November 19, 2012

A QY happening in Vienna


Please join us at the symposium Translator/Betrayer: On Translation and Artistic Practice (Nov. 22-24) at the University of Applied Arts Vienna, Vordere Zollamtsstraße 3.

Symposium 
22. November 2012 - 24. November 2012 Angewandte, Expositur Vordere Zollamtsstraße 3, 1030 Wien.

The symposium is dedicated to the question of (in)fidelity in translation processes in the artistic context. International artists and experts will be invited to approach the contents and problems of this topic in this three-day symposium. Talks, performances, spatial interventions and installations, workshops and discussions will be held in this framework and the participants will have a chance to exchange their knowledge and experience with each other and with the public. "Artistic research" will be an integral component of the analytical discussion. In addition to the symposium, there will be an educational program on the subject engaging the pupils of the new secondary school in video and music and students of the University of Applied Arts Vienna in video. The results will be documented and made available to a wide audience.

The symposium will be held - besides medial formats of the artists’ expression - in English.

Lectures / Performances / Workshops by 
Arpi Adamyan, Shushan Avagyan, Ute Eisinger, Veronika Hauer, Yulia Kostereva, Yuriy Kruchak, Irene Lucas, Yota Ioannidou, Ina Ivanceanu, Barbara Philipp, Lusine Talalyan, Sabina Shikhlinskaya, Tatia Skhirtladze.

Time 
Thursday 22nd November,  5 p.m. - 8 p.m.
Friday 23rd November, 10 a.m. - 7 p.m.
Saturday 24th November, 10 a.m. - 2 p.m.

Click here for the invitation >>

November 10, 2012

Chère L


Les envolées prennent du temps à se concrétiser. Il faut élaborer le plan de départ. Il faut annuler les excès de dernière minute. Il faut savoir se réjouir au bon moment sans prétention. Et le moment venu, il faut pouvoir lâcher tout et recommencer les préparations, doucement, sans secousse, sans intervention inutile.

Le temps résout rarement les choses.  C’est ce qu’on se dit quand on n’a plus de réponses à ces questions malsaines.
Ce corps que j’ai scruté dans ce miroir a vieilli tellement. Rien n’est à sa place habituelle. On dirait qu’un tremblement de terre a fracassé cette masse de chaire et d’os. Tout lâche en dégout. Tout tremble et gigote à chaque mouvement. Rien ne tient debout seul sans le synthétique élastique.   Il est souvent difficile d’aimer avec ce corps démoli.
Il suffit le toucher de l’autre pour réaliser à quel point ce corps se referme, s’étrangle et suffoque.

Tu ne comprendras jamais. Tu n’as jamais essayé de relever ce défi. Tu as préféré jouer le jeu; être la femme au vagin envahi.

J’ai passé de longues heures, devant ce miroir à inspecter patiemment les recoins endommagés; à étirer, à pincer, à tordre, à éloigner, à enfoncer. Rien à faire. Je déteste ce corps que je n’ai pas appris à aimer. Je déteste ce miroir et cette image distordue.  
Ce corps endommagé a refusé la maternité, a refusé de plaire, a refusé de se soumettre. Alors il est devenu invisible, ignoré, incompris, bon à rien.
Ces jambes maigres, difformes – ces pieds terribles qui errent dans des recoins impensables. J’essaye de les cacher derrière ces livres que j’invente sans cesse. Ces mains qui ne suivent plus l’ordre de mes pensées, qui mènent leur propre politique à l’encontre de mes résistances. 

J’ai appris à trainer mes solitudes à travers le monde, à travers mes amours, à travers mes écritures.

En dessous de mon lit, git la mémoire de grand-mère. Je la garde en surplus, je la garde comme faveur, je décide finalement de sourire, d’un sourire malsain. Je fais semblant que tout cela est important. Je crains un changement durable – je me protège de la durée imprévisible des choses. Rien ne compte parfois. Il faut savoir expérimenter la mort – recueillir les témoignages en voie de disparition.

Il y a une certaine tranquillité à observer les morts.  

B.

