After the self-abolition of this performance as an art work in the 3rd phase, we comprehend the work as an artistic means, a methodological tool which we wish to share with contemporary dance and performance artists, who are willing to reflect their contexts and public work and with all who have something to say about the structure of the global World of contemporary dance and performance.
We would like to invite you to join us in this research and to develop your own “private bio-politics” – thinking about which other stories could be told about symbolical ownership over history and concepts, about the monopolizing of the global dance and performance scene, and about the patronization of “the backward” and “the always late (comers)”.
We would usually propose to start with a discussion or an after talk moderated by a (local / present) theorist, artist or in this case by you on the spot....
ETH Zürich Graphische Sammlung
ETH Zürich Graphische Sammlung
Political action is always a matter of knowing who is qualified to say what a particular place is and what is done in it.
J.R.: Democracy is first and foremost neither a form of power nor a form of the emptiness of power, that is, a form of symbolising political power. For me, democracy isn’t a form of power but the very existence of the political (in so far as politics is distinct from knowing who has the right to occupy power or how power should be occupied), precisely because it defines a paradoxical power – one that doesn’t allow anyone legitimately to claim a place on the basis of his or her competences. Democracy is, first of all, a practice, which means that the very same institutions of power may or may not be accompanied by a democratic life. The same forms of parliamentary powers, the same institutional frameworks can either give rise to a democratic life, that is, a subjectivation of the gap between two ways of counting or accounting for the...
The fashion system’s ability to manipulate meaning within society’s codes of convention allows for subversive uses and readings of fashion statements. Examples abound in film and the discourse around it…
Derek Jarman’s version of Christopher Marlowe’s Edward II presents an extradialogic commentary on how the image of Queen Isabella can be literally made-up by means of a procession of outfits that follow their own rhythm of elaboration as the film—and the plot—progresses. The lavish clothes do not add up to a stable indicator of the queen’s intrinsic and unalterable identity; nothing like the costumes in classic cinema that express character and personality. They remain, instead, a group of images rife with conflicting bits of visual information, which even the most hardworking spectator will have trouble forcing together. This is because the attire of the queen does not so much serve to characterize Isabella as to comment on the role that she assumes.
The costumes/images belong to a system of representation different from that of Marlowe’s sixteenth-century dialogue; they are patterned on the template for “how to be female” in Hollywood films....
It has become popular, these days, to introduce non-humans into the stories we tell about ourselves. Both ecological anthropologists and students of material culture have a lot to say about relations between humans and non-humans. But it turns out that they are referring to quite different non-humans.
As an anthropologist and an academic, I am incapable of doing anything with my hands except write and play my cello. Having carried out ethnographic fieldwork in Lapland, however, I used to be able to manage a herd of reindeer – though maybe not any more. Because of the nature of this fieldwork, I became steeped in the traditions of ecological anthropology – that is, in the study of the relationships between human beings and their environments, including everything that makes life possible. But I was also interested in the study of what is nowadays called material culture. At one time, ecological anthropology and the study of material culture were so closely joined as to be virtually indistinguishable. But not any more. Indeed it seems that in recent years, students of ecological anthropology and students of material culture have been talking increasingly past one another. This is very odd, given...
Here, sparked by the composition’s female figure, whose identity and function remain obscure, alternative approaches will be suggested: gender studies as a mediation of social goals, and the collective memory of the site-specific audience.
The Presentation is one of the most stunning paintings to have emerged from the restorations of the San Marco fresco cycle.
Fra Angelico created a traditional Presentation with respect to its depiction of Mary and Joseph presenting Jesus at the Temple in Jerusalem at the time of Mary’s postpartum purification in accordance with Mosaic law. They stand on a platform before a simple, flaming altar set off by a shell niche, which although damaged, retains the classical simplicity that Michelozzo’s architecture for the convent inspired in Fra Angelico’s paintings. Mary has given the swaddled child to Simeon, the elderly Jew identified as the high priest who blessed Jesus as the new Messiah.
To complete the scene, however, Fra Angelico included two additional figures on a ledge below the biblical event just within the border of the foreground plane. To the left, the Dominican Saint Peter Martyr kneels at an angle facing into...