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Aantal resultaten: 12( DE:"lhbtq-kunstenaars" )

Boek

Les Beaux Mâles : René Bolliger (1911-1971) : Dessins (1950-1970)  / 

Nicole Canet, Florent Paudeleux (ed.) ; Rene Bolliger; English transl. Hermann Lion.Paris: Galerie au Bonheur du Jour, 2020 - 272 p.: ill.
uitgave: Paris: Galerie au Bonheur du Jour, 2020 - 272 p.: ill.
onderwerpen:
samenvatting: Fidèle à leur habitude, les éditions Au bonheur du jour nous offre l'opportunité de plonger au coeur de l'oeuvre d'un artiste dont certains ignoraient peut-être jusqu'alors l'existence, René Bolliger. Ce côté presque confidentiel s'explique sans doute du fait que ses illustrations érotiques furent bien souvent publiées au coeur d'ouvrages au tirage relativement restreint ou même sous le couvert du manteau. Certaines publications se distinguent même, comme le Hombres de Paul Verlaine, en ce qu'il n'existe qu'une seule copie réalisée de manière artisanale ou alors, dans le cas du Chant du dormeur de Jean Genet, qu'une édition hors commerce. Originaire de Bâle, en Suisse, il oeuvre en France de 1940 et 1970, où il se fait rapidement connaître des amateurs d'art homoérotique. Cette publication longtemps clandestine s'explique également du fait que jusqu'aux années 50, la censure interdisait la publication de contenus à connotation homosexuelle. René Bolliger a par ailleurs connu un parcours tourmenté. Né d'une mère célibataire et d'un père absent, il se cherche pendant de nombreuses années. En 1934, il se retrouve même en foyer de redressement où on l'affuble d'un diagnostic de «psychopathe homosexuel, moralement déficient». Considérant la position du corps médical de l'époque au regard de l'homosexualité, on peut toutefois s'interroger sur la valeur réelle de l'analyse. Pour l'époque, il ne manquait également pas d'entregent et même d'un certain culot. À preuve, en 1947 il s'acquitte d'une facture de son dentiste en lui proposant un dessin représentant le fils de ce dernier dans une pose non équivoque avec un soin tout particulier consacré à bien représenter l'entrejambe de ce dernier. L'histoire ne dit cependant pas si l'oeuvre finit ses jours dans l'album de famille. Sa production se distingue par une omniprésence d'hommes bien baraqués aux membres fièrement dressés, le sourire aux lèvres, croquées en plein ébats, dans des poses lascives ou simplement abandonnées les uns contre les autres. Il faut également signaler toute une série de dessins en rose et noir présentant l'enlacement d'hommes caucasiens et d'origine africaine. À noter finalement une importance manifeste accordée à la représentation de couples ainsi qu'aux rencontres à trois ou à quatre. Au risque de faire de la psycho-pop, cette inclinaison pour le «plus de deux» venait peut-être contrebalancer la solitude vécue au cours de ses premières années. L'éditrice Nicole Canet nous présente une superbe édition limitée à 500 exemplaires dans laquelle on retrouve les dessins de l'artiste réalisés entre 1950 et 1970 ainsi que quelques curiosités, dont une singulière carafe en cristal Baccarat gravée d'un couple d?hommes nus. L'ouvrage est accompagné d?une préface de l'éditrice et d'une biographie ainsi que d'une présentation signées Florent Paudeleux. Comme à son habitude, l'ouvrage se distingue par son extrême qualité tant au regard de la qualité de l'impression, que du choix des ?uvres et de leur présentation. Un incontournable qui rend un hommage bien mérité à un artiste d'exception!
signatuur: cat. (canet/bea) bb
toegang:
Les Beaux Mâles : René Bolliger (1911-1971) : Dessins (1950-1970)
cat. (canet/bea) bb
https://ihlia.nl/search/covers/thumb/N310589_1.jpg
Nicole Canet, Florent Paudeleux (ed.) ; Rene Bolliger; English transl. Hermann Lion.
N310589
Artikel

Exilic (Art) Narratives of Queer Refugees Challenging Dominant Hegemonies  / Fabian Holle, Maria Charlotte Rast and Halleh Ghorashi.

