The central discussion in this paper concerns the articulation of ways whereby liminality is insc... more The central discussion in this paper concerns the articulation of ways whereby liminality is inscribed in cyberspace architecture, in order to show that cyberspace is a political performative space. In this regard, I argue that cyberspace is politicized in terms of its liminality. Cyberspace is constituted as an in-between space, that is, a space that is permanently in process, simultaneously functioning as a point of connection and division. As my analysis shows, this liminal aspect of cyberspace stands as an important connection to the notions of liminality in performance studies. By analyzing cyberspace as a new space for the production of the political, I propose that techno-performance is a new political notion of performance.
The aim of this article is to investigate the concept of anthropomorphism in the digital environm... more The aim of this article is to investigate the concept of anthropomorphism in the digital environment, focusing on contemporary performance practices that can be defined as digital performance (cyberformance) and techno performance. I intend to analyze representative examples of the performance in digital art that addresses subversions and transgressions of the body on two levels. First, the avatar as a performer (rather than mere human representative) in cyberspace, which will be discussed in the case of Synthetic Performances by the artist duo operating under the pseudonym 0100101110101101.org (Eva and Franco Mattes). Second, the computer/chat-bot as performer that thinks human-like, which will be analyzed in the example of Hello Hi There by American theatre maker Annie Dorsen. According to Bruno Latour anthropomorphism can mean ‘either that which has human shape or that which gives shape to humans’ (Latour 1992: 160). I would argue here that the digital environment responds to both parts of this definition. It is both created by humans and at the same time it is shaping humanity. It is created in such a way that numerous human characteristics have been attributed to it with various possibilities for digital anthropomorphic realizations. At the same time those responsive and intuitive machines are changing and shaping human behaviours, bodies and forms of life. This causal relation is neither simple nor innocent. The technology has become the most powerful tool for the governance of population through the control of the body, the mind and every aspect of life, especially those directly related to subjectivity. Before moving to the analyses of the above-mentioned examples first we need to understand what digital performance and cyberformance are and what is the importance of these practices. Since the examples I will look at mainly cover artistic performances, I find it necessary to point out that the phenomena examined in this text – the digital anthropomorphism – equally concern, and could be applied to, performance in everyday life as well as performance in popular culture. In the last several decades the use of technology became a widespread practice in contemporary performance. We could say that media aesthetics of performing arts entered the scene in the moment when the digital image engaged in the complex relations with the reality of the corporeal. At the turn of the century new genres and formats were developed, such as techno performance, cyberformance, internet theatre, as well as closely related practices of video installation, video performance and a wide spectrum of digitally interactive performative processes. Digital performance links the live and digital technology, that is, human behaviour and the digital system in the complex structure of feedback relations. Cyberformance is a specific form of digital performance that necessarily includes the interactive input–output relation between the organic and technological systems and is realized in cyberspace.1 As we will see in the following discussion the interface created in the complex structure of hardware–software connections between the digital (computer system) and the biological (living organism) 1 The term ‘cyberformance’ was coined in 2000 by Australian artist and curator Helen Varley Jamieson with the intention of naming a new genre that would include interaction between performance and cyberspace (Jamieson 2008: 3). Digital anthropomorphism Performers avatars and chat-bots
In this paper I shall argue that radical epistemic delinking has a key role in liberation from th... more In this paper I shall argue that radical epistemic delinking has a key role in liberation from the "colonial matrix of power" as well as the change in the existing global power relations which are based in the colonialism and maintained through exploitation, expropriation and construction of the (racial) Other. Those power relations render certain bodies and spaces as (epistemologically) irrelevant. In order to discuss possible models of struggle against such condition, firstly I have addressed the relation between de-colonial theories and postcolonial studies, arguing that decolonial positions are both historicising and re-politicising the postcolonial theory. In my central argument I have focused on the epistemic delinking and political implications of decolonial turn. With reference to Grada Killomba I have argued for the struggle against epistemic violence through decolonising knowledge. Decolonising knowledge requires delinking form Eurocentric model of knowledge production and radical dismantling the existing hierarchies among different knowledge. It requires recognition of the 'Other epistemologies' and 'Other knowledge' as well as liberation from Western disciplinary and methodological limitations. One of the main goals of decolonial project is deinking from the "colonial matrix of power". However, delinking is not required only in the areas of economy and politics but also in the field of epistemology.
