MisplacedWomen?

Doing Gender Contribution by Li Fu

In Innsbruck, Performances, Stories, Workshops on February 18, 2019 at 10:44 am

Doing Gender 8102.50.3*

60 min Performance von Li Fu

Universität Innsbruck

Beschreibung und konzeptionelle Einbettung

„’Doing gender’ zielt darauf ab, Geschlecht bzw. Geschlechterzugehörigkeit nicht als Eigenschaft oder Merkmal von Individuen zu betrachten, sondern jene sozialen Prozesse in den Blick zu nehmen, in denen ‘Geschlecht’ als sozial folgenreiche Unterscheidung hervorgebracht und reproduziert wird.“(*1)

Der Körper wird exponiert und in verschiedenen Schritten wird versucht die Konstruktion von Geschlecht in einzelnen Bausteinen zu zerlegen wie auch wieder herzustellen und diese somit nachvollziehbar zu machen. Da die Herstellung von Geschlecht „eine gebündelte Vielfalt sozial gesteuerter Tätigkeiten auf der Ebene der Wahrnehmung, der Interaktion und der Alltagspolitik [umfasst], welche bestimmte Handlungen mit der Bedeutung versehen, Ausdruck weiblicher oder männlicher ‘Natur’ zu sein“ (*2), betritt die Person in einem ersten Schritt in einem Poncho den Raum. Der Schnitt des Ponchos hebt keine Körperpartien besonders hervor und versucht somit beim Gegenüber keine gezielte Konstruktion von Geschlecht zu generieren. Daher wird es möglich in einem inneren Prozess zu sehen, welche Kategorien von Geschlecht die Betrachter*innen der Performance dem Subjekt auf dem Laufsteg von vornherein zuschreiben. 

Der Campus Innrain bot sich als Ort des Oszillierens zwischen Theorie und Praxis besonders für das Aufzeigen des iterativen Prozesses der Konstruktion-Dekonstruktion-Rekonstruktion-Dekonstruktion an.

Der Raum wurde in zwei Ebenen eingeteilt: dem fiktional privaten hinteren Bereich, der aus einer gläsernen Decke besteht, die Einblick in die Bibliothek gewährt; aus einer Fensterfront, die zum Spiegel umfunktioniert wird; aus Sitzgelegenheiten, die den ‘privaten Bereich’ umrahmen und damit abgrenzen, aber gleichzeitig auch als Interaktionsort mit dem Außen genutzt werden können und dem vorderen öffentlichen Bereich, in welchem das in Anthrazit gehaltene und langgezogene Gitter als Laufsteg umfunktioniert wird. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Auf der Schwelle zwischen dem öffentlichen und privaten Bereich wird ein Merkmal (symbolisch dargestellt durch den Nagellack) als schmerzhafter Befreiungsakt von vorgefertigten Kategorien  von Geschlecht entfernt. Dabei liegt der Nagellack wie eine zweite Haut auf dem Körper und lässt sich nur mühsam und in einem sich ständig wiederholenden Akt und in Wechselwirkung mit einem dem Körper externen Hilfsmittel (Nagellackentferner) sukzessive entfernen. 

Im privaten Bereich werden dann Hilfsmittel aus dem Koffer gezielt benutzt, um ‘Männlichkeit’  herzustellen. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Kunst in Öffentlichen Raum Tirol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Haltungen werden im Spiegel geübt und gezielte Kleidungsstücke und Accessoires sollen der Konstruktion behilflich sein.  

