Confronting ViolenCe AgAinst Women: the ArtistiC PrACtiCes of AdriAnA CristinA CorrAl And Jungeun lee (original) (raw)
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Academia Letters, 2021
Transnational art and its role in the (re)construction of memory and identity in post-conflict societies. The case of the Bosnian female artists in Vienna. Jelena Jokic-Bornstein, University of Vienna A quarter of a century since the war officially ended in Bosnia and Herzegovina (BiH), social conflicts surrounding collective identity and memory continue to rage. As young intellectuals and cultural producers emigrate en masse, discourse construction is relinquished to maledominated domains of politics and religion. In recent years, female artists and writers living and working abroad have emerged as the new voices of a dispersed generation. Against this background, this ongoing qualitative case study looks at the female cultural producers within one of the largest BiH diasporic communities-Vienna, Austria-and examines to what extent the first-generation female émigré artists participate in the BiH national discourse through their work, social networks, and institutional collaboration. Building upon extensive scholarship on the role of art in the healing processes of post-conflict societies, the research question introduces a transnational and gendered perspective. How do female artistic practices outside of national borders approach the (re)construction of Bosnia's contested memory, trauma, and identity? This inquiry is inherently rooted in feminist and post-colonial critique of knowledge and cultural production. It contributes to the 'memory work' pursued within feminist and postcolonial scholarship, which aims to retrieve women and non-Westerners from invisibility as historical actors and recorders (Reading 2014: 196, citing Chedgzoy 2007). In addition, this research amplifies female perspectives of collective memory and trauma, two areas of memory studies critiqued by feminists as particularly resistant to gendered differentiations amongst witnesses (Hirsch/Smith 2002: 4, Reading 2014: 196). While the archives of official history memorialize the male experience, this project aims to create space for BiH transnational fe
Art that Silences and Art that Speaks: Approaches to Memorializing Feminicide in Ciudad Juarez
ARTS: The Arts in Religious and Theological Studies, 2017
Visitors confronting the power and solemnity of public memorials o en fall silent. Confronting the enormity of the event commemorated before them makes normal daily chatter seem disrespectful, if not obscene. And yet memorials are not, in the end, about silence, but about lament. Lament, in turn, is a form of public discourse that moves between grief and hope, loss and renewal, and su ering and redemption in such a way as both to announce and shape a community's self-understanding. rough lament, memorials frame how and what we remember, and thus serve to give meaning to our identities as members of a particular community. Art historian Elizabeth Wolfson reminds us that: [Because] memorials are objects of public commemoration, we demand a lot of them. ey serve as testaments to lives lost, as repositories of grief, and to facilitate processes of mourning. We expect them to do the work of history writing, to draw single comprehensible narratives out of a Gorgon's nest of individual, o en contradictory, experiences. ese meanings serve as unifying forces, reinforcing the idea of a shared national identity and healing ri s in the communal experience of nationhood. By endowing memorials with the
Memory politics and the emergence of a women’s sphere to counter historical violence in Korea
Gender, Transitional Justice and Memorial Arts edited by Jelke Boesten and Helen Scanlon, 2021
This book examines the role of post-conflict memorial arts in bringing about gender justice in transitional societies. Art and post-violence memorialisation are currently widely debated. Scholars of human rights and of commemorative arts discuss the aesthetics and politics not only of sites of commemoration, but of literature, poetry, visual arts and increasingly, film and comics. Art, memory and activism is also increasingly intertwined. But within the literature around post-conflict transitional justice and critical human rights studies, there is little questioning about what memorial arts do for gender justice, how women and men are included and represented, and how this intertwines with other questions of identity and representation, such as race and ethnicity. The proposed book brings together research from scholars around the world who are interested in the gendered dimensions of memory-making in transitional societies. Addressing a global range of cases, including genocide, authoritarianism, civil war, electoral violence and Apartheid, they consider not only the gendered commemoration of past violence, but also the possibility of producing counter-narratives that unsettle and challenge established stereotypes. Aimed at those interested in the fields of transitional justice, memory studies, post-conflict peacebuilding, human rights and gender studies, this book will appeal to academics, researchers and practitioners"--Provided by publisher.
ECPR 8th General Conference. Glasgow University, Glasgow, U.K. September 3–6, 2014, 2014
The Mexican-American war in the mid 19th century ended with a devastating outcome: the borderline between Mexico and the USA was moved further south. As a consequence, the Mexican nation state lost half of its geographical territory and Mexicans living in its northern parts unexpectedly lost their Mexican citizenship. By this process, minority groups in the US referred to as Mexican Americans and Chicanas/os were disconnected from their families and distant relatives on the Mexican side of the border, have been treated as second class US citizens, and are up until today subjects within US society of several kinds of ethnic and racial discriminations. Since the rise of the Chicano Civil Rights Movement in the 1960s, social traumatic experiences of a redrawn line on the map representing a new US-Mexico border have been described with verbal expressions such as ‘the border felt as a scar that never heals’ and ‘we didn’t cross the border, the border crossed us’. These experiences have also been articulated in visual art by Mexican Americans and Chicanas/os. Memories of the geopolitical process and its contemporary sociocultural consequences are dealt with in various ways and in various kinds of art medias. This paper presents a case study of visual practices of representation in performance art by Chicano artist Guillermo Gomez-Peña.
Feminist Artivism: Curating Women’s Memory
Studi Magrebini, 2020
In an age controlled by silence, imposed by the far-right regimes, artivism has become one of the most efficient means of expression, committed to the pursuit of justice. This article deals with alternative artivistic spaces/archives that subvert the dominant, shake the solid and reveal different voices. They are attempts that have emanated from the systematic efforts to marginalize new voices and theories, not to mention histories. The three spaces/exhibitions that are explored in this paper represent new forms of archiving through artivism. Since the archive has long been a contesting arena of memory, the three exhibitions chronicle another memory, an alternative one. These three exhibitions, made and curated by women, are: Doing well, don’t worry, organized in Cairo by Women and Memory Forum (WMF) in May 2017, Harem Fantasies, New Shehrazades curated by the late Moroccan Fatima Mernissi (1940-2015) in Barcelona (2003); and Kurdish Women Warriors that was held in 2018 in the Unive...
Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice.
Expanding the Archive: Aesthetic Practices and Social Labours of Memory
Topia, 2016
How do aesthetic practices contribute to the social labors of memory in the aftermath of violence? How do they emerge, in what context and for which public? What kind of disturbances can these works bring to more established narratives? These are some of the questions explored by Art from a fractured past: Memory and Truth-Telling in Post-Shining Path Peru edited by Cynthia Milton (Canada Research Chair on Latin American History at University of Montreal).