170742 UE ARTivism and Intersectionality in Film and Media (2022S)
Continuous assessment of course work
Labels
MIXED
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Mo 07.02.2022 09:00 to Mo 21.02.2022 23:55
- Registration is open from Fr 25.02.2022 09:00 to Th 03.03.2022 23:55
- Deregistration possible until Fr 01.04.2022 23:55
Details
max. 30 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
The final session of the seminar (21.06.2022) will take place on Zoom. Please see email for link.
Tuesday
15.03.
13:15 - 16:30
Digital
Tuesday
29.03.
13:15 - 16:30
Digital
Tuesday
26.04.
13:15 - 16:30
Digital
Tuesday
10.05.
13:15 - 16:30
Seminarraum 4 2H558 UZA II Rotunde
Tuesday
24.05.
13:15 - 16:30
Seminarraum 4 2H558 UZA II Rotunde
Tuesday
07.06.
13:15 - 16:30
Seminarraum 4 2H558 UZA II Rotunde
Tuesday
21.06.
13:15 - 16:30
Seminarraum 4 2H558 UZA II Rotunde
Information
Aims, contents and method of the course
Assessment and permitted materials
Students are expected to write a short essay (approx 2000 words) analysing a work (theirs or another artist's, alone or in a group) that falls under the umbrella of ARTivism. The final session of the seminar is reserved for the students to present these essays. During this brief presentation (the format of which will be decided together with the instructor), they will be able to share their work with their colleagues, offering contextualisation and analysis. This will strengthen their presentation skills, help them construct arguments based on methodology, aesthetics and context, and offer them an opportunity to hold a public presentation in an audience of their peers showing good command of the social themes explored in the seminar.
Minimum requirements and assessment criteria
No prior knowledge is required. Good command of English is necessary both for reading and participating in class discussions. Assessment on in-class participation and contributions and final essay/presentation which should indicate competency in understanding, synthesising, and communicating the themes, aesthetics, and social issues raised in the seminar.
Examination topics
Course evaluation will be based on:
Active participation in discussions: 30%
Self study (between-classes engagement with material): 30%
Final Essay: 40%
Points must be collected in all of these areas to pass. The benchmark for passing this course is at 60%.
Active participation in discussions: 30%
Self study (between-classes engagement with material): 30%
Final Essay: 40%
Points must be collected in all of these areas to pass. The benchmark for passing this course is at 60%.
Reading list
Ahmed, S., 2015. Queer Feelings, in: The Cultural Politics of Emotion. Routledge, New York, pp. 144–167.
Ahmed, S., 2010. Melancholic Migrants, in: The Promise of Happiness. Duke University Press, Durham [NC], pp. 121–159.
Alkan, G., 2011. Wenn Esra rappt. der Standard.
Anonymous, 2013. A Letter To Goldsmiths Art Students On Capitalism, Art And Pseudo-critique. Prolapsarian. URL http://prolapsarian.tumblr.com/post/54765885344/a-letter-to-goldsmiths-art-students-on-capitalism
Bragg, M., 2007. The last remaining avant-garde movement. The Guardian.
brown, adrienne maree, 2019. Introduction, in: Pleasure Activism: The Politics of Feeling Good. AK Press, Chico, CA, pp. 1–10.
Fraser, M., n.d. What If Everyone Was Disabled? Seriously...
Freeland, C.A., 2002. But is it art ? an introduction to art theory. Oxford University press, New York (N.Y.).
Gurza, A., n.d. Is a Strap-On an Assistive Device? Sitting Down with TripleXTransMan Trip Richards. Disability After Dark.
Hynes, M., Sharpe, S., Fagan, B., 2007. Laughing with the Yes Men: the Politics of Affirmation. Continuum 21, 107–121. https://doi.org/10.1080/10304310601104032
McLuhan, M., 1994. Understanding media: the extensions of man, 1st MIT Press ed. ed. MIT Press, Cambridge, Mass.
Piepzna-Samarasinha, L.L., 2019. Care as Pleasure, in: brown, adrienne maree (Ed.), Pleasure Activism: The Politics of Feeling Good. AK Press, Chico, CA.
Q. Briggs, A., Warren, C., 2020. How afrofuturism gives Black people the confidence to survive doubt and anti-Blackness. The Conversation.
Schuhmann, A., 2014. How to be political? Art activism, queer practices and temporary autonomous zones. Agenda 28, 94–107. https://doi.org/10.1080/10130950.2014.985469
Tu, K., Low, T., n.d. The word “Queer.” Nancy, The Allusionist.