Frontiers in Sociology, 6 (2021) (may), p. 1-16
bron: Frontiers in Sociology jaargang: 6 (2021)(may), p. 1-16
samenvatting: Within the Dutch hegemonic discourse, the 'migrant other' is portrayed as almost incompatible with 'national culture' while it is simultaneously pressured to assimilate. This creates paradoxes for the queer refugee participants in this study. When these refugees assimilate, they risk reinforcing the dominant discourse considering their group as the 'backward other'. When they do not assimilate, they are considered not 'properly' Dutch. This paper explores how queer refugee artists can unsettle such dominant exclusionary discourses through exilic (art) narratives. Their experiences of exilic positioning (being neither there nor here) and queer liminality (e.g., nonbinary gender identifications) and their intersectional positionalities situate these artists in various 'states of in-betweenness'. Although these states may be challenging, this paper shows how they can also stimulate agency. Inspired by a feminist approach, this study aimed to co-create knowledge with rather than about participants, focusing on creativity and resilience. Methods included biographical interviews and an arts-informed component in which participants were invited to create artistic works concerning their experiences during COVID-19 for an online platform. This study shows how the research participants challenge hegemonic discourses at various levels, using multiple modes of reflection and creation while engaging with their in-between situatedness. At the individual level, they challenge discourses by exploring (or performing) their non-conforming queer positioning through their art practices. At the communal level, plural reflexivity is triggered via art shared within and outside the community. At the societal level, queer refugees exercise activism creatively through images, songs or performances.
onderwerpen:
signatuur: cat. (holle/exi)

dgb artikelen
Exilic (Art) Narratives of Queer Refugees Challenging Dominant Hegemonies
cat. (holle/exi) dgb artikelen
Fabian Holle, Maria Charlotte Rast and Halleh Ghorashi.
Frontiers in Sociology
6
(2021)
(may)
1-16
N310756
Artikel

Art by Jazz Bell  / Jazz Bell.

TSQ : Transgender Studies Quarterly, 9 (2022) 2 (may), p. 222-227
bron: TSQ : Transgender Studies Quarterly jaargang: 9 (2022) 2 (may), p. 222-227
samenvatting: My art covers a wide range of styles and formats and most often revolves around my relation to my body as a disabled, intersex, nonbinary, biracial, and fat being. My activism and work are primarily focused on disability justice, which I view as inherently connected and inextricable from my other experiences. I personally aim to embody the ten principles of disability justice as conceptualized by those at Sins Invalid, a performance art troupe made up primarily of disabled QTBIPOC artists and performers. In thinking of the principles of intersectionality, collective liberation, and cross-movement organizing, I was interested in the way both disabled and intersex beings (as well as many others) continue to experience the living legacy of eugenics, particularly within in our health-care systems. It was through this exploration that I came into understanding myself as intersex. I spoke with Sean Saifa Wall (he/him), an incredible intersex activist.
onderwerpen:
signatuur: ts.
Art by Jazz Bell
ts.
Jazz Bell.
TSQ : Transgender Studies Quarterly
9
(2022)
2
(may)
222-227
N310778
Grijs

Ocaña, der Engel, der in der Qual singt  / curators: Samuel Perea-Díaz, Pepe Sánchez-Molero Martínez.

