Clio Nicastro | Bard College Berlin (original) (raw)

Papers by Clio Nicastro

Cinéma & Cie, Vol. 22 No. 39 (2022): The Representation and Care of Illness. Visual Culture, Trauma, and Medical Humanities , 2023

The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of... more The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of food consumption deemed ‘disordered’ is controversial and often over-simplified. Frequently it is reduced to the idea that glamorous images, particularly the heroin chic style of the 1990s, create a dangerous imaginary that young women - statistically the main target of eating disorders - emulate. This article wants to challenge this issue by exploring three aspects of the intricate relationship between eating disorders and images: 1) The fear of contagion that haunts images exposing bodies that suffer by eating disorders; 2) As a time-based medium, film offers a privileged set of perceptive tools to account for the ways eating disorders interfere with time – as perceived, lived, shared; 3) One more aspect that is relevant to observe since it predominately occupies the current debate is the question of the right way to represent certain medical conditions and their experience. The reasons at the core of this debate are extremely vital and prove how photos and moving images have tragically contributed to building and constructing gender and racial bias as well as the stigmatization of certain diseases. Though when speaking of misrepresentation there is the risk of embracing a deceptive idea of good mimesis at the cost of the ambivalence that the experience of certain conditions inherently carry and which should not disappear in the fictional dimension.

In 1937, Ernst Gombrich, who had just joined the Warburgkreis in London, was commissioned to prod... more In 1937, Ernst Gombrich, who had just joined the Warburgkreis in London, was commissioned to produce a private edition of the Bilderatlas. Geburtstagsatlas f\ufcr Max M. Warburg for the 70th birthday of Aby Warburg' brother. The operation, conceived as a private gift, was probably initiated by Gertrud Bing and Fritz Saxl, or Max himself: the undertaking was intended to satisfy the family\u2019s wishes as they continued to believe that the Mnemosyne project could be published. Preserved in two typewritten copies - one kept in London, the other in Hamburg - the Geburtstagsatlas, was for decades consigned to oblivion and still remains unpublished (see the dedicated page in The Warburg Institute website). Gombrich's modus operandi is very clear: he selects 24 panels (out of the 63 of the latest version of the Bilderatlas of 1929); removes many images from each of the panels; lays out the surviving images on a white background, in a well-balanced and hierarchical order, by modify...

Saima Akhtar, an urban historian and co-creator of the series 'In Front of the Factory', ... more Saima Akhtar, an urban historian and co-creator of the series 'In Front of the Factory', will offer reflections on the advancement of new technologies and the future of work. The aim of the workshop is to foster a discussion among participants about work/labour as a primary site for capitalist accumulation and resistance, as well as the ways in which forms of image-making – particularly film – endorse or fail to support it. This workshop is the third and final installment of the series 'In Front of the Factory,' which has focused on questions of work and the ways in which work/labour have been framed in past and contemporary forms of image-making. The workshop presents the research and conversations that accumulated through the series, including topics such as cinematic representations of women's labour; the presence or absence of domestic and reproductive labour in visual media; the spatial and temporal dimensions of unemployment; the use of cinema for industria...

Interruptions and discontinuity are the very essence of Aby Warburg's conception of the tempo... more Interruptions and discontinuity are the very essence of Aby Warburg's conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the Pathosformeln that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg's idea of 'renewal', which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form.

Despite the increasing incidence of eating disorders, very few films have addressed these conditi... more Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What's more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.

Cultural Inquiry, 2022

The ICI Berlin Repository is a multidisciplinary open access archive for the dissemination of sci... more The ICI Berlin Repository is a multidisciplinary open access archive for the dissemination of scientific research documents related to the ICI Berlin, whether they are originally published by ICI Berlin or elsewhere. Unless noted otherwise, the documents are made available under a Creative Commons Attribution-ShareAlike 4.o International License, which means that you are free to share and adapt the material, provided you give appropriate credit, indicate any changes, and distribute under the same license. See http://creativecommons.org/licenses/by-sa/4.0/ for further details. In particular, you should indicate all the information contained in the cite-as section above.