Zulfiqar, S., 2018. How An Exhibition Is Exploring The Struggles, Hopes And Dreams Of Refugee And Migrant Women Through Art. The Independent.
Ahmed, S., 2010. Melancholic Migrants, in: The Promise of Happiness. Duke University Press, Durham [NC], pp. 121–159.
Alkan, G., 2011. Wenn Esra rappt. der Standard.
Anonymous, 2013. A Letter To Goldsmiths Art Students On Capitalism, Art And Pseudo-critique. Prolapsarian. URL http://prolapsarian.tumblr.com/post/54765885344/a-letter-to-goldsmiths-art-students-on-capitalism
Bragg, M., 2007. The last remaining avant-garde movement. The Guardian.
brown, adrienne maree, 2019. Introduction, in: Pleasure Activism: The Politics of Feeling Good. AK Press, Chico, CA, pp. 1–10.
Fraser, M., n.d. What If Everyone Was Disabled? Seriously...
Freeland, C.A., 2002. But is it art ? an introduction to art theory. Oxford University press, New York (N.Y.).
Gurza, A., n.d. Is a Strap-On an Assistive Device? Sitting Down with TripleXTransMan Trip Richards. Disability After Dark.
Hynes, M., Sharpe, S., Fagan, B., 2007. Laughing with the Yes Men: the Politics of Affirmation. Continuum 21, 107–121. https://doi.org/10.1080/10304310601104032
McLuhan, M., 1994. Understanding media: the extensions of man, 1st MIT Press ed. ed. MIT Press, Cambridge, Mass.
Piepzna-Samarasinha, L.L., 2019. Care as Pleasure, in: brown, adrienne maree (Ed.), Pleasure Activism: The Politics of Feeling Good. AK Press, Chico, CA.
Q. Briggs, A., Warren, C., 2020. How afrofuturism gives Black people the confidence to survive doubt and anti-Blackness. The Conversation.
Schuhmann, A., 2014. How to be political? Art activism, queer practices and temporary autonomous zones. Agenda 28, 94–107. https://doi.org/10.1080/10130950.2014.985469
Tu, K., Low, T., n.d. The word “Queer.” Nancy, The Allusionist.
Zulfiqar, S., 2018. How An Exhibition Is Exploring The Struggles, Hopes And Dreams Of Refugee And Migrant Women Through Art. The Independent.
Association in the course directory
Last modified: Th 11.05.2023 11:27
Through the seminar students will develop the skills to conceptualise art-based activism in an open manner that takes into consideration the cultural specificities of the time and place it unfolds in. By foregrounding complex intersectional perspectives they will gain a well-rounded approach and overview of the ways oppression(s) works with relation to gender, sexuality, dis_ability, race/caste and cultural background, as well as class. They will learn to independently develop and research a topic/artwork of their choosing practising their analytical skills in terms of aesthetics, socio-political backdrop, and methodologies/tools employed. They will be able to critically examine works of literature and visual culture through a nuanced intersectional lens and gain the vocabulary to communicate their assessment and opinions with others in an academic or social setting.Content
This seminar is designed to offer students a focus on social power structures examining them intersectionally with examples from film (documentary, fiction, short and feature) and media (music video, video art, interactive video installation, performance art, photography, video essay). Utilising examples from modern and contemporary practice from a variety of settings the students will become familiar with diverse aesthetic modes and methods of addressing, challenging, and transcending norms. They will have the opportunity to see examples of projects from around the world especially ones that show an intersectional approach to genders, sexualities, dis_abilities, race, and class often by artists from the periphery, BIPoC, non-binary/gender non-conforming artists.
The accompanying material (varying in itself comprising academic books/chapters, journal articles, podcasts, newspaper articles) will help contextualise each screened material in its cultural and historical setting making them relevant to different students’ learning styles and allowing for multiple points of entry.Methods
The seminar comprises instructional elements for knowledge transfer (brief lectures by the instructor), aesthetic and methodological analysis of artistic works, engagement with theoretical texts (between-seminars study, and in-seminar close readings), discussions in larger or smaller groups, and short writing exercises. Independently the students will engage with texts or podcasts prior to each session, and choose a topic or artwork to base their final presentation and essay on. They will also have the opportunity to offer and receive feedback on their presentation from colleagues and the instructor.