In this paper I will develop a gender critique of scientific and medical idealizations of the human body and its health, which was performed out of gender and feminist studies, pointing also to women’s art. In the discourses of medicine, healthy and beautiful human – and especially the female human – body is revealed as an ideological construction, an affective agent and a biopolitical ideal that controls and regulates gender differences. My intention is to demonstrate that the discourses of medicine, feminism, and art are in a dialogue historically in relation to these topics. Following Tasha N. Dubriwny’s discussion of medical discourse and practice, I will map three phases in the development of Western medical discourses and point to the fact that they are in dialogue with feminist discourses and with the way how art treats and represents beautiful bodies, and/or sick bodies, with particular focus on female bodies. Discussion of the first phase of medical development points to the fact that visual art and photography were used to performatively help doctors to construct the female body as sick and deviant, as Didi Huberman showed. The second phase was the medicalization era, in which human bodies are expected to adhere to a standardized norm. In this period, within the framework of second wave feminism, feminist health activists appeared, forming the women's movement for health. Special attention will be directed to the third phase, the biomedicalization era or inclusion-and-difference paradigm, in which postfeminist discourses appeared and in relation to which I will discuss artworks by Hannah Wilke, Katarzyna Kozyra, and Orlan.
在本文中，我将对人体及其健康的科学和医学理想化进行性别批判，这种批判源于性别和女权研究，同时也指向女性艺术。在医学话语中，健康美丽的人体--尤其是女性人体--被揭示为一种意识形态建构、一种情感媒介和一种生物政治理想，它控制并调节着性别差异。我的目的是要证明，医学、女权主义和艺术的话语在历史上就这些主题进行过对话。根据塔莎-N-杜布里文尼（Tasha N. Dubriwny）对医学话语和实践的讨论，我将描绘西方医学话语发展的三个阶段，并指出这些话语与女性主义话语以及艺术如何对待和表现美丽的身体和/或病态的身体（尤其是女性身体）之间存在着对话。对医学发展第一阶段的讨论表明，正如迪迪-休伯曼（Didi Huberman）所指出的那样，视觉艺术和摄影被用于表演性地帮助医生将女性身体构建为病态和异常的身体。第二阶段是医学化时代，在这一阶段，人体被要求遵守标准化的规范。在这一时期，在第二波女权主义的框架内，出现了女权主义健康活动家，形成了妇女健康运动。我将特别关注第三阶段，即生物医学化时代或 "包容与差异 "范式，在这一时期出现了后女权主义话语，我将讨论汉娜-威尔克（Hannah Wilke）、卡塔日娜-科济拉（Katarzyna Kozyra）和奥兰（Orlan）的艺术作品。
{"title":"Gender Critique of The Scientific and Medical Construction of the Female Body in Women’s Artworks","authors":"Dubravka Đurić","doi":"10.25038/am.v0i28.579","DOIUrl":"https://doi.org/10.25038/am.v0i28.579","url":null,"abstract":"In this paper I will develop a gender critique of scientific and medical idealizations of the human body and its health, which was performed out of gender and feminist studies, pointing also to women’s art. In the discourses of medicine, healthy and beautiful human – and especially the female human – body is revealed as an ideological construction, an affective agent and a biopolitical ideal that controls and regulates gender differences. My intention is to demonstrate that the discourses of medicine, feminism, and art are in a dialogue historically in relation to these topics. Following Tasha N. Dubriwny’s discussion of medical discourse and practice, I will map three phases in the development of Western medical discourses and point to the fact that they are in dialogue with feminist discourses and with the way how art treats and represents beautiful bodies, and/or sick bodies, with particular focus on female bodies. Discussion of the first phase of medical development points to the fact that visual art and photography were used to performatively help doctors to construct the female body as sick and deviant, as Didi Huberman showed. The second phase was the medicalization era, in which human bodies are expected to adhere to a standardized norm. In this period, within the framework of second wave feminism, feminist health activists appeared, forming the women's movement for health. Special attention will be directed to the third phase, the biomedicalization era or inclusion-and-difference paradigm, in which postfeminist discourses appeared and in relation to which I will discuss artworks by Hannah Wilke, Katarzyna Kozyra, and Orlan.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1980s British feminist artist-photographer Jo Spence used phototherapy to challenge normative and medicalized constructions of the female cancer patient by documenting her illness and was then employed as a consultant by hospitals who, through her work, recognized the need to change physicians’ practices and attitudes, which objectified patients. Photovoice, a Community Based Participatory Design method where participants take photographs and combine them with short text narratives, is similar to Spence’s artistic method. It has been used widely in health and social work settings. Healthcare professionals are aware of the power of images as catalysts for meaning making in medical encounters with people in pain; as part of multidisciplinary analysis, because images can enhance a person’s sense of agency in relation to their pain, especially in clinical contexts. Photographs can also establish a common ground for discussing meaning, therefore Photovoice can make the hidden experience of pain visible through collaborative photo-texts. These are subsequently shared with other patients and healthcare workers to aid them in specialist consultations. However, few studies have addressed gender and race-related health disparities in treating chronic pain. This paper draws on the authors’ study with twenty women of color who created photo-text works about their experiences living with and being treated for chronic pain. In this novel online Photovoice study, participants engaged with asynchronous videos created by an artist-professor about the meanings viewers make of a photograph, including how perspective, angle, and lighting can affect the viewer’s emotional response to photographs. Participants then deployed Photovoice through six synchronous sessions led by a social work professor with extensive experience designing and facilitating Photovoice studies. The resulting image-text works by study participants address health inequity and argue for health equity as a hallmark of social justice in healthcare by focusing on exposing and reducing healthcare disparities.
