Irina Aristarkhova | University of Michigan (original) (raw)

Books by Irina Aristarkhova

Чрезвычайное Гостеприимство , 2022

В этом переводе последней главы книги "Arrested Welcome: Hospitality in Contemporary Art" на русс... more В этом переводе последней главы книги "Arrested Welcome: Hospitality in Contemporary Art" на русский язык рассматривается работа современного американского художника Ken Aptekar "Соседи" (в Любеке, Германия), с точки зрения теорий и практик гостеприимства в современном мире, включая Россию. Текст вышел в сборнике "Чрезвычайное Гостеприимство", перевод Дарины Ивановой.

Гостеприимство Матрицы: Философия, Биомедицина, Культура. Вступление Аллы Метрофановой. Иллюстаци... more Гостеприимство Матрицы: Философия, Биомедицина, Культура. Вступление Аллы Метрофановой. Иллюстации Анны Терешкиной. Перевод Даниила Жайворонка. Издательство Иван Лимбах, Спб. 2017 год. http://limbakh.ru/6321

With Ana Prvacki. One of dOCUMENTA 13 notebooks "100 Notes - 100 Thoughts." It is part of Ana Prv... more With Ana Prvacki. One of dOCUMENTA 13 notebooks "100 Notes - 100 Thoughts." It is part of Ana Prvacki's project "The Greeting Committee Reports..."

Papers by Irina Aristarkhova

In Russian. Talk at the seminar at CyberFeminClub, St. Petersburg, Russia, 1998. Выступление на ... more In Russian. Talk at the seminar at CyberFeminClub, St. Petersburg, Russia, 1998.
Выступление на семинаре в КиберФеминКлубе в Санкт-Петербурге, 1998 год. Сегодня я бы многое поменяла в своем выступлении на эту тему, тем более что многое уже опубликовано и текст устарел по своим ссылкам и по своему тону. Но тема национального вопроса, расового и этнического, никуда естественно не ушла, особенно в современном феминизме. Выбор "русского," а не "российского," феминизма в заглавии тоже был осознанный, самопозиционирующий по отношению к колониальному и имперскому наследию. История, которая тут описана - история местности и государственности - продолжается.

Public 61: Currencies of Hospitality; journal special issue edited by Sylvie Fortin , 2021

"This text explores the architecture of hospitality through the notion of welcoming space—its mea... more "This text explores the architecture of hospitality through the notion of welcoming space—its meaning, feeling, existence, politics, possibility, and power—as developed in the architecture and design of Buromoscow, a Moscow-based studio founded in 2004 by Julia Burdova and Olga Aleksakova. ... I will argue that Buromoscow’s work, more specifically their reconstruction of Triumfalnaya Square in Moscow, manifests the vision of welcoming architecture and design, defined as the spatial production and enactment of individual and communal experiences of hospitality. Those experiences are subjective, embodied, and materialized in the transformation of specific places."

Boston Review, November 19 , 2018

In this response, Aristarkhova shows how when reproductive technologies are concerned, "the perso... more In this response, Aristarkhova shows how when reproductive technologies are concerned, "the personal will always trump the political. When facing “real” people with their “real” feelings, Emre wants us to suspend any (feminist or other) judgment. Because the private, like the body, is an unruly site for politics: as Emre’s subject B says, “for the possibility of this other kind of love, I will apparently do everything.” Indeed, when our own deep, uncontrollable, personal desires are concerned, we rarely act in line with whatever political choices we think should be made."

Fine Art Forum, 2002

Coco Fusco, Maria Fernandez, and Irina Aristarkhova discuss the link between race/ethnicity, new ... more Coco Fusco, Maria Fernandez, and Irina Aristarkhova discuss the link between race/ethnicity, new media and feminism, and their moderated listserve "Undercurrents," from 2002.

New Maternalisms Redux, 2018

Irina Aristarkhova on Jess Dobkin's The Lactation Station Breast Milk Bar. A Chapter in Natalie L... more Irina Aristarkhova on Jess Dobkin's The Lactation Station Breast Milk Bar. A Chapter in Natalie Loveless catalogue "New Maternalisms Redux," available at http://newmaternalisms.ca/2016-catalogue

The Conversation May 3, 2018 , 2018

After the cancellation of two exhibitions of well-known artists over allegations of sexual harass... more After the cancellation of two exhibitions of well-known artists over allegations of sexual harassment, experts are asking whether the value of art should be associated with the personal conduct of its creator. University of Michigan’s Irina Aristarkhova answers this complex question by revisiting the argument of Russian poet Alexander Pushkin in his famous 1830 play, “Mozart and Salieri.”
https://theconversation.com/metoo-in-the-art-world-genius-should-not-excuse-sexual-harassment-91554

infinite mile: a journal of art + culture(s) in Detroit, Mar 2015

Discussion of the film Leviathan and how it relates to the fear of gentrification

"Studio Practice" Catalogue, Penn State University School of Visual Art, 2011

Faith Wilding: Fearful Symmetries, A Retrospective, Jan 2014

Hypatia: A Journal of Feminist Philosophy, 2012

In this paper, I critically develop the Jain concept of nonharm as a feminist philosophical conce... more In this paper, I critically develop the Jain concept of nonharm as a feminist philosophical concept that calls for a change in our relation to living beings, specifically to animals. I build on the work of Josephine Donovan, Carol J. Adams, Jacques Derrida, Kelly Oliver, and Lori Gruen to argue for a change from an ethic of care and dialogue to an ethic of carefulness and nonpossession. I expand these discussions by considering the Jain philosophy of nonharm (ahimsa) in relation to feminist and other theories that advocate noneating of animals, "humane killing," and "less harm." Finally, I propose that a feminist appropriation of the Jain concept of nonharm helps us develop a feminist ethic of nonharm to all living beings.

