Books by Alexandra Kokoli
Tracey Emin: Art into Life, 2021
Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'b... more Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves.
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life addresses a broad readership.
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Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'b... more Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves.
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.
Table of contents
Introduction: The Last Great Adventure is Me
Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK
1. Rethinking Tracey Emin: Life into Art
Mark Durden, University of South Wales, UK
2. 'It was just me, Tracey': Strategies of Self-Presentation in the Art of Tracey Emin
Camilla Jalving, National Gallery of Denmark, Denmark
3. A Black Cat Crossed My Path
Glenn Adamson, Yale Center for British Art, USA
4. Twenty Years in the Making: Tracey Emin's My Bed
Deborah Cherry, University of the Arts London UK
5. The Bonfire of the Fallacies (or is it Phalluses?)
Alexandra Kokoli, Middlesex University, UK
6. Early Emin
John White, independent, UK
7. 'I Do Not Expect to be a Mother': Non-Reproduction and Ageing in the Work of Tracey Emin
Joanne Heath, independent, UK
8. Dream and Diaspora: Tracey Emin's Turkish Cypriot Legacy
Alev Adil, indepedent, UK
9. All at Sea: Bad Girls, Hut Myths and Tracey Emin's 'Property by the Sea'
Gill Perry, Open University, UK
Reviews
“Tracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin's continuing significance to art today.” – August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USA
ISBN: 9781350160606
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Conceptualism - Intersectional Readings, Inter national Framings Situating 'Black Artists & Modernism' in Europe, 2020
This e-publication includes a collection of revised and expanded papers from the conference Conc... more This e-publication includes a collection of revised and expanded papers from the conference Conceptualism: Intersectional Readings, International Framings, Black Artists & Modernism in Europe Since 1968 that took place at the Van Abbemuseum in December 2017. The conference and the accompanying e-publication gathers artists, curators and academics to consider two broad, overarching questions: Firstly, how to rethink conceptualism intersectionally and internationally as a strategy rather than as a movement; and secondly how to situate ‘black artists’ and ‘modernism’ within Europe? The conference and corresponding publication includes key note lectures by Iris Dressler and Valerie Cassel-Oliver. Sections on ‘Intersectional Readings’ and ‘International Framings’ are accompanied by a focus on the work of Nil Yalter, stanley bouwn, David Medalla and Mathieu Kleyebe Abonnenc. The e-pub is free to download and includes recordings of the original presentations.
Editors: Nick Aikens, susan pui san lok, Sophie Orlando
Associate Editor: Janine Armin
Assistant Editor: Evelien Scheltinga
Contributors: Nick Aikens, Juan Albarrán, Lotte Arndt, Eva Bentcheva, Sonia Boyce, Jennifer Burris, Valerie Cassel Oliver, Laura Castagnini, Alice Correia, Sandra Delacourt,David Dibosa, Fabienne Dumont, Iris Dressler, E. C. Feiss, Annie Fletcher, Alexandra Kokoli, Charl Landvreugd,Elisabeth Lebovici, Christa-Maria Lerm Hayes, susan pui san lok, Sophie Orlando, Sumesh Sharma, Sarah Wilson, Wei Yu
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The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed ye... more The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.
The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.
Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.
http://www.bloomsbury.com/uk/the-feminist-uncanny-in-theory-and-art-practice-9781472505583/
BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms
Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013
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From the Freud Museum is an installation of fifty labelled archival boxes containing small object... more From the Freud Museum is an installation of fifty labelled archival boxes containing small objects, images and text, displayed in vitrines with their lids open and accompanied by a looped video. Originally commissioned for the Freud Museum in London and shown there in 1994 as At the Freud Museum, the work was purchased by Tate in 1998 and counts the book After the Freud Museum (1995/2000) among its manifestations.
This In Focus project offers the most comprehensive analysis of From the Freud Museum to date, locating it within Hiller’s oeuvre and its critical reception. It explores the work’s evocation of the archive and of the occult, and examines Sigmund Freud and Susan Hiller as collectors of significant fragments.
Published in February 2017, the project is authored by Dr Alexandra Kokoli (Middlesex University London) and includes a contribution from Dr Joanne Morra (Central Saint Martins, University of the Arts London).
ISBN 978-1-84976-532-9
In Focus projects examine artworks in Tate’s collection from a range of perspectives, reflecting contemporary approaches to object-based scholarship. They are typically written by a number of specialists from different disciplines and comprise linked essays that explore particular aspects of the works’ making and history in depth. The projects often draw on Tate’s own research resources, featuring materials found in conservation files, Gallery Records and Tate Archive.
Full text available here: http://www.tate.org.uk/research/publications/in-focus/from-the-freud-museum-susan-hiller
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A former anthropologist, Susan Hiller has been a pioneer in exploring the interface between the d... more A former anthropologist, Susan Hiller has been a pioneer in exploring the interface between the domain of art and the wider world. Her involvement in art and feminism and postcolonial analyses of cultural politics are foregrounded in this volume, which brings together previously published texts and interviews, improvised talks, papers, invitational keynote lectures, discussions with other artists, and more.
The collection of texts documents Susan Hiller's incisive interventions in current debates around the shifting roles of art and theory, shedding new light on the interface between critical writing and visual art practice. Science, magic, the senses, (mis)understandings, and the continuing lure of psychoanalysis are among the subjects that Hiller interrogates. Structured in three sections, the book, simultaneously wide-ranging, worldly, and deeply personal, may read as a portrait of the artist as public intellectual.
The book is part of the Positions series, co-published with Les Presses du réel and dedicated to artists' writings.