[Berlin]: Schwules Museum, 2022 - [4] p.
uitgave: [Berlin] : Schwules Museum, 2022 - [4] p.
onderwerpen:
thema:
  1. beeldende kunsten
  2. homoseksualiteit
samenvatting: José Pérez Ocaña (1947-1983) is an example of overcoming and unapologetic queer creation during the Spanish political transition of the 1970's, and an inspiration for later generations. Ocaña was born in the Andalusian village of Cantillana (Sevilla) during Franco's dictatorship and moved to Barcelona, where he established his artistic practice as a painter and sculptor, as well as a cross-dressing performer and activist, which is what he is best known for today. Without academic training and having to work from a very young age, Ocaña's artistic oeuvre is strongly influenced by traditional, popular, catholic imagery and rituals - such as popular festivities, flamenco songs and burials, which are reflected in his colorful paintings, sculptures in paper maché, performances, and appearances in films. "Ocaña. Der Engel, der in der Qual singt" is the first exhibition in Germany about Ocaña, and marks what would have been his 75th birthday. This project conceived for the Schwules Museum celebrates his life and artistic creations, and emphasizes his brief but creative presence in Berlin by presenting the traces he left behind during his visit to the city. The exhibition revolves around three audiovisual works: The documentary film "Retrat Intermitent" directed by Ventura Pons in 1978, a benchmark in the history of Spanish queer cinema, presented at the 1979 Berlin Film Festival, and the reason that brought Ocaña to Berlin. The second work is the performance "Ocaña, der Engel, der in der Qual singt" in front of Brandenburg Gate, filmed by Gérard Courant in 1979, which gives its name to the exhibition; and the last one, the film "Silencis", directed by Xavier-Daniel presented in the 1983 Berlin Film Festival, months before Ocaña's premature death.
signatuur: cat. (ocaña/eng) g
toegang:
Ocaña, der Engel, der in der Qual singt
cat. (ocaña/eng) g
https://ihlia.nl/search/covers/thumb/N311044_1.jpg
N311044
Grijs

To Be Seen. Queer Lives 1900 - 1950

München: NS-Dokumentationszentrum München, 2022 - 7 p.
uitgave: München : NS-Dokumentationszentrum München, 2022 - 7 p.
onderwerpen:
thema:
  1. lhbti
  2. geschiedenis
samenvatting: From October 7, 2022 - May 21, 2023 the exhibition TO BE SEEN: Queer lives 1900 - 1950 takes place at the Munich Documentation Center for the History of National Socialism. TO BE SEEN is devoted to the stories of LGBTQI+ in Germany in the first half of the 20th century. Through historical testimony and artistic positions from then and now, it traces queer lives and networks, the areas of freedom enjoyed by LGBTQI+, and the persecution they suffered.
signatuur: cat. (nsdok/see) k
toegang:
To Be Seen. Queer Lives 1900 - 1950
cat. (nsdok/see) k
https://ihlia.nl/search/covers/thumb/N311187_1.jpg
N311187
Grijs

To Be Seen. Queer Lives 1900 - 1950 : Glossar

München: NS-Dokumentationszentrum München, 2022 - 30 p.
uitgave: München : NS-Dokumentationszentrum München, 2022 - 30 p.
onderwerpen:
thema:
  1. lhbti
  2. geschiedenis
samenvatting: Glossary with explanations of the terms that are used in the exhibition ''TO BE SEEN: Queer lives 1900 - 1950' at the Munich Documentation Center for the History of National Socialism. TO BE SEEN is devoted to the stories of LGBTQI+ in Germany in the first half of the 20th century. Through historical testimony and artistic positions from then and now, it traces queer lives and networks, the areas of freedom enjoyed by LGBTQI+, and the persecution they suffered.
signatuur: cat. (nsdok/see/glo) k
toegang:
To Be Seen. Queer Lives 1900 - 1950 : Glossar
cat. (nsdok/see/glo) k
https://ihlia.nl/search/covers/thumb/N311434_1.jpg
N311434
Boek

Odarodle : Sittengeschichte eines Naturmysteriums, 1535 - 2017  / 

Ashkan Sepahvand.Berlin: Eldorado, 2018 - 192 p.: ill.
uitgave: Berlin: Eldorado, 2018 - 192 p.: ill.
onderwerpen:
samenvatting: The artistic research exhibition Odarodle - an imaginary their_story of naturepeoples, 1535-2017 casts, for the first time, a postcolonial perspective on the collection and history of the Schwules Museum*. The exhibition proposes a thought-exercise: that there are problematic associations between the museum representation of homosexualities and the ethnological display formats developed over the course of European colonialism. Odarodle presents the work of 16 artists, mostly Berlin-based, including 10 newly commissioned pieces. These contemporary positions respond to the Museum, its archive, and its practices as both research material and aesthetic medium. Odarodle specifically turns "Eldorado" backwards. As a site of multiple origins, it is a threefold reference: an historical exhibition, a legendary night club, and a colonial myth. Though the commitment of the Schwules Museum* to enable LGBTIQ cultural visibility bespeaks a greater political agenda of liberation, the contemporary relevance of such a (self-) representational undertaking requires revision and reflection. A more expansive, less obvious scale of critical engagement, as proposed by Odarodle, considers the deeper operations within Modernity that have attempted to exhibit forms of life, their bodies, and their habitats. This is where the desire to show the manners and mores of a kind of "people" and their "nature" confronts the postcolonial challenges of the ethnographic museum: a site that has historically sought to visualize the existence of the "Other" and, in doing so, maintains the "Other" as a normative construction.
signatuur: cat. (sepah/oda) bb
toegang:
Odarodle : Sittengeschichte eines Naturmysteriums, 1535 - 2017
cat. (sepah/oda) bb
https://ihlia.nl/search/covers/thumb/N311939_1.jpg
Ashkan Sepahvand.
N311939
Grijs

