How to Be an Artist Like Me in 312 Pages by jaqueline lisboa silva

HOW TO BE

LIKE ME

AN ARTIST IN 312 PAGES

JAQ

LISBOA

Don‘t let the grammatical mistakes distract you, you can do it! Editorial When I started doing this Magazine for my diplom on Art, I had just arrived back from Mexico, I was living there for 6 months. I came back to Germany, where I live now since almost 15 years. I took almost one month to readpat myself in this country again. I went away because I was not able to be here for so longe anymore, I have got very depressed. I was very happy in Mexico, I could see me in the way I like to, my me in Germany is not my favorite one. After crying many nights and days, I finally found myself with this idea to make a Magazine about being me as an artist. I guess I worked for two weeks very happy and having new ideas each moment. I started to design it, until the day that everything would change. At this time the change was not on my control. My husband arrived that night at home and told me „should we also get afraid?“ and showed me the news about Italy. At that night I saw the picture of the nurse that felt asleep at her work table from so much work, because of COVID-19. Since that day I didn´t stop to read and listen about the corona-virus. Everyday things started to change so quickly, everything was canceled, people started to buy things in supermarkt, I started to call my sister almost everyday. In the beginning we had a lot of fun, she has a baby and we had many fantasies about how would we talk about our past to him, if he would grow up in a society totally different from the one where we have lived. And when I fought that we would get used to this new situation, it just restarted again somewhere else. My parents are in Brazil, where I was borned and where I lived 22 years. I started telling them how they should act in the next days and I tryed to explain that things would get worse, that was very abstract for them, but they followed some instructions, as they could. The day we saw the military trucks in Italy, we have got very nervous. I took many days to cry about all that situation and that just happened because of a call from my father, where he was totally nervous asking about

some family advices. At that night I talked very seriourly to him, he was still believing that maybe in Brazil would be different. After that call, I cried for the first time in this crisis. I was desperate, countries like Brazil are not prepared for pandemias like this. I fellt lost. I felt I could not help anyone. I missed home. I wanted to disapear. I started to wacht everyday the news from Brazil, I wrote with my sisters everyday. I was posting on Facebook all day long telling people in Brazil to stay home if they could. I stoped. I stoped doing this Magazine, it took almost two weeks again for me to sit here, write this editorial and restart. I don´t have the same energy anymore. It took so much time to get energy again and again and again. It has being so difficult to find logical on this work. My dream was to study art. I had to fight against racism, patriarchy, foreign office, and the next step is this virus. Maybe I really should never had started with this dream? My father adviced me once: as a daughter from a black men I should not do arts, because I would never be able to live from that. My mother never saw her mom, she died when she was a baby. She is the most beautiful person I have ever met in this planet and I don´t know how can she do that, to deal with the death in the way she does. I am glad that my grandma and grandpa are not here anymore, they have lived so much, but I am so thankful that this part of the history is not part of their anymore. In Mexico I have learned a lot about the death. I came to Germany because I wanted to be free, to do my way. But everyday I ask myself how long it is going to take until I can go away from here. I really don´t know how it could happens that so many good things happened to me, but I am still sitting here fighting a depression, afraid about the future, about being an artist, but I can not imagine me being different. When I gave up the medicine school I never thought that this moment would come. Now I am here, I am an artist and not a doctor.

To be an artist like me... ...you will ask what KUNST means ...you will have dreams ...you will draw ...you will use colors ...you will talk to yourself ...you will feel nostalgic ...you will have a trauma ...you will be angry ...you will be sensationalist ...you will be censured ...you will make protest ...you will need drama ...you will not care about what they think ...get married! ...love! ...be a moviestar! ...make a happening! ...destroy monuments! ...your family will help you ...you will have unfinished projects ...you will hate colonialism ...you will need money ...you will need to sell ...you will have to promote yourself ...you will go back to South America ...you will remember Africa ...you will have to leave Europe ...listen to indigenous people! ...read from black authors! ...cry! ...look at animals! ...be with friends! ...take care of each other! ...work in community! ...be your own curator! ...cook! ...destroy borders! ...listen to music! ...read! ...remember your family! ...and donÂ´t forget to be yourself.

Bitte sich nicht irritieren lassen:

gramatikalischen Fehlern vorhanden... https://www.youtube.com/watch?v=-HMMTchmqtU&list=PLK6dnDuR0UrrtLOQSF2v1_qQeeM_I8Pef

Bilder sind zentral für die rassistische Imagination. Erst durch visuelle Repräsentation wird es möglich, das Konstrukt—> ‚Rasse‘ in unsere physische Realität zu projizieren, es dort zu sehen und wieder zu erkennen. Wie auch Wissenschaftler_innen, haben Künstler_innen durch das Erschaffen von Bildern zur Entwicklung, Etablierung und damit zur Kanonisierung westlicher Weltvorstellungen und Ideengeschichten beigetragen und so kolonialrassistische Strukturen aufrecht erhalten und gestärkt. Von —> weißen Europäer_innen während und nach der Zeit des —> Kolonialismus kreierte künstlerische Produktionen dienten — ähnlich wie andere Formen dominanter weißer Erzählungen — nicht zuletzt der Legitimierung der globalen Ausbeutung von —> People of Color. In Gemälden, Zeichnungen, und später fotografischen und filmischen Arbeiten wurde rassistisches Wissen erfunden, gelehrt, gelernt und fundiert, wurde der imaginierten Andersartigkeit von Menschen of Color Leben eingehaucht, wurden weiße Herrschaftsdiskurse unterfüttert. Auch heute noch leben diese gewaltvolle Projektionen in weißen Vorstellungen des ‚Anderen‘ fort. Sie manifestieren sich in visuellen Medien, wie Film und Fernsehen, der Werbung, aber eben auch in der bildenden Kunst, und schreiben sich in den inzwischen durch Transkulturalität geprägten deutschen Alltag ein. Vorstellungen materialisieren sich zu Kunstobjekten. Kunstobjekte kreieren und reflektieren Diskurse. Diskurse bestimmen Handlungen, die schließlich reale Konsequenzen für Menschen of Color und weißen Menschen haben. Durch die visuelldiskursive Rassifizierung der vermeintlich Anderen in Kunstwerken wird> Weißsein zur unsichtbaren Norm erhoben, Menschen of Color hingegen werden zu Stereotypen stilisiert. Dabei spielt das Unsichtbar-Machen künstlerischer Produktionen und anderer visueller Gegenerzählung von Menschen of Color-und damit der in ihnen enthaltenen Perspektiven-eine wichtige Rolle, da nur so die Vorherrschaft weißer Repräsentationen und Diskurse aufrecht erhalten werden kann. Es ist daher nicht erstaunlich, dass Menschen of Color auch innerhalb des weiß dominierten Kunstbetriebes erhebliche Diskriminierungs- und Ausgrenzungserfahrungen machen. Der exotisierende Blick der Entscheidungsträger_innen grenzt sie aus der Idee des Zeitgenössischen aus, indem er sie an einen imaginierten Ort der Urtümlichkeit und ständigen Rückschrittlichkeit verweist. Sie sehen sich mit einer restriktiven Bildpolitik konfrontiert, die ihnen gleichermaßen vorwirft, ‘zu anders und gleichzeitig ‚nicht anders genug’ zu sein.

Sandrine Micossé-Aikins schreibt in dem Buch Wie Rassismus aus Wörtern spricht auf Seite 420.

KUNST

Kitchen-action

Espuma de sabĂŁo

First "Traum“ then "Trauma“(?) Traum [traʊm] m <-(e)s; Träume> sonho m; das fällt mir nicht im ~ ein! nem por sombras penso em ..., bras nem em sonho penso em ...; ~a n <-s; -en a -ta> trauma m; ~bild n <-(e)s; -er > visão f ; ~deutung f interpretação f dos sonhos 1 Sonho [’soɲʊ] m dream; ter um sonho bom, to have a goo dream; thoughts and pictures in the mind that come mostly during sleep; a state of being completely occupied by one‘s own thoughts; something perfect or very beautiful; an ambition or hope; an idea which can only be imagined, and which would be impossible to carry out 2 Trau.ma das; -s, -ta; geschr; ein schwerer seelischer Schock, der lange nachwirkt | hierzu traum.matisch adj. 3

1 2 3

Langscheidt, Taschenwörterbuch Portugiesisch Cambridge Dictionary Online, Português-Inglês Langscheidt, Größwörterbuch Deuscth als Fremdsprache

Dream, by my father:

Sonho, por meu pai:

1. to see other places of the world, for that he wanted to join the navy, even if he knew that it was not the right motivation.

1. conhecer o mundo todo, entrando para marinha e assim viajar para vários países, mesmo que aquela não fosse a motivação correta.

2. to be an airplane pilot, a profession that could give him status.

2. ser piloto de avião, coisa muito valorizada naquela época, se dava muito destaque para essa profissão.

3. to have money, to get out of the poverty, he did not want to be rich, but he also did not want to work at the bank where he became an enployee, he just wanted to come out of his finacial precarity.

3. ter dinheiro para sair do aperto, não era seu sonho ser rico, mas também não era trabalhar no Banco do Brasil, onde acabou sendo funcionário, era só uma forma de sair da precariedade financeira.

The dream was to have status and financial stability.

O sonho era ter uma posição de destaque e ter estabilidade financeira.

He believes that the dream will depends a lot from the social condition of the person and from the enviroment where this person lives. If the person is poor, they will dream about things related to money, because that is what the person needs, who does not have financial difficulties will have other kinds of dreams, maybe they will wish more status in the society, because this person has acess to other informations, maybe they want to be musician, to be an authotity, to have power. He emphasized that it will depend on the social status. the poor will not imagine what they do not know, for example, nowadays there are many people who wants to be a doctor, he justifies this wish with the appearence of this profession in the media.

Ele acredita que o sonho vai depender muito da condição social da pessoa e do meio em que se vive. Se a pessoa é pobre será sempre o sonho dela obter algo relacionado ao dinheiro, pois é a maior carência daquela pessoa, quem nao tem “aperto“ terá outro tipo de sonho, quem sabe uma realização que proporcione destaque ou status na sociedade, essa pessoa já tem acesso a outras informações, quem sabe queira ser um músico, uma autoridade, ter poder. Enfatizou que depende da classe social. A pessoa mais pobre nao vai imaginar o que ele nao conhece, por exemplo hoje em dia tem muitos que querem ser médicos, mas acredita que é por causa da mídia.

As an old man he believes to not have dreams for the future, there is no time to accomplish new dreams, time is over. The better thing to do is to keep what he has got unti now.

Como velho acredita não ter mais sonhos para o futuro, pois acredita nao ter mais tempo pra realizar-los, o tempo ja passou, se exauriu. O melhor agora é tentar manter o que se conseguiu.

When I told him the title of this interview “first dream then trauma?“ he reflected and said to believe that fisrt comes the trauma and after the dream, for him the trauma will drive the dream. Fisrt the person will suffer and afterward they will imagine what could take they out of the traumatic situation, from this will a dream born. As I wrote the title, the not realized dream would create frustration, the trauma.

Quando mencionei o título dessa entrevista “primeiro sonho então trauma?“ pensou e disse que acha que primeiro vem o trauma, depois o sonho, pois para ele, o trauma é que vai impulsionar o sonho. Primeiro a pessoa sofre e em seguida imagina o que pode tirar ela daquela situação traumática, então se origina o sonho. Na ordem que escrevi seria então o sonho não realizado a frustração que por fim geraria o trauma.

He believes that rich people who help poor people have maybe the dream to make soemthing good. He asked himself if in Europe, where he believes that people have all they need, people dream? He also asked if the emptness kills people or if the same emptness make people help?

Ele acredita que os ricos que ajudam os pobres talvez tenham o sonho de querer fazer algo pelas pessoas carentes. Se perguntou se na Europa onde ele acredita que todos já tenham tudo, se sonha? Se perguntou se o vazio que acaba matando as pessoas ou se isso as impulsiona a ajudar outras pessoas?

For him the dream comes either from necessity, or from vanity, or from status desire, or from power will, or from the wish of financial stability.

Para ele o sonho vem ou da necessidade, ou da vaidade, ou do desejo por status, ou da vontade de obter poder. ter estabilidade financeira.

