64 Muga gorputzak

Zehar #64

64 Muga gorputzak

Argitaratu berri den Zehar aldizkariaren alean, gorputzak mugetara hurbiltzen dira. Mugetan, gorputzek esateko dutena bildu dugu argitalpenean. Honako muga hauek askotarikoak dira: geografikoak, politikoak, nortasunezkoak, haragizkoak, pixelezkoak, paperezkoak, mugimenduzko mugak.

Mugetan gorputzak modu ezberdinetan gorpuzten dira. Horrela, aniztasun honen berri emateko asmotan argitaratu da honako ale hau.

Ale honetan honako egile hauen ekarpenak bildu dira: Titus Matiyane, Elke Zobl, Itziar Ziga, Remedios Zafra, Gabriel Villota Toyos, Beatriz Preciado, Encarnación Gutierrez Rodríguez, Marina Grzinic, Alice Chauchat & Frédéric Gies eta Iban Ayesta. Bakoitzak bere iritzi eta bizipenak oinarri hartuta eskaini du muga gorputzen inguruan duen ikuspegia.


ZEHAR_64_EU.pdf — PDF document, 6442Kb
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Titus Matiyane

Cities of the World

From the book Cities of the World, edited by 010 Publishers, Rotterdam 2007.


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Elke Zobl

TRANSNATIONAL NETWORKS OF EVERYDAY FEMINIST PRACTICES

Where, in our adult-run, globalised and centralized media landscape can critically and politically thinking people –and especially girls and young women– express their voices and opinions without being censored or ridiculed? Where can we as self-identifi ed feminists from various backgrounds and contexts create, our own spaces and representations?

These questions have occupied me for a decade. I strongly believe in the concept of «Praxis» –which is the interrelation of theory and research, activism and political action. Consequently, I have been active as an artist, archivist, activist, and researcher, whereby my belief in anti-racist and anti-capitalist transnational grassroots feminism(s) is the red thread through all these roles. I understand feminism not only as an important theoretical undertaking and social movement, but also as a non-hierarchical, process-oriented, participatory collaborative practice that spans across borders.


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Itziar Ziga

WHYARE THE WHORES SHOUTING?

It is a stifl ing hot August day, and TV3’s midday programme is discussing whether prostitution should be abolished. (It still scares me to see the abolitionist turn that’s been taken in published opinion over recent years, when at the end of the last millennium we appeared, at worst, to be moving gently towards the labour regulation of economic/sexual exchange in Europe). In the studio today there is a sex worker and two other women whose involvement I don’t quite gather. I scarcely listen to fi ve minutes of conversation —if you can call it that. The two ladies don’t allow the guest whore on the programme —Cristina— to speak. I’m getting so annoyed that the temperature around me is raising, and so, in the end, I decide to mute the television.


ZIGA_EN.pdf — PDF document, 128Kb
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Remedios Zafra

-.).ˆ -connecting-doing-undoing (bodies)

With relief, with humiliation, with terror, he understood that he too was an appearance, that another was dreaming him.
J. L. Borges

 

Our bodies are not entirely our own. However much you might care for them, feed them, dress them up, put them to use, stroke them, kiss them, pornographize them and all the rest, our bodies are ours but not entirely so. And that is where history becomes politics. According to Judith Butler’s revealing description we are «from the start [...] given over to an Other»1, even prior to individuation we are predefi ned by the Other and the effect is the «social vulnerability of our bodies»; predefi ned as a way of symbolically proving what society expects of us with reference to the body: an organism, an image, a sex, an age, a face2, a gender, a discourse... something that nonetheless involves both a castration of the being and a «physical and social grounding»3. Levinas4 argues that it is not so much the advancement of the Other but the encounter with the Other that simultaneously instils a responsibility for the Other in oneself (a construction in the other), such that the subject is responsible for the Other even before being conscious of its own existence.


ZAFRA_EN.pdf — PDF document, 59Kb
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Gabriel Villota Toyos

Searching for the (fi lmed) truth of the dancing body

1. Isadora's fear and Annabelle's smile
Isadora Duncan apparently feared being filmed dancing. We may assume that hers was not that ancestral fear some primitive people are supposed to feel when faced with the anthropologist or explorer's lens, that their souls might be stolen. Nonetheless, we must accept that an equally irrational component of this fear —albeit one grounded on apparently logical arguments— was that her art might be ill-reflected in the pictures and her work consequently misunderstood. It is probably for this reason that despite Duncan’s great popularity and the fact that the filmmakers of the time were busy shooting all kinds of events and celebrities, no fi lmed record remains of her dancing (or at least none in which she can be identified beyond any doubt).


VILLOTA_EN.pdf — PDF document, 193Kb
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