.

http://www.anjaweber.com/

images exhibited:
Trystan, 2008, from the series: California Beautiful
Kalil, 2007, from the series: California Beautiful
Pussycoxx, 2002, from the series: Berlin Drag Kings

 

claude cahun

as claude cahun is no longer alive, we have formulated what is important to us concerning claude cahun in the context of the exhibition.

claude cahun (1894–1954), a photographer and writer who chose their own name. claude cahun lived in paris and the channel island jersey with marcel moore_suzanne malherbe during the nazi occupation. they collaborated in different artistic formats like photography, writing and political artistic interventions (for example in artistic opposition to the nazis).

one focus of claude cahun’s work is the self-portraits, which we perceive as questioning two-gender-norms and two-gendered images in many different ways.

however, claude cahun has not been exhibited very often up until now, and their work and life has also often been interpreted in heteronormative cisgendered ways. moreover, the intensive and life-long artistic and political collaboration between claude cahun and marcel moore is seldom acknowledged.

many of claude cahun’s works, photography as well as writing, can be found in the jersey heritage collection: http://jerseyheritagetrust.jeron.je/

the recent novel diese gezeiten by katharina geiser, written in german, trans_forms some of claude cahun’s and marcel moore’s writings and artistic interventions into a narration about their life on jersey.

images exhibited:
self-portrait, 1928
self-portrait, circa 1938
self-portrait, 1916
self-portrait, 1928

 

coco riot

a queer spanish migrant artist living in canada, coco riot believes that art is not a tool for social change but social change itself.

in their work, coco riot loves exploring the multiple social possibilities of drawing and language through installation, animation film, print media, graphic novels, comics and in-site drawing exhibitions. the topics that fuel their inspiration range from queer politics, social and personal memories, living in different languages and the experience of migration, to coco’s desire for bright colours and the love for poetry and repetitive patterns. in their work, coco riot uses personal experiences as metaphors to talk about social and political experiences.

coco’s work has been shown in museums, galleries and festivals from new york to barcelona, all through montreal, toronto, berlin, turin, madrid and a lot of friends’ living rooms.

oh! and coco uses the pronoun they and is the co-founder, with elisha lim, of the well-known trans art tumblr call me they.

http://cocoriot.com/

works exhibited:
trans pride online art project call me they together with elisha lim
video-poem los sentidos together with elisha lim

 

elisha lim

elisha lim is unusually happy to have been raised in an all-girls catholic convent on a tropical island. it may have motivated lim’s enthusiasm to celebrate and decorate queer people of colour, having such first hand experience of their charm and variety. elisha lim takes great pleasure in creatively portraying the beauty, dignity and power of being neither straight, nor white, nor cis-gendered. lim has illustrated novels, wall calendars, books and magazines with this mission, including the bitch magazine acclaimed sissy calendar, the illustrated gentleman, and most notably – 100 butches, a graphic novel of portraits and anecdotes about masculine queers.

100 butches earns a lot of publicity from its introduction by new york times bestselling author alison bechdel, and still accomplishes lim’s covert plan, with a 90% quota of racialized models, and an unabashed dedication “to queers of colour”.

http://elishalim.com/

works exhibited:
trans pride online art project call me they together with coco riot
graphics from the series 100 butches:
no 7: tomee
no 20: qiu jin
no 42: sherry
no 43: samira
video-poem los sentidos together with coco riot

 

goodyn green

goodyn green is a queer feminist photographer, born in aalborg/denmark 1979. she graduated as an art and history primary school teacher from n. zahles college of education in copenhagen in 2005, but after 2 years of teaching she decided to move to berlin to focus on photography. since the first issue in 2009, goodyn has been the main photographer of berlin based bend over magazine. the same magazine presented greens first photo collection, the catalog, with erotic images of androgynous looking queer women inspired by poses from classic gay porn magazines.

green often has a strong feminist agenda in creating awareness of female sexuality as “aggressive” as the depicted male sexuality, – through pornographic and erotic portraits of queer women.

currently she is working on a portrait project with models who identify as women, but who are frequently mistaken for another gender, harassed or insulted in public or private. through this green wants to put a focus on the uncountable variations of female expressions. furthermore she is busy photographing for her series mixed feelings – a series of photographs of women in intimate moments seen through green’s eyes as their lover or girlfriend.