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356,00 €

Interview...to myself...

Wann hast du das erstmal gedacht Künstlerin zu werden? Ich weisse auch noch, dass eine Lehrerin an der Schule viel für uns gezeichntet hat, es waren Bilder von Frauen mit Kleider, wie Modezeichnungen, ich bewunderte sie sehr. Ich kam nach Hause und wollte nachmachen, aber es gelang mir nicht die zarte Linien zu zeichnen wie sie, aber ich dachte ich würde irgendwann es schaffen, ich habe duzenten Bilder von Mädels mit grosse Köpfe gemacht, die meine Mutter immer schön fand. Ich war von zeichnen so fasziniert, dass mein Vater irgendwann mich in eine Zeichnungskurse inmatrikuliert hat. Dort war der Kurs unterricht sehr konservativ, was ich damals noch nicht wüsste, ich habe erstmal Landschaft gezeichnet, dann Objekte, Gesichter und Körper. Mir gefiel alles perfekt nachzuzeichnen. Ich dachte dann später, als ich angefangen habe über Beruf nachzudenken, dass ich davon leben könnte. Ich sah Dysney movies und ich hat tatsächlich geglaubt, dass ich sowas machen könnte. Ich träumt davon, für immer zu Zeichnen, ich dachte ich wollte was arbeiten wo ich auch spaß haben könnte. Vielleicht die Erfahrung die ich zu Hause gemacht hat, zu sehen wie unglücklich mein Vater mit seiner Beruf war, hat dazu beigetragen, mich daran zu konzentrieren, dass ich alles tun würde um nicht zu leiden wie er. Meine Mutter und er haben viel gearbeiten um uns (drei Schwestern) alles zu geben, was sie nicht hatten.

Kannst du mehr über den Projekt für Kunst am Bau erzählen? Gern. Es war eine Ausschreibung für Studierende der HBK Braunschweig. Ich habe mich beoworben. 25

Wann hast du das erstmal gedacht Künstlerin zu werden? Ich zeichne immer noch aber nicht wie ich damals dachte, dass ich es machen würde. Meine Zeichnungen heute sind eher Skizze für Projekte. Ich habe auch irgednwann viel gemalt, aber dann als ich nach Deutschland umgezogen bin, habe ich aufgehört. An Anfang habe ich noch probiert, aber es ergab kein Sinn. Ich füllte mich anders, und ich fühlte die Erwartung der Menschen projeziert auf mich. Weniger und weniger habe ich mich getraut, bis dass ich das vertrauen an mich komplett verloren habe, all diese exotisierende Blick auf was ich tat und auf meine Aussehen hat mich gestört und zerstört. Damals wüsste ich nicht was das bedeuted und auch nicht , dass ein Name dafür gibt: Exotisieren. Die Farbe die ich benuzte habe, würde immer azossiert mit meiner Herkunft, meine weisse Kommilitonen haben auch gemalt aber als sie Farbe nutzen war immer anders. Wenn ihr es nicht versteht was ich meine, empfehle ich euch sich besser zu informieren und mich nicht damit weiter zu belasten.

Und Zeichnst du immer noch? Ich war von zeichnen so fasziniert, dass mein Vater irgendwann mich in eine Zeichnungskurse inmatrikuliert hat. Erstmal habe ich Landschaft, dann Objekte, Gesichter und Körper gezeichnet. Mir gefiel alles perfekt nachzuzeichnen. Ich dachte dann später, als ich angefangen habe über Beruf nachzudenken, dass ich davon leben könnte. Ich habe tatsächlich geglaubt, dass ich sowas machen könnte. Ich träumt davon, für immer zu Zeichnen, ich dachte ich wollte was arbeiten wo ich auch spaß haben könnte. Aber mir würde erzählt ich sollte das Zeichnen als Hobby weiter treiben. Ich wollte nicht akzeptieren und die Erinnerung zu sehen wie unglücklich mein Vater mit seiner Beruf war, hat dazu beigetragen, mich daran zu konzentrieren, dass ich alles tun würde um nicht zu leiden wie er. Wir waren nicht reich, ich hatte viel Glück, dass meine Eltern sehr sparsam waren, damit war möglich uns private Schule zu finanzieren und englisch Unterrichte, sie haben uns mehr gegeben als sie selber hatten, nur damit wir etwas mehr Chance haben könnten später.

Wie bist du dazu gekommen Künstlerin zu werden? Ich weisse auch noch, dass an der Schule viel für uns gezeichntet würde, es waren Bilder von Frauen. Ich sah viele Dysney movies und ich hat tatsächlich geglaubt, dass ich für sie arbeiten würde. Ich träumt davon, für immer zu Zeichnen, ich dachte ich wollte was arbeiten wo ich auch spaß haben könnte. Vielleicht die Erfahrung die ich zu Hause gemacht hat, zu sehen wie unglucklich mein Vater mit seiner Beruf war, hat dazu beigetragen, mich daran zu konzentrieren, dass ich alles tun würde um nicht zu leiden wie er. Meine Mutter und er haben viel gearbeiten um uns (drei Schwestern)alles zu geben, was sie nicht hatten. Ich glaube wir werden nicht Künstlerin, wir sind Künstlerin und dann müsste ich mich entscheiden, das durchzuziehen, weil ich mir nichts anders vorstellen könnte. Ich wollte was machen, was für mich ein Sinn ergibt und das habe ich in der Kunst entdeckt. Aber ich dürfte nicht Künstlerin sein, weil ich die Tochter eines schwarzes Mannes war, wir dürften nicht träumen und bis heute dürfen viele nicht machen was sie mögen oder können. 27

Kannst du mehr über den Projekt für Kunst am Bau erzählen? Klar. Ich weisse immer noch, dass auf dem Weg, um das Bild zu bauen, würde ich oft von neo-nazis „gegrüßt“. Ist sowas euch schon passiert? In der nähe ist einen Raum wo solche Menschen sich treffen. Sie sind dort in der nähe ziemlich unterwegs. Die Farbe die ich benuzte habe, würden immer azossiert mit meiner Herkunft, meine weisse Kommilitonen beschäftigen sich auch mit Farbe ab und zu, aber mit solche Fragen sind sie nicht konfrotiert und mit dem Hitlergrüß bestimmt auch nicht wie ich. Könntet ihr euch mal vorstellen was das bedeutet? Diese Arbeit war der letzte mit Farbe. Wenn ihr es nicht versteht was ich meine, es gibt viele Expert_innen die Bücher darüber geschrieben haben, die Videos hochgeladen haben, die Workshops anbieten, wäre mal gut in eine sogennante Internationale Künsthoschule sich mehr damit zu beschäftigen, ich kann nur raten, wie ihr mir Bücher über Philosophie immer wieder empfehlen um eure Kunst zu verstehen. An Ende dieses Buch habe ich sogar eine Liste aufgestellt von Empfehlungen.

Und Zeichnst du noch? Ich zeichne immer noch aber nicht wie ich damals dachte, dass ich es machen würde. Meine Zeichnungen heute sind eher Skizze für Projekte. Ich habe auch irgednwann viel gemalt, aber dann als ich nach Deutschland umgezogen bin, habe ich aufgehört. Mein Vater sagte, dass schwarze Menschen kein Künst machen könnten. An Anfang habe ich noch probiert, aber es ergab kein Sinn. Ich hatte so viel gemalt, dass meine Vater einmal ohne, dass ich fragte mit noch mehr Farbe gekauft hat, es war genau an der Zeitpunkt wo ich es damit nicht mehr zu tun haben wollte. Die Farbe habe ich ewig geschlept bis, dass ich in Kunsthochschule Braunschweig kam und damit ein Projekt angefangen habe, womit ich lustigerweise mein erste Preis gewonnen habe. Es war Kunst am Bau. Die Fähigkeit mich Intuitiv zu bewegen hat sich langsam verschoben, aber ich hole meine Freiheit gerade zurück, es kann nicht sein, dass immer nur die markierte Körper sich bewusst politisch engagieren sollen, wir wollen auch frei sein um zu malen was in uns abgeht. Hier wiederhole ich das Mantra: Wenn ihr es nicht versteht was ich meine, empfehle ich euch sich besser zu informieren und mich nicht damit weiter zu belasten.

Kannst du mehr über den Projekt für Kunst am Bau erzählen? Ich zeichne immer noch aber nicht wie ich damals dachte, dass ich es machen würde. Meine Zeichnungen heute sind eher Skizze für Projekte. Ich habe auch irgednwann viel gemalt, aber dann als ich nach Deutschland umgezogen bin, habe ich aufgehört. An Anfang habe ich noch probiert, aber es ergab kein Sinn. Ich hatte so viel gemalt, dass meine Vater einmal ohne, dass ich fragte mit noch mehr Farbe gekauft hat, es war genau an der Zeitpunkt wo ich es damit nicht mehr zu tun haben wollte. Ich musste viel weinen während ich dieser Arbeit gemacht habe, ich wusste nicht, dass ich damit Geld verdienen würde. Die Farbe habe ich ewig geschlept bis, dass ich in Kunsthochschule Braunschweig kam und damit ein Projekt angefangen habe, womit ich lustigerweise mein erste Preis gewonnen habe. Es war Kunst am Bau.

Und Zeichnst du noch? Ich zeichne immer noch aber nicht wie ich damals dachte, dass ich es machen würde. Meine Zeichnungen heute sind eher Skizze für Projekte. Ich habe auch irgednwann viel gemalt, aber dann als ich nach Deutschland umgezogen bin, habe ich aufgehört. An Anfang habe ich noch probiert, aber es ergab kein Sinn. Ich hatte so viel gemalt, dass meine Vater einmal ohne, dass ich fragte mit noch mehr Farbe gekauft hat, es war genau an der Zeitpunkt wo ich es damit nicht mehr zu tun haben wollte. Als ich Medizin abgebrochen habe um Architektur zu studieren, war ein Skandal zu Hause für meinen Vater. Ich wollte auch nicht Architektur studieren, ich hatte mich einfach nicht getraut dann Kunst anzufangen, das wäre zu viel für ihm. Die Farbe habe ich ewig geschlept bis, dass ich in Kunsthochschule Braunschweig kam und damit ein Projekt angefangen habe, womit ich lustigerweise mein erste Preis gewonnen habe. Es war Kunst am Bau.

Und Zeichnst du noch? Ich zeichne sehr wenig heute, viel weniger als ich damals dachte, dass ich es machen würde. Meine Zeichnungen heute sind immer noch Skizze für Projekte. Ich habe auch irgednwann viel gemalt, aber dann als ich nach Deutschland geflogen bin, habe ich aufgehört. An Anfang habe ich noch probiert, aber es ergab kein Sinn. Die die sich bewegen ohne viele Gedanken zu machen wie die Anderen geht interessieren mich sewhr wenig. Die Farbe, die Forme, die Linie. Ich verstehe nicht wie können Menschen durch die Welt gehen und nicht in der Lage sein sich selbst zu reflektieren.

Kannst du mehr über den Projekt für Kunst am Bau erzählen? Ich empfehle euch besser damit zu informieren und mich damit nicht weiter zu belasten.

"Die Behauptung, daß Farbe eng mit den Schicksal der westlichen Kultur verbunden sei, klingt etwas seltsam und nicht gerade überzeugend. Aber genau das möchte ich zeigen:

daß Farbe in der westlichen Kultur mit massiven Vorurteilen belegt ist.“ Seite 20, Chromophobie, Angst vor der Farbe, David Batchelor.

Raiva Anger

â&#x20AC;&#x17E;Women respond to racism. My response to racism is anger. I have lived with that anger, ignoring it, feeding upon it, learning to use it before it laid my visions to waste, for most of my life. Once I did it in silence, afraid of the weight. My fear of anger taught me nothing. Your fear of that anger will teach you nothing, also.â&#x20AC;&#x153; Audre Lorde 39

I despise you. I despise you. And thereby is so bad to despise someone. You force me, to despise you like this. Only at this way you can feel a little bit, how my eternal pain is. The pain, that is not only my. The pain, that many „Others“ also have, and they despise you too. They despise you, Even if it hurts them, to despise you like this. They screem since always for attention, but you don´t want to listen, then they despise you too. Only at this way, you can see them. Only at this way, you can see me. By despising you.

