Policing (as) the Paradigmatic Scene of Rape

A queer renovation of “rape” requires beginning not with actors, but with acts, which brings into view the central role of the state as a perpetrator of sexual violence. Radical feminists moved the “paradigmatic scene” of rape from the stranger in the alley to the acquaintance in the bedroom: rape was a problem not of exceptional perversion, but of ordinary heterosexuality. The works surveyed in this essay center the scene of state detention, showing how regimes of policing in a racial capitalist state always frame and prototype sexual violence. The author pursues this argument in three passes: history (the discourse around Michel Foucault’s treatment of the Charles Jouy case), aesthetics (the conflation of state and domestic violence in the installations of Palestinian artist Mona Hatoum), and activism (the convergence of abolitionist and antirape movements in the 1970s writings of Angela Davis and the memoirs of the Scottsboro Boys).

La Ficción del Exilio: la Poética como Estrategia Narrativa en la Obra de Mona Hatoum

Starting from the idea formulated by Edward Said that the experience of being homeless generates a distanced reading of historical facts, we propose the present study, which consists of analyzing how exile intervenes in the narrative strategies of the Palestinian British artist Mona Hatoum. Our purpose is to create a theoretical framework that helps us understand the reason for her formal and aesthetic choices, where the use of fiction and the duality between attraction and repulsion stand out. The strategy used consists of delving into the paradoxical relationships of Hatoum's experience as an Arab artist of the diaspora through symmetries and parallels with historical references who experienced similar situations. This strategy is used as an introduction and contextualization of the work of our artist under study in order to understand her discursive development, her role as speaker of the Arab sociopolitical reality in the heart of the Western world and the value of the vision that it provides us about said reality.

Affirmation of Islamic artists on the example of Shirin Neshat and Mona Hatoum

The role of women in Islamic countries is very different from the notion of women in Europe, because the religious worldview has been dominant for centuries so much that it has subdued all other spheres of society. The struggle for equality, which has been going on for decades in the so-called Western world, in Islamic countries is just getting started. Consequently, it is not surprising that the portrayal of women and everything related to them in the art and literature of Islamic countries is limited in relation to the West. Islam is a very strict religion and forbids the display of objects that lead to fetishism, such as human figures and cult images, because it represents a threat to the creative power of Allah. In the past, Islamic women did not have the opportunity to affirm themselves in the arts, because despite the fact that Islam does not support "discrimination" between men and women, at the same time it does not defend the idea of "equality". However, the postmodern era brings a revival, and today they are finally enjoying their rights and are greatly represented on the world art scene. By presenting historical themes, the artists in a special way convey emotional messages about the suffering of individual members of the Islamic faith, and in addition define and reexamine patriarchy, feminism and fundamentalism through their works. The themes of suffering are best depicted in the work of two Islamic women, Shirin Neshat and Mona Hatoum, so this paper will talk about their opus and the way in which Muslim women are affirmed in the modern age through historical-artistic and sociological approach.

ANATOMY OF AN OCCUPATION IN ARTISTIC UPRISING (INTIFADA) PALESTINE

This research covers an examination of the effects of the ongoing war in Palestine on artists of Palestinian origin and their works that can be considered as “uprising (intifada)”. Although the beginning of the Palestine-Israel conflict can be dated back to the end of the 19th century, the turning point has been known as 1948 when the State of Israel was officially declared. While the year 1948 means victory for the Israelis, this date was imprinted on the memories of the Palestinians as a “Catastrophe (nakba in Arabic)”. The First Palestinian Intifada (uprising), which took place twice in Palestine from 1987 to 1993 (the period from the signing of the Oslo Accords and the Palestinian uprising against the occupation of Palestinian lands), the second Palestinian Intifada (uprising) from September 2000 to 2005 and the interim periods when the artists came to the fore with their works were evaluated within the scope of the uprisings. Artists who attempt to trace the traces of individual and social war memory, notably those such as Mona Hatoum, Emily Jacir and Dana Awartani, were addressed within the scope of the research on the works of artists of Palestinian origin. As a result, the works of artists, who have been continuing in Palestine from the past to the present and cannot easily isolate themselves from the conflicts, will take their place in art history as the anatomy of an occupied society by war. Keywords: war, art, Intifada art, Palestinian artists, occupation

Não fale bobagens: interferências textuais na fotografia

A presente pesquisa busca apresentar a participação da tipografia na arte contemporânea por meio da produção autoral de fotografias ficcionais, utilizando como referência os artistas Mona Hatoum e Ed Rusha e os diretores de cinema Quentin Tarantino e Robert Rodriguez, além de personagens marcantes da cultura pop, tais como Dr. Zaius (Planeta dos Macacos), Mulher Maravilha, Jack Brown, Uhura (Jornada nas Estrelas: a série clássica) e mais dez personagens femininas da coleção Grindhouse. Como assunto principal das quatro fotografias construídas, temos o protagonismo feminino levantando questões sobre a posição da mulher na sociedade contemporânea. A interferência da palavra na imagem dá-se através da escolha planejada de frases e tipografias trabalhadas de forma harmônica com a fotografia. Como resultado, são apresentadas quatro obras autorais que utilizam como linguagem principal a fotografia de ficção, criadas unicamente com a finalidade de provocar reflexões acerca de questões predominantemente femininas.

Unnecessary journeys: Camera-escorted sojourns, pilgrimages and relocations

It is a common feature of moving image works that they spotlight journeys voluntarily undertaken by artists seeking to engage with different cultures and landscapes. This article focuses on Measures of Distance (1988) by Mona Hatoum and News from Home (1977) by Chantal Akerman, two itinerant works that explore the relationship between mother and daughter across continental divides. The maternal separation intersects with a feminist imperative to widen the artists’ creative horizons in the 1970s and 1980s. These works are set in a broader canvas of what Jane Mills terms ‘sojourner’ films by artists such as Tacita Dean, Jonas Meka, b.h. Yael and Jini Rawlings, works that encompass transnational odysseys of return and pilgrimages ‘footstepping’ notable earlier travellers. A distinction is drawn between cross-border works that predominantly respond to a sense of adventure or a need to seek out the balm of wild environments and those that set up a dialogue between locations overseas and narratives and sensibilities the filmmaker brings from elsewhere.

As narrativas de Mona Hatoum e o efeito de ‘contraponto’: des-emoldurando o doméstico enquanto performatividade e gesto político

Resumo: Na minha intervenção procurarei focar aspectos vários da poética visual e narrativa da artista palestiniana Mona Hatoum, há longos anos exilada em Londres e Berlim, à luz do conceito de “contraponto”, de Edward Said, e da sua interrogação das fronteiras do público e do privado. A desfamiliarização do espaço doméstico e dos objectos “banais” do quotidiano propostos pela artista na sua obra, as suas narrativas de des-figuração e des-emolduramento performativo, serão aqui debatidas enquanto metáfora de estranhamento emocional e despaisamento social e político, em tempos de exílio e migrações. Através da minha discussão e dos meus estudos de caso procurarei igualmente reflectir sobre os novos desafios que o Feminismo como movimento emancipatório e pensamento crítico resiliente enfrenta hoje, num contexto transnacional.