In 2013 a cyborg-cockroach which was advertised as “RoboRoach, the world's first commercially... more In 2013 a cyborg-cockroach which was advertised as “RoboRoach, the world's first commercially available cyborg” appeared at the market. RoboRoach is a live cockroach whose moves can be remotely controlled via a smartphone app, thanks to the electronic device that has been surgically applied to its body. It was promoted as a “science kit” for children. Two years later cyborg cockroach gained a completely new role. Teams of researchers, engineers and entomologists form renowned universities have been testing their possibilities to access areas that are difficult for humans to reach such as earthquake sites or nuclear disaster zones. From the smart toy, cyborg-cockroaches advanced to the rescue squads that could, for instance, be navigated to record and find human life in disaster zones. However, we can easily imagine, I will argue here, that the next (if not already present) iteration of the cyborg-cockroach will be for military purposes abused in the war machine, as well as another symptom of the mode of governmentality that Gilles Deleuze has defined as “the society of control”. Relating to the question of “turning animal” the above mentioned example offers the opportunity to investigate the unstable relations and problematic distinctions between humans, animals and machines, through the concept of cyborg. Here, I would like to introduce a decolonial perspective as well as the topic of necropolitics, into post-humanist debate, in order to question who has the position (the privilege?) to proclaim “the human” as obsolete and what is the politics that is revealed in such a theoretical and practical move. Who can turn the cockroach into remotely controlled cyborg and what does this “turning into” mean for humans and non humans alike?
In this paper I will offer an analysis of cyber technology, cyberspace and cyborg from its appear... more In this paper I will offer an analysis of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary realizations, in order to show symbolic place of cyborg has changed, in the light of contemporary power relations. I will focus on the cyborg figure in literature and film, mainly the cyberpunk genre characteristic for fictionalization of the relations between individual, society and technology.
This paper responds to the political and ethical focus of the conference addressed through the qu... more This paper responds to the political and ethical focus of the conference addressed through the question of digital identities and analysis of changes that digital technologies brought in contemporary understanding of the body. Referring to Jon Mckenzie’s proposition of performance as onto-historical formation of power and knowledge, on the one hand, and revisiting Donna Haraway’s Cyborg Manifesto after the species have met, on the other, I shall analyze the crucial shift from natural through cultural to technological bodies, in relation to the performing subject. Thirty years after Cyborg Manifesto the question of the body as a social construct is more relevant than ever. The technological environment that is here at stake is neither politically nor ideologically innocent. The information communication technologies are defining the conditions of neoliberal globalization. Therefore we need to constantly re-articulate our position when we perform with(in) technology. In this regard I will focus on the construction of the social, cultural and personal identity in media-dominated environment. What happens with the body when it performs in the digital space? How does it relate to its digital representation? What happens with performer’s subjectivity in a digital era, it the situation when the performer becomes the final instance in the global network structure of cyberspace? Human beings no longer perceive their own bodies as fixed, finished, organically complete entities, but rather as fluid, extendible bodies in the permanent process of becoming. In this context I intend to explore how the meanings are created through interrelation between the body and technology and elaborate how these newly established relations, protocols and procedures are, and can be used in performance (artistic) practices.
The concept of Retro-Avant Garde invented by the NSK movement (Neue Slowenische Kunst), was devel... more The concept of Retro-Avant Garde invented by the NSK movement (Neue Slowenische Kunst), was developed within the specific context of late socialism and post-socialism in Eastern Europe, Central Europe and ex-Yugoslavia in the early 80s. They combined the retrograde symbols of totalitarian regimes with "dead signs" of avant garde(s) in a paradoxical relation in order to point out the traumatic places of modern culture, via strategy of over-identification. I shall re-visit Retro-Avant Garde in order to explore its artistic methods and strategies in relation to a) historical construction of tensions between avant-garde and tradition; b) meaning of "political art" on the crossroads between capitalism and totalitarianism; c) deconstructing Western-centric notions of community, tradition and avant-garde.