Oft träume ich davon, dass ich wieder bei Oma`s Haus bin, wo ich einen großen Teil meiner Kinderheit zusammen mit meiner Cousine und Schwester verbracht habe, . Dort spielten wir oft zusammen, als unserer junge Eltern arbeiten müssten. Sie lebt nicht mehr. Das Haus habe ich seit lang nicht mehr besucht, dort wohnt jetzt mein Onkel. Die Träume die ich dort habe sind oft düster. Sie fangen immer an mit ein Gefuhl der trauer, wo ich empfinde, dass etwas nicht stimmt, oder dass bald was passieren wird, manchmal ist sie dabei, manchmal nicht. Der runde Tisch die vergrössert werden könnte ist immer dort wo sie immer war, an den Speisenraum, dort haben wir viel gegessen mit der ganze Familie, Sonntags oder Feiertage. In Wohnzimmer sind immer noch die zwei Sessel und den Sofa. Ab und zu träume ich von ihre Schafzimmer auch und andere Räume dieses Hauses. Dort haben wir viel gespielt. Dort habe ich auch meine Fobie entdeckte. Eine bestimmte Puppe konnte ich nicht sehen und anfassen. Als Plastik war sie, klein, „Hautfarbe“ von weissen Menschen, schrecklich. Seitdem ich in Deutschland lebe, habe ich dieses Objekt nie wieder gesehen, aber als ob mein Körper nicht zufrieden wäre, hat mein Gehirn die Fobie auf alle andere Puppen übertragen, die die selbe Farbe und Material haben.

“The term trauma is originally derived from the Greek word for ʽwoundʼ or ʽinjuryʼ. The concept of trauma refers to any damage where the skin is broken as a consequence of external violence. Analytically trauma is characterized by a violent event in the subjectʼs life “defined by its intesity, by the subjectʼs inability to respond adequately to it, and by the upheavel and long-lasting effects that it brings about the psychical organisation” (Laplanche & POntails 1988:465). Slavery, colonialism and everyday racism necessarily contain the trauma of an intense and violent life event, an event for which the subject is unable to respond adequately because, as Claire Pajaczkowska and Lola Young argue, “the reality of its dehumanization of Black people is one for which there are no adequate words to symbolize it” (1992: 200). Moreover, within the combination of white narcissism and negation, the ability to find symbolic equivalents to represent and discharge such a violent reality becomes rather difficult. Sigmunf Freud uses the difficulty to discharging violence as the primary measure for understanding trauma. In Beyond the Principle of Pleasure (1923), he speaks of a barrier, a protective shield or layer, that allows only tolerable quantities of external excitation through. Should this barrier suffer any breach, trauma results. To label an event traumatic is to assert that totally unexpected violent experience happened to the subject without her/his willing it in any way or colluding in its occurrence. Slavery, colonialism and everyday racism contain the unexpectedness that leads to injurious effects: injurious because the psychical apparatus cannot “eliminate the excitations in accordance with the principle of constancy” (Laplanche & Pontalis 1988: 467). In economic terms, trauma is characterized by an influx of excitations that exceed the subjectʼs tolerance due to both their violence and unexpectedness; that is, the psychical apparatus is incapable of discharging such excitations because they are disproportionate in relation to the capacity of the psychological organization, wether in the case of a single violent event or an accumulation of violent events. Everyday racism is not a single event or an accumulation of violent events. Everyday racism is not a single violent event in oneʼs individual biography, as it is commonly believed - something that “might have happened onde or twice” - but rather an accumulation of violent events that at the same time reveal an historical pattern of racial abuse involving not only the horrors of racist violence, but also the collective memories of colonial trauma. Trauma, however, has rarely been discussed within the context of racism. This absence indicates how Western discourses, and the discipline of psychology and psychoanalysis in particular, have largely neglected the history of racial oppression and the psychological consequences suffered by the oppressed. Traditional psychoanalysts have failed to acknowledge the influence of social and historical forces on the formation of trauma (Bouson 2000, Fanon 1967). Yet, the painful effects of trauma show that African and African Diasporic people have been forced to deal not only with individual and family trauma within dominant white culture, but also with the collective historical trauma of slavery and colonialism restaged in everyday racism, where we again become the subordinate and exotic ʽOtherʼ of whiteness.” Grada Kilomba in Plantation Memories, Episodes of Everyday Racism. Chapter 14: Decolonizing the self. / 4th Edition. Unrast. 2016 Page 140.

TRAUM(A)

At this moment I don´t have the bad feelings anymore. It is very strange. When they go away I just think that it was a „Übertreibung“. Que não era necessário todo aquele teatro. Mas no momento realmente é difícil de ver as coisas de outra forma, it is eine Angriffe an den ganzen Körper. It takes time to go away por completo. This time took two days. Saturday and Sunday. Is that so schlimm? Doch das ist. I can not pretend that is not. 50

SENSACIONALISMO

MSILANOITASNES A CHAVE DO FO YEK EHT

SUCESSO!!! !!!SSECCUS

Translation from text on poster: "The Wolfsburg City examines if this poster may hang...â&#x20AC;&#x153;

N E

U S

A R

You will need: Scandal

You will have to: take a look into archives

Still der Film „Triumph des Willens“, bei Leni Riefenstahl, ein NSPropagandafilm über den sechsten Reichsparteitag der NSDAP 1934 in Nürnberg. Der inszenierte Dokumentarfilm enthält Bildmaterial vom Parteitag 1934 mit seinen Paraden und Aufzügen sowie zahlreiche Auszüge aus Reden verschiedener NS-Funktionäre während des Parteitags, unter anderem von Adolf Hitler.

„Alles für Deutschland“

Because you will never: believe in Coincidences

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“It is not that we have not been speaking, but rather our voices - through a system of racism - have been either systematically disqualified as invalid knowledge; or else represented by whites who, ironically, become the ʽexpertsʼ on ourselves. Either way, we are caught in a violent colonial order. In this sense, academia is neither a neutral space nor simply a space of knowledge and wisdom, of science and scholarship, but also a space of v-i-o-l-e-n-c-e. As a scholar, for instance, I am commonly told that my work on everyday racism is very interesting, but not really scientific, a remark that illustrates the colonial order in which Black scholars reside: “You have a very subjective perspektive;” “ very emotional;” “very specific;” “Are these objective facts? ”. Such comments function like a mask, that silences our voices as soon as we speak. They allow the white subject to place our discourses back at the margins, as deviating knowledge, while their discourses remain at the centre, as the norm. When they speak is scientific, when we speak it is unscientific: universal / specific; objective / subjective; neutral / personal; rational / emotional; impartial / partial; they have facts, we have opinions; they make knowledge, we have experiences.” Grada Kilomba in Plantation Memories, Episodes of Everyday Racism. Chapter 2: Who can speak? / 4th Edition. Unrast. 2016. Page 26.

06 june 2018 to me: Dear Jaqueline, I was thinking yesterday that maybe you could have avoided the bureaucratic obstacles, that are just part of every project in public space, by stating: „Right now I am examining, whether this poster…“ instead of „The Wolfsburg City examines…“ This would have pulled the focus more towards you as an artist and your art project and away from the city’s responsability. I hope you see that you can reach good problem solutions via dialogue and less through confrontation, although there’s no guarantee for that… (-; Best, M. Städtische Galerie Wolfsburg

â&#x20AC;&#x153;Universities worldwide are witnessing student movements that demand the decolonization of the university, of its curricula, courses, methodological frames, history, bibliographical references, professors, and administration. The restructuring of the curricula of the university is vital, but not only for the sake of inclusion. Demolishing Eurocentrism is central in order for the necessary shift of perspective to take place, which will allow for a different reality to appear with new questions and problems. Undoing colonialism within educational instituitions involves developing a shared awareness of the colonial basis of knowledge production, recognizing the role of the past in the present, and constructing a shared common sense for transformation. Taking a complex approach in the dealing with the impact of coloniality gives us the tools to bring about change within institutional spaces. Decolonial approaches are gaining more and more recognition within the academic world. Nevertheless, this must be done in conjuction with addresing institutions and the differential conditions that help determine the positions people occupy in society. Regardless of how many symposiuns there are on racism and decoloniality, if they are not transformed into demands to the institution, no real changes can occur.â&#x20AC;? Imayna Caceres, in the book Anti*colonial Fantasies, Decolonial Startegies. Editors: Imayna Caceres, Sunanda Mesquita, Sophie Utikal. Zaglossus. Page 12. The book is part of an exhibition project in the Academy of Fine Arts Vienna in 2016, initiated by BPoC artists, willing for changes in the Academy.

“I have understood that one can only leave when censored or intimidated, and it is only in that moment that the resignation would acquire a political meaning.” From Joanna Warsza´s text I can´t work like that on her experience during the Manifesta 10 in St. Ptersburg, in the inroduction of the book I can´t work like this - a reader on recent boycotts and contemporary art. SternbergPress. 2017. Page 11.

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BECOME A MOVIE STAR!

DRAMA! DRAMA! DRAMA! DRAMA!

GET MARRIED!

YOU DONÂ´T CARE ABOUT WHAT THEY THINK!

breath and donÂ´t forget

AMOR AMOR AMOR AMOR AMOR AMOR AMOR AMOR

101

103

105

107

109

111

...distinction between marriage por amor (for love) and mariiage por residencia (for visas). After all, why waste a marriage certificate on romantic love when it can be transformed into a visa to a new land and economic security? In the Book Integration Impossible? Tanja Ostejic, page 178. Text from Denise Brennan, â&#x20AC;&#x17E;Selling Sex for Visas: Sex Tourism as an Sleeping-stone to International Migrationâ&#x20AC;&#x153;,

113

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D E M O

“Until I am free to write bilingually and to switch codes without having always to translate, while I still have to speak English or Spanish when I would rather speak Spanglish, and as long as I have to accommodate the English speakers rather than having them accommodate me, my tongue will be illegitimate. I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent‘s tongue my woman‘s voice, my sexual voice, my poet‘s voice. I will overcome the tradition of silence.” Gloria Anzaldúa

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„Es miércoles 6 de agosto de 2019 y en los medios de comunicación se reproduce la noticia sobre la violación cometida por policías preventivos de la Ciudad de México a una joven de 17 años. Sin embargo, esto no paralizó ni escandalizó a toda la ciudadanía. Un día después, las que se organizan son ellas y con los hashtags #NoMeCuidanMeViolan y #LaPoliciaViola, mujeres y colectivos feministas convocaron a una movilización para exigir justicia ante la presunta violación cometida en la alcaldía Azcapotzalco y contra la violencia sexual hacia las mujeres. La protesta se realizará el próximo lunes, 12 de agosto, a las 12:00 pm, de las oficinas de la Secretaría de Seguridad Ciudadana al edificio conocido como ‘Búnker’, de la Procuraduría General de Justicia de la Ciudad de México. A través de redes sociales, ciudadanas señalaron su repudio ante los hechos y expresaron que al menos una vez en su vida han sentido miedo al estar cerca de aquellos que se supone están para cuidar de su seguridad. De acuerdo con el testimonio dela víctima, cuatro policías preventivos la violaron la madrugada del sábado 3 de agosto cuando regresaba de una fiesta a su casa en la colonia San Sebastián, alcaldía de Azcapotzalco. La joven declaró que alrededor de las 2:00 a.m. volvía de una fiesta y estaba sólo a dos calles de su casa cuando una patrulla se le emparejó y los elementos de la Secretaría de Seguridad Ciudadana (SSC-CDMX) la subieron a la fuerza a la patrulla, la sometieron y le quitaron la ropa. Luego cada uno de los agentes la violó. Tras el abuso sexual múltiple, la joven, acompañada por su madre, acudió al Ministerio Público a levantar las denuncias correspondientes, por lo que la PGJ abrió la carpeta de investigación CI-FDS/FDS-4/UI-FDS-4-01/00487/08-2019. Al respecto, Ernestina Godoy Ramos, titular de la PGJCDMX, informó que los cuatro agentes señalados como los presuntos violadores siguen sin ser imputados y se mantienen bajo resguardo de asuntos internos de la Secretaría de Seguridad Ciudadana a cargo de Jesús Horta. Apenas el pasado 12 de julio, dos policías en activo de la Secretaría de Seguridad Ciudadana (SSC) fueron detenidos como probables responsables de abusar sexualmente de una joven de 27 años en el hotel Pensilvania de la colonia Tabacalera, alcaldía Cuauhtémoc. Además de que las víctimas deben enfrentarse al trauma psicológico y físico, en nuestro país cuando una mujer se atreve a acudir al Ministerio Público a denunciar, se enfrenta a la revictimización por parte de algunos servidores públicos que no están sensibilizados ni capacitados en perspectiva de género para la debida atención. Asimismo, a la apatía y criminalización de una sociedad que ha normalizado la violencia contra las mujeres, quienes cuestionan primero la forma de vestir de las mujeres que las acciones de violadores, agresores o feminicidas. La Ciudad de México se convirtió en 2018 en el lugar más inseguro para las mujeres. De acuerdo con el Reporte Anual 2018 de Incidencia Delictiva en Ciudad de México, los casos de violaciones crecieron 124.2% con relación a 2017, mientras que el número de feminicidios aumentó un 8.6%.“ Paola Atziri Paz „Estudié Filosofía en la UNAM. Llegué al periodismo por la necesidad no sólo de entender los problemas políticos y sociales sino explicar e incidir en al menos un lector. Feminista, me gusta analizar y dar voz a las minorías. Especializada en DDHH, megaproyectos, derechos indígenas y de las mujeres.“ https://www.rompeviento.tv/nomecuidanmeviolan-mujeres-convocan-a-marcha-por-abuso-sexual-de-policias-en-cdmx/