{"title":"An Online Photovoice Study Designed by Researchers from Art and Social Work to Better Understand the Experience of Chronic Pain by Women of Color","authors":"Jane Prophet, Rahbel Rahman, Afton L. Hassett","doi":"10.25038/am.v0i28.582","DOIUrl":"https://doi.org/10.25038/am.v0i28.582","url":null,"abstract":"In 1980s British feminist artist-photographer Jo Spence used phototherapy to challenge normative and medicalized constructions of the female cancer patient by documenting her illness and was then employed as a consultant by hospitals who, through her work, recognized the need to change physicians’ practices and attitudes, which objectified patients. Photovoice, a Community Based Participatory Design method where participants take photographs and combine them with short text narratives, is similar to Spence’s artistic method. It has been used widely in health and social work settings. Healthcare professionals are aware of the power of images as catalysts for meaning making in medical encounters with people in pain; as part of multidisciplinary analysis, because images can enhance a person’s sense of agency in relation to their pain, especially in clinical contexts. Photographs can also establish a common ground for discussing meaning, therefore Photovoice can make the hidden experience of pain visible through collaborative photo-texts. These are subsequently shared with other patients and healthcare workers to aid them in specialist consultations. However, few studies have addressed gender and race-related health disparities in treating chronic pain. This paper draws on the authors’ study with twenty women of color who created photo-text works about their experiences living with and being treated for chronic pain. In this novel online Photovoice study, participants engaged with asynchronous videos created by an artist-professor about the meanings viewers make of a photograph, including how perspective, angle, and lighting can affect the viewer’s emotional response to photographs. Participants then deployed Photovoice through six synchronous sessions led by a social work professor with extensive experience designing and facilitating Photovoice studies. The resulting image-text works by study participants address health inequity and argue for health equity as a hallmark of social justice in healthcare by focusing on exposing and reducing healthcare disparities.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is an excerpt from a record of a bioart residency in the transgenic mouse production facility at i3S, University Porto, Porto, Portugal, EU 2022: Art/sci research-creation, field notes and bioart from the i3S transgenic mouse production facility. The transgenic mouse production facility at i3S is an animal facility that breeds specific transgenic mutants for lab research. This means that the mice are genetically modified and bred to produce stable litters of similarly mutant pups. In other words, the mice are genetically modified in such a way that their offspring are altered in a specific hereditary and multigenerational way. Covering the life cycle of the programmed mouse, we asked for hands-on experience as much as possible and learned through doing/witnessing: mouse sperm/egg collection, cryopreservation, fertilization, embryo mutagenic microinjection, implantation of embryos in a pseudopregnant surrogate, embryo dissection for tissue culture, surgery, breeding, and euthanasia. Delving into software studies, there was an exploration of CRISPR/vector design apps and transgenic animal facility management apps. We also accessed global networks for stable pedigree proof of genomic standardization as well as animal care and use in the transgenic core. Learning that the mice were often disease models, created to infect with live contagious diseases or inborn with developmental disabilities (degenerative enhancements), we arranged for some animal enrichment arts. Learning of the often-difficult life of scientists and graduate students, we also took the time to enrich the scientists with an action painting to live music enrichment lab. This form of in depth and experiential research is an advanced version of medical anthropology or science technology studies field working with subjective, literary, informed, morbid, and humorous artistic outcomes.
