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Feminist Video in the Twenty-First Century: Self-Presentation, Labour and Gender Difference

二十一世纪的女权主义录像：自我呈现、劳动和性别差异

基本信息

批准号：
2279084
负责人：
金额：
--
依托单位：
University of Cambridge
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2019
资助国家：
英国
起止时间：
2019 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2279084
关键词：
Feminist Video Twenty First Century

项目摘要

In her PhD research, she will address new developments that have occurred in feminist art practice, within the field of video and digital art, in the twenty-first century. Throughout her study, she aims to shed light on the changes in the discourse on subjectivity, gender, and feminist politics that have occurred in the past two decades, following the recent technological developments and the rise of new, online platforms of sociability. Firstly, she will address questions of self-representation in the video works presented in the online exhibition "Body Anxiety" (2015) to highlight notions of plurality and artificiality in contrast with the unified sense of subjectivity conveyed in earlier video works. Secondly, she will analyse the question of self-sexualisation in relation to the material conditions of art-making, and the woman artist's position within the socioeconomic structures that govern the art world in works such as Andrea Fraser's Untitled (2003) and Tanja Ostojic's Strategies for Success/Curator Series (2001-2003). Finally, she will address the representation of gender binaries in dialogic works, such as Candice Breitz' Him/Her (1968-2008) and Frances Stark's My Best Thing (2011) to address theproblematic articulation of gender discourse in binary terms. She aims to show how the practice of such artists contributes to our understanding of contemporary feminist concerns and, broadly, to an understanding of the intersection between art, social systems, and political activism.

在她的博士研究，她将解决在女权主义艺术实践中发生的新发展，在视频和数字艺术领域，在二十一世纪。在她的整个研究中，她的目标是阐明在过去二十年中发生的关于主体性，性别和女权主义政治的话语的变化，以及最近的技术发展和新的在线社交平台的兴起。首先，她将在2015年在线展览“身体焦虑”中提出视频作品中的自我表征问题，以突出与早期视频作品中传达的主体性统一感相对比的多元性和人为性概念。其次，她将分析与艺术创作的物质条件有关的自我性化问题，以及女性艺术家在社会经济结构中的地位，这些结构在Andrea Fraser的《无题》（2003）和Tanja Ostojic的《成功策略/策展人系列》（2001-2003）等作品中统治着艺术世界。最后，她将讨论性别二元在对话作品中的表现，如Candice Breitz的Him/Her（1968-2008）和Frances Stark的My Best Thing（2011），以解决二元性别话语的问题。她的目标是展示这些艺术家的实践如何有助于我们理解当代女权主义问题，以及更广泛地理解艺术、社会制度和政治激进主义之间的交叉点。