18:30
Feminism and collective fictions

Look at, it has the opened large eyes
of Yann Masson
(France, 1980, BetaSP, 62 ')

Meeting in the presence of the Nile Yalter, Maria Klonaris, Katerina Thomadaki and Sothean Nhieim.

 
“The Nile Yalter, artist of Turkish origin installed in Paris, worked much on the female condition. In 1974, it carried out a video work, the woman without head or the belly dance, which approaches female sexuality with frankness. The video approximately shows plane the belly of the artist; with a black felt, she writes around her navel a passage of the book of Rene Nelly, who is entitled Érotique and civilizations: “The woman is at the same time “convex” and “concave”. But still is necessary it that it was not deprived mentally or physically, of the principal center of its convexity: the clitoris [...]. This hatred of the clitoris corresponds in truth to the ancestral horror that the man always tested for the virile and natural component of the woman, that which, at it, conditions the absolute orgasm. “Once its belly covered with text, the artist starts to dance at the rate/rhythm of a traditional music. Its gesture to write on its belly has a particular significance in its culture. In Anatolia, until recent times, the women sterile or disobeying were brought to the Imam of their village, and on their belly, the Imam wrote sentences in religious matter. The belly became talisman. In its video, the Nile Yalter turns over the direction of this tradition by denouncing the negation of the pleasure of the women. ” Diana Quinby, Of art and feminism in France in the years 1970, Files of feminism, n° December 8, 2004    


“In 1974, when I made Dyketactics, the first history of love to the cinema by a lesbian, I had never seen films, whatever it is, realized by a recognized lesbian. I started to interest me in the identity of the artist woman, of the artist lesbian who creates without reference lesbian in Article (…) I remember that it is not sexuality itself which pushed to me to make film. It was rather the sensuality, the experiment of the touch and the feeling which translated at the most point, for me, the love of a woman for another woman. ” Barbara Hammer

Personal Statement, the 19th shutter of the Cycle of the Angel, puts in scene photographic treatments of a medical document of hermaphrodite, coming from the files of Dr. G. Klonaris. The sex of the subject photographed exceeds the dichotomy female masculine/becoming a powerful metaphor of the collapse of the limits of the sexes. The images are spread vertically while female hands (Katerina Thomadaki) try to cherish this mutant body. The voice-over (Maria Klonaris) is addressed to the subject photographed: Magic image. An hermaphrodite. It is you. It is your body. Bandaged eyes. You became an infinite fiction in love. Hermaphrodite. Angel. Mutant body. You break the borders. Mosaic identity. It is your body. It is my body.
“Mosaic” identity refers at the end medical of “mosaicism” which indicates in genetics combinative chromosomes of mixed sex or hermaphrodite. This video belongs to the picturesque reflexion that we carry out since 1982 on the hermaphrodite, the androgyne and the angel. M.K. - K.T., 1994
Site: www.klonaris-thomadaki.net

In a tinted poisonous environment of a fantastic key, Halloween Queen 1 is a homage queer to Fantômas and the vampires of Louis Feuillade. A sublime and ambiguous creature, as emerged from a phantasm, is driven in the dark halation of the night. KQ&AI
The films of Sothean Nhieim wonder about “the change identity and the force of dispute of the marginal sexual identities”
“The films of Sothean Nhieim make cross to the faces and with the bodies which pass in front of the camera all the figurative states, of the outline to the allegory… the light of the world and the cinema makes pass in reality all that could concern any metaphysical: absolute immanence which sublimates the optical powers of the world”. Xavier Baert in “Young person, hard and pure”

Meeting in the presence of the GAT, of Nexus and Raphaël Vincent.

