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.What could a feminist art currency look like?

.Diversiteit en de Wmo

.Fragmentation of perception / perception of fragmentation

.Queer art is about creating the possibility to say no to the dominant hetero-normative economic and political structures of art. Or yes. But to at least write a story about it that replaces an older one.

.Patricia Cornflake

.Zonder titel of een verhaal over feministische kunst

Session: Fragmentation of perception / perception of fragmentation
Organizers: marjolijn kok & suzanne van rossenberg

The session was part of:



Find the original call and contributors to the session below. Marjolijn and I are busy with a publication as a follow-up to the session. Find call for contributions to the publication here (Word-doc).

This session is the result of a collaboration between an archaeologist and an artist. The aim is to approach the theme of ‘perception of fragmentation / fragmentation of perception’ from both disciplines in order to give alternative insights to artists, archaeologists, (art) historians, and everybody who is interested.

Both artists and archaeologists deal with material culture. We talk, research, write and gossip about our (fragmented) objects: how they are perceived and by whom, from what position and under what circumstances. Perception/spectatorship is a fragmented experience continuously influenced by all kinds of different aspects.
Along with the question of what the (fragmented) objects are or mean, we ask why they are made. For what religious, aesthetic, social, philosophical, therapeutic, economic, decorative, amateur etc. reasons? When giving account to our own positioned questioning, we create the base for not only epistemology, but also political awareness.

Examples of questions:
-Archaeologists are performers who produce narratives, books and exhibitions. Who are the audiences of these research products? Who are their financers? What influence do they have on research products and the criteria under which these are produced and called research products?
-Contemporary artists have produced (invisible) objects, but also performances, happenings, transdisciplinary processes, stories in between, subversion, and infiltration in other fields like community work, commercial businesses and politics. Though art works become objects the moment they get ‘commodified’ by art critique/art market audiences, clearly artists also made products for an audience outside an art context. Whom are these products made for and motivated by what? What can we say about its economical structure?
- The production of art and science (the production of knowledge) needs communication to its audiences.
Do artists and scientists imagine their audiences, while researching, writing and making products? Do they view their own work through the eyes of their imaginary audiences in order to establish communication? Do they have the desire to be themselves the audiences of their own work? Do they desire to transform their own subjectivity?

The organizers themselves share a queer approach towards fragmentation and perception, because it addresses subjects like positioning, (trans)gender and cultural differences, discourses between objects or between audiences, and desire as methodology. We invite archaeologists, artists, art historians and others to propose a contribution for the session ‘fragmentation of perception / perception of fragmentation’ approached from their own discipline or medium. Proposals that incorporate a queer perspective will be favoured, but alternative viewpoints can be proposed.


The contributions

Linking and Stitching: Patchworking Collective Knowledge in Hypertext Fiction
Annabel van Baren

For Freddie
Deric Carner and Roddy Schrock

No apologies: archaeology and theory, or science fiction?
Erik van Rossenberg

Brushing dusty bodies: the archival, the archaeological, and the queer imagination
Francesco Ventrella

Archaeologists as queer viewers and narrators.
marjolijn kok

Queer art is about creating the possibility to say no to the dominant hetero-normative economic and political structures of art. Or yes. But to at least write a story about it that replaces an older one.
Suzanne van Rossenberg