MisplacedWomen?

Posts Tagged ‘#genderqueer’

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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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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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.

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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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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

Code Contribution by Li Fu

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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Berlin Contribution by Jiachen Xu and Evdoxia Stafylaraki

In Berlin, Performances, Railway-stations, Workshops on February 2, 2019 at 10:42 pm

Body Measuring and Dying Oranges Chess Play

Performance by: Jiachen Xu and Evdoxia Stafylaraki

Location: S-Bahn train stations Prenzlauer Allee and Ostkreuz, Berlin, January 23, 2018.

Text by: Jiachen

The performance consists of three parts: body measuring, dying oranges chess play, and the in-between or misplaced spaces. It is a result of spontaneous entanglement of ideas from Evdoxia (body measuring) and Jiachen (orange chess play) developed during Berlin itinerary of the “Misplaced Women?” workshop by Tanja Ostojić. Though the performance as an entity is inseparable from any of it’s parts, I will mainly look at the latter part and the surrounding forces in this writing piece. 

Within the workshop “Misplaced Women?” facilitated by Tanja Ostojić, words such as: misplaced, women, and the question mark, became the structuring forces of this performance. “Women” in its plural form, I ask, identified as a queer feminist woman of colour, who are included in its reference? Misplaced, as the adjective suggests, on one hand, a finished state, temporally or not, in comparison to the wording “displacing”; on the other, what is the defining state of “placement”, and I wander, defined by whom?  My thought thus arrives at the question mark. 

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Jiachen and Evdoxia Stafylaraki: “Body Measuring and Dying Oranges Chess Play”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Hoang Tran Hieu Hanh and Nati Canto

Trinh T. Minh-ha is one of those feminist theorists who inspires me lastingly. She says, “Woman can never be defined. Bat, dog, chick, mutton, tart. Queen, madam, lady of pleasure. MISTRESS. Belle-de-nuit, woman of the street, fruit woman, fallen woman. Cow, vixen, bitch. Call girl, joy girl, working girl” (1986). This vivid and visual description of the ontological instability of women, especially for third world women in Minh-ha’s account, speaks for me. I gain my strength from reading works by black feminists and feminists of colour to survive joyfully, bravely and ambiguously in a seemingly constant misplaced/misplacing state, physically, psychologically, and beyond.

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Jiachen and Evdoxia Stafylaraki: “Body Measuring and Dying Oranges Chess Play”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Hoang Tran Hieu Hanh

I went to the workshop with an expectation to actualise certain struggling thoughts through body performances. The result, one week after the workshop, is way more than that. It is already very therapeutic for me to be surrounded by women bravely and creatively in the face of different forms of displacement struggles. And to share and do something collectively through an honest and caring sharing of our vulnerabilities. How wonderful is that!

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Jiachen and Evdoxia Stafylaraki: “Body Measuring and Dying Oranges Chess Play”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Nati Canto and Hoang Tran Hieu Hanh

 

In terms of the specific performance collaborated with Eva (Evdoxia Stafylaraki), I am a bit resistant to translate the process into languages. I would like to share some details that might be interesting to know. I come across those seven dying oranges at two friend’s kitchen. They were forgotten in the corner, waiting to be thrown away into trash. I noticed them and initially arranged them on the back placemat on the kitchen table. This was the birth of the idea “dying oranges chess play”. Number seven bears different meanings in different cultural contexts. In my memory it signifies a return in I-Ching. I guess there is always a piece of me strives for a return, even though the “original” place is non-existent anymore. To mobilise the nostalgia feeling evoked by “return” to the on-going chess play in public transportation stations seems to be one of the articulations during the chess play part of the performance. No one is setting the rules in the present, but there are waves of ghosts surrounding the gameplay. These waves of ghosts in my retrospective reading were displaced by the first part of the performance: the body measuring. Constant decision: making or un-making, and the questions of the aesthetics of misplaced existence are brought to the very surface, and will hopefully get revolved and transformed, step by step.

Text by: Jiachen Xu

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Video and photos: Nati Canto, Hoang Tran Hieu Hanh

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

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Jiachen recently finished a joint master degree in women’s and gender studies in Central European University in Budapest, Hungary and University of Oviedo, Spain.

Evdoxia Stafylaraki is mathematician, sculptor and performance artist from Chania, Greece.

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

Contribution by Mad Kate

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by LADY GABY

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

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

Berlin Contribution by Mad Kate

In Berlin, Performances, Workshops on February 2, 2019 at 3:11 pm

Wymyn who travel with me even when they are not here

Contribution by Mad Kate

Locations: Görlitzer Park, Berlin on 24.01.2018., and in transit from Görlitzer Park, Berlin, Germany to den Haag, Netherlands on 25.01.2018.

