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240096 SE Seminar Individual Specialisation II (2023W)
Queer (in) Form: Examining In_Visibility through Theory and Art production
Continuous assessment of course work
Labels
Für diese Lehrveranstaltung ist ausnahmslos eine Anmeldung während der Anmeldephase notwendig. Ein Nichterscheinen in der ersten Einheit führt automatisch zur Abmeldung von der Lehrveranstaltung.
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Mo 04.09.2023 00:01 to Mo 25.09.2023 23:59
- Deregistration possible until Tu 31.10.2023 23:59
Details
max. 25 participants
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- Wednesday 18.10. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 18.10. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 15.11. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 15.11. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 29.11. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 29.11. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 13.12. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 13.12. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 17.01. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 17.01. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 31.01. 09:45 - 11:15 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
- Wednesday 31.01. 11:30 - 13:00 Hörsaal 29 Hauptgebäude, 1.Stock, Stiege 7
Information
Aims, contents and method of the course
Assessment and permitted materials
Methods
Each seminar session will focus on a thematic axis (e.g. what do we mean when we say invisibility and invisibilization, what is opacity and how does it operate in a postcolonial context).The seminar will be focusing on collaborative ways of learning and will encourage exchange between the students.
It will employ different formats: brief lectures, screenings, discussions, and artistic practice/experimentation with creative materials.
The class has two parts: a theoretical one as well as a “hands on” one, where students can experiment with the material ceramics. Each seminar will be split between the first half (theory, discussing texts together, seeing examples of art) and the second half which will be in the studio playing with materials. Students are expected to prepare the materials provided before each seminar (read texts or listen to podcasts) so we can discuss them together.
The students will be introduced to the possibilities and most important techniques of ceramics, to enable them to realise the ideas that they developed throughout the seminar. Additionally, students will have the possibility to use the ceramics studio’s facilities under the supervision (and assistance) of the staff throughout the “focus week.” Besides the theoretical engagement, students are expected to develop an artistic project in the form of sketches (Ideenskizzen).Aims
Students will explore how invisibilities and visibilities are informed and inform agency and empowerment for minoritarian subjects, and will engage with an extensive vocabulary of theoretical terms from the four main disciplines (Gender, Queer, Postcolonial Studies, and Arts & Culture). Moreover the students will have the chance to transfer knowledge gained from one discipline to another (art <-> theory)Collectively, and drawing on scholarly literature and analysis, we will discuss what it means to make subjects and groups in_visible through our own academic research, activism, and artistic practice. In connection with this self-questioning, we will analyse in detail the complicated relationships between power, agency, acknowledgement and visibility. Students will become equipped with tools to analyse cultural texts (including images, films, and art objects) through such filters and be able to synthesise theory and practice while focussing on questions of in_visiblity intersectionally taking into account gender, sexuality, class, race, ability and cultural contexts. Most importantly, they will investigate forms of invisibility and opacity not only as theoretically potent concepts and theories, but as scholarly and artistic forms of knowledge production.
The course introduces students to methodological approaches which they will be able to apply critically in their own work (e.g. research and other smaller writing exercises).
The experience of a direct visualisation of one's own ideas through the material ceramics is made possible and supported on all levels. In addition, an insight into one of the largest and oldest workshops of the University of Applied Arts is provided. Through this cooperation we want to clear up misunderstandings, fear of contact, dividing lines and evaluations between the intellectual work and handcraft.
Languages
The seminar will be in German and English. The discussions of theoretical texts will be in English and the instruction in the ceramics studio will be in German. Please note this seminar is in both languages, not translated from one to the other. Students must be conversant in both languages.
Each seminar session will focus on a thematic axis (e.g. what do we mean when we say invisibility and invisibilization, what is opacity and how does it operate in a postcolonial context).The seminar will be focusing on collaborative ways of learning and will encourage exchange between the students.
It will employ different formats: brief lectures, screenings, discussions, and artistic practice/experimentation with creative materials.
The class has two parts: a theoretical one as well as a “hands on” one, where students can experiment with the material ceramics. Each seminar will be split between the first half (theory, discussing texts together, seeing examples of art) and the second half which will be in the studio playing with materials. Students are expected to prepare the materials provided before each seminar (read texts or listen to podcasts) so we can discuss them together.