The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initi... more The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initially requires that we clarify what this shift consists of. We argue that the shift from biopolitics to necropolitics is central for understanding the relation between the body and performativity in the time of neoliberal global (necro)capitalism. In order to conceptualize this shift in depth and to fully develop all its consequences for the present status of the body in capitalism, as well as for its performed variants in contemporary performance, theater and dance, we will analyze two exemplary cases. 1. The performance “Host” (2015) by Filipino choreographer and dancer Eisa Jocson, who explores the presentation of female bodies and sexuality in the case of female and transgender hostesses in Japanese night clubs. 2. The performance “All Eyes on Me” (2015), announced as “Purrr!_Femme!-ance!: Queer Femininities in Action,” a collaborative project conceived by Julischka Stengele (Austria) that brings together different fem, queer and trans positions in order to stage, provoke and question the subjectivities that stand for the reclaiming of marginalized bodies and their political stands. The analysis of each of these two performances, which derive from different historical and political locations, poses a similar set of questions, primarily regarding the situated location of a threshold between sovereign power, governmentality and life, citizens and non-citizens, as well as biopower and necropower. However, the answer varies! Why? Because we stumble upon a threshold that radically defines the difference between biopolitics and necropolitics. This threshold is the racial/colonial divide, which cuts through the present neoliberal global capitalism.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
This book places a focus on the regimes of in/visibility and representation in Europe. The aim is... more This book places a focus on the regimes of in/visibility and representation in Europe. The aim is to revisit theories of art, new media technology and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labour and modes of life (naked life). Today the processes of neoliberalism, fascism and racism are realities in Europe, as well as reflections of global power relations. This book offers analyses of radical artistic, activist and cultural practices as well as cutting-edge theoretical and philosophical approaches, and as such stands as a proper theoretical intervention into the above-mentioned histories and realities.
This text is based on the conversation between Jelena Juresa and Aneta Stojnic at Kunstlerhaus – ... more This text is based on the conversation between Jelena Juresa and Aneta Stojnic at Kunstlerhaus – Halle fur Kunst und Medien in Graz on the occasion of Juresa’s solo exhibition 'Mira, Study for a Portrait' in February 2015. We used this opportunity to open up a debate on the topics of history, memory, and issues related to narrating difficult historic events on a number of different levels.
In this paper I will focus on relations between corporality and technology in situation of cyber ... more In this paper I will focus on relations between corporality and technology in situation of cyber performance and techno performance. Technologically conceived subversions of a body will be analyzed in terms of biopolitics and necropolitics. Referring to the processes of subjectivisation resulting from relations between substance and aparatus (Agamben), I intended to offer an analyses of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary embodied realizations. I shall examine how the symbolic place of cyborg has changed, in the light of present power relations. With the development of technology, today it is possible to completely redesign one’s own corporality trough variety of medical and cosmetic interventions - for those who can of ford it. Therefore I will argue here that today the possibility for cyborgization of one’s own body has become a matter of class privilege. Unlike cyborg figure of cyberpunk fictionalizations that has long been an important metaphor in cyber-feminism (Haraway), contemporary cyborgs are not oppressed, unprivileged, outcasts. On the contrary, they are privileged to have the possibility to become cyborgs. This means that cyborg is no longer the asymmetrical other, but privileged first. Paradoxically cyborg's symbolical social status in cyberpunk fiction, is now in reality inhabited by those who are denied the possibility of ever having a choice to become a cyborg. Those are the human subjects helplessly and hopelessly trapped in their unchangeable, bodily, biological, perishable, irreparable, deadly, exploited humanness. Today outside of cyborgized, privileged society, remains only the dispensable, bare life. In this paper I will focus on how these newly established relations, protocols and procedures of corporality are, and can be used in performance artistic practices.