November 3, 2012

Book Review: "Queered: What’s To Be Done with Xcentric Art"

Corina Oprea   
Thursday, 11 October 2012 21:01
QUEERING YEREVAN (EDS.) QUEERED: WHAT’S TO BE DONE WITH XCENTRIC ART
QUEERING YEREVAN COLLECTIVE, 2011, YEREVAN (ARMENIA), 336 PP.
The notion of identity, being it ethnic, religious, politic or sexual, marks a key feature of the public reality of post-communist transition in Central and Eastern Europe. Queer theory brings a radical political discourse that disrupts the comfortable public arena, employing the means of contemporary art and performativity throughout their actions. Queering Yerevan is a group of female artists, writers, performers, critics and translators active in Yerevan and in the Armenian diaspora. Their recently published book, Queered: What’s To Be Done with Xcentric Art, tries to recollect the art events organized by the group since 2008. It exposes the internal discussions problematizing the identity of a collective on the edge of a clear queer agenda and a more cultural and political idea.
Written both in English and Armenian, the question of language is very present in the book, as a meta expression of historical, social and cultural contexts and backgrounds. Visually, having entire pages in the Armenian alphabet does create a poetry of resistance. Certain pages are left untranslated, lending a certain intimacy to a book edited as a form of public confession. For the group, the process of interpretation of meaning – translation – refers to Judith Butler’s concept of drag, which disturbs and complicates the given norms. The first event the group organized in Yerevan was the art intervention Queering translation (2010), a series of actions that tried to rework the local context and re-establish a form of subversivity by referring to dominant post-soviet culture, translation and queer spaces.
Translating in the case of Queering Yerevan connects to the identitarian question of the group, established through a strong impulse from some of the members of second or third generations of the Armenian diaspora mostly in North America. The necessity of constant translation from Armenian to English and vice versa, as an everyday practice, does bring a rich and continuous formulation of what the term “queer” can bring, and how certain activist actions can be conceptualized and performed in a cultural territory with strong patriarchal traditions.

After changing their name from Women-Oriented-Women, the group strives to act against all normative aspects of social reality. As Arpi Adamyan writes: “I find queer culture particularly important as it casts a critical look at the rules in the heteronormative structures, the nationalist ideas prevailing in current Armenian reality, the structure of the heterosexual family, and the domination of its functions even in the field of art.”1 It is through artistic expression that they have chosen to be represented in the public sphere.
This notion of art activism is long debated in the introductory interviews with members of the group. Instead of finding separate spaces for practicing their activist views or their art, the groups aims at finding the crossings, for a stronger discourse, despite the reticence of the Armenian public, as it was in 2006–2007, when the group first started to meet.
Art activism is a notion contested in former Soviet territories, where art has been instrumentalized in the past in the form of propagandistic actions. But the title of the book does include the Leninist phrase “What’s to be done?” inspiring a pro-active vision, as well as the name of well-known, Moscow-based art collective Chto Delat? However, the actions exposed in the book do not come across as radical, but rather as symbolic or poetic statements, despite their internal discourse and motivation. One example is the intervention im(war)ge that took place on New Year’s Eve, December 31, 2009, in the Republic Square in Yerevan. Three members of the group (one representing an artist in struggle, one a drag holding a dildo instead of a gun, and the other, a breathless victim of war lying on the pavement) performed a series of actions that directly referenced the power symbols that surround the square: the National Gallery, the House of the Government, the Ministry of Finance and the Ministry of Foreign Affairs. The action disrupted the atmosphere of celebration and reinforced the idea of the square as a symbol of war and militarism.
Armenian nationalism and its male representation is put into question, especially in a series of photos and experimental video recontextualizing footage of Sergei Parajanov’s archetypal film The Color of Pomegranates from 1969. The video Delicious Fruit (2010), by group members Melissa Boyajian and Arpi Adamyan, reworks some of Parajanov’s original footage through a queer lens, referring to the subversive act of showing images of Armenian nationalism from that time. Further more, Boyajian and Adamyan enhance a feminist perspective by eroticizing the image of the pomegranate (a symbol of fertility in Armenian culture).
The book also includes a more theoretical attempt to contextualize the actions of the group and the continuous negotiation between direct activist action and more pluralistic strategies that question normative categories. “Aesthetic experience has a political effect to the extent that the loss of destination that it presupposes disturbs the way in which bodies fit their functions and destinations.”2 Art theoretician and curator Angela Harutyunyan was a member of the group and had a strong influence on crystalizing the debate surrounding queer theory and the public sphere, knowledge production and criticality, in the same way as distilling the work inside a collective. The name of the group Queering Yerevan actually came from the title of the project Queering Yerevan: a self-mapping. Together with the exhibition Coming To You To Not Be With You (2008), it deconstructs the concept of “queerness” in the local context. The non-normative, marginalized emerges in the sphere of the politics of art, challenging canonical esthetics grounded in the Armenian context. In this exhibition, works by lesbian, bisexual and heterosexual artists were presented together for the first time in Armenia. Furthermore, many of the works were presented in empty sites, isolated spaces, and deserted buildings, in an attempt to re-map and re-position a city in the process of reconstruction.
Queered: What’s To Be Done with Xcentric Art adopts an interdisciplinary approach, summing up the voices of female artists, writers and scholars concerned with the intersection of gender and politics, done not through immediate group identification, but rather through an association of individuals, a frame for emancipatory politics, which does criticize highly rigid regulatory norms that structure our society. Queering Yerevan employs performativity in the public sphere as a strategy of resistance and their practice contests the ongoing cultural acceptance and the power relations in the production of knowledge.
If we manage to de-institutionalize gender (the heterosexual family constitutes the basis of our society according to many constitutional laws), than we are one step closer to freeing the individual. This is a message that deserves to be spoken out loud. Gender is not simply “performed,” but the acts that constitute gender are reiterated throughout time, and reinforced through discursive practices.3 The only wish is that the present book, written almost like a memoir of a group that struggles with their own identity, constitutes the beginning of a strong artistic action and does not perish in the obsolete discussion of deciding a vision between esthetics and activism. The Western hegemony that often characterizes gender studies has found a strong theoretical debate in a different geo-temporal reality. As such, the book will be of interest to queer studies scholars, art historians, activists and artists engaged with the current debate surrounding constructed identity and parodic repetition of norms.