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Articles/book chapters/catalogue essays by Alexandra Kokoli
Performance Research, 2024
This article makes the case for the inclusion of live and performance art in commemorative practi... more This article makes the case for the inclusion of live and performance art in commemorative practice, including specifically the artistic-activist practice of walking, in reference to the complex feminist legacies of the women’s peace camp at Greenham Common (1981-2000). Such practices offer alternatives to the impasses of public sculpture, resonate with Greenham’s feminist aesthetics and politics and prove adept to the celebration and (re-)activation of women’s movements and feminist activism. I focus on practices that seek to disentangle the collective work of activist transmission from the compromised habit of memorialization, showcasing specific performative alternatives to the commissioning of sculptural monuments. Such alternatives operate in a queer time of collectivity and gather momentum through ritual repetition, where remembrance vibrates with the energy of an embodied commitment to continue and expand the work of our chosen feminist foremothers. The practice of Jemima Brown, Elspeth Owen, Anne Robinson, and Nina Wakeford selectively deploys performance across its making and delivery, but mostly (re-)activates a kind of performativity that can never be exhausted in the act of passive spectatorship and demands sustained purchase. At a time when monuments are being toppled, ephemeral interventions prove strangely resilient and efficacious in their responsiveness and their capacity for embodied transmission across the generations and geographies of feminism. The practice of these artists proposes models of heritage-as-activation and transforms the audience into fellow actors, and even activists.
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The final, definitive, and illustrated version is published in PERFORMANCE RESEARCH, VOLUME 28 ISSUE 8, On Activation, Issue editors: Christel Stalpaert with Verónica Tello and Eylül Fidan Akıncı
Publication date: 16 September 2024. Acceptance date: 10 April 2024. https://www.performance-research.org/forthcoming-issue.php
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Jemima Brown: Peace Camp, 2022
Chapter from: Jemima Brown: Peace Camp, 2022, pbk-ISBN 9781399918206.
Edited and introduced by K... more Chapter from: Jemima Brown: Peace Camp, 2022, pbk-ISBN 9781399918206.
Edited and introduced by Ken Pratt with essays by writer/curator Matilda Strang, feminist historian Dr Alexandra Kokoli and artist Janice McNab. Designed by Dean Pavitt. Photography by Shaun Vincent and Caron Geary.
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Psychoanalysis, Culture & Society, 2022
Despite its considerable investment in questions of memory, attachments between subjects and obje... more Despite its considerable investment in questions of memory, attachments between subjects and objects, and trauma and its treatment, psychoanalysis has been largely sidelined in the unfolding reassessment of museums. This introduction to the special issue on ‘Trauma and Repair in the Museum’, which aims to reintroduce psychoanalytic perspectives in these debates, outlines the issues around reparation that surround the modern museum due to the traumatic legacies of coloniality. Timothy P. Brown’s notion of how the trauma of displacement and dissociation effects both objects and communities is key to our consideration of the museum as symptomatic of trauma, as is Cathy Caruth’s reading of history as trauma. Referring to several artists’ practices, such as Lisa Reihana, Erika Tan, and especially Kader Attia’s concept of repair, as well as a number of museological approaches to restitution, we expand on the complexities of ongoing coloniality and its implication with museums as institutions, practices of collection and display, and highly charged psychoactive spaces. Eve Kosofsky Sedgwick’s rereading of Melanie Klein’s notion of reparation allows us to posit a form of decolonial repair that involves the assembling of damaged part-objects into ‘something like a whole [but] not necessarily like any preexisting whole’ (2003, p. 128, original emphasis). This approach enables a reckoning with trauma and its legacies that keeps them visible without ruling out processes of reparation. We follow our outline of trauma and repair in the museum with summaries of our contributors’ articles, which expose and unpack the mutual implication of collections, institutions and displays with patriarchy, colonialism and racial capitalism through the critical discourse of contestation, while also acknowledging the potential of museums to overcome their traumatic origins.
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British Art Studies, 2023
The Women’s Peace Camp at Greenham Common (1981-2000) was a women-only camp originally establishe... more The Women’s Peace Camp at Greenham Common (1981-2000) was a women-only camp originally established in protest against nuclear proliferation and the Cold War ideology of deterrence that fuelled the arms race. The peace camp initiated a series of performative protest actions on and off site, including teddy bears’ picnics, and mock weddings of protesters to nuclear warheads by Shirley Cameron and Evelyn Silver. The perimeter fence of the airbase was soon transformed into a permanent if informal gallery of protest, hosting a wealth of visual and material interventions which were widely documented. The Greenham women used a range of print media to communicate amongst themselves and with the world beyond the camp, including newsletters, posters, postcards, and leaflets, most of which were richly illustrated with original artwork.
From an art historical perspective, this material teems with visual iconographies drawing upon ancient myths and symbols already mobilised in women’s movements since the 1960s. In addition to the reclamation of witches and witches’ circles, spider webs were successfully exploited in craftivist performance and evoked in drawing, as a motif of solidarity, connectivity, and soft strength. Mother-and-child iconographies were revisited and reconfigured, in evocation of the familiar maternalism of women’s peace movements yet at the same time sabotaging the visual supports of social reproduction. Many artworks were created at or in reference to Greenham, often by artists with direct experience of the camp, including textile and installation work by Janis Jefferies, Margaret Harrison’s multiple iterations of the reconstructed perimeter fence, Tina Keane’s films of protest and reverie, and Thalia Campbell’s textile collages and banners.