http://goodyngreen.com/

works exhibited:
3 images from the series mixed feelings

 

ja’n sammla

my topics_ways_wordings_engagements in and with the exhibition:

presence. becoming present. being present in collective actions_collective acting. community. the importance of community. its fragility. dyke_trans-community as my self_concept of living_living through_living on and in and living in moments_tears_ rising_longing for strength.

sharedacting_thinking_moving_understanding * creating&searching * ent_ starren_berühren_ver_bünden * engaging * fließen&rauschen * de_fracturing _zusammen_setzen – to be present_in being here and now_in the process and in the struggles. being present_being in contact in my works_reflec­tions_activisms in dyke_transing utopian acting. with utopia as everyday action.

the podcasts exhibited are audio-collages of recordings created on 4 derivas – collective_connecting movings_walkings through berlin in small groups of 2 to 4. on the derivas, we visited locations and talked about localizations of empowering and interventional actions_wordings_connections in dyke_transed contexts. i understand the podcasts as momentary_fragile _searching presences of collective dyke_transing actions. thanx to the derivantykes for their commitment, connecting and sharing.

and thanx to lann for our sharing of the (for me) new and inspiring creative processes, for mutual creatings&searchings, for being in movement and letting our processes with the exhibition be moving&touching&shifting.

works exhibited:
podcast community. audio-collage aus: dyke_trans_feministische derivas zu uto­pischem handeln und community. 2011
podcast utopisches handeln. audio-collage aus: dyke_trans_feministische deri­vas zu utopischem handeln und community. 2011

 

justin time

justin time is a multi media artist, stonemason, linedance instructor, filmmaker, trans* curator, feminist, gender interrogator, cowboy, traveller and tango beginner. in my art projects i research and subvert the spheres of „normal“, appropriate and transform common myths and paradigms. i am likewise fascinated and nauseated by media constituted role types, so i use them, challenge them, try to slightly change their meanings and to take them ad absurdum. the goal of my works and projects is to stir things up and raise questions, for i don´t claim to know all the answers. what do you think you look at on the picture? how does a label affect your perception? why is it so important to know, to classify? maybe there´s no word for it?

http://justintimeproductions.de/

images exhibited:
natural, 2012
real, 2012

 

lann hornscheidt

since working most of all with linguistic practices, the making of a film on dyke_trans, together with layla zami, has been a new experience and an important step for transforming political knowledge productions for me. literary artistic productions, which i read as the dyke_transing of perceptions, have been important to me for a long time; and now here they are contextualized by various personal stories and perceptions of what dyke_transing means for different people. thanx to layla. thanx to all others engaged and involved in the making of the film!

for me, creating the exhibition together with ja’n has been processual_ challenging_widening_intensive unfinished_exciting_touching_moving spaces _times_forms. our movements_ways_traces through and with the exhibition, with artistic political actions, our openings_questionings_discussions_ hesitations, our perceiving_reading_despairing_disarriving with forms of interaction_work_exhibiting have been complex_beginnings_beings_a con­tact_communications. thanx ja’n.

work exhibited:
film: spuren legen_verwischen. a feminist videopoem, together with layla zami, 2012

 

layla zami

“dis_visualizing?”

solitary people and their surroundings. questioning and the quest for harmony. people stepping into new worlds, step by step creating their own worlds. the dreamer blowing away the stormy past and cloudy futures to create a second of eternity. the dancer’s body linking the ground she anchored and the air she s breathing. photographs sometimes bear traces of tenderness.

“re_locating?”

in exhibiting images, i am re-projecting a moment… but a new moment is created in the viewing context! the observers are free to project their own creativity. watching the viewers viewing, i feel how each one enters the exhibition space with their personal emotions. and i like to show you who is behind the camera. who am i in this photographic instant how do i relate to the people i photographed and how do you relate to them through me?