NOTES

  • Arpi Adamyan, in Queered: What’s to be done with Xcentric Art, ed. Queering Yerevan, 2011, p. 31.
  • Angela Harutyunyan, in Queered: What’s to be done with Xcentric Art, ed. Queering Yerevan, 2011, p. 200.
  • Judith Butler, Bodies That Matter: On the Discursive Limits of "Sex” (Routledge, 1993), pp. 9-11.

___
Reprinted from ArtMargins.

October 29, 2012

հ-ո-կ-տ-ե-մ-բ-ե-ր ու թյուն


October 10, 2012

Three and Thirty: Interrupted. Or Rumored




we are always asked
to understand the other person's
viewpoint
no matter how
out-dated
foolish or
obnoxious.
one is asked
to view
their total error
their life-waste
with
kindliness...
                                                                        -- from Be Kind by Charles Bukowski
                                                                       
“Now that it's become spring-like Yerevan is much better.”
-- from an e-mail from Josh (March 11, 2004)

When I was pregnant with my daughter, who is now nineteen months old, I used to think about Stalin and Hitler a lot. Actually, about their parents, more than anything. Especially, Hitler’s mother. I was wondering how much of who Stalin and Hitler became was something their parents did, unknowingly poisoning them. And I was thinking How can we, as parents, know how not to slip and trigger some Hitlerness or Stalinness in the beautiful person we think we are bringing to this world?  
Sometime in mid-fall of 2004, long before parental anxieties snuck up on me, I was crossing Sayat-Nova street to go towards the opera House in Yerevan. Yerevan can sometimes look mellow and momentarily clean and beautiful in the fall as well. Downtown can. After a gentle rainy touch, you know, to dust the streets and turning leaves, yet not giving the drivers a chance to re-paint pedestrian clothing with mud or splash. So it was on a day like that, when I saw a young, bald man crossing the same street from the opposite side, coming towards me. Joshua? I thought squinting, shocked. Was as tall, as thin, as balding, with as short hair. Everything was right, until the man passed me by. How important is chronology? I ask myself.  
I did not know much about Joshua. Only what he had told me as we would meet in our program office at our school, one of the many Yerevan universities in the fall of 2003. We would meet to discuss the forthcoming online class that we were thinking of co-teaching.
He was always on time. So when he didn’t show up for his last class with my students on May 18th, 2004, a class that he had been covering for me for three months as I was away on an exchange program, I was hoping that the shocked student walking into the office and later the newspaper that I bought (with a photo of Josh lying on the ground, his usually neat clothes tumbled in dust and blood) were instances of a mass hallucination. Murdered?!
I only knew that Josh was from Minnesota, that he liked to travel and teach; that everywhere he went it was hard for him to leave friends and landscapes that he got to like behind. I only knew that he had adopted a stray dog, after having seen that the dog had been mistreated; that he loved and missed his family. He was going to go back a few days after that mid-May day. Linearity of time!
Unweaving the fragile and frail layers of the thick smog of my memory has no temporal precision. I didn’t know much about Joshua. Only what he had told me. And some of what I had seen. A gentle young man in his early thirties, with a kind and warm smile, gently touching people around him. Humble, almost as though uncomfortable to be the tallest in the constantly moving group of thirty plus small female English instructors hanging out, sitting, standing, walking through, in and out of a smoke and conversation woven room that could probably sit 10-11 people at most.
Sometimes, we would talk standing, sometimes, when there was room, we would sit, and one of the program assistants would smile broadly at Josh offering him fruit and coffee. I can’t remember if he drank coffee. Sometimes, a couple of young instructors would discuss him after he left. How handsome he was, how shy, polite. Does chronology matter?
            After May 2004, I used to see Joshua very often: crossing a street, or smiling, or looking on, talking to me, while I could not hear a word he was saying… in my dreams. Then I would wake up to the next moment of the linear chronology.
I was in Germany in the summer of 2004. Not in a dream. I was going to be a witness at friends’ wedding. So I was walking with my soon-to-be-spouses friends in Hannaford. Suddenly, Joshua materialized in the crowd. Then the linearity of time shook me, reminding me of the futility of my efforts to fight time, or rather the time underused, the time not lived with presence in the moment, I guess. Witnessing.