I suggest that Greenham, viewed through the lens of feminist intergenerational transmission, exemplifies Griselda Pollock’s formulation of the virtual feminist museum. Mobilising Aby Warburg’s Nachleben (afterlife/survival by metamorphosis), the virtual feminist museum untethers artefacts, images, and practices from their historical contexts and sets them in motion, tracing their travels, re-occurrences and transformations across time and space. For Pollock, virtuality is not opposed to actuality but vibrates with the possibility of imminent realisation. I propose a curatorial experiment that activates the virtual feminist museum of Greenham Common and feminist anti-nuclear activism more broadly, while also teasing out a repertory of anti-war, anti-patriarchal ‘pathos formulae’ or affectively charged tropes, from care rituals to failing phalluses, and including the playful reclamation of the perimeter fence from its intended function. The highly visual format of the ‘Animating the Archive’ series of British Art Studies helps test Warburg’s quasi-method of tracing iconographic correspondences across disparate spaces, times, and registers, through the dispersed and diverse visual archive of Greenham Common.
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Beginning with a reflection on the protestors’ dwellings at the Greenham Common women’s peace cam... more Beginning with a reflection on the protestors’ dwellings at the Greenham Common women’s peace camp, this chapter examines the multifarious ways in which the domestic sphere is evoked, restaged, critiqued, and reclaimed, across artistic practices and visual activism shaped and motivated by feminism. Dwelling matters as both symbol and material necessity for the survival of vulnerable bodies, sustained by continuous giving and taking of care, and including the feminist struggle for social housing. Rather than a straightforward denouncement of dwelling along with patriarchal domesticity, I argue that feminist art, activism, and their multiple intersections in the work of Paula Chambers, Małgorzata Markiewicz, and Sera Waters, continue to revisit and sometimes recover home-making, its materiality, and symbols, and explore its potential for nurturing feminist subjects. Proceeding through a mix of scholarship and personal meditation on intuitively collected research materials, the chapter carves a speculative path through apparently distinct instances of feminist politics across activism and creative practice to propose new perspectives on the complex interface between feminism, labour, bodies, and the stuff of home.
https://www.routledge.com/Feminist-Visual-Activism-and-the-Body/Sliwinska/p/book/9780367278991
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A Companion to Textile Culture, 2020
This chapter explores some tensions in both textile theories and practices informed by the femini... more This chapter explores some tensions in both textile theories and practices informed by the feminist 1970s. While tracing the lines between radical and reformist approaches to women's textiles, it pinpoints moments of intersection and permeability. Oscillating between a play for canonization and a debunking of the art world's selection criteria, feminist textiles both prefigure and feed into the diversity of craft's deployments in contemporary art practice. Omnipresent, pervasive, and resistant to coherent classification, textiles are interwoven into the private and public practices of every culture, both formal and informal, quotidian and ceremonial. The chapter discusses the difficulty of containing feminism and textiles by considering some of their tensions and contradictions in foundational feminist art historical and practice‐led thought. Considering the centrality of the art/craft/anti‐art debates in feminist cultural politics, it is unsurprising that a critical attention to textiles features prominently in foundational moments of feminist art history.
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Tracey Emin: Art into Life , 2020
In this chapter, I revisit my article ‘On Probation: “Tracey Emin” as Sign’ (Wasafiri, 2010), to
... more In this chapter, I revisit my article ‘On Probation: “Tracey Emin” as Sign’ (Wasafiri, 2010), to
pose the question anew of what ‘Emin’ stands for in the widely diverse discourses that claim to
address her and her work. Despite her recent (relative) retreat from media exposure, Emin still looms large as a cipher of artistic deskilling, narcissism, and the assumed money-grabbing
vulgarity and inauthenticity of the most heavily promoted British art at the end of the
twentieth century, while also making a convenient target for right-wing backlash against feminisms
and conceptualisms, broadly defined. The chapter is largely devoted to a close reading of a minor
exhibition and its catalogue that received some media exposure largely thanks to its deployment of
Emin’s image: in Treason of the Scholars (2015), painter Peter Goodfellow and his conservative allies
make of ‘Emin’ a malleable sign that encompasses all the ills of contemporary culture as they see it.
‘Emin’’s malign manipulation in this case represents an extreme case of the widespread practice of
(ab)using ‘Emin’ as sign and of consistently overdetermining her by emptying her/it out.
The final and definite version of this chapter is published in TRACEY EMIN: ART INTO LIFE, edited by Alexandra Kokoli and Deborah Cherry (London: Bloomsbury Academic, 2020), pp. 71-87.
ISBN: 9781350160606
https://www.bloomsbury.com/uk/tracey-emin-9781350160606/
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Katy Deepwell (ed.), Feminist Art Activisms and Artivisms (Amsterdam: Valiz, 2020), pp. 134-143., 2020
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Conceptualism - Intersectional Readings, International Framings: Situating 'Black Artists & Modernism' in Europe, 2019
’Read My QR: Quilla Constance and the Conceptualist Promise of Intelligibility’, in Nick Aikens, ... more ’Read My QR: Quilla Constance and the Conceptualist Promise of Intelligibility’, in Nick Aikens, susan pui san lok and Sophie Orlando (eds.), Conceptualism - Intersectional Readings, International Framings: Situating 'Black Artists & Modernism' in Europe, Van AbbeMuseum, 2019, pp. 36-53. Open access epub: https://mediabank.vanabbemuseum.nl/vam/files/alexandria/publiciteit/e-pub/2019/vam_epub%20BAM_DEC19_V5_final3.pdf?fbclid=IwAR3oiqrzzzNBl5yvWIrltVjLG4kLiVcX-6z_iXUKLGw-jsXHQOb1VqsEvjQ
This chapter contributes to the on-going questioning of the definitions of conceptualism from feminist psychoanalytic perspectives and in reference specifically to the practice of British artist Quilla Constance, aka #QC, the post-punk, neo-glam, gender-questioning performance persona of Jennifer Allen. In #QC’s practice identity politics is not represented but produced, and its production is framed in an exploration of the boundaries between sense, nonsense and different kinds of sensibility and intelligibility, acknowledging the inflection of knowledge and its systems by the vicissitudes of power. I consider how the intelligibility of power, affect and desire is both entertained and resisted in #QC’s work and will begin to outline how #QC’s performative engagement with visual and material culture reveals a nuanced understanding of identity and (dis)identification and the role of art practice in mining them. Her video piece Pukijam (2015) scrutinises food as a signifying system onto which social class and ethnic identities are mapped out, from fried chicken in cardboard take-away boxes to tea in fine bone china cups. The live performance equivalent of this tension between opacity and semiotic plenitude can be found in #QC’s lectures, in which a rigorous engagement with critical theory devolves (or evolves) into inarticulate cries. Uncomfortably juxtaposed, #QC’s lecturing voice and her screams trace the boundaries of linguistic intelligibility and probingly reference conceptualism’s deployment of art as a reading instrument for visual culture.