Anhand überspitzt ‘typischer’ Verhaltensweisen (aggressiv – lässiges umstoßen des Mülleimers – Handeln im sozialen Raum) wird ‘Männlichkeit’ performiert, wie auch anhand der Haltung, des Ganges, der Mimik und Gestik, das Tun, das in der sozialen Situation verankert ist und das in der virtuellen oder realen Gegenwart anderer vollzogen wird, von denen wir annehmen, dass sie sich daran orientieren“(*3), die Konstruktionselemente sichtbar werden lässt. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic
Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Im privaten Bereich setzt sich nun das Subjekt mit dem eben Hergestellten Schicht für Schicht auseinander und übt sich in ‘männlich betroffener Schweigsamkeit’. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Nun wird an das Subjekt in einer Interaktion ein alternatives Handlungs- und Zuschreibungsangebot von Außen [Performance assistance by Pippa Chase] herangetragen. Dies operiert mit sozial anerkannten Bildern, denen auch eine gewisse Zugehörigkeit und Solidarität innewohnen. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

‘Frau’/ Freundin’ macht ‘Frau’/ Freundin’ die Nägel und sucht aus dem Koffer ein ‘passendes’ Kleidungsstück für sie aus. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

‘Frau’ rasiert sich die Beine und cremt sich ein. Schicht um Schicht wird der performative Akt vollzogen. Die Konstruktion ‘der Weiblichkeit’ wirkt im Spiegelbild verzerrt. 

Li Fu: “Doing Gender . 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic
Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Die Inszenierung von ‘der Weiblichkeit’.

Im privaten Bereich setzt sich nun das Subjekt mit dem eben Hergestellten Schicht für Schicht auseinander und übt sich im ‘weiblichen Ausbruch’ – lautes Weinen und ‘hysterisches’ Anklagen:  (Wer bin ich? [im privaten Raum])

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Schicht für Schicht wird ein ‘Dazwischen’ konstruiert und erhebt zum ersten Mal die Stimme im öffentlichen Raum erhoben.

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

„Es ist nicht ER. Es ist nicht SIE. Es gibt auch ein  ‘DAZWISCHEN’. Wer das nicht checken will, soll sich einfach verpissen. Daran stört mich nicht mal die fehlende Empathie, sondern die in so vielen Ländern herrschende Transphobie.“(*4)

Vorbereitungsphase: ca. eine Stunde am Vorabend. 

Text: Li Fu

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Literaturverzeichnis:

Gildemeister, Regine (2004): Doing Gender. Soziale Praktiken der Geschlechterunterscheidung.

In: Becker, Ruth/Kortendiek, Beate (Hg): Handbuch Frauen und Geschlechterforschung. Theorie, Methoden, Empirie.

VS Verlag für Sozialwissenschaften: Wiesbaden, S. 132-140. 

Weber, Max (2011): Wissenschaft als Beruf. Duncker & Humblot: Berlin. 

West, Candance/ Zimmerman, Don H. (1987): ‘Doing Gender’ zitiert nach Gildemeister, Regine/ Wetterer, Angelika (1992): Wie Geschlechter gemacht werden. Die soziale Konstruktion von Zweigeschlechtlichkeit und ihre Reifizierung in der Frauenforschung. In: Knapp, Gudrun-Axeli/ Wetterer, Angelika (Hg.): Tradition Brüche. Entwicklung feministischer Theorie. Kore: Freiburg In: Gildemeister, Regine (2004): Doing Gender. Soziale Praktiken der Geschlechterunterscheidung. In: Becker, Ruth/ Kortendiek, Beate (Hg): Handbuch Frauen und Geschlechterforschung. Theorie, Methoden, Empirie. VS Verlag für Sozialwissenschaften: Wiesbaden, S. 132-140.

Zur Person: Einfälle einer* Dilettant*in (*5)

Li Fu interessiert sich für das Politische im Alltäglichen und gesellschaftliche Entwicklungstendenzen der Gegenwart. Besonders die Konstruktion des Alltags und die Betrachtung der Bausteine, anhand welchen Wirklichkeiten konstruiert werden, liegen hierbei im Fokus. In D.I.Y. -Manier wird anhand unterschiedlicher Performances der Versuch unternommen theoretische Konzepte in den Alltag zu überführen. 