The thick smoke of our program office, or was it the thick smoke of a human shock, is making the events in my memory un- untangleable in terms of the linearity of time.
I remember the face of the police officer who asked for instructors and students that Joshua had worked with to be gathered in a particular room. And so we did. Actually, I don’t really remember his face. I remember his physique and his approach to masculinity. He was asking us questions about Joshua. What kind of person was he? Did you know the kind of places he liked to go? When did you see him last? Did you know that he was, you know…? Through the smog of my memory that is now also layered by the sensitivities sharpened through my entrance into parenthood, I cannot remember, what word, exactly, the police officer used. But he communicated to us very clearly that Josh was not heterosexual. And he communicated it to us lightheartedly and with a grin, in a lower voice, not much emotion, but in a way that one of the female students felt she had to stand up for Josh: “He was NOT!” (rolling her eyes, confident of the accuracy of her knowledge).
It all started in his apartment. He was stabbed in his apartment. He had opened the door for the killer. It must have been someone he had known. From his inner circles. Then he had run out, seeking help. I always thought the police try to get as much information from you as possible not the other way around. This was weird. We were all shocked in different ways. At the same time our faces looked like different parts of the same question Why? And here there was the police officer with his technical questions. And comments that seemed too much for the first police encounter. Too much too little.
And yet, this first police encounter opened the can of the rumors and fed them well. Rumors like whispers, It was a passion crime. His partner didn’t want Josh to leave Armenia. Rumors, like innumerable and creeping worms that gradually turned into boa constrictors, It was a hate crime. It was the father of a student who was unhappy with his or her grade. It was a student’s father who believed he [Joshua] had molested his child. Rumors, whispers, constrictors. Rumors, like thin layers of thick cigarette smoke in a program office, a café, a restaurant, or a bar in Yerevan, the smell of which you take home in your hair and clothes. They [US Embassy] know far well what happened, that’s why they are not commenting on it publicly. It was done at the hands of their own.
Many social scientists call this us vs. they, their, them, he, his, him “othering,” or, in other words, distancing oneself and marking boundaries between oneself, one’s own group and those whom we exclude from our in-group. Washing hands off, even when you had nothing to do with anything or anyone involved. This hand washing was, perhaps, meant for a third party and had less to do with the outside others it was pointing to on the surface. Others on the inside. You want to keep them unsuspecting and at a safe distance. So washing hands off through the rumors was, perhaps, an attempt to stay safe.
With the smell of the rumor smoke in my hair and clothes, I went to Joshua’s memorial service at the American University of Armenia. I realize now that it was my first memorial service experience of the kind. In Armenia, when someone passes on, you usually go to the wake or vigil in the person’s house or apartment. And she or he is usually lying there in an open casket, on a table, in the middle of the living or dining room. And you can see their neatly dressed body peacefully silent, seemingly asleep. There is usually a lot of crying out loud. LOUD. SCREAMING. WAILING, especially if the diseased is young. Instances of intense silence dotted by the “Tsavaktsum em” (My condolences) of all the new comers, whose flowers are picked up by someone at the entrance to the living room, and whose entrance triggers more WAILING. There are also some technical conversation bits on the margins, in the kitchen, hallways, usually travelling as mumbles, unless you get really close. And this loud wailing used to get on my nerves. Much like the linearity of time.
At the memorial service, however, there was only Josh’s picture. He was not there. Silence on the margins. And people were reminiscing and talking about him softly, publicly, from a podium. There was no SCREAMING. No WAILING. And that’s when for the first time in my life I wanted to digest the reality through seeing the seemingly asleepness.