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Hypatia, Jan 23, 2018
Catherine Hoffmann's Free Lunch with the Stench Wench is a performance of abjection and self-abje... more Catherine Hoffmann's Free Lunch with the Stench Wench is a performance of abjection and self-abjection through poverty with an apotropaic aspiration: to shed the shame through sharing, and to create opportunities for a common social subjectivity that refuses to be silent about the struggle of its own creation and maintenance. Despite its title, Free Lunch does not come with a free lunch for the audience but creates an olfactory situation, through the onstage cooking of hot chocolate and the presence of a dead rat, which complements Hoffmann's narration and stage presence into a synaesthetic portrait of poverty and its psychosocial fallout. Drawing on the psychological foundations of shame studies, sociological approaches and social-theoretical responses to austerity and social division, I propose to examine the gendered embodiment of shame and its exorcism in Hoffmann's performance, focusing on its physical codification in and beyond the visual. I explore the potential of shame to be re-weaponized against those who originally inflict it, and consider the shame that haunts every creative act, especially those with high political stakes: the failure to make a connection, the fear of being misunderstood.
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The collection brings together original papers in philosophy, culture studies, art theory, theory... more The collection brings together original papers in philosophy, culture studies, art theory, theory of textile culture, and theory of architecture to give a comprehensive overview of weaving as a political, cultural and artistic practice. The first part, The Politics of Weaving, examines weaving as a paradigmatic political metaphor for the construction of the European identity and citizenship. The second part, The Culture of Weaving, explores issues of textile theory and practice. The third part, Weaving and Architecture, explores the influence of the practice of weaving to architectural works; the final part, Arts and the Art of Weaving, presents the curatorial and artistic project “Weaving Europe: The World as Meditation” that was part of the European Capital of Culture Pafos 2017 program.
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Ο τόµος αυτός περιέχει πρωτότυπα κείµενα από τα πεδία της φιλοσοφίας, των πολιτιστικών σπουδών, της θεωρίας της τέχνης, της θεωρίας και ιστορίας της υφαντικής, και της θεωρίας της αρχιτεκτονικής, τα οποία δίνουν µία ολοκληρωµένη εικόνα της υφαντικής ως πολιτική, πολιτισµική και καλλιτεχνική πρακτική. Στο πρώτο µέρος, µε τίτλο "Η πολιτική της υφαντικής", εξετάζεται η υφαντική ως παραδειγµατική πολιτική µεταφορά για την κατασκευή της ευρωπαϊκής ταυτότητας και της ιθαγένειας. Το δεύτερο µέρος, "Ο πολιτισµός της υφαντικής", εξετάζει ζητήµατα θεωρίας και πρακτικής σχετικά µε την θέµα. Το τρίτο µέρος, "Υφαντική και αρχιτεκτονική", διερευνά την επιρροή των πρακτικών της υφαντικής σε αρχιτεκτονικά έργα. Τέλος, το τέταρτο µέρος, "Τέχνες και η τέχνη της υφαντικής", παρουσιάζει την έκθεση καλλιτεχνών µε τίτλο "Υφαίνοντας την Ευρώπη: Ο κόσµος ως στοχασµός", που ήταν µέρος του προγράµµατος «Πάφος πολιτιστική πρωτεύουσα 2017».
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Books by Alexandra Kokoli
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life addresses a broad readership.
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.
Table of contents
Introduction: The Last Great Adventure is Me
Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK
1. Rethinking Tracey Emin: Life into Art
Mark Durden, University of South Wales, UK
2. 'It was just me, Tracey': Strategies of Self-Presentation in the Art of Tracey Emin
Camilla Jalving, National Gallery of Denmark, Denmark
3. A Black Cat Crossed My Path
Glenn Adamson, Yale Center for British Art, USA
4. Twenty Years in the Making: Tracey Emin's My Bed
Deborah Cherry, University of the Arts London UK
5. The Bonfire of the Fallacies (or is it Phalluses?)
Alexandra Kokoli, Middlesex University, UK
6. Early Emin
John White, independent, UK
7. 'I Do Not Expect to be a Mother': Non-Reproduction and Ageing in the Work of Tracey Emin
Joanne Heath, independent, UK
8. Dream and Diaspora: Tracey Emin's Turkish Cypriot Legacy
Alev Adil, indepedent, UK
9. All at Sea: Bad Girls, Hut Myths and Tracey Emin's 'Property by the Sea'
Gill Perry, Open University, UK
Reviews
“Tracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin's continuing significance to art today.” – August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USA
ISBN: 9781350160606
Editors: Nick Aikens, susan pui san lok, Sophie Orlando
Associate Editor: Janine Armin
Assistant Editor: Evelien Scheltinga
Contributors: Nick Aikens, Juan Albarrán, Lotte Arndt, Eva Bentcheva, Sonia Boyce, Jennifer Burris, Valerie Cassel Oliver, Laura Castagnini, Alice Correia, Sandra Delacourt,David Dibosa, Fabienne Dumont, Iris Dressler, E. C. Feiss, Annie Fletcher, Alexandra Kokoli, Charl Landvreugd,Elisabeth Lebovici, Christa-Maria Lerm Hayes, susan pui san lok, Sophie Orlando, Sumesh Sharma, Sarah Wilson, Wei Yu
The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.
Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.
http://www.bloomsbury.com/uk/the-feminist-uncanny-in-theory-and-art-practice-9781472505583/
BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms
Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013
This In Focus project offers the most comprehensive analysis of From the Freud Museum to date, locating it within Hiller’s oeuvre and its critical reception. It explores the work’s evocation of the archive and of the occult, and examines Sigmund Freud and Susan Hiller as collectors of significant fragments.
Published in February 2017, the project is authored by Dr Alexandra Kokoli (Middlesex University London) and includes a contribution from Dr Joanne Morra (Central Saint Martins, University of the Arts London).
ISBN 978-1-84976-532-9
In Focus projects examine artworks in Tate’s collection from a range of perspectives, reflecting contemporary approaches to object-based scholarship. They are typically written by a number of specialists from different disciplines and comprise linked essays that explore particular aspects of the works’ making and history in depth. The projects often draw on Tate’s own research resources, featuring materials found in conservation files, Gallery Records and Tate Archive.
Full text available here: http://www.tate.org.uk/research/publications/in-focus/from-the-freud-museum-susan-hiller
The collection of texts documents Susan Hiller's incisive interventions in current debates around the shifting roles of art and theory, shedding new light on the interface between critical writing and visual art practice. Science, magic, the senses, (mis)understandings, and the continuing lure of psychoanalysis are among the subjects that Hiller interrogates. Structured in three sections, the book, simultaneously wide-ranging, worldly, and deeply personal, may read as a portrait of the artist as public intellectual.
The book is part of the Positions series, co-published with Les Presses du réel and dedicated to artists' writings.
Articles/book chapters/catalogue essays by Alexandra Kokoli
-----------------------------------------------------------------
The final, definitive, and illustrated version is published in PERFORMANCE RESEARCH, VOLUME 28 ISSUE 8, On Activation, Issue editors: Christel Stalpaert with Verónica Tello and Eylül Fidan Akıncı
Publication date: 16 September 2024. Acceptance date: 10 April 2024. https://www.performance-research.org/forthcoming-issue.php
Edited and introduced by Ken Pratt with essays by writer/curator Matilda Strang, feminist historian Dr Alexandra Kokoli and artist Janice McNab. Designed by Dean Pavitt. Photography by Shaun Vincent and Caron Geary.
From an art historical perspective, this material teems with visual iconographies drawing upon ancient myths and symbols already mobilised in women’s movements since the 1960s. In addition to the reclamation of witches and witches’ circles, spider webs were successfully exploited in craftivist performance and evoked in drawing, as a motif of solidarity, connectivity, and soft strength. Mother-and-child iconographies were revisited and reconfigured, in evocation of the familiar maternalism of women’s peace movements yet at the same time sabotaging the visual supports of social reproduction. Many artworks were created at or in reference to Greenham, often by artists with direct experience of the camp, including textile and installation work by Janis Jefferies, Margaret Harrison’s multiple iterations of the reconstructed perimeter fence, Tina Keane’s films of protest and reverie, and Thalia Campbell’s textile collages and banners.
I suggest that Greenham, viewed through the lens of feminist intergenerational transmission, exemplifies Griselda Pollock’s formulation of the virtual feminist museum. Mobilising Aby Warburg’s Nachleben (afterlife/survival by metamorphosis), the virtual feminist museum untethers artefacts, images, and practices from their historical contexts and sets them in motion, tracing their travels, re-occurrences and transformations across time and space. For Pollock, virtuality is not opposed to actuality but vibrates with the possibility of imminent realisation. I propose a curatorial experiment that activates the virtual feminist museum of Greenham Common and feminist anti-nuclear activism more broadly, while also teasing out a repertory of anti-war, anti-patriarchal ‘pathos formulae’ or affectively charged tropes, from care rituals to failing phalluses, and including the playful reclamation of the perimeter fence from its intended function. The highly visual format of the ‘Animating the Archive’ series of British Art Studies helps test Warburg’s quasi-method of tracing iconographic correspondences across disparate spaces, times, and registers, through the dispersed and diverse visual archive of Greenham Common.
https://www.routledge.com/Feminist-Visual-Activism-and-the-Body/Sliwinska/p/book/9780367278991
pose the question anew of what ‘Emin’ stands for in the widely diverse discourses that claim to
address her and her work. Despite her recent (relative) retreat from media exposure, Emin still looms large as a cipher of artistic deskilling, narcissism, and the assumed money-grabbing
vulgarity and inauthenticity of the most heavily promoted British art at the end of the
twentieth century, while also making a convenient target for right-wing backlash against feminisms
and conceptualisms, broadly defined. The chapter is largely devoted to a close reading of a minor
exhibition and its catalogue that received some media exposure largely thanks to its deployment of
Emin’s image: in Treason of the Scholars (2015), painter Peter Goodfellow and his conservative allies
make of ‘Emin’ a malleable sign that encompasses all the ills of contemporary culture as they see it.