Nel 1895 Aby Warburg decide di affiancare allo ricerca teorica l\u2019osservazione antropologica ... more Nel 1895 Aby Warburg decide di affiancare allo ricerca teorica l\u2019osservazione antropologica sul campo, facendo esperienza diretta di usi, riti e costumi degli indiani Hopi. Lo studioso amburghese documenta meticolosamente il suo viaggio portando con s\ue9 una Box Camera Kodak, uno dei primi apparecchi prodotti dalla casa. All\u2019interno di una visione del sapere unitario, spazio di dialogo e integrazione tra metodi e discipline differenti, la scelta del mezzo espressivo diventa un modo per esplorarne e sperimentarne le potenzialit\ue0 peculiari. L\u2019interesse per la tecnica si sposa con una concezione estetica non formalistica, secondo la quale l\u2019arte coincide con una necessit\ue0 biologica specificatamente umana. Essa \ue8 un vero e proprio dispositivo di orientamento spazio/temporale, fulcro pulsante della polarit\ue0 simbolica che oscilla tra Nachleben e Pathosformel. I caratteri dell\u2019immagine divengono in questo senso strumento capace di dare forma ed espressione alla vitalit\ue0 dell\u2019uomo e al suo sviluppo storico

In the short yet compelling text<i> '</i>Einfühlung' (2008), Harun Farocki qu... more In the short yet compelling text<i> '</i>Einfühlung' (2008), Harun Farocki questions the relation between distance and identification from the point of view of both the film actor and the spectator. Right at the start of the text, the German filmmaker emphasizes that the term <i>Einfühlung</i> has been 'handed over to the enemy'. Who is this enemy? And what is the context within which the German filmmaker positions this complex and ambiguous concept? Is 'empathy' – the term most commonly used to translate <i>Einfühlung</i> – even strictly equivalent to the German term? Over the past decades, many studies have been published on the topic of empathy across a range of disciplines. Yet the debate on this topic is not limited to academic contexts: to react empathically is almost considered a social duty, amplified by the possibilities enabled by new media which allow for immediate contact with stories and experiences of distant ...

Cultural Inquiry

What is the relationship between reenactment and repetition compulsion? By shedding light upon th... more What is the relationship between reenactment and repetition compulsion? By shedding light upon the different levels of reenactment at stake in Yella by Christian Petzold, I analyse the ‘transitional spaces’ where the German filmmaker places his wandering characters who have ‘slipped out of history’. In Yella Petzold mixes up past, present, future, and oneiric re-elaboration to question the memory of the past of GDR, which in his view has never really been constituted as history. The characters that populate this movie move in a setting constructed at the crossroad between a protected environment where the reenacted events are sheltered by the time and the space of the plot and a place weathered by the unpredictable atmospheric agents of the present. How and to which extent can the clash between different temporalities produce a minimal variation?

In recent decades, many studies have been published on the topic of empathy across a range of dis... more In recent decades, many studies have been published on the topic of empathy across a range of disciplines. Being empathic is today almost a social duty, amplified by the possibilities enabled by new media in terms of getting directly in contact with stories and experiences of distant people simultaneously. The general trend is arguably that of focusing on the fusional relation between subject and object, without taking into account the distance and conflict implicit in sensing the other. The latest film of the Berliner visual artist Philip Scheffner, Havarie (2016), offers some compelling and fresh cinematic devices to challenge other kinds of empathic relation with the spectator, focusing on an erratic temporality that avoids striking actions and takes position against the idea of one, unique, right image to represent reality.

The aim of this paper is to compare Aristotele's idea of pathos - according to the Book II of... more The aim of this paper is to compare Aristotele's idea of pathos - according to the Book II of Rhetoric - with Harun Farocki's multifold analysis of the Einfuhlung }. It is possible to regard the two concepts of empathy and distance as having significant importance throughout Farocki's filmography and critical texts . From as early as his second film, " Nicht loschbares Feuer (1969), the german filmmaker seeks to prove how ambiguous and dangerous it could be to use empathic images in order to represent disasters and tragedies in human history, like the Napalm bombing in Vietnam. Showing the suffering of these victims may simply serve as an emotional hook for the audience and could simultaneously overwhelm and scare away the spectator . In order to avoid the fleeting commiseration for the victim , Farocki chooses instead a metaphorical approach ; to give the viewer an idea of what burning napalm is like , the filmmaker puts out a burning cigarette on his arm , givi...