Чрезвычайное Гостеприимство , 2022

Public 61: Currencies of Hospitality; journal special issue edited by Sylvie Fortin , 2021

Boston Review, November 19 , 2018

Fine Art Forum, 2002

New Maternalisms Redux, 2018

The Conversation May 3, 2018 , 2018

infinite mile: a journal of art + culture(s) in Detroit, Mar 2015

Discussion of the film Leviathan and how it relates to the fear of gentrification

"Studio Practice" Catalogue, Penn State University School of Visual Art, 2011

Faith Wilding: Fearful Symmetries, A Retrospective, Jan 2014

Hypatia: A Journal of Feminist Philosophy, 2012

Theory Culture & Society, 2007

Performance Research, 2009

Journal of Aesthetics & Culture

This article considers the question of ''hosting the animal'' through the artwork of contemporary... more This article considers the question of ''hosting the animal'' through the artwork of contemporary artist Kathy High.

Telepolis, 1999

In this work I am 1 attempting to outline a politics of pleasure for/as Russian (cyber)feminist(s... more In this work I am 1 attempting to outline a politics of pleasure for/as Russian (cyber)feminist(s). Mainly I base my approach on Foucaut's notions of power and subjectivity and Irigaray's ethics of sexual difference, also influenced by works of Donna Haraway, Rosi Braidotti, Lou Andreas-Salome and cyberfeminists. My main argument is that cyberspace can be explored and created as a source of pleasure for and among women, as a means to share female genealogy based on embodied subjectivity, and that would imply an invention of new forms of politicization 2 .

Leonardo Electronic Almanac , 2003

Liminalities: A Journal of Performance Studies

This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aris... more This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes "active distancing" and "strategic withdrawal of personal politics" as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school's curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women's art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute's Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting.

From "Meat! A Transnational Analysis" edited by Sushmita Chatterjee and Banu Subramaniam, Duke Un... more From "Meat! A Transnational Analysis" edited by Sushmita Chatterjee and Banu Subramaniam, Duke University Press, 2021. In this chapter, I ask two questions, inspired by performance artist Jess Dobkin: 1. Is the mother food? And if the mother is food, then what kind of food: meat, drink, solid, liquid?
2. Does the self and non-self relation of the maternal body imply canni- balism and anthropophagy, autophagy, or something else?

A book chapter in "Object Oriented Feminism" collection, edited by Katherine Behar, Minnesota Uni... more A book chapter in "Object Oriented Feminism" collection, edited by Katherine Behar, Minnesota University Press, 2016

This book chapter is published in a collection on security and hospitality. I approach the questi... more This book chapter is published in a collection on security and hospitality. I approach the question of security through the performance art work "Brides on Tour" by Pippa Bacca and Silvia Moro, that resulted in Bacca's murder. The work, I argue, questions and asserts women's claims to new cosmopolitan hospitality and I discuss "the risk mis-management" of such practices.

Sarai Reader 5: Bare Acts

This text argues for a special new "mother-citizen" concept that was practiced in the USSR, with ... more This text argues for a special new "mother-citizen" concept that was practiced in the USSR, with its connection between Soviet Motherhood, the state, with its patriarchal militarism, and the politicized notion of motherhood. Hence, post-Soviet motherhood and its political outlook should be understood in its historical context.

In "Feast: Radical Hospitality in Contemporary Art," ed. by Stephanie Smith, 2013

"City as Target" (2012), "Domain Errors" (2002)

The Kremlin is not like any other palace, it is a city in itself; a city that forms the root of M... more The Kremlin is not like any other palace, it is a city in itself; a city that forms the root of Moscow, and that serves as a fortress between two quarters of the world… -MARQUIS DE CUSTINE, 1839 M oscow acted out the primal scene of the 20th century, the place where it all started. A womb or birth-place that citizens of the world will never be able to experience without some sort of bowel movement. As an abject mother of the "Soviet monster," an embodiment of the specter of communism, totalitarianism, terror, etc., Moscow realized its dream of immaculate conception of delivering the third Rome, the holy city, the New World. From the early years of Moscow and the Kremlin, its fortress, subsequent generations had been left with fortress consciousness. The Kremlin multiplied obsessively, expanding and enclosing in successive concentric circles, like a matreshka (nesting Russian dolls) into the surrounding regions. Every major Russian city was striving to have a Kremlin or one semblance of it. Fortification also became 79 Quiet, quiet, my loud age, By me, floods-and future generations. -MARINA T S V E TA E VA , 1931 I am the place of your birth, the birth of the New World, the only world.