‘Emin’’s malign manipulation in this case represents an extreme case of the widespread practice of
(ab)using ‘Emin’ as sign and of consistently overdetermining her by emptying her/it out.
The final and definite version of this chapter is published in TRACEY EMIN: ART INTO LIFE, edited by Alexandra Kokoli and Deborah Cherry (London: Bloomsbury Academic, 2020), pp. 71-87.
ISBN: 9781350160606
https://www.bloomsbury.com/uk/tracey-emin-9781350160606/
This chapter contributes to the on-going questioning of the definitions of conceptualism from feminist psychoanalytic perspectives and in reference specifically to the practice of British artist Quilla Constance, aka #QC, the post-punk, neo-glam, gender-questioning performance persona of Jennifer Allen. In #QC’s practice identity politics is not represented but produced, and its production is framed in an exploration of the boundaries between sense, nonsense and different kinds of sensibility and intelligibility, acknowledging the inflection of knowledge and its systems by the vicissitudes of power. I consider how the intelligibility of power, affect and desire is both entertained and resisted in #QC’s work and will begin to outline how #QC’s performative engagement with visual and material culture reveals a nuanced understanding of identity and (dis)identification and the role of art practice in mining them. Her video piece Pukijam (2015) scrutinises food as a signifying system onto which social class and ethnic identities are mapped out, from fried chicken in cardboard take-away boxes to tea in fine bone china cups. The live performance equivalent of this tension between opacity and semiotic plenitude can be found in #QC’s lectures, in which a rigorous engagement with critical theory devolves (or evolves) into inarticulate cries. Uncomfortably juxtaposed, #QC’s lecturing voice and her screams trace the boundaries of linguistic intelligibility and probingly reference conceptualism’s deployment of art as a reading instrument for visual culture.
http://letrangere.net/exhibition/canan-paula-chambers-malgorzata-markiewicz-su-richardson/
/
Ο τόµος αυτός περιέχει πρωτότυπα κείµενα από τα πεδία της φιλοσοφίας, των πολιτιστικών σπουδών, της θεωρίας της τέχνης, της θεωρίας και ιστορίας της υφαντικής, και της θεωρίας της αρχιτεκτονικής, τα οποία δίνουν µία ολοκληρωµένη εικόνα της υφαντικής ως πολιτική, πολιτισµική και καλλιτεχνική πρακτική. Στο πρώτο µέρος, µε τίτλο "Η πολιτική της υφαντικής", εξετάζεται η υφαντική ως παραδειγµατική πολιτική µεταφορά για την κατασκευή της ευρωπαϊκής ταυτότητας και της ιθαγένειας. Το δεύτερο µέρος, "Ο πολιτισµός της υφαντικής", εξετάζει ζητήµατα θεωρίας και πρακτικής σχετικά µε την θέµα. Το τρίτο µέρος, "Υφαντική και αρχιτεκτονική", διερευνά την επιρροή των πρακτικών της υφαντικής σε αρχιτεκτονικά έργα. Τέλος, το τέταρτο µέρος, "Τέχνες και η τέχνη της υφαντικής", παρουσιάζει την έκθεση καλλιτεχνών µε τίτλο "Υφαίνοντας την Ευρώπη: Ο κόσµος ως στοχασµός", που ήταν µέρος του προγράµµατος «Πάφος πολιτιστική πρωτεύουσα 2017».
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life addresses a broad readership.
In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.
Table of contents
Introduction: The Last Great Adventure is Me
Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK
1. Rethinking Tracey Emin: Life into Art
Mark Durden, University of South Wales, UK
2. 'It was just me, Tracey': Strategies of Self-Presentation in the Art of Tracey Emin
Camilla Jalving, National Gallery of Denmark, Denmark
3. A Black Cat Crossed My Path
Glenn Adamson, Yale Center for British Art, USA
4. Twenty Years in the Making: Tracey Emin's My Bed
Deborah Cherry, University of the Arts London UK
5. The Bonfire of the Fallacies (or is it Phalluses?)
Alexandra Kokoli, Middlesex University, UK
6. Early Emin
John White, independent, UK
7. 'I Do Not Expect to be a Mother': Non-Reproduction and Ageing in the Work of Tracey Emin
Joanne Heath, independent, UK
8. Dream and Diaspora: Tracey Emin's Turkish Cypriot Legacy
Alev Adil, indepedent, UK
9. All at Sea: Bad Girls, Hut Myths and Tracey Emin's 'Property by the Sea'
Gill Perry, Open University, UK
Reviews
“Tracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin's continuing significance to art today.” – August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USA
ISBN: 9781350160606
Editors: Nick Aikens, susan pui san lok, Sophie Orlando
Associate Editor: Janine Armin
Assistant Editor: Evelien Scheltinga
Contributors: Nick Aikens, Juan Albarrán, Lotte Arndt, Eva Bentcheva, Sonia Boyce, Jennifer Burris, Valerie Cassel Oliver, Laura Castagnini, Alice Correia, Sandra Delacourt,David Dibosa, Fabienne Dumont, Iris Dressler, E. C. Feiss, Annie Fletcher, Alexandra Kokoli, Charl Landvreugd,Elisabeth Lebovici, Christa-Maria Lerm Hayes, susan pui san lok, Sophie Orlando, Sumesh Sharma, Sarah Wilson, Wei Yu
The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.
Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.
http://www.bloomsbury.com/uk/the-feminist-uncanny-in-theory-and-art-practice-9781472505583/
BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms
Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013
This In Focus project offers the most comprehensive analysis of From the Freud Museum to date, locating it within Hiller’s oeuvre and its critical reception. It explores the work’s evocation of the archive and of the occult, and examines Sigmund Freud and Susan Hiller as collectors of significant fragments.