“An entirely new word is being put forward by an entirely new subject. It only has to be uttered ... more “An entirely new word is being put forward by an entirely new subject. It only has to be uttered to be heard. Acting becomes simple and elementary.” (Lonzi: Let’s Spit on Hegel, 19)

By reading Carla Lonzi’s work on art critique and Karolin Meunier’s artistic commentary on Lonzi through the notion of disagreement and especially the staging of disagreement, we aim to explore strategies that are at stake in their writing/recording/reading practices. Looking at Lonzi’s work – especially »Autoritratto« – as an experiment, which produces ruptures, and disagreement by simultaneously staging them can help to understand her manifold research as a call for participation. Participation in this context means to involve oneself in the very process of artistic (co-) manufacturing, i.e. the never-ending process of (re)creating subjectivity through experimental practices, which Lonzi conceives as a space where dissensus can never be overcome or solved: An anti- dialectical approach that is ultimately at odds with the idea of dialectical synthesis. What the reader-writer encounters is a step towards an écriture de saboté-/age (i.e. a denaturalized/deculturalized language) that calls for a ‘new’ sensibility that points to the assertive claims and power-relations inscribed in writing. Instead of following or obeying them, Lonzi proposes a creative way of confrontation: A kind of (self)sabotage. It is about a polymorphous and polylogic practice of critique, in which the very relation between subject and object, writer and reader, critic and recipient blurs: The reader, the writer, the critic and amateur gets invited into a circus of lay-wo-men, in which hordes of unexpected subjects conquer the stage to perform an “erotics of art”. Exchange takes place. Not as a simple dialogue but as an orgy-phony or orgy-graphy. As a confrontation to make one’s voice count. A polyphony in which nomadic subjects are created or create themselves.
The workshop seeks to trace the creation of both the “new word” and the “new subject” by examining the strategies, techniques and tactics of writing-reading. Paying due to the specific situations from which Lonzi and Meunier speak, we will try to extrapolate the concept of disagreement as a tool for literary analysis and intervention. Linked to our understanding of disagreement is the concept of discontinuity as ‘introduced’ by Lonzi as well as that of a fundamental rupture that might “interrupt the monologue of patriarchal culture”. By examining the three related concepts we seek to explore both the feminist conception of time and history as well as the methods of writing/speaking (about art). Therefore we will focus on the different modes of expression (pamphlet, poem, interview, collage) and their strategical being-/becoming-twisted in Lonzi’s écriture. Regarding disagreement as a specific social, political, cultural constellation in space-time, the workshop – understood as a circus of lay-wo-man – seeks to open up a dialogue on reading-writing Lonzi and Meunier.
The workshop will be held in English AND German and takes place in between the exhibits by Verena Issel at Kunsthaus Erfurt.

http://karolinmeunier.org
https://www.kunsthaus-erfurt.de
http://www.verenaissel.com

Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15, 2019

Interruptions and discontinuity are the very essence of Aby Warburg’s conception of the temporali... more Interruptions and discontinuity are the very essence of Aby Warburg’s conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the Pathosformeln that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg’s idea of ‘renewal’, which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form.

Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15, 2019

Despite the increasing incidence of eating disorders, very few films have addressed these conditi... more Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What’s more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.

Rivista Italiana di Filosofia del Linguaggio, 2018

Filosofo, psicoanalista, attivista di origine argentina, tra i fondatori del Collectif Malgré tou... more Filosofo, psicoanalista, attivista di origine argentina, tra i fondatori del Collectif Malgré tout, Miguel Benasayag vive e lavora Parigi. La sua analisi profonda del mondo occidentale contemporaneo, che tiene conto delle interconnessioni tra prospettiva psicologica, sociologica e biologica, è il frutto non solo della riflessione teorica di Benasayag ma anche e soprattutto della sua militanza politica. Tra le sue opere principali ricordiamo: L'epoca delle passioni tristi 2004), Contro il niente. L'ABC dell'impegno (2005), Elogio del conflitto (2008), La salute ad ogni costo. Medicina e biopotere (2010), Oltre le passioni tristi. Dalla solitudine contemporanea alla creazione condivisa (2016), Il cervello aumentato, l'uomo diminuito (2016), La singularité du vivant (2017).