Shifting Corporealities in Contemporary Performance, 2018
The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initi... more The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initially requires that we clarify what this shift consists of. We argue that the shift from biopolitics to necropolitics is central for understanding the relation between the body and performativity in the time of neoliberal global (necro)capitalism. In order to conceptualize this shift in depth and to fully develop all its consequences for the present status of the body in capitalism, as well as for its performed variants in contemporary performance, theater and dance, we will analyze two exemplary cases. 1. The performance “Host” (2015) by Filipino choreographer and dancer Eisa Jocson, who explores the presentation of female bodies and sexuality in the case of female and transgender hostesses in Japanese night clubs. 2. The performance “All Eyes on Me” (2015), announced as “Purrr!_Femme!-ance!: Queer Femininities in Action,” a collaborative project conceived by Julischka Stengele (Austria) that brings together different fem, queer and trans positions in order to stage, provoke and question the subjectivities that stand for the reclaiming of marginalized bodies and their political stands. The analysis of each of these two performances, which derive from different historical and political locations, poses a similar set of questions, primarily regarding the situated location of a threshold between sovereign power, governmentality and life, citizens and non-citizens, as well as biopower and necropower. However, the answer varies! Why? Because we stumble upon a threshold that radically defines the difference between biopolitics and necropolitics. This threshold is the racial/colonial divide, which cuts through the present neoliberal global capitalism.
Уни вер зи тетСин ги ду нум,Фа кул тетзаме ди јеи ко му ни ка ци је,Бе о град DOI10.5937/kultura1... more Уни вер зи тетСин ги ду нум,Фа кул тетзаме ди јеи ко му ни ка ци је,Бе о град DOI10.5937/kultura1652043S УДК7.038.53:004 7.01 стручнирад ИМАЛИПОСТ ХУ МА НОГ ПЕР ФОР МЕ РА ТРАН СГРЕ СИ ЈЕИСУБ ВЕР ЗИ ЈЕ ТЕ ЛАУСАЈ БЕР ПРО СТО РУ Са же так:Пред метрас пра веуовомтеск туби ћепи та њатран сгре си је и суб вер зи је (људ ског) те ла ко је се ја вља ју у си ту а ци ји тех но ло шкиге не ри са ногиз во ђе ња.Нај прећуиз ве стиисто риј ско те о риј скукон тек сту а ли за ци јуди ги тал ногокру же њауод но суна ко јесеовапо ме ра њаде ша ва ју,апо томћуиз ло жи типри ме ресај бер фор ман са,ди ги тал ногпер фор ман саитех но пер фор ман са,ко ји про бле ма ти зу јуод ностех но ло ги јеите лаиз во ђа ча.Уцен трал ној рас пра вићусефо ку си ра тинапро блемпост ху ма ногили(не)ху ма ногиз во ђа чакрозкон цептко јина зи вамди ги тал ниан тро по мор фи зам.Су о че њежи вогте ла/из во ђе њаитех но ло шкипо сре до ва ног из во ђе њапо ста јева жнапрак сазараз у ме ва њедис кон ти ну и те та из ме ђу чо ве ка и ма ши не. Сто га ће пи та ња по зи ци је и функ ци је жи вог из во ђа ча као су бјек та и објек та из во ђе ња у кон тек сту ди ги тал ног пер фор ман са и пер фор ман са у сај берпростoру би ти ис пи та на на сле де ћим ни во и ма: а) од нос из ме ђу жи вог те ла и те ла ава та ра као из во ђа ча; б) из во ђе ње ки бор га; в) из во ђе ње ком пјутера. Кључ не ре чи: сај бер фор манс, ан тро по мор фи зам, пост ху ма ни зам,сај берпро стор,из во ђе ње,те ло,су бјек тив ност Про блемпост ху ма ни змаи ди ги тал ниан тро по мор фи зам Уовомра дуис пи та ћутран сгре си јеисуб вер зи је(људ ског) те лако јесеја вља јууси ту а ци јитех но ло шкиге не ри са ногиз во ђе ња.Фо кусрас пра веуовомтек стућеби тинаиз во ђе њу АНЕТАСТОЈНИЋ
The central discussion in this paper concerns the articulation of ways whereby liminality is insc... more The central discussion in this paper concerns the articulation of ways whereby liminality is inscribed in cyberspace architecture, in order to show that cyberspace is a political performative space. In this regard, I argue that cyberspace is politicized in terms of its liminality. Cyberspace is constituted as an in-between space, that is, a space that is permanently in process, simultaneously functioning as a point of connection and division. As my analysis shows, this liminal aspect of cyberspace stands as an important connection to the notions of liminality in performance studies. By analyzing cyberspace as a new space for the production of the political, I propose that techno-performance is a new political notion of performance.
