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概要
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Mousse
Mousse Magazine
2025
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利用状況
詳細
| 和洋区分 | 和書 |
|---|---|
| 書名,巻次,叢書名 | Mousse 91 |
| 著者名 | Barbara Casavecchia (a cura di) |
| 出 版 者 | Mousse Magazine |
| 出版年月日 | 2025 |
| 定価 | 16.00 |
| ペ ー ジ | 248 p. |
| サ イ ズ | 23.5 x 32 cm |
| 内容紹介 | Dear readers, The abuse of power comes as no surprise. Nor does its performance. In The Human Condition (1958), Hannah Arendt describes the public sphere as a space of appearance, where humans join “in the manner of speech and action. . . . Wherever people are gathered together, it is potentially there, not necessarily and not forever.” Power, she argues, arises from performative speeches and actions. “Performativity has something to do with ‘saying’ something that ‘does’ something. Given our currently dire political situation, reconsidering the term right now begs questions such as: What can deploying the term ‘performativity’ do for us today?” This is a question Amelia Jones asks in her essay here on queer feminist literary theorist and critic Eve Kosofsky Sedgwick. Jones retraces six decades of the use of this word, and analyzes its progressive public weakening up to the “collapse of meaning into a black hole of artifice.” This issue delves into the performative and its many open-ended possibilities and embodiments, including those of our hybrid spectatorships. In the Survey, we focus on the 1990s and early 2000s practice of duo Lovett/Codagnone, who radically addressed normativity and relationality (love as a political space) by consistently disrupting power structures through performances intended as “intimate and interpersonal struggles as well as issues of citizenship and state control—as a way to chronicle subcultures and work against their erasure and commodification,” explains longtime friend and collaborator Julie Tolentino. In the first installment of his new column, Notes on Spitting, conceived as “counter-choreography to explore how performance performs,” Dani Blanga Gubbay explores dance’s ability to plastically undo—corrode—perceptions of time and the body. In Books, Georgia Sagri reflects on how performativity becomes “a means without beginning or end, as the body shifts from a tool into an ongoing mold for resistance and identity formation.” It is in that incessant process of shaping (and protecting against mainstreaming and conforming) our spaces of appearance that Hendrik Folkerts and Cally Spooner root their joint reflections on restlessness. The restless museum, Folkerts writes, positions art as a form of situated knowledge “that is constantly negotiated, in its production, presentation, and preservation.” For Spooner, “Restless work refuses to settle. The refusal is chorographic; the choreographic is the relations, context, and energy between things; and this in-between is live.”One last quote, dears. As Kathy Acker put it best, “Let one of art criticism’s languages be silence so that we can hear the sounds of the body: wind and voices from far-off shores, the sounds of the unknown.”Mousse |
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