Cinéma & Cie, Vol. 22 No. 39 (2022): The Representation and Care of Illness. Visual Culture, Trauma, and Medical Humanities , 2023

The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of... more The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of food consumption deemed ‘disordered’ is controversial and often over-simplified. Frequently it is reduced to the idea that glamorous images, particularly the heroin chic style of the 1990s, create a dangerous imaginary that young women - statistically the main target of eating disorders - emulate. This article wants to challenge this issue by exploring three aspects of the intricate relationship between eating disorders and images: 1) The fear of contagion that haunts images exposing bodies that suffer by eating disorders; 2) As a time-based medium, film offers a privileged set of perceptive tools to account for the ways eating disorders interfere with time – as perceived, lived, shared; 3) One more aspect that is relevant to observe since it predominately occupies the current debate is the question of the right way to represent certain medical conditions and their experience. The reasons at the core of this debate are extremely vital and prove how photos and moving images have tragically contributed to building and constructing gender and racial bias as well as the stigmatization of certain diseases. Though when speaking of misrepresentation there is the risk of embracing a deceptive idea of good mimesis at the cost of the ambivalence that the experience of certain conditions inherently carry and which should not disappear in the fictional dimension.

In 1937, Ernst Gombrich, who had just joined the Warburgkreis in London, was commissioned to prod... more In 1937, Ernst Gombrich, who had just joined the Warburgkreis in London, was commissioned to produce a private edition of the Bilderatlas. Geburtstagsatlas f\ufcr Max M. Warburg for the 70th birthday of Aby Warburg' brother. The operation, conceived as a private gift, was probably initiated by Gertrud Bing and Fritz Saxl, or Max himself: the undertaking was intended to satisfy the family\u2019s wishes as they continued to believe that the Mnemosyne project could be published. Preserved in two typewritten copies - one kept in London, the other in Hamburg - the Geburtstagsatlas, was for decades consigned to oblivion and still remains unpublished (see the dedicated page in The Warburg Institute website). Gombrich's modus operandi is very clear: he selects 24 panels (out of the 63 of the latest version of the Bilderatlas of 1929); removes many images from each of the panels; lays out the surviving images on a white background, in a well-balanced and hierarchical order, by modify...

Saima Akhtar, an urban historian and co-creator of the series 'In Front of the Factory', ... more Saima Akhtar, an urban historian and co-creator of the series 'In Front of the Factory', will offer reflections on the advancement of new technologies and the future of work. The aim of the workshop is to foster a discussion among participants about work/labour as a primary site for capitalist accumulation and resistance, as well as the ways in which forms of image-making – particularly film – endorse or fail to support it. This workshop is the third and final installment of the series 'In Front of the Factory,' which has focused on questions of work and the ways in which work/labour have been framed in past and contemporary forms of image-making. The workshop presents the research and conversations that accumulated through the series, including topics such as cinematic representations of women's labour; the presence or absence of domestic and reproductive labour in visual media; the spatial and temporal dimensions of unemployment; the use of cinema for industria...

Interruptions and discontinuity are the very essence of Aby Warburg's conception of the tempo... more Interruptions and discontinuity are the very essence of Aby Warburg's conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the Pathosformeln that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg's idea of 'renewal', which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form.

Despite the increasing incidence of eating disorders, very few films have addressed these conditi... more Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What's more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.

Cultural Inquiry, 2022

The ICI Berlin Repository is a multidisciplinary open access archive for the dissemination of sci... more The ICI Berlin Repository is a multidisciplinary open access archive for the dissemination of scientific research documents related to the ICI Berlin, whether they are originally published by ICI Berlin or elsewhere. Unless noted otherwise, the documents are made available under a Creative Commons Attribution-ShareAlike 4.o International License, which means that you are free to share and adapt the material, provided you give appropriate credit, indicate any changes, and distribute under the same license. See http://creativecommons.org/licenses/by-sa/4.0/ for further details. In particular, you should indicate all the information contained in the cite-as section above.

Nel 1895 Aby Warburg decide di affiancare allo ricerca teorica l\u2019osservazione antropologica ... more Nel 1895 Aby Warburg decide di affiancare allo ricerca teorica l\u2019osservazione antropologica sul campo, facendo esperienza diretta di usi, riti e costumi degli indiani Hopi. Lo studioso amburghese documenta meticolosamente il suo viaggio portando con s\ue9 una Box Camera Kodak, uno dei primi apparecchi prodotti dalla casa. All\u2019interno di una visione del sapere unitario, spazio di dialogo e integrazione tra metodi e discipline differenti, la scelta del mezzo espressivo diventa un modo per esplorarne e sperimentarne le potenzialit\ue0 peculiari. L\u2019interesse per la tecnica si sposa con una concezione estetica non formalistica, secondo la quale l\u2019arte coincide con una necessit\ue0 biologica specificatamente umana. Essa \ue8 un vero e proprio dispositivo di orientamento spazio/temporale, fulcro pulsante della polarit\ue0 simbolica che oscilla tra Nachleben e Pathosformel. I caratteri dell\u2019immagine divengono in questo senso strumento capace di dare forma ed espressione alla vitalit\ue0 dell\u2019uomo e al suo sviluppo storico