The aim of this article is to investigate the concept of anthropomorphism in the digital environm... more The aim of this article is to investigate the concept of anthropomorphism in the digital environment, focusing on contemporary performance practices that can be defined as digital performance (cyberformance) and techno performance. I intend to analyze representative examples of the performance in digital art that addresses subversions and transgressions of the body on two levels. First, the avatar as a performer (rather than mere human representative) in cyberspace, which will be discussed in the case of Synthetic Performances by the artist duo operating under the pseudonym 0100101110101101.org (Eva and Franco Mattes). Second, the computer/chat-bot as performer that thinks human-like, which will be analyzed in the example of Hello Hi There by American theatre maker Annie Dorsen. According to Bruno Latour anthropomorphism can mean ‘either that which has human shape or that which gives shape to humans’ (Latour 1992: 160). I would argue here that the digital environment responds to both parts of this definition. It is both created by humans and at the same time it is shaping humanity. It is created in such a way that numerous human characteristics have been attributed to it with various possibilities for digital anthropomorphic realizations. At the same time those responsive and intuitive machines are changing and shaping human behaviours, bodies and forms of life. This causal relation is neither simple nor innocent. The technology has become the most powerful tool for the governance of population through the control of the body, the mind and every aspect of life, especially those directly related to subjectivity. Before moving to the analyses of the above-mentioned examples first we need to understand what digital performance and cyberformance are and what is the importance of these practices. Since the examples I will look at mainly cover artistic performances, I find it necessary to point out that the phenomena examined in this text – the digital anthropomorphism – equally concern, and could be applied to, performance in everyday life as well as performance in popular culture. In the last several decades the use of technology became a widespread practice in contemporary performance. We could say that media aesthetics of performing arts entered the scene in the moment when the digital image engaged in the complex relations with the reality of the corporeal. At the turn of the century new genres and formats were developed, such as techno performance, cyberformance, internet theatre, as well as closely related practices of video installation, video performance and a wide spectrum of digitally interactive performative processes. Digital performance links the live and digital technology, that is, human behaviour and the digital system in the complex structure of feedback relations. Cyberformance is a specific form of digital performance that necessarily includes the interactive input–output relation between the organic and technological systems and is realized in cyberspace.1 As we will see in the following discussion the interface created in the complex structure of hardware–software connections between the digital (computer system) and the biological (living organism) 1 The term ‘cyberformance’ was coined in 2000 by Australian artist and curator Helen Varley Jamieson with the intention of naming a new genre that would include interaction between performance and cyberspace (Jamieson 2008: 3). Digital anthropomorphism Performers avatars and chat-bots
In this paper I shall argue that radical epistemic delinking has a key role in liberation from th... more In this paper I shall argue that radical epistemic delinking has a key role in liberation from the "colonial matrix of power" as well as the change in the existing global power relations which are based in the colonialism and maintained through exploitation, expropriation and construction of the (racial) Other. Those power relations render certain bodies and spaces as (epistemologically) irrelevant. In order to discuss possible models of struggle against such condition, firstly I have addressed the relation between de-colonial theories and postcolonial studies, arguing that decolonial positions are both historicising and re-politicising the postcolonial theory. In my central argument I have focused on the epistemic delinking and political implications of decolonial turn. With reference to Grada Killomba I have argued for the struggle against epistemic violence through decolonising knowledge. Decolonising knowledge requires delinking form Eurocentric model of knowledge production and radical dismantling the existing hierarchies among different knowledge. It requires recognition of the 'Other epistemologies' and 'Other knowledge' as well as liberation from Western disciplinary and methodological limitations. One of the main goals of decolonial project is deinking from the "colonial matrix of power". However, delinking is not required only in the areas of economy and politics but also in the field of epistemology.