A symposium on queer performance pedagogy and feedback

Amsterdam: Amsterdam University of the Arts ; AHK : Amsterdamse Hogeschool voor de Kunsten, 2022 - ongepag.
uitgave: Amsterdam : Amsterdam University of the Arts ; AHK : Amsterdamse Hogeschool voor de Kunsten, 2022 - ongepag.
onderwerpen:
thema:
  1. lhbti
  2. onderwijs
  3. psyche
  4. podiumkunsten
samenvatting: 11+12 may 2022. In Pursuit of Otherwise Possibilities (IPOP) is hosting a two-day program of students, artists, practitioners, and thinkers involved in queer world-building. Aiming to propagate a communal inquiry into modalities for supporting queer performance and giving and receiving feedback in and out of educational institutions. Topics include: coloniality and queerness; biomythography, critical fabulations, and disidentification as queer performance practices; queering feedback lenses, methodologies, best practices; tranimacies: alternative engagements with the other as pedagocical practice; Drag Mothering, care, kinship, and education; and more. Contributors; Szymon Adamczak, Glynnis Bergen, Paula ChavesBonnilla, Dynno Dada, Eva Hayward, Carolina Maciel de França, Marleen Hendrickx, Mario Lopez, Kopano Maroga, Maneo Mohale, Paula Montecinos, Flavia Pinheiro, Panagiotis Panagiotakopoulos (Taka Taka), Fazle Shairmahomed, Elioa Steffen, Mavi Veloso and more. Main venue: ATD Amsterdam, Jodenbreestraat 3, theaterzaal
signatuur: cat. (sympo/que) g
toegang:
A symposium on queer performance pedagogy and feedback
cat. (sympo/que) g
https://ihlia.nl/search/covers/thumb/N312108_1.jpg
N312108
Artikel

Refusing Empathy: Queer Racialized Life and Death in Diasporic Performance  / Tahereh Aghdasifar.

GLQ : A Journal of Lesbian and Gay Studies, 29 (2023) 4 (oct), p. 427-451
bron: GLQ : A Journal of Lesbian and Gay Studies jaargang: 29 (2023) 4 (oct), p. 427-451
samenvatting: Gelare Khoshgozaran, a Los Angeles-based multidisciplinary artist, gave her initial performance of "UNdocumentary" as part of the welcome to what we took from is the state exhibition at Queens Museum in New York City. This performance entailed a reading, by the artist and audience members, of Khoshgozaran's original declaration of asylum to the US government. When this produced empathetic and, in Khoshgozaran's words, "depressed'" reactions from the audience, Khoshgozaran altered the performance, rewriting the document to reflect how she understands her life trajectory, as opposed to what queer asylum seekers are expected to produce to become subjects of and legible to empire. The next iteration of the performance is a refusal of legibility and empathy for a life narrative she, in some ways, lived, but simultaneously did not identify with. This article argues that the revised performance of "UNdocumentary" interrupts heteronormative space and time, crafting a queer otherwise world where relationality is pushed out of the realm of identification, inviting a bond forged through opacity rather than the violence of transparency.
onderwerpen:
signatuur: ts.
Refusing Empathy: Queer Racialized Life and Death in Diasporic Performance
ts.
Tahereh Aghdasifar.
GLQ : A Journal of Lesbian and Gay Studies
29
(2023)
4
(oct)
427-451
N313341
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