#NoMeCuidanMeViolan #LaPoliciaViola #NiUnaMas #NiUnaMenos #VivasNosQueremos #SiMeMatan #YoTambien #SoyFeminista #YoSiTeCreo #MeCuidanMisAmigas #AbortoLegalYa #MarchaFeminista

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Feminismo, el movimiento que busca humanizar, no dividir Fuente: https://newsweekespanol.com/2019/09/feminismo-movimiento-busca-humanizar-no-dividir/ Publicado por: Mariana Blancas Gutiérrez / @by_marr

El feminismo no es una moda. La historia ha registrado las diferentes luchas de las mujeres en busca de sus derechos, a votar, a decidir sobre su cuerpo. Expertas en el tema nos ayudan a entenderlo: qué es, cuándo surge, qué busca como movimiento. EL PASADO 12 DE AGOSTO las mujeres protestaron contra la violencia ejercida por parte de elementos de seguridad hacia una menor de edad en Ciudad de México. Ese día la diamantina rosa tuvo su primera aparición. Cinco días después, una nueva concentración tuvo lugar en la Glorieta de los Insurgentes y otros estados del país, donde esa misma diamantina fue el símbolo que acompañó a la consigna “No nos cuidan, nos violan”. Así, nuevas generaciones de mujeres feministas hicieron que se escuchara su enojo y hartazgo contra unas autoridades y una sociedad que no las hace sentir seguras. Sin embargo, esta lucha de las mujeres por sus derechos no comenzó el pasado agosto. Las mujeres llevan siglos trabajando por conseguir la igualdad. No es la primera vez que el movimiento feminista toma las calles, lo que ha evolucionado son las causas, las representantes y los cambios que se buscan, dice a Newsweek México Isabel Fulda, coordinadora de investigación del Grupo de Información en Reproducción Elegida (GIRE). Amneris Chaparro, investigadora del Centro de Investigaciones y Estudios de Género (CIEG) de la UNAM, desempolva un poco más la historia y recalca que, al hablar de feminismo, “hablamos de tres siglos de pensamiento y acción”. Hablar de feminismo es remontarse al siglo XVIII, cuenta Amneris, cuando un grupo de mujeres cuestiona la Ilustración: “Un proyecto excluyente que afirma que el hombre ha llegado a la mayoría de edad y que es la época de la razón, libertad, justicia e igual-

dad, al tiempo que excluye a la mitad de la población humana”. También es pasar por el siglo XIX, cuando grupos organizados de mujeres tanto intelectuales como trabajadoras, conocidas como sufragistas, van a buscar reivindicaciones de tinte político porque la situación de las mujeres, de esta época, es muy precaria, explica la investigadora. “No hay derecho al divorcio, al voto, a la educación, a la herencia, etcétera. A este punto de la historia se le conocerá como la primera ola del feminismo”. (En 122

México no fue sino hasta el 3 de julio de 1955 cuando una mujer pudo emitir su voto). Desde esa época también comienza una lucha por cambiar el sistema económico de la mano de otro grupo feminista llamado marxista o socialista, “porque, aunque el sistema era opresor para hombres y mujeres, la opresión hacia las mujeres tiene un doble talante: es opresión como trabajadoras, pero también como mujeres”. (Actualmente se sigue luchando contra una brecha salarial por género). En el siglo XX el feminismo busca un cambio cultural, modificar la manera en que se entiende el cuerpo de la mujer en el imaginario social. Amneris explica que, a pesar de que se han obtenido algunos derechos, las mujeres siguen siendo tratadas como ciudadanas de segunda.

La investigadora del CIEG expone que, a este feminismo de los años 70, se le llama el feminismo de la segunda ola y busca cambios culturales profundos, cuestiona el orden de género y cómo se entiende el cuerpo de las mujeres en el imaginario social. Voltea al interior de las casas y comienza a cuestionar no solo el aparato político, sino también lo que ocurre en el interior de las familias. En el prólogo del libro 20 años por todas las mujeres, de GIRE, se retrata esta época. En México un grupo de mujeres se manifestó frente al Monumento a la Madre, el 9 de mayo de 1971, contra la mistificación de la maternidad y la invisibilidad de la carga del trabajo doméstico. “…Fueron construyendo un legítimo derecho: autodeterminación reproductiva, potestad sobre el propio cuerpo, autonomía para gobernar el propio deseo. La meta era que cada mujer pudiera decidir si quería —o no— ser madre y que tuviera a su alcance la información y los medios para cuidar de su salud sexual y reproductiva”. (No fue hasta el 24 de abril de 2007 cuando la entonces Asamblea Legislativa del Distrito Federal aprobó la reforma que despenalizó el aborto durante las primeras 12 semanas de gestación. El aborto por violación está permitido en todo el país). 123

Con esta demanda de cambios culturales surge la tercera ola del feminismo con una diferenciación entre las feministas autónomas e institucionales; estas últimas trabajarán para que el feminismo se vuelva parte de las preocupaciones de los gobiernos y las universidades. Ahora vivimos un movimiento que es nuevo en muchos aspectos, Isabel Fulda señala que las movilizaciones actuales responden a preocupaciones muy contemporáneas. DIFERENTES FEMINISMOS Como a lo largo de la historia, actualmente también existen diferentes feminismos; Isabel explica que una parte central del feminismo es reconocer su diversidad y no pretender que todas las feministas van a estar de acuerdo en todos los temas y no todas representan el mismo tipo de vivencias. Para Isabel, reconocer las diferencias y no hablar de un solo feminismo es uno de los retos del feminismo contemporáneo. Al centrarnos en que no podemos hablar de feminismo de manera generalizada entenderemos que la respuesta a la relación entre el movimiento y el Estado es diversa. “Existen algunos feminismos que se expresan en oposición al Estado siempre en las calles. Hay otros más institucionalizados que sí buscan dialogar o cooperar con las autoridades en diferentes niveles o diferentes condiciones”, explica Isabel. Sin embargo, afirma que las posiciones que hay respecto al Estado y cómo debe o no participar el movimiento con las autoridades es un punto que actualmente no está resuelto y es homogéneo.

¿UNA GUERRA CONTRA LOS HOMBRES? El papel que tienen los hombres dentro del feminismo, o bien, la posibilidad de que sean aliados es otra de las discusiones que acapara la atención del movimiento. Las investigadoras coinciden en que, al haber diferentes feminismos, existen diferentes posturas. Isabel asegura que este tema es una discusión muy actual, sin embargo, dice que tratar de plantear las diferentes luchas que tiene el feminismo como si fuera una guerra respecto a los hombres es engañoso. 124

“El feminismo es un movimiento que lucha por la igualdad y la justicia para las mujeres. De ninguna manera se establece como una guerra contra los hombres”. Pero destaca que sí es un movimiento que pasa por denunciar los tipos de opresiones que viven las mujeres y cuestiona los comportamientos que tienen los hombres. “Se busca, entre otras cosas, visibilizar cuáles son las violencias que viven las mujeres y la manera de evitarlas, repararlas y buscar una socie-

dad donde quepamos las mujeres y tengamos seguridad y justicia”, afirma Isabel. En lo que a las marchas se refiere, la investigadora de GIRE hace énfasis en que existe un descontento generalizado, especialmente cuando quienes organizan establecen contingentes separatistas o exclusivos de mujeres o que los medios de comunicación envíen reporteros hombres y no mujeres. “El corazón de la cuestión tiene que ver con que los hombres no deben protagonizar el movimiento; si quieren ser aliados existen espacios en los cuales pueden serlo, pero es importante que reconozcan que la lucha tiene que ser protagonizada por las mujeres que son las que viven la violencia de manera directa”. En palabras de Amneris Chaparro, el feminismo es una postura ética que busca desde sus orígenes la igualdad, que busca humanizar a partes de la población que han sido deshumanizadas en fondo y forma. “Las mujeres no han sido tratadas como seres humanos tanto en la letra como en la práctica. La negación de derechos solo por ser mujeres es una forma de deshumanización. La violencia contra los cuerpos de las mujeres también lo es”. Por lo tanto, dice, el feminismo lo que busca es humanizar a una parte de la población, que no solo se limita a las mujeres, eso significa que “es un proyecto incluyente, un proyecto igualitario que busca la libertad, la igualdad entre las personas, que busca que el régimen de género que es tan opresivo se socave”. Y señala que el hecho de que se acepten hombres como aliados o no, es una respuesta que va a depender de cada feminista y de los posicionamientos de los diferentes feminismos.

EL #METOO Y LAS REDES SOCIALES A finales de marzo de este año surgió en redes sociales el movimiento #MeToo mexicano. Con diferentes hashtags cientos de mujeres relataron sus experiencias de acoso sexual realizado por periodistas, escritores, músicos, diseñadores. Este es un ejemplo claro de que las redes se han convertido en una herramienta básica para el movimiento feminista. Pero también tiene algunas contrapartes. Amneris destaca que, en el caso del feminismo, las redes sociales han sido una herramienta muy importante para algunas personas que sienten que este ha sido un espacio “más seguro” para hacer sus denuncias y hablar de manera franca de sus posicionamientos feministas. 125

Para Isabel son un movilizador importante y un espacio de comunicación que ha permitido organizar de mejor manera las movilizaciones, aclara cuestiones de seguridad, se hacen debates, discusiones. Sin embargo, ambas coinciden en que son un espacio donde se generan reacciones antifeministas, espacios que no están regulados y donde cualquier persona puede violentar o difamar. Y que en ocasiones son herramientas que se utilizan para poner en riesgo a algunas mujeres. FEMINISMO, UN MOVIMIENTO QUE NO ES BIEN RECIBIDO Así como la lucha feminista no es nueva, los comentarios contra el movimiento tampoco. Después de las movilizaciones del 12 y 16 de agosto surgió en redes sociales y medios de comunicación una serie de ataques o argumentos negativos en torno a las formas de protesta y el discurso de las mujeres feministas. La explicación de Amneris es simple: el feminismo nunca ha sido un movimiento bien recibido, siempre ha sido estigmatizado y hay estereotipos que casi siempre son negativos.

