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- Hettinga, Lieke > kunstenaar
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- feminisme, gender, patriarchaat, patriarchy, acties, actions, equal treatment, gelijke behandeling, seksisme, sexism, queer, arts, kunsten
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- Description provided by the artist: .The short video ‘103 shots’ by artist Heather Cassils is a project that responds to the massacre at the Pulse nightclub in Orlando. It was filmed at the San Fransisco Pride, and features couples and friends hugging and embracing as a balloon between their bodies pops. The eerie sound of popping balloons allude to the shots fired in the Pulse nightclub. 103: for every life lost and person wounded.. .In their self-created safe space, queer people - mostly people of colour - were brutally attacked. The presumption of their safe space made many people are the party mistake the sounds of the gunshots for the beat of the music. The video and the accompanying description highlight the importance of bars and nightlife to queer culture. To me, the embrace around the popping balloon is a sharp image of how facility and intimacy are always wound up with each other, particularly for queer people. Cassils’ video simultaneously commemorates loss and celebrates queer existence, and it carries on a rich aesthetic and political tradition in queer activism.. .This artwork is part of the project Footnotes on Equality: http://footnotesonequality.eu/all/
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- Object/Object
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- Hettinga, Lieke > kunstenaar
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- slavernij, feminisme, discriminatie, gelijke behandeling, kunsten
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- Description provided by the artist: .Rana Hamadeh’s exhibition is part of a long-term project, also titled ‘Ten Murders of Josephine’. This exhibition was a spatial realization of an opera piece that was also performed in December. The space functions as the factory or assembly line for that opera, lasting 45 minutes. The visitor walks through this sonic landscape, shifting through the different movements of the opera. Among various references in the exhibition, there is a central presence for the court case of the Zong massacre, where the slave holders threw the enslaved off the ship the hope to receive insurance money over their ‘cargo’. Hamadeh takes this court case, where only the voices of the slave holders .could be heard, as an entry point into the problem of testimony and absent speech. ‘Ten Murders of Josephine’ is an inquiry into how violence can be attended to when confronted with absence, using voice and sound as instruments in creating space for these reflections.. .This exhibition inspired me in two ways, one is more related to sound and design, the other more conceptual. What I loved about this exhibition was the sonic immersion. I’ve never seen an exhibition that was so holistic, where you experienced the entirety of it instead of individual pieces. There weren’t even any description tags, you had to surrender to the entirety of the space. The rooms had a fantastic sound system that made you feel every vibration, and small red bulbs indicated in which room the sound was present at the moment, allowing you to enter the stages of the opera timeline. The .sound guided you, and gave you a physical as well as temporal framework for being in the space. Then I think it is so interesting how Hamadeh tries to deal with a history that is marked by absence. How do you account for stories, voices, sounds that have been .suppressed? Without recuperating this absence into some sort of presence, but to gesture to the absence so that we understand it as absent? A really cool example .of the 'otherwise'.. .This artwork is part of the project Footnotes on Equality: http://footnotesonequality.eu/all/
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