In 2013 a cyborg-cockroach which was advertised as “RoboRoach, the world's first commercially... more In 2013 a cyborg-cockroach which was advertised as “RoboRoach, the world's first commercially available cyborg” appeared at the market. RoboRoach is a live cockroach whose moves can be remotely controlled via a smartphone app, thanks to the electronic device that has been surgically applied to its body. It was promoted as a “science kit” for children. Two years later cyborg cockroach gained a completely new role. Teams of researchers, engineers and entomologists form renowned universities have been testing their possibilities to access areas that are difficult for humans to reach such as earthquake sites or nuclear disaster zones. From the smart toy, cyborg-cockroaches advanced to the rescue squads that could, for instance, be navigated to record and find human life in disaster zones. However, we can easily imagine, I will argue here, that the next (if not already present) iteration of the cyborg-cockroach will be for military purposes abused in the war machine, as well as another symptom of the mode of governmentality that Gilles Deleuze has defined as “the society of control”. Relating to the question of “turning animal” the above mentioned example offers the opportunity to investigate the unstable relations and problematic distinctions between humans, animals and machines, through the concept of cyborg. Here, I would like to introduce a decolonial perspective as well as the topic of necropolitics, into post-humanist debate, in order to question who has the position (the privilege?) to proclaim “the human” as obsolete and what is the politics that is revealed in such a theoretical and practical move. Who can turn the cockroach into remotely controlled cyborg and what does this “turning into” mean for humans and non humans alike?
In this paper I will offer an analysis of cyber technology, cyberspace and cyborg from its appear... more In this paper I will offer an analysis of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary realizations, in order to show symbolic place of cyborg has changed, in the light of contemporary power relations. I will focus on the cyborg figure in literature and film, mainly the cyberpunk genre characteristic for fictionalization of the relations between individual, society and technology.
This paper responds to the political and ethical focus of the conference addressed through the qu... more This paper responds to the political and ethical focus of the conference addressed through the question of digital identities and analysis of changes that digital technologies brought in contemporary understanding of the body. Referring to Jon Mckenzie’s proposition of performance as onto-historical formation of power and knowledge, on the one hand, and revisiting Donna Haraway’s Cyborg Manifesto after the species have met, on the other, I shall analyze the crucial shift from natural through cultural to technological bodies, in relation to the performing subject. Thirty years after Cyborg Manifesto the question of the body as a social construct is more relevant than ever. The technological environment that is here at stake is neither politically nor ideologically innocent. The information communication technologies are defining the conditions of neoliberal globalization. Therefore we need to constantly re-articulate our position when we perform with(in) technology. In this regard I will focus on the construction of the social, cultural and personal identity in media-dominated environment. What happens with the body when it performs in the digital space? How does it relate to its digital representation? What happens with performer’s subjectivity in a digital era, it the situation when the performer becomes the final instance in the global network structure of cyberspace? Human beings no longer perceive their own bodies as fixed, finished, organically complete entities, but rather as fluid, extendible bodies in the permanent process of becoming. In this context I intend to explore how the meanings are created through interrelation between the body and technology and elaborate how these newly established relations, protocols and procedures are, and can be used in performance (artistic) practices.
The concept of Retro-Avant Garde invented by the NSK movement (Neue Slowenische Kunst), was devel... more The concept of Retro-Avant Garde invented by the NSK movement (Neue Slowenische Kunst), was developed within the specific context of late socialism and post-socialism in Eastern Europe, Central Europe and ex-Yugoslavia in the early 80s. They combined the retrograde symbols of totalitarian regimes with "dead signs" of avant garde(s) in a paradoxical relation in order to point out the traumatic places of modern culture, via strategy of over-identification. I shall re-visit Retro-Avant Garde in order to explore its artistic methods and strategies in relation to a) historical construction of tensions between avant-garde and tradition; b) meaning of "political art" on the crossroads between capitalism and totalitarianism; c) deconstructing Western-centric notions of community, tradition and avant-garde.