“de_silencing?”

de_silencing for me means voicing our dreams, naming ourselves and printing beautiful faces and spaces on a glossy paper. we are black indian jewish and so much more we are lesbians queer dykes we are not yin or yang we are both and we are beyond. we are no longer waiting in line for your magazines your preferences we re*create our own stories and spaces. we are loving lovers we are… beautiful!

this is how i relate to this exhibition and its concept. i thank lann, ja’n, the beautiful people (not forgetting myself;) i photographed, i thank my sista anouchK for her connecting spirit and i thank my muse oxana for her feminist loving.

ubuntu ngumuntu nga bantu

laYla Zami

http://www.laylazami.net/

works exhibited:
images:
mind blowing – Ilya Washington
reach out, move in – Oxana Chi
laYla by Layla Zami

film: spuren legen_verwischen. a feminist videopoem, together with lann hornscheidt, 2012

 

zanele muholi

zanele muholi was born in umlazi, durban, in 1972, and lives in cape town. she studied photography at the market photo workshop in newtown, johannesburg. she was a founder of the forum for the empowerment of women (few), a Black lesbian organisation based in gauteng. recent solo shows have taken place at the gladstone hotel in toronto and at fred, london (2010). she was the recipient of the 2005 tollman award for the visual arts, the first bhp billiton/wits university visual arts fellowship in 2006, and was the 2009 ida ely rubin artist-in-residence at the massachusetts institute of technology (mit). in 2009 she received a fanny ann eddy accolade from irn-africa for her outstanding contributions to the study of sexuality in africa. she also won the casa africa award for best female photographer and a fondation blachère award at les rencontres de bamako biennial of african photography in 2009. in 2010 her faces and phases series was included on the 29th são paulo biennale; the series was published by prestel and nominated as best photobook of 2010 at the international photobook festival in kassel.

zanele muholi is included on the group show tête-à-tête curated by mickalene thomas at rhona hoffman gallery, chicago (29 march to 5 may), and on appropriated landscapes at the walther collection, neu-ulm/burlafingen, germany (until may 2013). her award-winning documentary difficult love shows in st petersburg, together with an exhibition of prints, as part of the open eyes film festival against racism and xenophobia (13 to 23 april); at the 14th international women’s film festival in seoul (19 to 26 april); and at the lesbian spring festival in toulouse presented by bagdam espace lesbien on 21 april.

http://www.stevenson.info/artists/muholi.html

www.zanelemuholi.com

works exhibited:
images from the series only half the picture:
not butch but my legs are, 2005
what don’t you see when you look at me 1, 2004

images from the series new faces and phases:
zanele muholi, 2011
phumzile nkosi, 2011
matshidiso mofokeng, 2010
mpho mtsweni, 2010

 

 

performing artists at the opening night:

agnes lampkin (textperformance)

mother – person of color – basketballer – freelancer –freeminder – minder – actor – actress – agnes

born in gloucester (gb) 1973, moved to switzerland 1984

studied acting 1993-1996 at the hochschule der künste in zürich. since coming to germany in 1997 she has appeared onstage at the theaterhaus jena, theaterhaus stuttgart, schaubühne berlin, maxim gorki berlin, schauspiel essen, theater bielefeld, theater unterm dach, sophiensaele and at the english theatre berlin. in switzerland she has performed at the schauspielhaus zürich, theater basel, theater luzern and rote fabrik zürich among others.

 

nancy rohde (graffiti)

nancy rohde was educated as a painter/varnisher when she realized that she had a talent working with paint. from that point on, she started combining spraying with stenciling and realized that that was a good combination with graffiti.

nancy sprays graffiti in different social_political contexts like female clash (may 2012 berlin) and leads workshops with young people on graffiti, for example with the beraberce and culture on the road.


http://de-de.facebook.com/nancy.rohde.1

 

oxana chi (dance)

the themes and ideas of my work are based on my life and surroundings. it focuses on time-less, rest-less and dreams of how life could be. my dance shows as well our role in society, recalls our history, questions political movements. it brings different cultures and arts together to create a global art dance performance. something new – out – of it!
www.oxanachi.de

 

sonia lemos (dj-set)

sonia lemos is an ex-actress and ex-ballerina and the creator of mc xuparina, a dyke artist who sings/performs funk to save their soul. sonia lemos is a dj and plays soul and favela funk.

http://pt-br.facebook.com/mcxuparina
http://www.myspace.com/mcxuparina