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TransArchitecture TransArchitecture
Q4 Social Sciences
WSQ
Pub Date : 2023-09-01 DOI: 10.1353/wsq.2023.a910086
Adrians Black Varella, Natasha Marzliak
TransArchitecture Adrians Black Varella (bio) and Natasha Marzliak Redefining its objectives based on the current needs for social change (based on freedom, equality, and mutual aid), Adrians Black (they/their/them)’s radical-social art and its approach to the moving contexts of present times can be a political instrument to unveil and struggle for new landscapes. Their interdisciplinary artworks take the shape of urban interventions, performances, photos, happenings, trans-media events, and environmental projects. They operate the mutual contamination of diverse media that is immersive, collaborative, and participatory in nature and intended to stimulate critical thought (articulating art with anarko-feminist-trans-queer and anti-colonial set of positions). Promoting potency space-times for the uprising of subjective identities that give power to the collective, Black created TransArchitecture drawings (2019—). The project supports the Brazilian indigenous struggle for territories, autonomy, identity difference and against the destruction of forests, operating forms of resistance to hegemonic narratives that represent subjects doomed to subalterity and deterritorialize the modern/colonial project of power, knowledge, and being. TransArchitecture also foresees architectural interference in private and collective homes of LGBTQIA+ people. Starting from the idea that the oppressive logic of rationality shapes, through architectural instrumentation, our bodies and behaviors, marginalizing and submitting bodies that are considered undesirable in a pathologizing and normative perspective of the bipartite female-male condition, TransArchitecture is insurrection. From the different movements of the bodies, it builds new spaces of life and coexistence. It is a flow of contra-position to the structures of these previously marginalized bodies that now vibrate, survivors. It is a dispositive of [End Page 258] worlds that penetrates the base of the traditional architectural structure to present new ways of being, and living together in the world. To paraphrase the philosopher Didi-Huberman, the artworks involving TransArchitecture “are like fireflies of hope.” Click for larger view View full resolution Adrians Black Varella, TransArchitecture, 2019–. Paper and ink. [End Page 259] Adrians Black Varella Adrians Black Varella is a multi-disciplinary artist who makes audio installations, photographs, drawings, performances, video-art experimentations, computer installations, and site-specific/public art works. They create and organize the AnarkoArtLab in New York City, https://www.anarkoartlab.com. Their work can be found at www.adrianavarella. net. They can be reached at adrianavarella@yahoo.com. Copyright © 2023 Adrians Black Varella
根据当前社会变革的需求(基于自由、平等和互助)重新定义其目标,Adrians Black(他们/他们/他们)的激进社会艺术及其对当前移动环境的处理方法可以成为一种政治工具,以揭示和争取新的景观。他们的跨学科艺术作品以城市干预、表演、照片、偶然事件、跨媒体活动和环境项目的形式出现。他们经营着各种媒介的相互污染,这些媒介具有沉浸式、合作性和参与性的性质,旨在激发批判性思维(用无政府主义-女权主义-跨性别酷儿和反殖民主义的立场来表达艺术)。Black创作了跨建筑绘画(2019 -),促进了主观身份起义的时空力量,赋予了集体力量。该项目支持巴西原住民争取领土、自治、身份差异和反对森林破坏的斗争,以各种形式抵抗霸权叙事,这些叙事代表了注定要沦为次等的主体,并使现代/殖民项目的权力、知识和存在去地域性。TransArchitecture还预见了LGBTQIA+人群的私人和集体住宅的建筑干预。从理性的压迫逻辑开始,通过建筑工具,我们的身体和行为,边缘化和服从身体,这些身体在病态和规范的角度被认为是不受欢迎的,跨建筑是一场起义。从身体的不同运动中,构建新的生命与共存空间。这是一种对这些先前被边缘化的身体结构的对立流,现在这些身体在振动,幸存者。它是一种世界的分解,穿透传统建筑结构的基础,呈现新的存在方式,并在世界上共同生活。用哲学家迪迪-休伯曼(Didi-Huberman)的话来说,跨建筑的艺术作品“就像希望的萤火虫”。查看全分辨率Adrians Black Varella, TransArchitecture, 2019 -。纸和墨水。Adrians Black Varella是一位多学科艺术家,创作音频装置、摄影、绘画、表演、视频艺术实验、计算机装置和特定地点/公共艺术作品。他们在纽约创建并组织了AnarkoArtLab,网址是https://www.anarkoartlab.com。他们的工作可以在www.adrianavarella上找到。网可以通过adrianavarella@yahoo.com与他们联系。版权所有©2023 Adrians Black Varella
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引用次数: 0
Editor's Note 编者按
Q4 Social Sciences
WSQ
Pub Date : 2023-03-01 DOI: 10.1353/wsq.2023.0000
Red Washburn