The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initi... more The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initially requires that we clarify what this shift consists of. We argue that the shift from biopolitics to necropolitics is central for understanding the relation between the body and performativity in the time of neoliberal global (necro)capitalism. In order to conceptualize this shift in depth and to fully develop all its consequences for the present status of the body in capitalism, as well as for its performed variants in contemporary performance, theater and dance, we will analyze two exemplary cases. 1. The performance “Host” (2015) by Filipino choreographer and dancer Eisa Jocson, who explores the presentation of female bodies and sexuality in the case of female and transgender hostesses in Japanese night clubs. 2. The performance “All Eyes on Me” (2015), announced as “Purrr!_Femme!-ance!: Queer Femininities in Action,” a collaborative project conceived by Julischka Stengele (Austria) that brings together different fem, queer and trans positions in order to stage, provoke and question the subjectivities that stand for the reclaiming of marginalized bodies and their political stands. The analysis of each of these two performances, which derive from different historical and political locations, poses a similar set of questions, primarily regarding the situated location of a threshold between sovereign power, governmentality and life, citizens and non-citizens, as well as biopower and necropower. However, the answer varies! Why? Because we stumble upon a threshold that radically defines the difference between biopolitics and necropolitics. This threshold is the racial/colonial divide, which cuts through the present neoliberal global capitalism.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
This book places a focus on the regimes of in/visibility and representation in Europe. The aim is... more This book places a focus on the regimes of in/visibility and representation in Europe. The aim is to revisit theories of art, new media technology and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labour and modes of life (naked life). Today the processes of neoliberalism, fascism and racism are realities in Europe, as well as reflections of global power relations. This book offers analyses of radical artistic, activist and cultural practices as well as cutting-edge theoretical and philosophical approaches, and as such stands as a proper theoretical intervention into the above-mentioned histories and realities.
This text is based on the conversation between Jelena Juresa and Aneta Stojnic at Kunstlerhaus – ... more This text is based on the conversation between Jelena Juresa and Aneta Stojnic at Kunstlerhaus – Halle fur Kunst und Medien in Graz on the occasion of Juresa’s solo exhibition 'Mira, Study for a Portrait' in February 2015. We used this opportunity to open up a debate on the topics of history, memory, and issues related to narrating difficult historic events on a number of different levels.
In this paper I will focus on relations between corporality and technology in situation of cyber ... more In this paper I will focus on relations between corporality and technology in situation of cyber performance and techno performance. Technologically conceived subversions of a body will be analyzed in terms of biopolitics and necropolitics. Referring to the processes of subjectivisation resulting from relations between substance and aparatus (Agamben), I intended to offer an analyses of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary embodied realizations. I shall examine how the symbolic place of cyborg has changed, in the light of present power relations. With the development of technology, today it is possible to completely redesign one’s own corporality trough variety of medical and cosmetic interventions - for those who can of ford it. Therefore I will argue here that today the possibility for cyborgization of one’s own body has become a matter of class privilege. Unlike cyborg figure of cyberpunk fictionalizations that has long been an important metaphor in cyber-feminism (Haraway), contemporary cyborgs are not oppressed, unprivileged, outcasts. On the contrary, they are privileged to have the possibility to become cyborgs. This means that cyborg is no longer the asymmetrical other, but privileged first. Paradoxically cyborg's symbolical social status in cyberpunk fiction, is now in reality inhabited by those who are denied the possibility of ever having a choice to become a cyborg. Those are the human subjects helplessly and hopelessly trapped in their unchangeable, bodily, biological, perishable, irreparable, deadly, exploited humanness. Today outside of cyborgized, privileged society, remains only the dispensable, bare life. In this paper I will focus on how these newly established relations, protocols and procedures of corporality are, and can be used in performance artistic practices.