“Si hablamos de desvirtuar el feminismo estamos hablando más bien de desconocimiento de lo que significa. De una profunda ignorancia de muchos sectores de la población que opinan sin haber leído algún texto de feminismo. Sin pensar que es un proyecto de humanidad que busca reivindicaciones no solo para las mujeres, sino para todas las personas”. Destaca que es un discurso que nos remonta al siglo XVIII cuando las mujeres feministas eran ridiculizadas, encarceladas. “Viene, por otro lado, de un gran miedo de pensar que el mundo puede ser diferente. De ciertos sectores que no quieren perder privilegios que son arbitrarios, y como el feminismo los cuestiona es muy fácil atacar”, dice. Mientras, Fulda asegura que en este nuevo momento del feminismo hay suficiente información de gente muy joven, hay maneras mucho más sencillas en las que se expresa el feminismo, más atractivo y digerible de lo que era antes. “A estas alturas malinterpretar el feminismo también tiene que ver con una postura de tratar de desprestigiarlo y mostrar algo que no es”. 126

NOS ESTÁN MATANDO Ambas investigadoras remarcan la importancia de entender al feminismo actual, un feminismo que surge de la violencia, el miedo, la inseguridad, del hartazgo. Lo que mueve a las feministas a movilizarse y a trabajar todos los días es que queremos garantizar nuestra seguridad, dice Fulda. “Diferentes personas que se declaran o no feministas, hombres o mujeres que asisten o no a las marchas, todo el mundo estaríamos de acuerdo en que la situación de violencia en México es muy grave y urge resolverla. Situaciones como que las mujeres puedan sufrir violencia sexual por parte de las fuerzas del Estado, la policía, militares o sus mismos familiares son temas que deberían indignar a todos por igual”. Para entender la lucha del feminismo contemporáneo, Amneris Chaparro recomienda cuestionar los privilegios que consideramos naturales, normales, ordinarios y pensar cómo sería nuestra vida si tuviéramos otro género. Es una estrategia, dice, para comenzar a pensar por qué es importante el feminismo y por qué, a pesar de tres siglos de existencia, aún hay atavismos, reacciones antimujeres y antifeministas, y sigue existiendo la violencia específica contra las mujeres. 127

Noviembre 2019

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I have to say: I feel good here. I feel good being here. I donÂ´t feel alone anymore. I see people like me. I am not totally connected at all, But I guess it will come. I want to know more people like me, With same contents, With same interests, Maybe it will change in some years. Maybe it is not that wonderful as I imagine it to be. But I have to say: I (still) feel good here. May 2018

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AS S

MARIA

Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise Blackbird singing in the dead of night Take these sunken eyes and learn to see All your life You were only waiting for this moment to be free Blackbird fly, blackbird fly Into the light of a dark black night Blackbird fly, blackbird fly Into the light of a dark black night Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise You were only waiting for this moment to arise You were only waiting for this moment to arise Paul MacCartney / The Beatles

The uses of Erotic: The Erotic as Power Audre Lorde 1978

There are many kinds of power, used and unused, acknowledged or otherwise. The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives. We have been taught to suspect this resource, vilified, abused, and devalued within Western society. On the one hand, the superfi- cially erotic has been encouraged as a sign of female inferiority; on the other hand, women have been made to suffer and to feel both con- temptible and suspect by virtue of its existence. It is a short step from there to the false belief that only by the suppression of the erotic within our lives and consciousness can women be truly strong. But that strength is illusory, for it is fashioned within the context of male models of power.

As women, we have come to distrust that power which rises from our deepest and non- rational knowledge. We have been warned against it all our lives by the male world, which values this depth of feeling enough to keep women around in order to exercise it in the service of men, but which fears this same depth too much to examine the possibility of it within themselves. So women are maintained at a distant/inferior position to be psychically milked, much the same way ants maintain colonies of aphids to provide a lifegiving sub- stance for their masters. But the erotic offers a well of replenishing and provocative force to the woman who does not fear its revelation, nor succumb to the belief that sensation is enough. The erotic has often been misnamed by men and used against women. It has been made into the confused, the trivial, the psychotic, the plasticized sensation. For this reason, we have often turned away from the exploration and consideration of the erotic as a source of power and information, confusing it with its opposite, the pornographic. But pornography is a direct denial of the power of the erotic, for it represents the suppression of true feeling. Pornography emphasizes sensation without feeling. The erotic is a measure between the begin- nings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire. For having experienced the fullness of this depth of feeling and recognizing its power, in honor and self- respect we can require no less of ourselves.

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It is never easy to demand the most from ourselves, from our lives, from our work. To encourage excellence is to go beyond the encouraged mediocrity of our society is to encourage excellence. But giving in to the fear of feeling and working to capacity is a luxury only the unintentional can afford, and the unintentional are those who do not wish to guide their own destinies. This internal requirement toward excellence which we learn from the erotic must not be misconstrued as demanding the impossible from ourselves nor from others. Such a demand incapacitates everyone in the process. For the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing. Once we know the extent to which we are capable of feeling that sense of satisfaction and completion, we can then observe which of our various life endeavors brings us closest to that fullness. The aim of each thing which we do is to make our lives and the lives of our children richer and more possible. Within the celebra- tion of the erotic in all our endeavors, my work becomes a conscious decision—a longed- for bed which I enter gratefully and from which I rise up empowered. Of course, women so empowered are dan- gerous. So we are taught to separate the erotic demand from most vital areas of our lives other than sex. And the lack of concern for the erotic root and satisfactions of our work is felt in our disaffection from so much of what we do. For instance, how often do we truly love our work even at its most difficult?

The principal horror of any system which defines the good in terms of profit rather than in terms of human need, or which defines human need to the exclusion of the psychic and emotional components of that need—the principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfillment. Such a system reduces work to a travesty of necessities, a duty by which we earn bread or oblivion for ourselves and those we love. But this is tantamount to blinding a painter and then telling her to improve her work, and to enjoy the act of painting. It is not only next to impossible, it is also profoundly cruel.

There are frequent attempts to equate pornography and eroticism, two diametrically opposed uses of the sexual. Because of these attempts, it has become fashionable to separate the spiritual (psychic and emotional) from the political, to see them as contradictory or anti- thetical. “What do you mean, a poetic revolu- tionary, a meditating gunrunner?” In the same way, we have attempted to separate the spiritual and the erotic, thereby reducing the spiritual to a world of flattened affect, a world of the ascetic who aspires to feel nothing. But nothing is far- ther from the truth. For the ascetic position is one of the highest fear, the gravest immobility. The severe abstinence of the ascetic becomes the ruling obsession. And it is one not of self- discipline but of self-abnegation.

As women, we need to examine the ways in which our world can be truly different. I am speaking here of the necessity for reassessing the quality of all the aspects of our lives and of our work, and of how we move toward and through them.

The dichotomy between the spiritual and the political is also false, resulting from an incomplete attention to our erotic knowledge. For the bridge which connects them is formed by the erotic—the sensual—those physical, emotional, and psychic expressions of what is deepest and strongest and richest within each of us, being shared: the passions of love, in its deepest meanings.

The very word erotic comes from the Greek word eros, the personification of love in all its aspects—born of Chaos, and personifying creative power and harmony. When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives.

Beyond the superficial, the considered phrase, “It feels right to me,” acknowledges the strength of the erotic into a true knowledge, for what that means is the first and most powerful guiding light toward any understanding. And understanding is a handmaiden which can only wait upon, or clarify, that knowledge, deeply born. The erotic is the nurturer or nursemaid of all our deepest knowledge.

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The erotic functions for me in several ways, and the first is in providing the power which comes from sharing deeply any pursuit with another person. The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference. Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife.

This text was originally a paper presented at the Fourth Berkshire Conference on the History of Women, Mount Holyoke College, August 25, 1978, and was later published as a chapter in Sister Outsider. Copyright ÂŠ 1984 Audre Lorde and The Crossing Press, a division of Ten Speed Press, Berkeley, CA.

This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe. During World War II, we bought sealed plastic packets of white, uncolored margarine, with a tiny, intense pellet of yellow coloring perched like a topaz just inside the clear skin of the bag. We would leave the margarine out for a while to soften, and then we would pinch the little pellet to break it inside the bag, releasing the rich yellowness into the soft pale mass of margarine. Then taking it carefully between our fingers, we would knead it gently back and forth, over and over, until the color had spread throughout the whole pound bag of margarine, thoroughly coloring it. I find the erotic such a kernel within myself. When released from its intense and con- strained pellet, it flows through and colors my life with a kind of energy that heightens and sensitizes and strengthens all my experience.

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We have been raised to fear the yes within ourselves, our deepest cravings. But, once recognized, those which do not enhance our future lose their power and can be altered. The fear of our desires keeps them suspect and indiscriminately powerful, for to suppress any truth is to give it strength beyond endurance. The fear that we cannot grow beyond whatever distortions we may find within ourselves keeps us docile and loyal and obedient, exter- nally defined, and leads us to accept many facets of our oppression as women. When we live outside ourselves, and by that I mean on external directives only rather than from our internal knowledge and needs, when we live away from those erotic guides from within ourselves, then our lives are limited by external and alien forms, and we conform to the needs of a structure that is not based on human need, let alone an individual’s. But when we begin to live from within outward, in touch with the power of the erotic within ourselves, and allowing that power to inform and illuminate our actions upon the world around us, then we begin to be responsible to ourselves in the deepest sense. For as we begin to recognize our deepest feelings, we begin to give up, of necessity, being satisfied with suf- fering and selfnegation, and with the numb- ness which so often seems like their only alternative in our society. Our acts against oppression become integral with self, moti- vated and empowered from within. In touch with the erotic, I become less willing to accept powerlessness, or those other supplied states of being which are not native to me, such as resignation, despair, self-effacement, depression, self-denial.

And yes, there is a hierarchy. There is a difference between painting a back fence and writing a poem, but only one of quantity. And there is, for me, no difference between writing a good poem and moving into sunlight against the body of a woman I love. This brings me to the last consideration of the erotic. To share the power of each other’s feelings is different from using another’s feelings as we would use a kleenex. When we look the other way from our experience, erotic or otherwise, we use rather than share the feelings of those others who participate in the experience with us. And use without consent of the used is abuse. In order to be utilized, our erotic feelings must be recognized. The need for sharing deep feeling is a human need. But within the EuropeanAmerican tradition, this need is satisfied by certain proscribed erotic comings- together. These occasions are almost always characterized by a simultaneous looking away, a pretense of calling them something else, whether a religion, a fit, mob violence, or even playing doctor. And this misnaming of the need and the deed give rise to that distortion which results in pornography and obscenity— the abuse of feeling. When we look away from the importance of the erotic in the development and suste- nance of our power, or when we look away from ourselves as we satisfy our erotic needs in concert with others, we use each other as objects of satisfaction rather than share our joy in the satisfying, rather than make connection with our similarities and our differences. To refuse to be conscious of what we are feeling at any time, however comfortable that might seem, is to deny a large part of the experience, and to allow ourselves to be reduced to the pornographic, the abused, and the absurd.

The erotic cannot be felt secondhand. As a Black lesbian feminist, I have a particular feeling, knowledge, and understanding for those sisters with whom I have danced hard, played, or even fought. This deep participation has often been the forerunner for joint concerted actions not possible before. But this erotic charge is not easily shared by women who continue to operate under an exclusively European-American male tradition. I know it was not available to me when I was trying to adapt my consciousness to this mode of living and sensation. Only now, I find more and more women- identified women brave enough to risk sharing the erotic’s electrical charge without having to look away, and without distorting the enor- mously powerful and creative nature of that exchange. Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world, rather than merely settling for a shift of characters in the same weary drama. For not only do we touch our most profoundly creative source, but we do that which is female and selfaffirming in the face of a racist, patriarchal, and anti-erotic society.

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Fassen Sie mich bitte nicht an!

Mit beiden Händen verfolge ich die Kontur meines Körpers. So viel wie ich kann, zeichne ich diese Kontur nach. Von Kopf bis Fuß. Ohne mich anzufassen. Es ist aber doch eine Art des Anfassens. Es fühlt sich an als ob ich in eine transparente Kapsel wäre. Ich gehe jede Kurve nach. Es wird alles neue interpretiert, und die Erfahrung intensiver. Ich verstehe mehr und mehr wie dieser Körper funktioniert. Es konnte auch komplett nackt sein. Ich habe aber zu Hause vor dem Spiegel und mit schwarzen Klamotten ausprobiert. Ich denke schwarze angezogen ist besser und die Hände wären zu sehen. Die Energie an der Spitze des Fingers wird stärker, es fühlt sich so an als ob ich doch was anfassen wurde. Luft, Raum. Der Raum zwischen meinen Händen und Körper wird anfassbar.