In the short yet compelling text<i> '</i>Einfühlung' (2008), Harun Farocki qu... more In the short yet compelling text<i> '</i>Einfühlung' (2008), Harun Farocki questions the relation between distance and identification from the point of view of both the film actor and the spectator. Right at the start of the text, the German filmmaker emphasizes that the term <i>Einfühlung</i> has been 'handed over to the enemy'. Who is this enemy? And what is the context within which the German filmmaker positions this complex and ambiguous concept? Is 'empathy' – the term most commonly used to translate <i>Einfühlung</i> – even strictly equivalent to the German term? Over the past decades, many studies have been published on the topic of empathy across a range of disciplines. Yet the debate on this topic is not limited to academic contexts: to react empathically is almost considered a social duty, amplified by the possibilities enabled by new media which allow for immediate contact with stories and experiences of distant ...

Cultural Inquiry

What is the relationship between reenactment and repetition compulsion? By shedding light upon th... more What is the relationship between reenactment and repetition compulsion? By shedding light upon the different levels of reenactment at stake in Yella by Christian Petzold, I analyse the ‘transitional spaces’ where the German filmmaker places his wandering characters who have ‘slipped out of history’. In Yella Petzold mixes up past, present, future, and oneiric re-elaboration to question the memory of the past of GDR, which in his view has never really been constituted as history. The characters that populate this movie move in a setting constructed at the crossroad between a protected environment where the reenacted events are sheltered by the time and the space of the plot and a place weathered by the unpredictable atmospheric agents of the present. How and to which extent can the clash between different temporalities produce a minimal variation?

In recent decades, many studies have been published on the topic of empathy across a range of dis... more In recent decades, many studies have been published on the topic of empathy across a range of disciplines. Being empathic is today almost a social duty, amplified by the possibilities enabled by new media in terms of getting directly in contact with stories and experiences of distant people simultaneously. The general trend is arguably that of focusing on the fusional relation between subject and object, without taking into account the distance and conflict implicit in sensing the other. The latest film of the Berliner visual artist Philip Scheffner, Havarie (2016), offers some compelling and fresh cinematic devices to challenge other kinds of empathic relation with the spectator, focusing on an erratic temporality that avoids striking actions and takes position against the idea of one, unique, right image to represent reality.

The aim of this paper is to compare Aristotele's idea of pathos - according to the Book II of... more The aim of this paper is to compare Aristotele's idea of pathos - according to the Book II of Rhetoric - with Harun Farocki's multifold analysis of the Einfuhlung }. It is possible to regard the two concepts of empathy and distance as having significant importance throughout Farocki's filmography and critical texts . From as early as his second film, " Nicht loschbares Feuer (1969), the german filmmaker seeks to prove how ambiguous and dangerous it could be to use empathic images in order to represent disasters and tragedies in human history, like the Napalm bombing in Vietnam. Showing the suffering of these victims may simply serve as an emotional hook for the audience and could simultaneously overwhelm and scare away the spectator . In order to avoid the fleeting commiseration for the victim , Farocki chooses instead a metaphorical approach ; to give the viewer an idea of what burning napalm is like , the filmmaker puts out a burning cigarette on his arm , givi...

“An entirely new word is being put forward by an entirely new subject. It only has to be uttered ... more “An entirely new word is being put forward by an entirely new subject. It only has to be uttered to be heard. Acting becomes simple and elementary.” (Lonzi: Let’s Spit on Hegel, 19)