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Fußnoten:

  1. Gildemeister 2004, S. 132
  2. West/Zimmermann 1987, S.14
  3. West/Zimmermann 1987, S.14 zitiert nach Übersetzung in Gildemeister/Wetterer 1992, S. 237 In: Gildemeister 2004, S.132
  4. Auszug aus einem Hip Hop Text von Li Fu
  5. Siehe dazu Weber 2011

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Edited and first published by Tanja Ostojic on the “Misplaced Women?” Blog 2018/19

This Performance has been released in the frame of: “Misplaced Women?” Workshop by Tanja Ostojic, May 2018, Art in Public Space Tyrol /Kunst in Öffentlichen Raum Tirol, Austria.

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Please visit as well other contributions and posts from the same workshops:

Review by Tanja Ostojic: Misplaced Women? @ Art-In-Public-Space Tyrol, Innsbruck

Open Call for participants for the “Misplaced Women?” performance workshop in the public space with Tanja Ostojić, in Innsbruck, May 11-13 2018, with a presentation in Die Bäckerei

Offene Ausschreibung zur Teilnahme an der “Misplaced Women?” Performance-Kunst-Werkstatt im öffentlichen Raum mit Tanja Ostojić vom 11–13 Mai 2018 in Innsbruck mit einer Aufführung in Die Bäckerei

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Teresa Albor’s and Dagmara Bilon’s continuous collaboration

In London, Performances on February 6, 2019 at 10:48 pm

Teresa Albor and Dagmara Bilon both took part in “Misplaced Women?” Workshop by Tanja Ostojić, 13-14 December 2016, hosted by LADA at their studio/office in Hackney. Teresa brought objects left behind by people in the process of migrating from Syria and Afghanistan to Europe from a collection she has been working with via a project called “The Things We Leave Behind.”  During the workshop Teresa experimented with calling out the names of people who have made this journey. Dagmara focussed on her own migration history and work she had made in the past using a suitcase as a prop as well as other objects from her earlier performances. They got to know each other in this inspiring workshop and started a collaboration soon after.

Teresa Albor and Dagmara Bilon: “Solidarity not charity”, at The Purple Ladies, Peckham, 2017. Photography: Lais Pontes
Dagmara Bilon: “Solidarity not charity”, at The Purple Ladies, Peckham, 2017. Photography: Lais Pontes

Peckham: Dagmara invited Teresa to join her making work for the “Solidarity not charity” event, hosted by The Purple Ladies, held 17 March 2017 at MARKET, to benefit refugees. This time Dagmara had replaced the suitcase with a large “migrant” bag made from woven plastic and added women’s heels adorned with the British Union Jack. Teresa had made a sound piece of names to play in the background.  Although the two were meant to perform separately, they chose to perform in the same space.  Teresa handed people objects or set them next to a candle in the space while Dagmara navigated the space from within the bag wearing the heels. 


Pimlico: Teresa was asked to make work for a public market —Tachbrook Market in Westminster — through the Rufus Stone project, during refugee week (17 June 2017).  She invited Dagmara to perform with her.  Because this was a public space, the two took care to engage the public, via a handout or through conversation.  Teresa placed objects on a pedestal, the soundtrack of names was played and Dagmara attempted to make her way across a thoroughfare to the stall. 

Dagmara Bilon, performing during refugee week 2017, Pimlico. Photography: Rachel Cherry
Teresa Albor performing during refugee week 2017, Pimlico. Photography: Rachel Cherry
 Dagmara Bilon, performing during refugee week 2017, Pimlico. Photography: Rachel Cherry


Richmond: Teresa invited Dagmara to perform at an exhibition of “The things we leave behind” at the One Paved Square Gallery in Richmond 24 Jan – 3 Feb, 2018.  The performance was 24 January, 2018.  Teresa used a torch instead of candles and used boundary tape to mark off sections of the space. Dagmara incorporated getting undressed, into the bag, movement and emerging from the bag into the performance.  Once again the soundtrack of names was played. 