Don´t touch me please!

Don´t touch m

Fasse

Não me toque por favor!

en Sie mich bitte nicht an!

Fassen Sie mich bitte nicht an!

Don´t touch me please!

me please!

Não me toque por favor!

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â&#x20AC;&#x153;Even though some individuals scholars try to tell us there is no direct connection between images of violence and the violence confronting us in our lives, the commonsense truth remains - we are all affected by the images we consume and by the state of mind we are in when watching them. If consumers want to be entertained, and the images shown us as entertaining are images of violent dehumanization, it makes sense that these acts become more acceptable in our daily lives and that we become less likely to respond to them with moral outrage or concern. Were we all seeing more images of loving human interaction, it would undoubtly have a positive impact on our lives.

We canot talk about changing the types of images offered us in the mass media without acknowledging the extent to which the vast majority of the images we see are created from a patriarchal standpoint. These images will not change until patriarchal thinking and perspectives change. Individual women and men who do not see themselves as victims of patriarchal power find it difficult to take seriously the need to challenge and change patriarchal thinking. but reeducation is always possible. Masses of negatively affected by patriarchal institutions and, most specifically, by male domination. Since individuals commited to advancing patriarchy are producing most of the images we see, they have an investiment in providing us with representations that reflect their values and the social institutions they wish to uphold. Patriarchy, like any system of domination (for example racism) relies on socializing everyone to believe that in all human relations there is an inferior and a superior party, one person is strong, the other weak, and that it is therefore natural for the powerful to rule over the powerless. To those who support patriarchal thinking, maintaining power and control is acceptable by whatever means. Naturally, anyone socialized to think this way would be more interested in and stimulated by scenes of domination and violence rather than by scenes of love and care. Yet they need a cosumer audience to whom they can sell their product. Therein lies our power to demand change.â&#x20AC;? (Pages 96/97) 152

XIFÃ&#x201C;P

AGOS

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UNFINISHED .................

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12.09.2017 >... while reading Integration Impossible? , Tanja Ostojic (page 161) I found out this passage that made me think about the research I am going trough: “For my art practice, I have conciously decided to abandon the production of ‚one-off‘ artworks in favour of developing a series of strategic projects that span a period of several years. This position gives me the opportunity to engage in a much more consistent and deeper analysis and development of the issues of concern in my work. Regarding this stance, I came to realise that, in order to attain relevant content, one has to keep activily trying to overcome the given limits imposed by the rules of production and exhibition format within the art system.” <

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Ich wollte endlich mal ein Projekt machen der mich glücklich machte, ich wollte nicht mehr schreien müssen, ich wollte nicht mehr veletzt sein, weil ich dann politisch sein musste um meine Existenz zu beweisen, ich wollte machen worauf ich bock hatte, ich wollte Musik anmachen, ich wollte mit Menschen tanzen, aber das sollte keine Spetakel sein für ein paar Leute, das sollte für uns sein, um uns zu feiern, um uns selbst zu sein und damit wir unsere Exitenz empfinden könnten.

Eu finalmente queria fazer algo que me deixasse feliz, queria não ter que gritar mais, não ter que me machucar mais, tendo que ser política para poder explicar minha existência, queria fazer o que me desse vontade, queria colocar música, dançar com gente, mas isso não era para ser um espetáculo pra alguns, era pra gente, pra nós nos divertirmos, pra gente ser a gente, pra gente existir e vivenciar nossa existência.

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How many times? I forgot myself. How many times? I missed my others mes. How many times? I lost myself. How many times? I missed the others. Parts of me.

Aqui. A gente esquece o que Ã©! Aqui. A gente descobre o que nunca foi!

Se lirbertar! Aqui. A gente se comemora. A mĂşsica a gente faz pra gente. A festa a gente faz pra gente. A nossa arte a gente faz pra gente. Observa e quem sabe tu entendes. A gente nao veio aqui pra te enterter. A gente veio aqui pra nos conhecer.

Obrigada MĂŁe! Obrigada Pai!

To get Free! Here. The music we make for us. The party we make for us. Our art we make for us. Observe and maybe you will understand. We didnÂ´t come here to entertain you. We came here to meet ourselves.

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Eu Alemanha. De volta ao inferno Cansada dessa passividade Ouvir Gal, Cansei desse país, Aqui não fico, Aqui não morro. Mover é um ato de amor Próprio Fazer bem a si mesmo, só assim se pode fazer bem ao próximo Não gosto do meu EU daqui Foi bom conhecê-lo, Prazer, O prazer foi seu, Foi teu porque aqui se fala na segunda pessoa com Tu, te, ti, teu Não me rendo Aqui não pertenço Por algum motivo tive que parar aqui Mas o verbo parar só existe porque também existe mover E eu me movo para não morrer. Há quem diga „daqui ninguém me tira“ Eu digo aqui ninguém me fixa Eu vou porque „Sou amor da cabeca aos pés“ Aceito o motivo mencionado acima Assim como aceito o pedido desta alma que cansou. Cansou da ignorancia. De tanta falta de carinho. Aqui quem sabe Schliengsief foi feliz E quizá EU por um momento também Mas não vocês não me convencem outra vez porque a Europa é como um vício uma droga mesquinha Ela te vicia e não te deixa partir mata e provoca reações adversas a quem sobrevive Cuidado Não te deixa levar Protege teu espírito e mantem a respiração. 1 2 3 Ausatmen 1 2 3 Einatmen Não pode parar lembra sempre da respiração. 6 meses são necessários para sanar 1 dia é necessário para recair e voltar ao fundo de onde tudo começou. Eu, 18 Fevereiro 2020

â&#x20AC;&#x153; To colonize a land it was necessary to convert its people to Christianity and accounting, and thus to prove to them that European civilization was the most advanced in the world. Its art included.â&#x20AC;? John Berger in Ways of Seeing. Penguin Books. 1972. Page 95

Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich bin nur Arbeitskraft. Ich bin nur Arbeitskraft. Ich bin nur Arbeitskraft. Ich bin nur Arbeitskraft. Ich bin nur Arbeitskraft. Wer bist du? Wer bist du? Wer bist du? Bist du auch Arbeitskraft? Bist du auch Arbeitskraft? Bist du auch Arbeitskraft? Ich darf nur bleiben wenn ich arbeite. Ich darf nur bleiben wenn ich arbeite. Ich darf nur: Arbeit. Ich darf nur: Arbeit.

Ich darf nur bleiben wenn ich arbeite. Ich darf nur bleiben wenn ich arbeite. Ich darf nur bleiben wenn ich arbeite. Ich darf nur arbeiten. Ich darf nur arbeiten. Ich darf nur arbeiten. Dann bin ich Arbeitskraft. Dann bin ich Arbeitskraft. Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich bin Arbeitskraft. Ich darf nur bleiben wenn ich arbeite. Ich darf nicht mehr bleiben. Ich darf nicht mehr bleiben. Nur wenn ich arbeiten gehe. Nur wenn ich arbeiten gehe. Nur wenn ich arbeiten gehe. Nur wenn ich arbeiten gehe. Dann bin ich Arbeitskraft. Dann bin ich Arbeitskraft.

Ich bin Arbeitskraft. Ich bin Arbeitskraft. Du bist! Du bist! Du bist! Du bist Arbeitskraft. Ich bin Arbeitskraft. Du bist Arbeitskraft. Wer bist du? Wer bist du? Wer bist du? Arbeitst du? Dann bist du Arbeitstkraft. Bist du nicht Arbeitskraft? Bist du auch Arbeitskrtaft? Bist du nicht? Bist du nicht? Bist du nicht? Wer bist du? Wer bist du?

Was machhst du? Ich bin Arbeitsktraft. Ich darf nur bleiben wenn ich arbeiten gehe Ich darf nur bleiben wenn ich arbeiten gehe Ich arbeite. Ich gehe arbeiten. Ich gehe arbeiten. Ich muss arbeiten. Ich muss arbeiten. Ich muss arbeiten. Ich darf nur bleiben wenn ich arbeite. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich gehe Arbeit. Ich bin Arbeitskraft. 175

100 % 100% Seide-Handrolliert, Made in China, jeweils 2,50 € 100% Seide-Handpainted, Made in Germany, jeweils 100 € 100% Silk-handrolled, Made in China, each 2,50 € 100% Silk-hanpainted, Made in germany, each 100 € 100% Seda enrolado a mão, Made in China, cada à 2,50 € 100% Seda pintado a mão, Made in Germany, cada à 100 €

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Text aus dem Dokumentar Film Slaves- Auf den Spuren moderner Sklaverei - Regie: Marc Wiese - Deutschland - 2016

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Text aus dem Dokumentar Film Slaves- Auf den Spuren moderner Sklaverei - Regie: Marc Wiese - Deutschland - 2016

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„In Amerika war die Vorstellung von raza ein Modus, um die mit der Eroberung durchgesetzen Herrschaftsverhältnissen Legitimität zu verleihen. Die spätere Konstituition Europas als neuer Id-Entität nach Amerika und die Expansion des europäischen Kolonialismus in den Rest der Welt führten zur Entwicklung einer eurozentrischen Wissenperspektive und damit zu einer theoretischen Ausformulierung der Vorstellung von raza als Naturalisierung dieser kolonialen Herrschaftsverhältnisse zwischen Europäern und Nicht-Europäern. Historisch bedeutet dies eine neue Art der Legitimierung altbekannter Vorstellungen und Praktiken in den Beziehungen von Über- und Unterlegenheit zwischen Herrschenden und Beherrschten. Seitdem hat sich dieses Prinzip als das wirkmächtigste und langlebisgte Instrument universaler gesellschaftlicher Herrschaft erwisen, denn das viel ältere, aber ebenso universelle, inter-sexuelle oder gender-Prinzip wurd bald davon abhängig: Die eroberten und beherrschten Bevölkerungsgruppen (pueblos) wurde in einer natürlichen Position der Unterlegenheit situiert, und folgendessen sowohl ihre phänotypischen Züge als auch unterlegen betrachtet.* Raza wurde also zum ersten Hauptkriterium für die Einteilung der Weltbevölkerung in Rangstufen, Stellungen und Rollen in der Machtstruktur der neuen Gesellschaft. Sie wurde zum grundlegenden Modus der universellen gesellschaftlichen Klassifizierung der Weltbevölkerung.“ * Die Vorstellung von raza ist im wahrsten Sinne des Wortes eine Erfindung. Sie hat nichts mit der biologischen Struktur der menschlichen Spezies zu tun. Was die phänotypischen Merkmale angeht, so finden sich diese offensichtlich im genetischen Code von Individuen und Gruppen und in diesem spezifischen Sinn sind sie biologisch. Sie stehen jedoch in keinerlei Beziehung mit den Subsystemen und biologischen Prozessen des menschlichen Organismus, natürlich auch nicht mit jenen in den neurologischen und mentalen Subsystemen und deren Funktionen. Vgl. Jonathan MArks, Human Biodiversity, Genes, Race and History, Aldyne de Gruyter, New York, 1994 und Aníbal Quijano: “¡Qué tal raza!”, in Familia y cambio social, CECOSAM, Lima, 1999, S. 186-204. Aníbal Quijano in Kolonialität der Macht, Eurozentrismus und Lateinamerika. S.28/29 Verlag Turia+Kant. 2016

„En América, la idea de raza fue un modo de otorgar legitimidad a las relaciones de dominación impuestas por la conquista. La posterior constitución de Europa como nueva id-entidad después de América y la expansión del colonialismo europeo sobre el resto del mundo llevaron a la elaboración de la perspectiva eu-rocéntrica de conocimiento y con ella a la ela-boración teórica de la idea de raza como natu-ralización de esas relaciones coloniales de do-minación entre europeos y no-europeos. Histó-ricamente, eso significó una nueva manera de legitimar las ya antiguas ideas y prácticas de relaciones de superioridad / inferioridad entre dominados y dominantes. Desde entonces ha demostrado ser el más eficaz y perdurable instrumento de dominación social universal, pues de él pasó a depender inclusive otro igualmente universal, pero más antiguo, el intersexual o de género: los pueblos conquistados y dominados fueron situados en una posición natural de inferioridad y, en consecuencia, también sus rasgos fenotípicos, así como sus descubrimientos mentales y culturales*. De ese modo, raza se convirtió en el primer criterio fundamental para la distribución de la población mundial en los rangos, lugares y roles en la estructura de poder de la nueva sociedad. En otros términos, en el modo básico de clasificación social universal de la población mundial.“ La idea de raza es, literalmente, un invento. No tie-ne nada que ver con la estructura biológica de la especie humana. En cuanto a los rasgos fenotípicos, éstos se hallan obviamente en el código genético de los in-dividuos y grupos, y en ese sentido específico son bio-lógicos. Sin embargo, no tienen ninguna relación con ninguno de los subsistemas y procesos biológicos del organismo humano, incluyendo por cierto aquellos im-plicados en los subsistemas neurológicos y mentales, y sus funciones. Véase: Mark (1994) y “¡Qué tal raza!” (Quijano, 1999a). Aníbal Quijano en Colonialidad del Poder, Eurocentrismo y América Latina. P.779/780 http://biblioteca.clacso.edu.ar/clacso/se/20140507042402/ eje3-8.pdf Bibliteca Virtual CLACSO Buenos Aires. 2014

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“LOOKING FORWARD TO YOUR TRIP ¡Bienvenidos! In Zapotec, A bidziine dius yubtu lagwar re!