The students will be introduced to the possibilities and most important techniques of ceramics, to enable them to realise the ideas that they developed throughout the seminar. Additionally, students will have the possibility to use the ceramics studio’s facilities under the supervision (and assistance) of the staff throughout the “focus week.” Besides the theoretical engagement, students are expected to develop an artistic project in the form of sketches (Ideenskizzen).Aims
Students will explore how invisibilities and visibilities are informed and inform agency and empowerment for minoritarian subjects, and will engage with an extensive vocabulary of theoretical terms from the four main disciplines (Gender, Queer, Postcolonial Studies, and Arts & Culture). Moreover the students will have the chance to transfer knowledge gained from one discipline to another (art <-> theory)Collectively, and drawing on scholarly literature and analysis, we will discuss what it means to make subjects and groups in_visible through our own academic research, activism, and artistic practice. In connection with this self-questioning, we will analyse in detail the complicated relationships between power, agency, acknowledgement and visibility. Students will become equipped with tools to analyse cultural texts (including images, films, and art objects) through such filters and be able to synthesise theory and practice while focussing on questions of in_visiblity intersectionally taking into account gender, sexuality, class, race, ability and cultural contexts. Most importantly, they will investigate forms of invisibility and opacity not only as theoretically potent concepts and theories, but as scholarly and artistic forms of knowledge production.
The course introduces students to methodological approaches which they will be able to apply critically in their own work (e.g. research and other smaller writing exercises).
The experience of a direct visualisation of one's own ideas through the material ceramics is made possible and supported on all levels. In addition, an insight into one of the largest and oldest workshops of the University of Applied Arts is provided. Through this cooperation we want to clear up misunderstandings, fear of contact, dividing lines and evaluations between the intellectual work and handcraft.
Languages
The seminar will be in German and English. The discussions of theoretical texts will be in English and the instruction in the ceramics studio will be in German. Please note this seminar is in both languages, not translated from one to the other. Students must be conversant in both languages.
Minimum requirements and assessment criteria
Attendance in all seminar sessions, subject to applicable COVID rules, is required. To pass the seminar students need to attended class regularly, submit all assignments, and have a minimum of 60 points.
100-90 points 1
89-80 points 2
79-70 points 3
69-60 points 4
59-0 points 5The final assignment will be a project draft/proposal that the students will work on in groups of 4 people (2 people from the University of Applied Arts & 2 from the University of Vienna). The proposed project (which we don’t expect to be created within the framework of this seminar) should reflect on the themes, terms, and theories we will discuss during the semester and experiment with some of the artistic practice elements we will see (in the ceramics studio led by Sascha Zaitseva or by any of the other artistic projects we will see as examples of art that deals with the themes of the seminar and which will be in various media).
The final assignment should comprise sketches or other materials (photographs, ceramics, video or audio recordings etc) with a text (up to 1,000 words) explaining how the project relates to the seminar’s themes and the students’ interests.
In the last session (16.6.23) each group will have 15’ to present their project, followed by a short discussion/Q&A with colleagues and instructors.
100-90 points 1
89-80 points 2
79-70 points 3
69-60 points 4
59-0 points 5The final assignment will be a project draft/proposal that the students will work on in groups of 4 people (2 people from the University of Applied Arts & 2 from the University of Vienna). The proposed project (which we don’t expect to be created within the framework of this seminar) should reflect on the themes, terms, and theories we will discuss during the semester and experiment with some of the artistic practice elements we will see (in the ceramics studio led by Sascha Zaitseva or by any of the other artistic projects we will see as examples of art that deals with the themes of the seminar and which will be in various media).
The final assignment should comprise sketches or other materials (photographs, ceramics, video or audio recordings etc) with a text (up to 1,000 words) explaining how the project relates to the seminar’s themes and the students’ interests.
In the last session (16.6.23) each group will have 15’ to present their project, followed by a short discussion/Q&A with colleagues and instructors.
Examination topics
Oral discussion based on course literature, group work, sketches, ceramics project, presentation.
Reading list
May Ayim, 1995. blues in schwarz und weiss. Berlin: Orlanda
May Ayim, 1997. Nachtgesang. Berlin: Orlanda
May Ayim, 1997. Grenzenlos und unverschämt. Berlin: Orlanda Frauenverlag
Fatima El-Tayeb, 2011. European Others. Queering Ethnicity in Europe. Minneapolis/London: University of Minnesota Press
Fatima El-Tayeb, 2016. Undeutsch: Die Konstruktion des Anderen in der post-migrantischen Gesellschaft. Münster: Unrast
Jin Haritaworn, 2008. Shifting Positionalities: Empirical Reflections on a Queer/Trans of Colour Methodology. Goldsmiths College Sociological Research Online 13(1)1.
Ika Hügel Marshall, Nivedita Prasad, Dagmar Schultz (Hg) 2021: May Ayim. Radikale Dichterin, sanfte Rebellin. Berlin: Orlanda
Natasha A Kelly (Hg), 2018: Sisters and Souls. Inspirationen durch May Ayim. Hamburg/Berlin: Orlanda
Natasha A Kelly (Hg), 2012. Sisters and Souls 2. Inspirationen durch May Ayim. Hamburg/Berlin: Orlanda
Audre Lorde, 2007. Sister Outsider. Essays and Speeches, Berkeley: Crossing Press
Olumide Popoola; Beldan Sezen, 1999. Talking Home. Heimat aus unserer eigenen Feder. Frauen of Color in Deutschland. Amsterdam: Blue Moon Press.