Shifting Corporealities in Contemporary Performance, 2018
The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initi... more The shift from biopolitics to necropolitics indicated in the title of Part I of this volume initially requires that we clarify what this shift consists of. We argue that the shift from biopolitics to necropolitics is central for understanding the relation between the body and performativity in the time of neoliberal global (necro)capitalism. In order to conceptualize this shift in depth and to fully develop all its consequences for the present status of the body in capitalism, as well as for its performed variants in contemporary performance, theater and dance, we will analyze two exemplary cases. 1. The performance “Host” (2015) by Filipino choreographer and dancer Eisa Jocson, who explores the presentation of female bodies and sexuality in the case of female and transgender hostesses in Japanese night clubs. 2. The performance “All Eyes on Me” (2015), announced as “Purrr!_Femme!-ance!: Queer Femininities in Action,” a collaborative project conceived by Julischka Stengele (Austria) that brings together different fem, queer and trans positions in order to stage, provoke and question the subjectivities that stand for the reclaiming of marginalized bodies and their political stands. The analysis of each of these two performances, which derive from different historical and political locations, poses a similar set of questions, primarily regarding the situated location of a threshold between sovereign power, governmentality and life, citizens and non-citizens, as well as biopower and necropower. However, the answer varies! Why? Because we stumble upon a threshold that radically defines the difference between biopolitics and necropolitics. This threshold is the racial/colonial divide, which cuts through the present neoliberal global capitalism.
Уни вер зи тетСин ги ду нум,Фа кул тетзаме ди јеи ко му ни ка ци је,Бе о град DOI10.5937/kultura1... more Уни вер зи тетСин ги ду нум,Фа кул тетзаме ди јеи ко му ни ка ци је,Бе о град DOI10.5937/kultura1652043S УДК7.038.53:004 7.01 стручнирад ИМАЛИПОСТ ХУ МА НОГ ПЕР ФОР МЕ РА ТРАН СГРЕ СИ ЈЕИСУБ ВЕР ЗИ ЈЕ ТЕ ЛАУСАЈ БЕР ПРО СТО РУ Са же так:Пред метрас пра веуовомтеск туби ћепи та њатран сгре си је и суб вер зи је (људ ског) те ла ко је се ја вља ју у си ту а ци ји тех но ло шкиге не ри са ногиз во ђе ња.Нај прећуиз ве стиисто риј ско те о риј скукон тек сту а ли за ци јуди ги тал ногокру же њауод но суна ко јесеовапо ме ра њаде ша ва ју,апо томћуиз ло жи типри ме ресај бер фор ман са,ди ги тал ногпер фор ман саитех но пер фор ман са,ко ји про бле ма ти зу јуод ностех но ло ги јеите лаиз во ђа ча.Уцен трал ној рас пра вићусефо ку си ра тинапро блемпост ху ма ногили(не)ху ма ногиз во ђа чакрозкон цептко јина зи вамди ги тал ниан тро по мор фи зам.Су о че њежи вогте ла/из во ђе њаитех но ло шкипо сре до ва ног из во ђе њапо ста јева жнапрак сазараз у ме ва њедис кон ти ну и те та из ме ђу чо ве ка и ма ши не. Сто га ће пи та ња по зи ци је и функ ци је жи вог из во ђа ча као су бјек та и објек та из во ђе ња у кон тек сту ди ги тал ног пер фор ман са и пер фор ман са у сај берпростoру би ти ис пи та на на сле де ћим ни во и ма: а) од нос из ме ђу жи вог те ла и те ла ава та ра као из во ђа ча; б) из во ђе ње ки бор га; в) из во ђе ње ком пјутера. Кључ не ре чи: сај бер фор манс, ан тро по мор фи зам, пост ху ма ни зам,сај берпро стор,из во ђе ње,те ло,су бјек тив ност Про блемпост ху ма ни змаи ди ги тал ниан тро по мор фи зам Уовомра дуис пи та ћутран сгре си јеисуб вер зи је(људ ског) те лако јесеја вља јууси ту а ци јитех но ло шкиге не ри са ногиз во ђе ња.Фо кусрас пра веуовомтек стућеби тинаиз во ђе њу АНЕТАСТОЈНИЋ
The central point of this publication is to reflect on oppositional practices involving collabora... more The central point of this publication is to reflect on oppositional practices involving collaborative communities in art and culture. We propose to take into consideration the different histories and experiences of Europe while reflecting and contesting art-educational participative projects with re-) and dis-) integrative aims. This publication is an attempt to resist the conceptual and practical instrumentalisation of community work in art and culture, drawing upon different histories and experiences of European and Russian oppositional practices, without abandoning a critical stance.
Uploads
Papers by Aneta Stojnić