Creativity, humour, and luxuriance of the performances of oneself in the ballrooms of Los Angeles, where the communities black and hispanics are reinvented through extravagant fashion shows. This subculture was popularized by the film Paris is burning of Jennie Livingstone. Here, one finds discussions with the legendary pioneers and current protagonists of a practice which has a long story, known under the name voguing, going back to the Thirties in Harlem, where vêtus of their more beautiful clothing, the descendants of the American black slaves paraded on line like the white rich of Park Avenue. It is told that this tradition anchors in a remote way still near the slaves themselves which, to keep their pride, met between them covered with their more beautiful clothes in order to reaffirm their dignity. Since the Seventies, the goal of the “Voguing” is to take again the installations of the white models of the magazines of mode, like Vogue, and to show that one can be poor, black and excluded but to be smart and proud. The movement was taken again little by little by the community gay, drag queen, trans of Harlem and of the “houses” were created. It was about `gangs” bearing the names of Saint Laurent, House off Revlon or House off Xtravaganza which clashed in battles of “voguing” with jury. KQ&AI

In the video Marcus Fisher' S Wake, Oreet Ashery uses a voice-over called by the photographer queer Del LaGrace Volcano to work out a document-performance on its alter orthodoxe Jewish ego, Marcus Fischer. Work follows its “voyage towards the discovery of oneself”, showing its return in the districts hassidic of Jerusalem where it takes guard not to be made uncover, then its adventurous forwardings in the gay clubs of London and the coffees exclusively male Turkish of Berlin. Oreet Ashery works in London. Multi-field artist, it wishes to support a dialogue between art “on line” (interventions, performance, interaction), numeric works (video, photography, its) and text.
Oreet is interested in the slip between art and life, the new changes of the contemporary artistic forms, and in the cultural anguish related to the popular culture. Its works often take the form of in situ events, the public while becoming recipient. They concentrate on the policy of the body and the variations introduced by the culture and the environment.

“When I asked Del LaGrace Volcano why it had photographer my friends Drag Kings in one limps, it answered me “one is all in one limps”. A commonplace philosophico-queer would seem it. The short phrase made its way. If it is true that one is born all in one limps… it is not that one limps. My body is neither prison nor refuge, just the vain packing of my duality. Only One Box is a history of accouchage, my accouchage. ” Nexus

“All the screens had been destroyed. I remember that one sought the images everywhere. I believe that we wander. There were dust and remains. I think that to remember was in the center of the question. The bands had disappeared, the screens had implosé. One could feel ette strange smoke, Passover, that which remains stuck a long time to the nose, with the eyes. Like snow.  Or of the fog.  The television sets were not supplied any more. The walls were not really any more of the walls. Common spaces were demolished. ” Ruins is the trace of a long voyage through Western Europe in various autonomous communities queer. The meetings and the places were the occasion to carry out the five parts which constitute this artistic project. Neither fiction nor documentary, Ruins excavates the systems of production of image to update identities which escape the eye of the system.  “It is inside the ruins that our objects are, fragments of kind, scattered parts of our stories, the ends of sex, the fuzzy images. It was necessary to invent scenes, attitudes and performances. Us réapproprier. Houses like skeletons around us, waste and the remainder. Concrete like friend. The ends of glasses étincellent. ”

“One day, the syndrome “Against Trans Lacanien Pre-Feminist Hétéro Fétichiste” could be clearly identified. And in fact psys lacaniens primarily of it were carrying, and vectors. The first to identify the CTLPHF was Marie-Helene Bourcier. In 2003. She had one day detailed, before an assembly of psys amazed, the two principal refusals on which the syndrome of CTLPHF rests:
1    Preclusion from the name of Lacan
2    The refusal of their militance heterocentric to put forward is delirious to them of the sexual difference like nature.
Very quickly, it was necessary to go obviously, the psys suffered, and deeply, of terrible confusion that their Lacan big boss had made between the phallus and his cock. Brutally, it became to them unbearable to imagine Lacan without its cock”

Del LaGrace Volcano and his/her friend transgenre, Hans, [realizer of Dust Dandy] trott themselves in a gay place of dredger. Their meeting with the passers by of the place escapes from the stereotypes and awaited normalcy.