Dagmara Bilon, performing at “The things we leave behind”, One Paved Square Gallery, Richmond, 2018. Photography: Sisi Burn
Dagmara Bilon performing at “The things we leave behind”, One Paved Square Gallery, Richmond, 2018. Photography: Sisi Burn
Teresa Albor performing at “The things we leave behind”, One Paved Square Gallery, Richmond, 2018. Photography: Sisi Burn

Bethnal Green: Dagmara invited Teresa to take part in a full day workshop as part of her involvement with the “I am not a village” project residency at Guest Projects in Bethnal Green.  The two experimenting with various ideas, including incorporating elements of Tanja Ostojić ’s “Naked Life” (2004-2016) performance series into their performance.  A week later, on 28 April, 2018 they performed a version of “Naked Life” — foregoing all of their previous props and gestures.   This time they entered the space, stood on a pedestal, dressed in layers of clothing.  They took turns reciting short stories of people who have been forced to move—a woman living in London dealing with domestic abuse; a woman moving from Sudan to a camp in Uganda; and so on.  With each story they removed a layer of clothing.  Once they were both naked and vulnerable, in solidarity with those whose stories they had recited, they dressed in their own clothes and told their own stories of relative privilege and security.  

Dagmara Bilon and Teresa Albor, performing at Bethnal Green, 2018, Photography: Camilla Canocchi
Dagmara Bilon and Teresa Albor, performing at Bethnal Green, 2018, Photography: Camilla Canocchi
Dagmara Bilon and Teresa Albor, performing at Bethnal Green, 2018, Photography: Camilla Canocchi

 Text by: Teresa Albor

Editied and published by Tanja Ostojic

Photography: Lais Pontes, Sisi Burn, Rachel Cherry, Camilla Canocchi

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Teresa Albor is London based performance and visual artist interested in how different groups of people negotiate the world. Her work is research-based and often involves broad collaboration. It can involve video/moving image, performance, installation, publication, community-based workshops, and forms of artist-led curation.

Dagmara Bilon is a London based Polish/German freelance Performance Artist, director and teacher, working nationally and internationally. Her multi-disciplinary practice orbits around embodied investigation and making the unconscious conscious. Central for her practice are dialog and collaboration, with self, others, materials and sites. She is passionate about art that inspires change. Over the last decade she has produced a diverse body of work which belongs to the borderlining realms of experimental performance and installation, as well as community based  projects.

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Some of the earlier blog posts for London:

The following artists, activists and researchers developed their new works or performed some of the “Misplaced Women?” scores in the frame of the Tanja Ostojic’s “Misplaced Women?” London Workshop. I would like to invite you to please check out Participants Contributions in text, photos and videos, that I edited partly in collaboration with Danyel Ferrari and published on the project blog:

Tanja Ostojic

Elena Marchevska

Danyel Ferrari´s Article published in ArtSlant

Teresa Albor

Dagmara Bilon

Camilla Canocchi 

Shannon Mulvey 

Cherry Truluck

Seila Fernandez Arconada

Alice Tuppen

Hilary Williams 

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Mapping around Kunsthalle am Hamburger Platz

In Berlin, Workshops on February 5, 2019 at 5:24 pm

Group Interventions of Mapping around the neighborhood of Kunsthalle am Hamburger Platz, Berlin-Weißensee, 23.01.2018.