Published in February 2017, the project is authored by Dr Alexandra Kokoli (Middlesex University London) and includes a contribution from Dr Joanne Morra (Central Saint Martins, University of the Arts London).
ISBN 978-1-84976-532-9
In Focus projects examine artworks in Tate’s collection from a range of perspectives, reflecting contemporary approaches to object-based scholarship. They are typically written by a number of specialists from different disciplines and comprise linked essays that explore particular aspects of the works’ making and history in depth. The projects often draw on Tate’s own research resources, featuring materials found in conservation files, Gallery Records and Tate Archive.
Full text available here: http://www.tate.org.uk/research/publications/in-focus/from-the-freud-museum-susan-hiller
The collection of texts documents Susan Hiller's incisive interventions in current debates around the shifting roles of art and theory, shedding new light on the interface between critical writing and visual art practice. Science, magic, the senses, (mis)understandings, and the continuing lure of psychoanalysis are among the subjects that Hiller interrogates. Structured in three sections, the book, simultaneously wide-ranging, worldly, and deeply personal, may read as a portrait of the artist as public intellectual.
The book is part of the Positions series, co-published with Les Presses du réel and dedicated to artists' writings.
-----------------------------------------------------------------
The final, definitive, and illustrated version is published in PERFORMANCE RESEARCH, VOLUME 28 ISSUE 8, On Activation, Issue editors: Christel Stalpaert with Verónica Tello and Eylül Fidan Akıncı
Publication date: 16 September 2024. Acceptance date: 10 April 2024. https://www.performance-research.org/forthcoming-issue.php
Edited and introduced by Ken Pratt with essays by writer/curator Matilda Strang, feminist historian Dr Alexandra Kokoli and artist Janice McNab. Designed by Dean Pavitt. Photography by Shaun Vincent and Caron Geary.
From an art historical perspective, this material teems with visual iconographies drawing upon ancient myths and symbols already mobilised in women’s movements since the 1960s. In addition to the reclamation of witches and witches’ circles, spider webs were successfully exploited in craftivist performance and evoked in drawing, as a motif of solidarity, connectivity, and soft strength. Mother-and-child iconographies were revisited and reconfigured, in evocation of the familiar maternalism of women’s peace movements yet at the same time sabotaging the visual supports of social reproduction. Many artworks were created at or in reference to Greenham, often by artists with direct experience of the camp, including textile and installation work by Janis Jefferies, Margaret Harrison’s multiple iterations of the reconstructed perimeter fence, Tina Keane’s films of protest and reverie, and Thalia Campbell’s textile collages and banners.
I suggest that Greenham, viewed through the lens of feminist intergenerational transmission, exemplifies Griselda Pollock’s formulation of the virtual feminist museum. Mobilising Aby Warburg’s Nachleben (afterlife/survival by metamorphosis), the virtual feminist museum untethers artefacts, images, and practices from their historical contexts and sets them in motion, tracing their travels, re-occurrences and transformations across time and space. For Pollock, virtuality is not opposed to actuality but vibrates with the possibility of imminent realisation. I propose a curatorial experiment that activates the virtual feminist museum of Greenham Common and feminist anti-nuclear activism more broadly, while also teasing out a repertory of anti-war, anti-patriarchal ‘pathos formulae’ or affectively charged tropes, from care rituals to failing phalluses, and including the playful reclamation of the perimeter fence from its intended function. The highly visual format of the ‘Animating the Archive’ series of British Art Studies helps test Warburg’s quasi-method of tracing iconographic correspondences across disparate spaces, times, and registers, through the dispersed and diverse visual archive of Greenham Common.
https://www.routledge.com/Feminist-Visual-Activism-and-the-Body/Sliwinska/p/book/9780367278991
pose the question anew of what ‘Emin’ stands for in the widely diverse discourses that claim to
address her and her work. Despite her recent (relative) retreat from media exposure, Emin still looms large as a cipher of artistic deskilling, narcissism, and the assumed money-grabbing
vulgarity and inauthenticity of the most heavily promoted British art at the end of the
twentieth century, while also making a convenient target for right-wing backlash against feminisms
and conceptualisms, broadly defined. The chapter is largely devoted to a close reading of a minor
exhibition and its catalogue that received some media exposure largely thanks to its deployment of
Emin’s image: in Treason of the Scholars (2015), painter Peter Goodfellow and his conservative allies
make of ‘Emin’ a malleable sign that encompasses all the ills of contemporary culture as they see it.
‘Emin’’s malign manipulation in this case represents an extreme case of the widespread practice of
(ab)using ‘Emin’ as sign and of consistently overdetermining her by emptying her/it out.
The final and definite version of this chapter is published in TRACEY EMIN: ART INTO LIFE, edited by Alexandra Kokoli and Deborah Cherry (London: Bloomsbury Academic, 2020), pp. 71-87.