By reading Carla Lonzi’s work on art critique and Karolin Meunier’s artistic commentary on Lonzi through the notion of disagreement and especially the staging of disagreement, we aim to explore strategies that are at stake in their writing/recording/reading practices. Looking at Lonzi’s work – especially »Autoritratto« – as an experiment, which produces ruptures, and disagreement by simultaneously staging them can help to understand her manifold research as a call for participation. Participation in this context means to involve oneself in the very process of artistic (co-) manufacturing, i.e. the never-ending process of (re)creating subjectivity through experimental practices, which Lonzi conceives as a space where dissensus can never be overcome or solved: An anti- dialectical approach that is ultimately at odds with the idea of dialectical synthesis. What the reader-writer encounters is a step towards an écriture de saboté-/age (i.e. a denaturalized/deculturalized language) that calls for a ‘new’ sensibility that points to the assertive claims and power-relations inscribed in writing. Instead of following or obeying them, Lonzi proposes a creative way of confrontation: A kind of (self)sabotage. It is about a polymorphous and polylogic practice of critique, in which the very relation between subject and object, writer and reader, critic and recipient blurs: The reader, the writer, the critic and amateur gets invited into a circus of lay-wo-men, in which hordes of unexpected subjects conquer the stage to perform an “erotics of art”. Exchange takes place. Not as a simple dialogue but as an orgy-phony or orgy-graphy. As a confrontation to make one’s voice count. A polyphony in which nomadic subjects are created or create themselves.
The workshop seeks to trace the creation of both the “new word” and the “new subject” by examining the strategies, techniques and tactics of writing-reading. Paying due to the specific situations from which Lonzi and Meunier speak, we will try to extrapolate the concept of disagreement as a tool for literary analysis and intervention. Linked to our understanding of disagreement is the concept of discontinuity as ‘introduced’ by Lonzi as well as that of a fundamental rupture that might “interrupt the monologue of patriarchal culture”. By examining the three related concepts we seek to explore both the feminist conception of time and history as well as the methods of writing/speaking (about art). Therefore we will focus on the different modes of expression (pamphlet, poem, interview, collage) and their strategical being-/becoming-twisted in Lonzi’s écriture. Regarding disagreement as a specific social, political, cultural constellation in space-time, the workshop – understood as a circus of lay-wo-man – seeks to open up a dialogue on reading-writing Lonzi and Meunier.
The workshop will be held in English AND German and takes place in between the exhibits by Verena Issel at Kunsthaus Erfurt.

http://karolinmeunier.org
https://www.kunsthaus-erfurt.de
http://www.verenaissel.com

Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15, 2019

Interruptions and discontinuity are the very essence of Aby Warburg’s conception of the temporali... more Interruptions and discontinuity are the very essence of Aby Warburg’s conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the Pathosformeln that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg’s idea of ‘renewal’, which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form.

Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15, 2019

Despite the increasing incidence of eating disorders, very few films have addressed these conditi... more Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What’s more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.

Rivista Italiana di Filosofia del Linguaggio, 2018

Filosofo, psicoanalista, attivista di origine argentina, tra i fondatori del Collectif Malgré tou... more Filosofo, psicoanalista, attivista di origine argentina, tra i fondatori del Collectif Malgré tout, Miguel Benasayag vive e lavora Parigi. La sua analisi profonda del mondo occidentale contemporaneo, che tiene conto delle interconnessioni tra prospettiva psicologica, sociologica e biologica, è il frutto non solo della riflessione teorica di Benasayag ma anche e soprattutto della sua militanza politica. Tra le sue opere principali ricordiamo: L'epoca delle passioni tristi 2004), Contro il niente. L'ABC dell'impegno (2005), Elogio del conflitto (2008), La salute ad ogni costo. Medicina e biopotere (2010), Oltre le passioni tristi. Dalla solitudine contemporanea alla creazione condivisa (2016), Il cervello aumentato, l'uomo diminuito (2016), La singularité du vivant (2017).

Seminario Mnemosyne a cura di Monica Centanni, con Giacomo Calandra di Roccolino, Marilena Calcar... more Seminario Mnemosyne a cura di Monica Centanni,
con Giacomo Calandra di Roccolino, Marilena Calcara, Monica Centanni, Victoria Cirlot, Silvia De Laude, Anna Fressola, Anna Ghiraldini, Clio Nicastro, Martin Warnke

Warburg-Haus, Hamburg
27.XI.2017

Another Gaze: A Journal for Film and Feminism, 2021

A roundtable discussion on two films about hands, by Maria Lassnig and Ayesha Hameed "Touching i... more A roundtable discussion on two films about hands, by Maria Lassnig and Ayesha Hameed

"Touching involves collapsing the distance between two people, while holding open a space for our own convictions and uncertain desires. In order for touching to yield intimacy, all parties connected by touch must give themselves over to the risks of this paradox...To be touched risks being altered. Lassnig shows how holding oneself open for intimacy can lead to annihilation. Yet it is a risk she chooses to take, insisting at the same time on self-preservation and expansion" —Rachel Aumiller