Editor's Note Red Washburn This issue, State/Power, addresses the many bureaucratic and problematic faces of the state—the carceral state, the straight state, the anti-choice state, the anti-immigrant state, the white supremacist state, the fascist state, and the cis state, among others. It explores many critical issues connected to state formations, historical legacies, and structures of power. Some such issues include the following: mutual aid, housing insecurity, reproductive rights, land sovereignty, familial disappearances, juvenile rights, and social movements. The focus on racialized resistance to state power is incisive, allowing for a rich centering of BIPOC identity, history, and struggle at this moment of interminable and egregious anti-Black, anti-trans, white nationalist, and misogynist hatred. Basic human access to jobs, housing, health care, and a livable life are essential at any temporal juncture, though as the global pandemic continues, state power must be excoriated and reenvisioned. Alternatives for a better world are possible with a restructuring and dismantling of social institutions, multinational corporations, and global capitalism. In particular, the academic and activist work on trans of color critiques of carceral states and abolitionist futures as well as the historical remembering of the Third World Women's Alliance and the lessons and possibilities it holds at this current moment are captivating. This issue points to the problems and promises of challenging state power. State/Power is indebted to numerous scholars, writers, artists, editors, and/or editorial staff and boards. During a very difficult time, namely the tragic passing of WSQ general editor Brianne Waychoff, I want to extend a huge thank-you to the WSQ team and editorial board for all their commitment and labor. In particular, I want to thank Dana-Ain Davis at the Center [End Page 9] for the Study of Women and Society and Kendra Sullivan at the Center for Humanities for coming on board as interim editorial directors to oversee managerial operations and funding as WSQ transitions to new general editors later in 2023. Their work has been invaluable to helping the journal grow and thrive. I also want to extend a hearty thank-you to the editorial assistants, Googie Karrass, Maya von Ziegesar, and Angela Boscarino, all of whom worked tirelessly on communicating with the scholars, writers, and artists to make this issue happen. I want to thank the guest editors, Christina Hanhardt and Dayo Gore, for curating and editing this issue. I also want to thank the poetry editors, Cheryl Clarke, Julie R. Enszer, and JP Howard, as well as the prose editors, Keisha-Gaye Anderson, Lauren Cherelle, and Vi Khi Nao. In addition, I want to extend a generous thank-you to Eileen Liang and Natalie Ruby for their administrative assistance with internships in feminist publishing for graduate students in women's and gender studies at the City University of New York. Our partnership
本期《国家/权力》探讨了国家的许多官僚主义和问题,包括奴隶制国家、异性恋国家、反选择的国家、反移民的国家、白人至上主义国家、法西斯主义国家和独联体国家等。它探讨了许多与国家形成、历史遗产和权力结构有关的关键问题。其中一些问题包括:互助、住房不安全、生育权利、土地主权、家庭失踪、青少年权利和社会运动。对国家权力的种族化抵抗的关注是深刻的,允许在这个无休止和令人厌恶的反黑人,反变性人,白人民族主义者和厌恶女性的仇恨的时刻,以BIPOC的身份,历史和斗争为中心。在任何时候,人类获得工作、住房、医疗保健和宜居生活的基本权利都是必不可少的,尽管随着全球疫情的持续,国家权力必须受到严厉批评和重新设想。通过对社会制度、跨国公司和全球资本主义的重组和解体,有可能实现一个更美好的世界。特别是,学术和积极分子对有色人种对奴隶制国家和废奴主义者未来的批评以及对第三世界妇女联盟的历史记忆以及它在当前时刻所蕴含的教训和可能性的研究都很吸引人。这个问题指出了挑战国家权力的问题和前景。国家/权力要感谢无数的学者、作家、艺术家、编辑和/或编辑人员和委员会。在《WSQ》总编辑Brianne Waychoff不幸离世的这段非常艰难的时期,我想对《WSQ》的团队和编委会表示衷心的感谢,感谢他们的付出和付出。我特别要感谢妇女与社会研究中心的Dana-Ain Davis和人文中心的Kendra Sullivan担任临时编辑主任,监督《华尔街日报》在2023年晚些时候过渡到新的总编辑时的管理运营和资金。他们的工作对《华尔街日报》的成长和繁荣起到了不可估量的作用。我还要衷心感谢编辑助理Googie Karrass、Maya von Ziegesar和Angela Boscarino,他们孜孜不倦地与学者、作家和艺术家沟通,使这一期得以出版。我要感谢特邀编辑克里斯蒂娜·汉哈特和达约·戈尔策划和编辑本期杂志。我还要感谢诗歌编辑谢丽尔·克拉克、朱莉·r·恩泽尔和JP·霍华德,以及散文编辑凯莎·盖伊·安德森、劳伦·谢瑞尔和维吉·瑙。此外,我要慷慨地感谢Eileen Liang和Natalie Ruby,感谢她们为纽约城市大学女性和性别研究研究生在女权主义出版领域的实习提供行政协助。我们的合作极大地提高了纽约市立大学及其他地方女权主义社区期刊的质量。我还要感谢人文中心的Sampson Starkweather和Juwon Jun与《华尔街日报》的合作,特别是在宣传方面的帮助。最重要的是,我非常感谢女权主义出版社的领导在日程安排、制作和发行方面给予的所有帮助,尤其是执行董事玛戈特·阿特韦尔、编辑总监劳伦·罗斯玛丽·胡克和助理编辑尼克·惠特尼。我对您的帮助和支持感激不尽。我感谢整个WSQ社区所做的一切,我期待着未来的问题,包括队列中的下一个Nonbinary ![End Page 10] Red Washburn英语和女性、性别和性研究教授纽约城市大学金斯堡社区学院和研究生中心女性、性别和性研究主任版权©2023 Red Washburn
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引用次数: 0
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