ISBN: 9781350160606
https://www.bloomsbury.com/uk/tracey-emin-9781350160606/
This chapter contributes to the on-going questioning of the definitions of conceptualism from feminist psychoanalytic perspectives and in reference specifically to the practice of British artist Quilla Constance, aka #QC, the post-punk, neo-glam, gender-questioning performance persona of Jennifer Allen. In #QC’s practice identity politics is not represented but produced, and its production is framed in an exploration of the boundaries between sense, nonsense and different kinds of sensibility and intelligibility, acknowledging the inflection of knowledge and its systems by the vicissitudes of power. I consider how the intelligibility of power, affect and desire is both entertained and resisted in #QC’s work and will begin to outline how #QC’s performative engagement with visual and material culture reveals a nuanced understanding of identity and (dis)identification and the role of art practice in mining them. Her video piece Pukijam (2015) scrutinises food as a signifying system onto which social class and ethnic identities are mapped out, from fried chicken in cardboard take-away boxes to tea in fine bone china cups. The live performance equivalent of this tension between opacity and semiotic plenitude can be found in #QC’s lectures, in which a rigorous engagement with critical theory devolves (or evolves) into inarticulate cries. Uncomfortably juxtaposed, #QC’s lecturing voice and her screams trace the boundaries of linguistic intelligibility and probingly reference conceptualism’s deployment of art as a reading instrument for visual culture.
http://letrangere.net/exhibition/canan-paula-chambers-malgorzata-markiewicz-su-richardson/
/
Ο τόµος αυτός περιέχει πρωτότυπα κείµενα από τα πεδία της φιλοσοφίας, των πολιτιστικών σπουδών, της θεωρίας της τέχνης, της θεωρίας και ιστορίας της υφαντικής, και της θεωρίας της αρχιτεκτονικής, τα οποία δίνουν µία ολοκληρωµένη εικόνα της υφαντικής ως πολιτική, πολιτισµική και καλλιτεχνική πρακτική. Στο πρώτο µέρος, µε τίτλο "Η πολιτική της υφαντικής", εξετάζεται η υφαντική ως παραδειγµατική πολιτική µεταφορά για την κατασκευή της ευρωπαϊκής ταυτότητας και της ιθαγένειας. Το δεύτερο µέρος, "Ο πολιτισµός της υφαντικής", εξετάζει ζητήµατα θεωρίας και πρακτικής σχετικά µε την θέµα. Το τρίτο µέρος, "Υφαντική και αρχιτεκτονική", διερευνά την επιρροή των πρακτικών της υφαντικής σε αρχιτεκτονικά έργα. Τέλος, το τέταρτο µέρος, "Τέχνες και η τέχνη της υφαντικής", παρουσιάζει την έκθεση καλλιτεχνών µε τίτλο "Υφαίνοντας την Ευρώπη: Ο κόσµος ως στοχασµός", που ήταν µέρος του προγράµµατος «Πάφος πολιτιστική πρωτεύουσα 2017».
ISBN: 978-1-910846-04-9
https://www.cutcloth.co.uk/
DOI: https://doi.org/10.1093/oxartj/kcx004
http://www.sternberg-press.com/index.php?pageId=1667&bookId=560&l=en
DOI:10.1080/0740770X.2015.1057015
This article debunks the wide-spread view that young female celebrities, especially those who rise to fame through reality shows and other forms of media-orchestrated self-exposure, dodge ‘real’ work out of laziness, fatalism and a misguided sense of entitlement. Instead, we argue that becoming a celebrity in a neoliberal economy such as that of the United Kingdom, where austerity measures disproportionately disadvantage the young, women and the poor is not as irregular or exceptional a choice as previously thought, especially since the precariousness of celebrity earning power adheres to the current demands of the neoliberal economy on its workforce. What is more, becoming a celebrity involves different forms of labour that are best described as biopolitical, since such labour fully involves and consumes the human body and its capacities as a living organism. Weight gain and weight loss, pregnancy, physical transformation through plastic surgery, physical symptoms of emotional distress and even illness and death are all photographically documented and supplemented by extended textual commentary, usually with direct input from the celebrity, reinforcing and expanding on the visual content. As well as casting celebrity work as labour, we also maintain that the workings of celebrity should always be examined in the context of wider cultural and real economies.
unexpectedly tangled. If Richardson’s retrospective aimed to forge links not only between past and contemporary feminisms but also with current DIY aesthetics and countercultural practices, contemporary artists working with textiles mine
a wealth of cultural and artistic references, suggesting complex and transgressive webs of kinship. Bronwyn Platten’s quilted homage to Mike Kelley, For more and more love hours (R.I.P. Mike Kelley 1954-2012) (1973-2013), is an example of a work in which such cultural and artistic references are brought to the fore. In it, Platten questions Faith Wilding’s dismissal of his work as an abject reification of ‘bad boy masculinity’ (Wilding 2000:94), to propose feminist and gender-critical alliances across genders and generations.
Open access: http://www.imageandtext.up.ac.za/images/files/issue23/23_2014_not_a_straight_line_by_a_spiral_charting_continuity_and_change_in_textiles_informed_by_feminism.pdf
Vol.27 No.1 April 2015, pp. 228–229
DOI: 10.1111/1468-0424.12117
Podcast available here: http://magiclantern.gold.ac.uk/podcasts/library/substitch/KOKOLI.Alexandra.M.SubversiveStitch.291113.m4a
Author: Alexandra M. Kokoli is Senior Lecturer in Visual Culture, Fine Arts at Middlesex University, London
The illustrated, final and definitive version of this interview is published in n.paradoxa: http://www.ktpress.co.uk/
Published in InMediaRes: A Media Commons Project (http://mediacommons.futureofthebook.org/imr/), under the theme 'Survivalist Media', December 2015: http://mediacommons.futureofthebook.org/imr/2015/11/22/what-bear-grylls-can-t-do-survivalist-mediascapes-austerity-britain
Proposant une relecture du conceptualisme et de sa supposée résistance aux politiques de l’identité, ce livre détaille les manières dont des artistes conceptuel.le.s se sont emparé.e.s, en Europe, de considérations migratoires, de genre, de classe, de sexe ou de race, après les bouleversements politiques et sociaux de 1968. D’approche intersectionnelle, cette réflexion s’articule autour de quatre focus, respectivement consacrés au travail de Nil Yalter, Stanley Brouwn, David Medalla et Mathieu Kleyebe Abonnenc.