„You will find Oaxaca to be one of the warmest and most welcoming places you’ll ever visit. Both in the city and the nearby countryside towns, people are happy to get to know you and share their hospitality with you. Our Zapotec tradition is to open our homes and hearts to build a strong, supportive community. You are part of that community when you visit us and we look forward to sharing our lives with you.”

All Guests - Aquí tiene su casa

Bienvenidos - Welcome Our family welcomes you to our studio and guest house, and we hope you will feel at home here during your stay. Please let us know if there is anything you need to be more comfortable while you are here. Family is at the heart of everything we do. We have been weaving for centuries, refining our artform, passing down wisdom, and supporting ourselves. Today our family of weavers includes three generations sharing the studio, learning from our elders, and innovating in exciting new directions for the future. When you stay with us and take workshops, you are gaining the wisdom our parents have given to us. Thank you for being part of the cycle of life that sustains our traditions for future generations to come.

While you are here please consider this to be your home. We’ll be preparing our traditional meals and you are welcome to come along on trips to the market or help prepare the food if that interests you. We’ll be glad to show you around Teotitlán and introduce you to the people who are part of our community. It‘s our pleasure to have you with us and we want to do everything we can to make this a pleasant and memorable experience for you. If there’s something you need, please ask us! While you are here, please keep your personal space clean and help us maintain a pleasant atmosphere in the studio. All trash and recycling has a designated basket. It should go without saying, but absolutely no alcohol, drugs, or firearms are allowed anywhere in this property. This will terminate your stay with us with no refund.

Workshops Workshops begin at 9:00 AM after breakfast and go until 3 PM. During your workshops please come prepared to work in comfortable clothes that will get dirty during the day. Please don’t wear rings or bracelets. Be prepared to pick up heavy, wet yarns, grind pigment and be near wood fires. Your cell phones should be on airplane mode to not disturb the learning environment, you can use your cell phone to take notes and pictures but no videos. Your breakfast is served at 9 AM, the main meal of the day at 3 PM, and in between you’ll have a midday snack. A light dinner is served at 7:30 PM. You are welcome to visit the village in your free time where you’ll find several coffee shops and local places for quick food.

La Familia Juana y Antonio and their son Javier - Your hosts - Master weavers, dyers and teachers. Porfirio Gutierrez - Master weaver, designer, lecturer and teacher .

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Your Health & Safety You are staying at a working weaving and dyeing studio and a traditional home. You will be around open fires, boiling water baths, large looms and other equipment that could present a danger to younger children or someone who is distracted. Please tell us right away if you are not feeling well, develop a blister or skin rash that needs attention, or are in need of a doctor’s care. We have a first aid kit available and can transport anyone to a medical center if it is urgent.

Clothing When staying at our studio we ask all guests to dress appropriately, according to the modest customs of our community. You will meet members of our community daily who come here to work or visit the family. Women here do not wear shorts, tank tops, or revealing clothing. Please respect our culture and dress in comfortable clothes that allow you to work and be in the warm climate but are not transparent, bare-backed, have slits or show a lot of skin. Please protect your feet when working at the studio and wear comfortable, practical shoes. Thank you for respecting our traditions and customs.

Personal safety comes first and is your responsibility. When walking around villages beware of open stairways, low doorways, uneven roads and pavement, and the kinds of obstacles that could be easy to trip over. In this ecosystem there are scorpions and snakes, so be aware if you are out hiking and take normal precautions. Remember to pack sunscreen, a hat, bottled water and any medications you may need when you are out for a day trip. In our village we have pharmacy and convenience stores that carries basic supplies for other things will need to go to the city. We have some basic supplies at the studio so please ask if there is something you’ve forgotten or need to replace.

Community & Finding your way If you are going out before dark, be sure to take a flashlight. Cell phones and online maps don’t always work here so be sure to take a photo of the map below to use on your phone if you need it. The studio phone is 951.166.6216 if you need to reach us while you’re out. It is very safe to walk here as long as you watch for cars on the narrow roads and be aware of uneven streets and pathways. The street dogs won’t bother you but shouldn’t be fed. Use local landmarks, like the church, to remember your way around the village. Teotitlán has local taxis and also small tuktuk vehicles for getting around the village and going out to the highway to catch a collectivo. If you’re going back to Oaxaca City this way, please let us know so we can help you with the fares and best connections. If you’d prefer us to drive you for a small fee please arrange that in advance with us. Please note: Teotitlán does not have an ATM. Bring cash with you for small purchases and plan to use an ATM if you are going to Mitla or Tlacolula for the Sunday market. Our studio does have a credit card processor if you are purchasing a weaving or something from our gallery.

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“Leia Mulheres Indígenas”

“ ‘Chega de matar minhas cantigas e calar a minha voz: É preciso que a pessoa relate. Esta é minha história/Tenho muito pra contar! Estão nas linhas invisíveis, nas sombras das folhas, no silêncio dos parágrafos. Abre esses teus olhos de ver e esses teus ouvidos de ouvir e vem ver o mundo além da tua cela. -Você me olhou com o coração e não com os olhos. Vem sentir minhas raízes, espalhadas nesse chão. Tive um sonho e uma voz disse que era pra nóis segui o caminho do sol, que nós vai encontrar nossos parentes! Seu pássaro preferido é a arara-azul Gente, animal e planta se afinam juntos. Fazemos arte como expressão do cotidiano [...] para lembrar os nossos encantados! Em volta da fogueira: memória, história/O mundo se recria Na busca pelo direito/De ter nosso território ancestral E eternizar o ciclo encantado que sustenta os povos originários pelo mundo afora e pela tradição adentro.’ 1

A letra da mulher indígena é coletiva: ela escreve com a voz da mata, da floresta, dos animais, das avós, dos avós, da aldeia, dos encantados. Auritha Tabajara sempre diz que como mulher indígena, ela escreve com muitas vozes, com as vozes do pertencimento. Viemos à sociedade dominante reivindicar nossos nomes, tradições e lutar pela demarcação de nossos territórios tradicionais. Assim, o projeto Leia Mulheres Indígenas nasce com a intenção de reunir as escritoras, a fim de estabelecer muitos diálogos, e, com isso, desconstruir os estereótipos vigentes na cultura nacional sobre o corpo da mulher indígena, seu lugar no mundo, seus saberes tradicionais. Mostramos nossos rostos para reiterar que “Não somos Iracema!”: somos Eliane Potiguara, Denízia Kawany Fulkaxó, Auritha Tabajara, Julie Dorrico, Fernanda Vieira, Maria Kerexu, Aline Pachamama, Shirley Krenak, Lia Minapóty, Djuena Tikuna, Graça Graúna, Márcia Kambeba, Aline Kayapó! Cito em sequência estas autoras porque elas são as autoras das frases de resistência que dão início a esse texto de apresentação. As duras palavras nos mostram a vontade de existir no mundo, de ser sujeito, de querer dizer suas palavras de encantamento, de se libertar do exílio histórico perpetrado contra elas, de ser gente. O Leia Mulheres Indígenas é uma rede de difusão das produções, em língua portuguesa e/ ou materna, das mulheres indígenas residentes em território nacional brasileiro. Esta rede é constituída pelas próprias escritoras: Aline Ngrenhtabare Kayapó, Aline Pachamama, Auritha Tabajara, Chirley Pankará, Denízia Kawany Fulkaxó, Eva Potiguar, Fernanda Vieira, Geni Núñez, Iasipitã Potiguara, Julie Dorrico, Márcia Kambeba, Márcia Mura, Telma Tremembé, Txama Puri, Zélia Puri com a intenção de gradativamente agregar à rede todas as escritoras indígenas que se manifestarem interessadas.“ 2 Texto compilado por Julie Dorrico. Fragmento do texto “Leia Mulheres Indígenas: 25 escritoras para você conhecer“ de Julie Dorrico para o website Visibiliadade Indígena. 1 2

Julie Dorrico é macuxi. Autora do livro “Eu sou macuxi e outras histórias”, publicado pela editora Caos e Letras (2019). Doutoranda em Teoria da Literatura na PUCRS. Criadora do projeto Leia Mulheres Indígenas (no instagram e facebook). Fonte: https://www.visibilidadeindigena.com/post/leia-mulheres-ind%C3%ADgenas-25-escritoras-para-você-conhecer

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“Read Indigenous Women”

“ ‘Enough of killing my ditty and remaining my voice silent: The person needs to report. This is my story/ I have a lot to tell! Being in the invisible lines, in the leaves´ shadows, in the paragraph silent. Open these eyes to see, and these ears to hear and come to see the world beyond your cell. -You looked at me with heart and not with eyes. Come to feel my roots spread on this floor. I had a dream, and a voice said us to follow the sun path that we would find our family! Your favorite bird is he blue macaw. Folks, animal and plant tune together We make art as a daily expression(...) to remember our enchanted! Around the fire: memory, history/The world recreates itself In the search for the right/ To have our ancient territory And to eternalize the enchanted cycle that sustain our native people throughout the world and inside tradition.’1

The indigenous woman letter is collective: she writes with the voice of woods, forest, animals, grandmothers, grandfathers, villages, the enchanted. Auritha Tabajara always says that ,as an indigenous woman, she writes with many voices, with the Belonging voices. We came to the dominant society to claim our names, traditions and fight for our traditional territory delimitation. Thereby, the Project “Leia Mulheres Indigenas “(“Read indigenous women“) was born under the intention to gather the writers, in order to establish many dialogues, and then, to deconstruct current stereotypes in the national culture regarding the indigenous woman body, her place in the world, and her traditional knowledge. We show our faces to reiterate that “We are not Iracema!”: we are Eliane Potiguara, Denízia Kawany Fulkaxó, Auritha Tabajara, Julie Dorrico, Fernanda Vieira, Maria Kerexu, Aline Pachamama, Shirley Krenak, Lia Minapóty, Djuena Tikuna, Graça Graúna, Márcia Kambeba, Aline Kayapó! I quote in a row those authors as they own the resistance words used in the beginning of this introductory text. The harsh words show us the will of existing in the world, to be an individual, to say enchanted words, to release from the historical exile perpetrated against them, to be a person. The “Leia Mulheres Indigenas “(“Read indigenous women“) is a dissemination network to promote production, in portuguese or native language, from indigenous women residents in brazilian national territory. This network is formed by the writers: Aline Ngrenhtabare Kayapó, Aline Pachamama, Auritha Tabajara, Chirley Pankará, Denízia Kawany Fulkaxó, Eva Potiguar, Fernanda Vieira, Geni Núñez, Iasipitã Potiguara, Julie Dorrico, Márcia Kambeba, Márcia Mura, Telma Tremembé, Txama Puri, Zélia Puri. It aims to aggregate gradually all the indigenous writers interested.“ 2 Text compiled by Julie Dorrico. Fragments from the text “Leia Mulheres Indígenas: 25 escritoras para você conhecer“ (Read Indigenous Women: 25 women writers to know) by Julie Dorrico for the website Visibiliadade Indígena.