A contribution by Mad Kate

Participants: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Kathryn Fischer aka Mad Kate

Listen to the Soundscape Weißensee

It was important to me to begin our interventions by understanding some answers to the question: “Where am I?” (politically, socially, economically)

Since I have lived in Berlin for 14 years, I am familiar with many neighborhoods, but never with this neighborhood in detail. I have performed at the Delphi Theater down the road, but this is my only interaction with the neighborhood. The Delphi is a very old “peoples theater” in Berlin and so I knew that this neighborhood had a history of an art scene, but at the same time is not a very busy or gentrified area. I know simply by being inside the Kunsthalle that this kind of large space for experimental workshops such as these one — “Misplaced Women?” By Tanja Ostojić — is increasingly rare. Many recent events at Kunsthalle have been committed to postcolonial discourse and bringing attention to the works of nonwhite artists—the kind of work that is not typically given spaces in more commercial areas of Berlin or at larger galleries. This already gives me a clue that the neighborhood is still affordable enough for a place like this to exist, while at the same time hints that the art scene may again be growing around here. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photo: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani

As a general practice before performing, I have been trying to get into the habit of understanding my sociopolitical context. This means “mapping” the area, using the “stage” (the venue) as my centering point, and working my way directionally around the center space, taking in sights, subtle changes, reading clues about the demographics of businesses and people on the streets. I also try to talk to people as much as possible to find out a bit more about the neighborhood and who is living there. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photo: Tatiana Bogacheva, Sajan Mani, Mad Kate

Gaby, Tanya, Sajan, and myself all decided to go about mapping the area. I took along my sound recorder and gave it to Tanya for most of our journey so she could experience being immersed in the sounds around us. She told me that it was an extremely psychedelic experience to her! Gaby and I took photos, made sounds, made “found instruments” and marked different areas with string. We also sometimes mirrored physical shapes with our bodies. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, Berlin, “Misplaced Women?” Workshop, 2018.

Listen to the Soundscape Weißensee

I noted down a “map” of our walk and noticed places of new development, abandoned buildings, the types of businesses, and a conversation I had with one artisan who had recently moved there. She was a paper maker who had also found a place to rent in the neighborhood. She has a small handmade paper business on a quiet side street. There were other “new artists” living in the area who had opened up a DIY gallery, an artist performance space, and other businesses that I saw as related, ie a yoga studio and a mobile burrito van. The residences appeared to be either very old buildings, presumably with residents on old contracts, and very new loft-style developments, and one van, that appeared to be someones home. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Sajan Mani, Mad Kate

We walked over towards Caligara Platz, which had a historical marker noting that this used to be called “Little Hollywood”. So the area has historically had the mark of artists, theater and film navigating and weaving in with the rest of the residents. It made me wonder a lot about how the art school students integrate or do not integrate with the rest of the neighborhood, as one student who was part of the said they felt some antagonism or “difference” from the people around who sometimes resented their presence doing public art. Given the fact that artists and others are being pushed out of the central neighborhoods of Berlin, however, I suspect that Weißensee will see an increasing amount of new and diverse communities moving in and I’m curious to see how these changes will take shape in the next five to 10 years.  

It was encouraging and supportive to be in a group of artists who were committed to doing these kinds of public work. In this group context it was wonderful to explore the surrounding area of our workshop.

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate
Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate


Text by Mad Kate

Edited and first published by Tanja Ostojić, 2018/19 on the Misplaced Women? project blog

Kathryn Fischer aka Mad Kate is a polyhomefull US-American sound and performance artist based in Berlin, interested in interrogating the politics of borders within and between bodies.

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate

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Please visit as well other contributions and posts from the same workshops:

Contribution by LADY GABY

Contribution by Mad Kate

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by Katja Vaghi

Contribution by Nati Canto

Public Presentation of the Misplaced Women? Workshop, Berlin, January 2018

Open Call for participants for the Misplaced Women? performance art workshop with Tanja Ostojić in Berlin, January 22-24 2018, hosted by Kunsthalle am Hamburger Platz

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Older posts Berlin 2009:

Tanja Ostojić: Berlin, TXL Airport on November 21, 2009, 11 p.m,

and Valentina Medda: Misplaced Women?, Performa New York, 2009. Simultanious delegated perfromance with Tanja Ostojic, at Berlin TXL airport.

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