{"title":"Transgenic Embryo Implantation Excerpts from The Life Cycle of The Programmed Mouse, an Art and Biology Residency in an Experimental Animal Production and Research Facility","authors":"Adam Zaretsky","doi":"10.25038/am.v0i28.584","DOIUrl":"https://doi.org/10.25038/am.v0i28.584","url":null,"abstract":"This is an excerpt from a record of a bioart residency in the transgenic mouse production facility at i3S, University Porto, Porto, Portugal, EU 2022: Art/sci research-creation, field notes and bioart from the i3S transgenic mouse production facility. The transgenic mouse production facility at i3S is an animal facility that breeds specific transgenic mutants for lab research. This means that the mice are genetically modified and bred to produce stable litters of similarly mutant pups. In other words, the mice are genetically modified in such a way that their offspring are altered in a specific hereditary and multigenerational way. Covering the life cycle of the programmed mouse, we asked for hands-on experience as much as possible and learned through doing/witnessing: mouse sperm/egg collection, cryopreservation, fertilization, embryo mutagenic microinjection, implantation of embryos in a pseudopregnant surrogate, embryo dissection for tissue culture, surgery, breeding, and euthanasia. Delving into software studies, there was an exploration of CRISPR/vector design apps and transgenic animal facility management apps. We also accessed global networks for stable pedigree proof of genomic standardization as well as animal care and use in the transgenic core. Learning that the mice were often disease models, created to infect with live contagious diseases or inborn with developmental disabilities (degenerative enhancements), we arranged for some animal enrichment arts. Learning of the often-difficult life of scientists and graduate students, we also took the time to enrich the scientists with an action painting to live music enrichment lab. This form of in depth and experiential research is an advanced version of medical anthropology or science technology studies field working with subjective, literary, informed, morbid, and humorous artistic outcomes.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The scholarly monograph Networked Image by Maja Stanković, published by the Faculty of Media and Communications in Belgrade, Serbia is based on the author’s earlier research on the changing character of artistic work and the unsteady process of constituting its meaning and functioning. Overall, the author turns her attention to two aspects of contemporary art. The first is the “disappearance of clear differences between the artistic and non-artistic” as a continuation of radical ideas and challenging traditional views of art initiated in the context of avant-garde art movements in the early 20 th century and new ways of technological reproduction. Stanković interpreted this in her previous book Liquid Contexts (FMK 2015) as the result of a shift in understanding and functioning of context, no longer seen as a set of circumstances and conditions under which an artwork originates but as an element integrated within the artwork that constitutes that difference. The second aspect is the process of “the moving and circulation of images in different registers” in which art also participates, which, according to Stanković
{"title":"The Art of a Networked World at the Beginning of the 21st Century – Maja Stanković, Networked Image, Beograd, FMK, 2022","authors":"Jasmina Čubrilo","doi":"10.25038/am.v0i28.586","DOIUrl":"https://doi.org/10.25038/am.v0i28.586","url":null,"abstract":"The scholarly monograph Networked Image by Maja Stanković, published by the Faculty of Media and Communications in Belgrade, Serbia is based on the author’s earlier research on the changing character of artistic work and the unsteady process of constituting its meaning and functioning. Overall, the author turns her attention to two aspects of contemporary art. The first is the “disappearance of clear differences between the artistic and non-artistic” as a continuation of radical ideas and challenging traditional views of art initiated in the context of avant-garde art movements in the early 20 th century and new ways of technological reproduction. Stanković interpreted this in her previous book Liquid Contexts (FMK 2015) as the result of a shift in understanding and functioning of context, no longer seen as a set of circumstances and conditions under which an artwork originates but as an element integrated within the artwork that constitutes that difference. The second aspect is the process of “the moving and circulation of images in different registers” in which art also participates, which, according to Stanković","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent decades, the positions of patients have started deteriorating even after getting the right medication for the specific illness. To ponder this issue, the role of nursing cannot be overlooked. A recent Netflix-released movie The Good Nurse (2022), a crime-drama based on the book of the same name by Charles Graeber, delightfully exemplifies the perspective that, on the one hand, showcases the idiolatry and working professionalism of nursing and on the other brings forth the complexities of the healthcare system. This study encompasses Lydia Hall’s ‘Care, Cure, and Core’ theory of nursing to show how these three aspects reverberate the essence of this profession and eliminate the complexities involved with it. It is very important to address this issue, as it is the foundational framework for interacting with patients that helps in amplifying the living condition of patients. Furthermore, this study brings up the significant issue of ‘trust’ that is prevalent in the contemporary health system around the world. The relevancy of these issues is justified through the study of this film that disestablished the canonicity of the medical nursing system and in contrast, shows the astounding professional practice that helps in improving the recovery of patients in a hospital setting.
