THE FEMALE ANSWER is a series of short residencies by female artists at NORDER147.
The idea for this format came up when, at the beginning of the corona crisis, the news circulated that countries gouverned by female leaders were way better of in many aspects... Concerning the number of infections, basic logistics, the treatment of the sick and the overall flow of information.
This statement was the impulse for asking female artits from different countries about their perspective on political and sociological questions and problems from the standpoint of their culture respectively reflecting on topics within their own country.
16. - 18. April 2021
Das künstlerische Projekt “Female Identity” beschäftigt sich mit sexueller Belästigung und Gewalterfahrungen von Frauen. Anlass sind unzählige Erlebnisse sowohl der Künstlerin selbst, als auch von Frauen aus ihrem direkten Umfeld, als bloße Objekte angesehen und behandelt zu werden.
Diese Erfahrungen werden in der künstlerischen Umsetzung durch „sexualisierte Materialien“ wie Nylonstrumpfhosen oder Latex symbolisiert, die für Haut stehen. Rote Elemente wie Satin, Seide, Nähte oder Fransen symbolisieren die durch übergriffige Handlungen entstehenden psychischen und physischen Verletzungen.
Die engen Silhouetten der Outfits verkörpern die Erwartungshaltung gegenüber Frauen, in mehrfacher Hinsicht so wenig Raum wie möglich einzunehmen. Die unförmig-weiten, wie aufgeplatzten Formen anderer Modelle stehen für die überwältigende Macht, die sexuelle Belästigung und Gewalt auf ihre Opfer ausübt und dafür, wie diese Gewalterfahrungen weibliche Identität definiert, häufig auch übernimmt.
Mit dem Projekt “Female Identity” wird von Anna Möller ein Schlaglicht auf sexualisierte Gewalt gegen Frauen gerichtet und aufgezeigt, dass all das nicht nur nachts in „dunklen Gassen“ passiert, sondern dass diese Situationen für Frauen alltäglich sind, überall passieren können und passieren.
19. - 21. Feb 2021
An outcry in the male-dominated art world. The current understanding of a rhapsody is not tied to any particular form of music, and so in my experimental process, which reminds me of a feminist laboratory, I will redefine the terms “Fight and Feminism” for myself. In various media such as painting, illustration and linocut, the injustice that I have encountered as a woman on this earth since the beginning of time is processed.
My life in Turkey, the travels through Europe and the current center of my life in Germany are important locations for me to gain knowledge about my "femininity". How do I design the free use of this "construction of femininity". My main questions are: Which female “idols” served as models? Why all these crimes against women in Turkey? Freedom & Femininity?
Sometimes a single picture is enough to shed new light on a topic. I will use my voice to scream. Let the “Female Rhapsody” begin!
Nejla Yilmazturk Fashion Designer, Artist, Illustrator
“WHERE IS THE LINE”
04. - 06. Dec 2020
On the 23rd anniversary of Hong Kong’s handover to China, the National Security Law(NSL) was passed in response to the city’s largest democratic movement that has been on-going for the past year.
The national security law was passed with the intention to keep Hong Kong a ‘safe, lawful’ place and to protect the city from ‘rioters’ who display acts of ‘terrorism’.
The law criminalises acts of “succession, subversion, terrorism, collusion with foreign or external forces” and applies to permanent and non-permanent residents inside and outside of Hong Kong, with a maximum sentence of life in prison. Under this law, anything that could be interpreted as anti-government or pro-HK independence could be deemed as illegal.
While the terms of the law are worded rather vaguely and could simply be up to the authority’s interpretation of the day. One thing that is more certain than ever is that Hong Kong’s fight to maintain the reputation of the ‘freest city in China’ is getting harder and harder.
This project aims to explore the underlying effects of NSL and fluidity as a common theme that was displayed throughout the movement. What does it mean to live under a climate of suppression and surveillance? How does it affect citizens and non-citizens abroad who would be held accountable for their actions once they cross the border? How far are you allowed to express your criticisms towards the authorities? What role do you play in this?
Anxiety, self-censorship, surveillance, safety… Where do you draw the line?
Kirstine Skov Hansen
06. - 09. Nov 2020
My work centers on investigating social structures in a local/ global reality within conceptual and visual processing of current issues in society and cultural phenomenons.
I draw inspiration from anthropological methods to combine materiality and sociality. In my current project I investigate contemporary society’s complex relation to death and the accompanying grief in Western culture. The individualized society has turned death into a private matter and absent part in our everyday life (in contrary to an apparently increasing entertainment industry involving death).
My investigations take their point of departure in death and grief as cultural phenomenons inspired by death rituals and grief practicing from the classical antiquity. In the era of classical antiquity the funeral rituals were administrated by mourning women through lamentation and intense emotional performance during the process of managing the deceased’s last journey into the world of death. The mourning women symbolized both fertility and death representing the cycle of life; the birth-giving mother and the last parting. The mourning women managed the course of life in a way, which seem to be far away from today’s general fear of contact and absent discourse on death. The project aims to create ceremonial works and meta prints within print and sculptural installations. Inspired by the mourning women’s position as both womb and grave.
Material experiments dealing with a connection between dead and living materials in solid and liquid form, which will make the works both static and active. The mourning women’s bodily and collective volume, fragility and black appearance, are incorporated in a shape of poetic visuals, sensible technics and tactile surfaces built on composition, words and expressions that aim to embody the complexity of death. Black is the main color referring to grief, death and darkness. The notion of darkness as the universal element from where all life comes from. The works intend to create space for interaction and accommodate the spectator’s own experience-based ontology being point of departure for own notions and experiences with death and grief. The project is linked to necro-aesthetics applied as a staged interaction that seek to create a more bodily and tactile experience for the spectator of otherwise distanced political and ethical conflicts.
Kirstine Skov Hansen kirstineskovhansen.com +45 60641777 email@example.com