1 2

Julie Dorrico is macuxi. She is the author of the book “Eu sou macuxi e outras histórias” (I am macuxi and other histories), published by Caos e Letras (2019). She is doing her Doc on Literature Theorie at PUCRS. She is founder of the project Leia Mulheres Indígenas (Read Indigenous Women) (on instagram and facebook). Font: https://www.visibilidadeindigena.com/post/leia-mulheres-ind%C3%ADgenas-25-escritoras-para-você-conhecer Translation: Cristiane Lisboa Silva

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“It is a completely absurd myth to say that we, the indigenous, alongside the black people, forcibly brought from Africa and thrown here, and the white people, some of them coming without knowing what the destination was, came to constitute the base of our civilization. This is a complete cheapening of our history, it is a denial of the profound conflicts that marked these people‘s mismatches. To naturalize the encounter of the indigenous and black people in the quilombo, as a fact that emerges as a representation of force, of natural alliance of these people against their oppressor, is also a mystification, because once the black and indigenous built up alliances, there was a huge capacity for alterity in the quilombo. Identities were so clear that there was no pot whatsoever, no cauldron to mix them all together, from which to take an extract. So people knew they were not raw material, they are human beings with biographies, lives and histories. Their societies had their own trajectories, they had a circumstantial alliance against the oppressor. But they were not creating a new civilization; this mystification is just a way for our continuing rulers to explain and justify the type of history we are making in the long-term.”

M I T O

“É um mito totalmente absurdo dizer que nós índios, os negros que foram agarrados na África e despejados aqui, e os brancos, que alguns vieram sem saber para onde estavam indo, fomos constituir a base da nossa civilização. É um barateamento total da nossa história, é uma negação dos conflitos profundos que marcaram esses desencontros de povos. Naturalizar o encontro dos índios com os negros nos quilombos como um evento que emerge como uma representação da força, da aliança natural desses povos contra o opressor é uma mistificação também, porque quando os negros e índios constituíram alianças em algumas situações de quilombo eles eram uma capacidade tão grande de alteridade, as identidades estavam tão claras que você não tinha nenhum pote formando aquela ideia de colocar todos num caldeirão e tirar dali um estrato. Então as pessoas sabiam que não eram matéria prima, são seres humanos com biografias, vidas e histórias. Suas sociedades tinham trajetórias próprias, eles tinham uma aliança circunstancial contra o opressor. Mas eles não estavam criando uma nova civilização; essa mistificação é uma maneira dos nossos continuados dominadores explicar e justificar o tipo de história que estamos constituindo a longo prazo.”

“It is in the field of education, it is when you start to fabricate the subject, to build the person. In the case of traditional societies of orality, the person starts to be constituted even earlier, in the dream, before being in the mother’s belly. Many of these persons are dreamed, and when the mother starts gestation, the family, the collective, already knows that the child has come, and who is coming. So different traditions know that an elder is coming. When the boy is born, they know how to look at him and say: “this is that guy we knew, or this is so-and so.” This has nothing to do with reincarnation, it has to do with other much more complex things. But it is the capacity to understand the flow, the long journey of human experience that interacts with those who are alive and the ancestors, regardless of religion. You can even be evangelical. Because people might say: “no, but this is a thing of the pajés, shamans, and candomblés.” No, no matter the memory people have, deep memory is formed by the ancestors.”

S O N H O

“É no campo da educação, é quando você começa a fabricar o sujeito, a construir a pessoa. No caso das sociedades tradicionais de oralidade, a pessoa começa a ser constituída lá atrás, no sonho, antes de estar na barriga da mãe. Muitas dessas pessoas são sonhadas, e quando a mãe começa a gestar uma criança, a família, o coletivo já sabe que aquele menino veio, quem está vindo. Então diferentes tradições sabem que é um velho que está vindo. Quando o menino nasce já sabem olhar ele e falar: “esse é fulano, esse é ciclano”. Isso não tem nada a ver com reencarnação não, tem a ver com outras coisas muito mais complexas. Mas é a capacidade de entender o fluxo, a longa jornada da experiência humana que interage os que estão vivos agora e os ancestrais, independente do culto, pode até ser evangélico. Porque as pessoas podem falar: “não, mas isso é coisa da tradição dos pajés, xamãs, candomblés”. Não, em qualquer memória que essas pessoas tenham, a memória profunda, é formada por seus ancestrais.” Ailton Krenak https://revistaperiferias.org/materia/ailton-krenak-a-potencia-do-sujeito-coletivo-parte-ii/?ided=2223 Trechos da entrevista de Ailton Krenak com Jailson de Souza e Silva no site do Jornal PERIFERIAS. Translation from Portuguese: Daniel Stefani

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My mother started to cry, from imagining that, that small living being would not make its way until that far away monstrous beautiful sea just in front us. 25 December 2019 Mazunte, Mexico,

Look at animals

Analogue photography by Jaq Lisboa

“Urban living has always tendend to produce a sentimental view of nature. Nature is thought of as a garden, or a view framed by a window, or as an arena of freedom. Peasents, sailors, nomads have know better. Nature is energy and struggle. It is what exists without any promise. If it can be thought of by man as an arena, a setting, it has to be thought of as one which lends itself as much to evil as to good. Its energy is fearsomely indifferent. The first necessity of life is shelter. Shelter against nature. The first prayer is for protection. The first sign of life is pain. If the Creation was purposeful, its purpose is a hidden one which can only be discovered intangibly within signs, never by the evidence of what happens. It is within this bleak natural context that beauty is encountered, and the encounter is by its nature sudden and unpredictable.The gale blows itself out, the sea changes from the colour of grey shit to aquamarine. Under the fallen boulder of an avalanche a flower grows. Over the shanty town the moon rises. I offer dramatic examples so as to insist upon the bleakness of the context. Reflect upon more everyday examples. However it is ecountered, beauty is always an exception , always in despite of. This is why it moves us.“ Fragment from chapter „The white bird“ from the book “Why look at animals?“ John Berger. Pages 56/57 Piti e Emilia, 2019, Brasil

â&#x20AC;&#x153;Everywhere animals disappear. In zoos they constitute the living monument to their own disappearanceâ&#x20AC;? John Berger

bichinhos de pelĂşcia? I always ask myself: Why stuffed animals?

Ich frage mich immer: Warum Kuscheltie

re?

Eu sempre me pergunto: Porque bichinhos de pelĂşcia?

I always ask my

self: Why stuffed animals? Ich frage mich immer: Warum Kuscheltiere? Eu sempre me pergunto: Porque ?

Ich frage mich immer: Warum Kuscheltiere? Eu sempre me pergunto: Porque

KIM WIEGAND MARIE DANN

SOPHIA BAADER JAQ LISBOA

CONSTANZE BÖHM

Be your own curator! Come together! Invite friends! Share spaces!

CONSTANZE KLAR

THURID

JANA DOELL LEXI SCHNÄBLE

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Kontakt über j.doell@hbk-bs.de

ZWISCHENZWISCHENMIETE Neustadtring 47 Ein Ausstellungskonzept von Jaq Lisboa und Jana Doell Zeitraum der Maßnahme: 29.03.-16.04.2018

Dezember 2017 Als Studentinnen der Freien Kunst in der Klasse von Candice Breitz möchten wir in eine kuratorische Rolle schlüpfen, die unsere bisher erworbenen Kenntnisse mit verschiedenen, die Kunstwelt anreichernden Tätigkeitsmöglichkeiten verbindet. Unser Ausgangspunkt ist ein Raum, der sich in einer besonderen Situation befindet: Von einer Person gerade verlassen, von anderen noch nicht wieder mit Persönlichem versehen, lassen wir als Zwischennutzerinnen die Kunst für einen kurzen Moment in eine Wohnung ziehen. Dabei reagieren wir auf den Zustand, der uns übergeben wird. Es werden Möbel vorhanden sein, jedoch wenig Wohnliches, keine leeren Räume, aber auch keinen Ort, der bestimmte Menschen erkennen lässt. In diesen Zwischenraum laden wir verschiedene Künstlerinnen unterschiedlicher Klassen der HBK Braunschweig ein, ausgewählte Werke zu platzieren, während unsere eigenen Arbeiten nur am Rande auftauchen. Statt in einen musealen Raum wird die Kunst in der Ausstellung ZWISCHENZWISCHENMIETE direkt dorthin gebracht, wo die Menschen leben. Im Neustadtring 47 in Braunschweig besteht eine gemischte Nachbarschaft, die sich aus Studierenden, Rentner*innen, Menschen unterschiedlicher Hinter- und Vordergründe zusammensetzt. Sie werden direkt angesprochen, in ihrem gewohnten Umfeld den Zwischenraum zu betreten und Kunst am Küchentisch zu erleben. So soll die Ausstellung verschiedene Fragen stellen: Wie wohnt es sich mit Kunst oder wie wohnt die Kunst? Ist Kunst brauch- und benutzbar? Wo verläuft die Trennlinie zwischen Kunst- und Dekorationsobjekten? Wann und wie wird ein Raum als privat, wann und wie als öffentlich empfunden? Ganz im Sinne aktueller und stets wiederkehrender Diskussionen versammelt die Ausstellung sowohl dekorative als auch inhaltliche, politische Elemente und prüft sie auf ihre Realitätstauglichkeit. Der Fokus des Projekts liegt zum einen darin, uns selber in der Konzeption und Umsetzung einer Ausstellung zu schulen und anderen HBK-Studentinnen die Möglichkeit zu geben, ihre Arbeiten in einem von Institutionen vollständig unabhängigen Rahmen zu zeigen. Zum anderen steht das vermittelnde Element im Mittelpunkt, das die Kunstbetrachtung dort stattfinden lässt, wo die Menschen leben und uns so Rückmeldungen fern einer akademischen oder musealen Blase ermöglicht. Das Projekt ZWISCHENZWISCHEMIETE soll das erste einer Reihe von Ausstellungsformaten von uns als Kuratorinnenteam sein. Über eine positive Rückmeldung und finanzielle Unterstützung würden wir uns somit sehr freuen! Mit herzlichen Grüßen,

Jaq Lisboa und Jana Doell

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Schöne 1-Zimmer Wohnung

Wohnung Liebe Leute ich biete meine schöne 1-Zimmer Wohnung ab den 01.August 2018 an. Die Wohnung eignet sich gut für Student*innen die allein wohnen wollen :-). Supermärkte und die Bus Haltestelle Amalienplatz sind vor der Tür. Ich war sehr Glücklich dort. Der Vermieter ist auch sehr nett und freut sich auf zuverlässige Leute :-).

Lage Die Wohnung ist super positioniert. 3 Minuten zu Bushaltestelle Amalienplatz, Supermarkt und Bäcker. Gegenüber ist ein Sparkasse und neben an ein Waschsalon mit Trockner. Mit den Bus M29 /19 ist man in 20 Minuten an Hauptbahnhof, 10 Minuten Kunst Hochschule (Johannes Selenka Platz ), 7 Minuten TU am Pockestrasse (TU Bibliothek, Mensa, Sporthalle). Andere Busse fahren in die Innen Stadt und Vechelde. Die Supermarket in der Nähe (3 Minuten Fuss) sind Rewe, Denns Biomarkt… und Saray Markt. Andere 2 Rewe (eine davon am Hamburgerstrasse ist bis Sonstiges 12 Uhr Nachts auf) sind auch in der Nähe und ein Aldi. Der Baumarkt Bauhaus ist auch in der nähe. An den Wochenende von 06.04-08.04.2018 könntet ihr die Wohnung besichtigen. an 06.04.18 von 18 - 22 Uhr an 07.04.18 von 15 - 20 Uhr an 08.04.18 von 15 - 20 Uhr Liebe grüße und ich freue mich auf eure Rückmeldung und Besuch.

Jaqueline Lisboa Silva jaqueliss@gmail.com frei ab: 01.08.2020 Größe: 34m² Miete: 305€ Nebenkosten: 0€ Kaution: 300€