Regarding my participation in the Berlin iteration of “Misplaced Women?” workshop in the Public Space by Tanja Ostojić (January 2018) — hosted by Kunsthalle am Hamburger Platz, Berlin Weißensee — it was encouraging and supportive to be in a group of artists who were committed to doing these kinds of public works and gave me the confidence and framework to further explore an idea I have been interested in pursuing.

“Wymyn* who travel with me even when they are not here” I performed alone and made my own documentation using a timer on my camera.

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Mad Kate: “Wymyn who travel with me even when they are not here”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Mad Kate

I live across the street from Görlitzer Park and often speak with the numerous men who are hanging out in the park, many of them from Senegal and Gambia. I notice always the lack of presence of women and other non-binary persons in this particular demographic of migrants (the park is otherwise full of women and non-binary persons). This lead to my thinking about how some migrant flows are heavily male and why this is. I thought about the “freedom” of mobility of younger men, especially Muslim men, and the reasons why and how this affects women—sometimes related to these men’s physical ability to move and cross physical borders, to move as a single person without children, to encounter dangerous situations, related to their understanding of identity in relation to their community, their place, their religion, their view of autonomy as a moving migrating body, their community’s expectations of why and how and when they should migrate, their assumed responsibility to make money and send it home, etcetera.

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Mad Kate: “Wymyn who travel with me even when they are not here”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Mad Kate

It made me think a lot about how my gender is already “queered” as an independent, migrating body, whether or not I consider myself queer (which I do, in any case) and makes me stand out from other cunt-bearing bodies–“wymyn”–even within my own US-American culture, who face relatively more strict gender expectations of their femininity and of heteronormativity. The female* migrating body already has a relative independence to women who are required or expected to stay at home and are limited by their own communities to freedom of movement. The migrating body already has access to the privilege of “the adventure of” movement, even when and if they encounter borders who would otherwise attempt to limit their mobility, i.e., even when that movement is illegal.

As a response or way of thinking about this question I decided to dress up all in purple (in part as a ritual marker, in part as a symbol of the womb) and take the large purple suitcase my mother had given me, and I walked into the park. I decorated a large purple hat with photographs of the women who used to live within close proximity to me, whom I moved far away from 14 years ago when I left the United States. I know that some of the women on that hat have never had the privilege of leaving the country. I have thought of many of them as the women I write to in “letters back home”, telling them of my challenges and adventures moving away on my own.

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Mad Kate: “Wymyn who travel with me even when they are not here”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Mad Kate

Walking into the park, holding a sound recorder visibly, I told the people I encountered (most of them the men that gather around the entrances), that I was doing a project about the women we miss from home, those that travel with us in our hearts but couldn’t come with us. I asked them if they would like to contribute a name, an anecdote, or a memory of someone to my sound recording. One of the men shouted at me that I was doing some of kind of “therapy” and sort of made fun of me. Other men spoke to me politely but refused to contribute. Another person said he wasn’t drunk enough to participate but invited me to a jam session of migrant musicians. Finally one woman contributed, sound artist Anne Historical, but she did not fit this same demographic, she was a visitor to Berlin from South Africa. This was our brief exchange.

Here are some of the encounters with the men who spoke to me but did not want to contribute.

I found it disappointing that so few people wanted to share, but at the same time I felt like it was positive action even to ask and to try to make a connection that was atypical of the normal exchanges that happen in that particular situation of entering the park, being offered the chance to buy marijuana and either refusing or accepting. It’s not that I felt like I was “helping” anyone, but rather that I faced my own invisible boundary to break the mode of the expected relationship of consumption; I think this relationship of consumption alienates and segregates.

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Mad Kate: “Wymyn who travel with me even when they are not here”, “Misplaced Women? Workshop, Berlin, 2018. Photo: Mad Kate

On the other hand, I found it alienating to ask people to share stories and face rejection, and wondered if this was too pushy or too invasive of an approach. So I decided after some time to simply wait and see if anyone asked me about what I was doing. I sat in the park for a while and unpacked my suitcase and stayed there and let it be. No one came to ask what I was doing.

The next day, since I was traveling to another country, I decided to put the entire outfit on again and travel to the Netherlands with the same costume and suitcase and the sound recorder. A lot of people noticed me and gave me positive non verbal feedback, but no one asked me about what my hat meant or whether or not my costume and suitcase had significance. However the performative act of carrying the photographs of the women with me near my head helped me feel their absence and appreciate their gift in my life. 

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Footnote: *the word wymyn is purposely “genderf*cked” to disentangle the word 

“man” from the word “woman”, and with the intention of being inclusive 

to transwomen, nonbinary, intersex and other genderqueer persons.

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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.

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Text and Photos by Mad Kate

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

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

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by LADY GABY

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by Katja Vaghi

Contribution by Jiachen Xu and Evdoxia Stafylaraki

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

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