{"title":"Care to Cure: Voices of Sick Bodies in the film The Good Nurse (2022)","authors":"Shohib Bashir, Binod Mishra","doi":"10.25038/am.v0i28.583","DOIUrl":"https://doi.org/10.25038/am.v0i28.583","url":null,"abstract":"In recent decades, the positions of patients have started deteriorating even after getting the right medication for the specific illness. To ponder this issue, the role of nursing cannot be overlooked. A recent Netflix-released movie The Good Nurse (2022), a crime-drama based on the book of the same name by Charles Graeber, delightfully exemplifies the perspective that, on the one hand, showcases the idiolatry and working professionalism of nursing and on the other brings forth the complexities of the healthcare system. This study encompasses Lydia Hall’s ‘Care, Cure, and Core’ theory of nursing to show how these three aspects reverberate the essence of this profession and eliminate the complexities involved with it. It is very important to address this issue, as it is the foundational framework for interacting with patients that helps in amplifying the living condition of patients. Furthermore, this study brings up the significant issue of ‘trust’ that is prevalent in the contemporary health system around the world. The relevancy of these issues is justified through the study of this film that disestablished the canonicity of the medical nursing system and in contrast, shows the astounding professional practice that helps in improving the recovery of patients in a hospital setting.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How do we understand care, humanity, and vulnerability under new technological regimes? Do concepts of care change with increasing technology use? With these questions in mind, we curated the art exhibition Caring Futures at Sølvberget gallery in Stavanger, Norway in autumn 2022. Produced as part of the interdisciplinary research project “Caring Futures: Developing Care Ethics for Technology-Mediated Care Practices” at the University of Stavanger, the exhibition became a creative site for articulating and visualising questions of future care and the entanglement between technological and social aspects of contemporary healthcare regimes, particularly in a Nordic welfare state. In this article, we introduce the exhibition and highlight some of the art projects that specifically grapple with ethical issues in ageing as well as the topic of enhancement, genetics, and bioethics. Our aim is to discuss how technology changes how we relate to our bodies, and our perception or tolerance of what is normal or expected. Care under new technological regimes holds the power of making us want to acquire the desirable, of improvement, but so far, the knowledge of social and individual costs is scarce. Thinking with and through art is a way of generating new knowledges of what is at stake for questions of health, care, and welfare in our times.
{"title":"Caring Futures?","authors":"Hege Tapio, Ingvil Hellstrand","doi":"10.25038/am.v0i28.580","DOIUrl":"https://doi.org/10.25038/am.v0i28.580","url":null,"abstract":"How do we understand care, humanity, and vulnerability under new technological regimes? Do concepts of care change with increasing technology use? With these questions in mind, we curated the art exhibition Caring Futures at Sølvberget gallery in Stavanger, Norway in autumn 2022. Produced as part of the interdisciplinary research project “Caring Futures: Developing Care Ethics for Technology-Mediated Care Practices” at the University of Stavanger, the exhibition became a creative site for articulating and visualising questions of future care and the entanglement between technological and social aspects of contemporary healthcare regimes, particularly in a Nordic welfare state. In this article, we introduce the exhibition and highlight some of the art projects that specifically grapple with ethical issues in ageing as well as the topic of enhancement, genetics, and bioethics. Our aim is to discuss how technology changes how we relate to our bodies, and our perception or tolerance of what is normal or expected. Care under new technological regimes holds the power of making us want to acquire the desirable, of improvement, but so far, the knowledge of social and individual costs is scarce. Thinking with and through art is a way of generating new knowledges of what is at stake for questions of health, care, and welfare in our times.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the 15th century the study of anatomy became a part of art education. With the rise of anatomy as a branch of medicine, artists began to play an important role in the process of anatomical research, creating graphic representations that served as powerful transmitters of knowledge. Among these, the most exquisite were anatomical fugitive sheets, the volumetric, three-dimensional representations of human anatomy. The layering, overlapping, of human organs, enabling one to manipulate them according to need, serves as simulation of the strategies of opening of human body during anatomical dissections. The artists-illustrators of these processes introduced new didactic interactive methods into acquisition and transfer of knowledge. In close cooperation with scientists, they found ways to translate information into recognizable and accessible models, endowing them with cognitive structure, as in anatomical atlases by Andrea Vesalius, De humani corporis fabrica (1543), and Johann Remmelin, Catoptri Microcosmici (1609).
