Suchergebnisse

The piece takes as its inspiration Jacques Derrida's article 'Like the Sound of the Sea Deep within a Shell: Paul de Man's War' (1988) through which Šimić understands her choice of the sea as her own 'unforeseeable appeal', a 'matter of responding and of taking responsibilities' (Derrida and Kamuf 1988: 595). The writing is also provoked by Emma Cox and Marilena Zaroulia's conversation 'Mare Nostrum, or On Water Matters' in 'On Sea/At Sea' edition of Performance Research which touches on the image of Aylan Kurdi, a Syrian boy, found dead on the beach in Bodrum, Turkey in September 2015. The writing opens with the author's sense of loss and belonging to her birth country of Yugoslavia explored in her performance work Blood & Soil: we were always meant to meet… (2011, with Jennifer Verson). The piece looks at a series of contemporary artistic responses to the migration crisis and children's deaths at sea. These include Ai Weiwei's crude re-enactment of Aylan Kurdi's death, graffiti artists Justus Becker (a.k.a. Cor) and Oğuz Şen (a.k.a. Bobby Borderline), Khaled Barakeh's censored photographic images of drowned children on Facebook, Franko B's carefully carved marble sculpture and the work of British-Iraqi hip-hop artist and political activist Kareem Dennis, better known as Lowkey. The writing closes with a remembering of Jill Greenhalgh's performance Las Sin Tierra: 7 Attempted Crossings of the Straits of Gibraltar seen at Transit IV: Roots in Transit theatre festival in 2004, Holstebro, Denmark. This article discusses the unforeseeable appeals, many of which include an appropriate sense of failure and shame, when thinking about the sea as artists and academics.

This is a birthday performance for a small invited number of audiences. A site-specific and time-specific response to current political situation (post-Brexit and post-Trump election) which is also concerned to engage with climate change, environmental damage and posthuman condition. Lena performed Nina's monologue from Chekhov's 'The Seagull' – Trepliov's play - with the help from her family and in front of the audience of adults, children and animals.

This paper will introduce and contextualise the art activist initiative the Institute for the Art and Practice of Dissent at Home, run from a council house in Liverpool, UK. The paper will discuss the invisible maternal labour and underpaid au pair labour in relation to the projects, which took place through the Institute: Sid Jonah Anderson by Lena Simic (MAP Live, Carlisle 2008), Au Pair Artist Wants to be part of the Liverpool EU Capital of Culture 2008 with Great British Family (Cvjeticanin, 2008) and The Hazardous Family (Hazard Festival, Manchester, 2008). Particular focus will be paid to Polygon artist Branka Cvjeticanin and her artist residency that took place at the Institute in Liverpool and lasted 14 days in July 2008. These arts projects will be contextualised with the historical, materialist, feminist art from the late 1960s and 1970, and more contemporarily, within cultural contexts that the Institute defines as anti-capitalist and/or feminist, both of which are particularly adept at outlining formulations of cultural agency through the rubric of the personal as political. The three arts projects aim to offer a playful as well as affective social critique on the invisibility of maternal labour, whilst bearing in mind and referencing different histories, memories, economies and geopolitical locations, past and present. Finally, the paper ends by opening up an argument for affective 'creative exchange' (Iris Marion Young), which can take place through multiple subjective encounters, shared between artists, parents, children, feminist histories, theories and labour.

This contribution discusses the issue of belonging in relation to the creation of artists' communities, networks and generations. Written from a particular position of a woman artist/scholar engaged in both professional performance practice and practice as research academic culture, this contribution is a working through of a momentary politics of belonging to a generation. It posits the interview with Helen Varley Jamieson, the webqueen of the Magdalena Project, as a premise through which such questions of belonging are posed. Through this contribution I am concerned to address the particularities of multiple belongings, which are open, temporary and generative rather than exclusive.

"Mothering Performance is a combination of scholarly essays and creative responses which focus on maternal performance and its applications from a variety of interdisciplinary perspectives. This collection extends the concept and action of 'performance' and connects it to the idea of 'mothering' as activity. Mothering, as a form of doing, is a site of never-ending political and personal production; it is situated in a specific place, and it is undertaken by specific bodies, marked by experience and context. The authors explore the potential of a maternal sensibility to move us towards maternal action that is explicitly political, ethical, and in relation to our others. Presented in three sections, Exchange, Practice, and Solidarity, the book includes international contributions from scholars and artists covering topics including ecology, migration, race, class, history, incarceration, mental health, domestic violence, intergenerational exchange, childcare, and peacebuilding. The collection gathers diverse maternal performance practices and methodologies which address aesthetics, dramaturgy, activism, pregnancy, everyday mothering, and menopause. The book is a great read for artists, maternal health and care professionals, and scholars. Researchers with an interest in feminist performance and motherhood, within the disciplines of performance studies, maternal studies, and women's studies, and all those who wish to gain a deeper understanding of maternal experience, will find much of interest"--

'On the Maternal' gathers new insights from maternal thinkers, researchers and artists. This issue addresses maternal aesthetics, ethics, politics, labour and care, as well as questions of national identity, queer mothering, reproductive rights, maternal activism, co-operation within the maternal, questions of national identity, colonialism and gender identity. Transnational in scope, with contributions covering work from Australia, Canada, China, Ireland, France, Germany, Puerto Rico, UK, USA, Russia and the former Yugoslav Republic this issue charts the multifaceted work of maternal performance as well as corresponding theoretical approaches across the fields of philosophy, psychoanalysis, maternal studies, feminist and political theory. 'On the Maternal' offers a space for a different kind of (m)other relations where we reflect and enact our relationality with others. The issue opens up new ways of thinking, seeing and feeling the maternal in and through performance practices, exploring alliances between the maternal and (feminist) performance.

This special forum for Studies in the Maternal asks fourteen activistmother-artists, or "mamactivists", to respond to the following questions: (1) When and why did you start making activist/political work on the maternal? (2) What reception/reaction did you receive for the work? (3) What is the latest activist/political work you have made on the maternal? (4) What shifts do you see from this first work to this last work? and (5) Why is the maternal, in your opinion, important to activist, engaged, political art today? Responses highlight a range of geographic and cultural perspectives, as well as artistic strategies. One commonality between them is that they take the maternal not as a biological facticity, but a rich feminist site of political intervention.