Through my traumatized and shocked memory, I remember mostly female voices at Josh’s memorial service. Very humbling, warm words. Humbling and warm, much like him. I remember wishing really hard to go speak and trying hard not to cry too much, albeit quietly, sitting next to one of my male students. I remember I wanted to talk about Josh, wanted to partake of the experience more actively, but didn’t have much to say. So I didn’t. My previous Armenian experience of a wake, my active participation through being silent with those whose family member had just passed on did not translate into this new mode of active participation.
Five months later Josh’s colleagues and students were asked to gather again. Remember the room with the police officer? That was where we were asked to gather again. This time Josh’s mother and brothers wanted to meet with us. It was strange to be in the same room, see them sitting at the same place where the police officer had been sitting five months prior. They were also asking us questions. But the only question I remember is: What is the professional background of your parents? And it turned out that 90 per cent of us had parents who were engineers (there you have it: the overproduction of Soviet prestige on the margins of the empire). We all grinned or laughed. Awkwardly. Short. Was Josh’s family trying to re-gather, re-materialize, re-touch, re-hug, re-communicate with Josh through us, through our eyes that had seen him more recently? In Armenian I would ask Karotn ein arnum? One of the brothers was videotaping. The other was sitting there and looking at us, a group of strangers in whose eyes Josh had reflected on a weekly basis until mid-May. Unlike the police officer, they did not give us details into what happened. Couldn’t.
A friend and colleague of mine whispered in my ear that the sitting brother was wearing Josh’s clothes. I looked at his black shoes, a bit Yerevan dusty; grayish pants on his crossed legs, grayish-black sweater, light colored shirt underneath, and longish hair. He looked very different from Joshua and seemed to be looking for him in our eyes. I remembered a scene from a French movie I had seen a decade prior to that meeting, where the daughter was wearing her father’s clothes (whom she didn’t see much of), because she was missing him. Missing! I was looking at Joshua’s mom looking at our faces and into our eyes.
I am re-remembering Joshua’s mother now, through a mother’s mind. The way she was looking at us. Asking us questions that seemed to have nothing to do with Josh, unlike those the police officer was asking. His physique and approach to masculinity.
They never found out anything. The police. Case closed. Period. Inner circles. The rumor had it.  
In my confused memory cocoon, the rumor had it that the police, the offspring of Sovietness, with some of its parental upbringing still intact, had one direction. If for the Soviets it was the uncatchable, ever-elusive socialism, for the police of 2004 it was the ever-elusive gay guy, sought for among the many that had to experience police officers with similar physique and approach to masculinity that we did, but much more directly (perhaps intensely). The rumor had it that much like the Soviet Union long gone, the police involved in Josh’s investigation ended up in the same place with the same diagnosis: deadlock, due to self-imposed misguidance. Was it a systemic failure?
I’ve been trying to understand why I keep having these visitations from a gentle, kind, smiling colleague that I did not know well. Perhaps seeing Josh in the streets of different countries and in different dimensions, is a human’s desperate attempt to exert control over the irreversible caused by another human, to whom we are often asked to be kind. Or is it a naïve attempt to restore the unserved justice? Or is it a futile attempt to have my own Groundhog Day?
What if, as Bukowski reminds me elsewhere, the killer looks just like us, drinking coffee, reading a newspaper, sitting in a café, at a table across from someone who knew Josh? Perhaps, some of us have smiled at that person, talked to that person, or perhaps known that person a little. Without knowing. So, like Josh’s reflection, we carry the reflection of his killer in our eyes. Without knowing.
And perhaps, the Justice and Peace scholarship in Joshua’s name, for deserving students from different parts of the world is the way to be kind. But how do we reshuffle the linearity of time, so that there is no systemic failure? The linearity of time, does it irritate you too?
           

Note: Joshua Haglund was teaching English in Yerevan, Armenia, as part of a U.S. State Department funded English Language Fellow program (ELF). He was found murdered outside of his apartment in Yerevan on May 17th, 2004.

February, 2010