Peggy Piesche, 2012. Euer Schweigen schützt Euch nicht: Audre Lorde und die Schwarze Frauenbewegung in Deutschland. Berlin: Orlanda
Gayatri Chakravortry Spivak, 1993. Outside in the Teaching Machine. New York/London: Routledge
Tendayi Sithole, 2020. The Black Register. Cambridge: Polity Press
AlyosxaTudor, 2014. .from [al’manja] with love. Trans_feministische Positionierungen zu Rassismus und Migratismus. Frankfurt am Main: Brands&Apsel
Lisa Yoneyama, 2003. Traveling Memories, Contagious Justice. JAAS 6, no. 1. S. 5793
May Ayim, 1997. Nachtgesang. Berlin: Orlanda
May Ayim, 1997. Grenzenlos und unverschämt. Berlin: Orlanda Frauenverlag
Fatima El-Tayeb, 2011. European Others. Queering Ethnicity in Europe. Minneapolis/London: University of Minnesota Press
Fatima El-Tayeb, 2016. Undeutsch: Die Konstruktion des Anderen in der post-migrantischen Gesellschaft. Münster: Unrast
Jin Haritaworn, 2008. Shifting Positionalities: Empirical Reflections on a Queer/Trans of Colour Methodology. Goldsmiths College Sociological Research Online 13(1)1.
Ika Hügel Marshall, Nivedita Prasad, Dagmar Schultz (Hg) 2021: May Ayim. Radikale Dichterin, sanfte Rebellin. Berlin: Orlanda
Natasha A Kelly (Hg), 2018: Sisters and Souls. Inspirationen durch May Ayim. Hamburg/Berlin: Orlanda
Natasha A Kelly (Hg), 2012. Sisters and Souls 2. Inspirationen durch May Ayim. Hamburg/Berlin: Orlanda
Audre Lorde, 2007. Sister Outsider. Essays and Speeches, Berkeley: Crossing Press
Olumide Popoola; Beldan Sezen, 1999. Talking Home. Heimat aus unserer eigenen Feder. Frauen of Color in Deutschland. Amsterdam: Blue Moon Press.
Peggy Piesche, 2012. Euer Schweigen schützt Euch nicht: Audre Lorde und die Schwarze Frauenbewegung in Deutschland. Berlin: Orlanda
Gayatri Chakravortry Spivak, 1993. Outside in the Teaching Machine. New York/London: Routledge
Tendayi Sithole, 2020. The Black Register. Cambridge: Polity Press
AlyosxaTudor, 2014. .from [al’manja] with love. Trans_feministische Positionierungen zu Rassismus und Migratismus. Frankfurt am Main: Brands&Apsel
Lisa Yoneyama, 2003. Traveling Memories, Contagious Justice. JAAS 6, no. 1. S. 5793
Association in the course directory
Last modified: Fr 15.09.2023 09:27
Yet, visibility is ambivalent. Northwest European feminist and queer politics racial critique and activisms often assume that more visibility means more political presence, more participation, and more access to privilege. Such politics overlook the complex processes at work in the field of visuality. Hence, it is important to think about "who is given to see, in what context - and most importantly: how, that is, in what form and structure." (Schaffer 2008: 12)
Moreover, visibility and invisibilities are not necessarily stable binary oppositions. What happens when meaning is concealed and a new type of speech emerges? What happens when necropolitics need to be addressed in public space? What happens when anonymous art appears in public space?Through a theoretical overview of the potency of notions of opacity and invisibility, visibility and transparency etc. as used in Gender, Queer, and Postcolonial Studies the students will become familiar with the multitude of ways these methods have been used by minorities, artists, theorists in modern and contemporary culture.
Through the artistic practice component (at the Ceramics Studio at the University of Applied Arts Vienna led by Sascha Zaitseva) students will get the chance to experiment with clay and other materials and creatively approach the topics discussed in the theoretical part of the seminar.This interdisciplinary seminar is an experiment for all of us to discuss, play, and collaborate gaining new knowledge. It is not intended as result-oriented or expertise-exhibiting format. We understand that people from different backgrounds and with varying degrees of experience in theory and creative practice will join and we want to make room for all.
Students are welcome to visit the workshop on other days to continue familiarising themselves with the materials and experiment.We invite students to not be afraid of theory or practice. This is a seminar looking for unexpected results, and as such it is important to be open to learning and sharing.
The materials for the seminar will be provided.