15 世纪，解剖学研究成为艺术教育的一部分。随着解剖学作为医学分支的兴起，艺术家们开始在解剖学研究过程中扮演重要角色，他们创作的图形成为知识的有力传播者。其中，最精美的是解剖逃逸图，它是人体解剖学的体积、三维表现形式。人体器官层层叠叠，可以根据需要进行操作，模拟了解剖过程中打开人体的策略。这些过程的艺术家-插图画家为知识的获取和传授引入了新的教学互动方法。他们与科学家密切合作，找到了将信息转化为可识别和可访问模型的方法，并赋予其认知结构，如安德烈亚-维萨里（Andrea Vesalius）的解剖图册《De humani corporis fabrica》（1543 年）和约翰-雷梅林（Johann Remmelin）的《Catoptri Microcosmici》（1609 年）。
{"title":"Early Modern Art and Science: Simulation of Dissections in the 16th Century Fugitive Sheets","authors":"Angelina Milosavljević","doi":"10.25038/am.v0i28.578","DOIUrl":"https://doi.org/10.25038/am.v0i28.578","url":null,"abstract":"During the 15th century the study of anatomy became a part of art education. With the rise of anatomy as a branch of medicine, artists began to play an important role in the process of anatomical research, creating graphic representations that served as powerful transmitters of knowledge. Among these, the most exquisite were anatomical fugitive sheets, the volumetric, three-dimensional representations of human anatomy. The layering, overlapping, of human organs, enabling one to manipulate them according to need, serves as simulation of the strategies of opening of human body during anatomical dissections. The artists-illustrators of these processes introduced new didactic interactive methods into acquisition and transfer of knowledge. In close cooperation with scientists, they found ways to translate information into recognizable and accessible models, endowing them with cognitive structure, as in anatomical atlases by Andrea Vesalius, De humani corporis fabrica (1543), and Johann Remmelin, Catoptri Microcosmici (1609).","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The virus is an idea or, perhaps more neutrally put, a metaphor for the agent of crisis within and around various forms of life and their hybrid worlds. The virus is an organism. The idea of a virus is a cognitive entity or agent that intervenes in reference to various aggressive phenomena that may not necessarily be viruses, but act like them. The metaphor of the virus is a rhetorical instrument that introduces the concept of the virus into communication protocols about crisis, disaster
{"title":"EXHIBITION: INDEXES – A VIRUS SOMEWHERE IN EUROPE (BIOPOLITICS/NECROPOLITICS AND FORMS OF LIFE IN CONTEMPORARY ART), Gallery P74, Ljubljana, June 15 – July 4, 2023","authors":"M. Šuvaković","doi":"10.25038/am.v0i28.585","DOIUrl":"https://doi.org/10.25038/am.v0i28.585","url":null,"abstract":"The virus is an idea or, perhaps more neutrally put, a metaphor for the agent of crisis within and around various forms of life and their hybrid worlds. The virus is an organism. The idea of a virus is a cognitive entity or agent that intervenes in reference to various aggressive phenomena that may not necessarily be viruses, but act like them. The metaphor of the virus is a rhetorical instrument that introduces the concept of the virus into communication protocols about crisis, disaster","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Genetic diagnostics are radically and rapidly changing perceptions of health. Individuals with identifiable pathogenic genetic differences are now being made into cultural mutants. Unlike other forms of embodied difference, these diagnostics rely on a high statistical probability of developing a disease, known as genetic risk. As such, individuals with a mutation are often subjected to perform the same clinical labor as those who are already sick with a disease, which can involve invasive medical surveillance, preventative surgeries, and family planning. Self-Care is my artistic attempt to reckon with these biotechnological ruptures in identity caused by the rising use of genetic diagnostics in medicine. Using my body, Self-Care weaves a narrative about health, gender, and identity that seeks to resist the confines of the medical gaze. The work features a specially designed chest binder housing living BRCA1 mutant breast cancer cells, which allows the artist to take on the caring responsibilities of their cancer before it emerges in their body. Building off the artwork, this paper explores contemporary issues surrounding Hereditary Breast and Ovarian Cancer Syndrome in global healthcare systems. Traversing the boundaries between sick and healthy, male and female, and parent and child, this paper sets out to both present the scholarly research surrounding Self-Care and provide a platform of critical self-reflection for the artwork to question how best we can care for ourselves and others.
{"title":"Self-Care: Seeking Queer Liberation from the Medical Gaze and Genetic Fatalism","authors":"Lyndsey Walsh","doi":"10.25038/am.v0i28.581","DOIUrl":"https://doi.org/10.25038/am.v0i28.581","url":null,"abstract":"Genetic diagnostics are radically and rapidly changing perceptions of health. Individuals with identifiable pathogenic genetic differences are now being made into cultural mutants. Unlike other forms of embodied difference, these diagnostics rely on a high statistical probability of developing a disease, known as genetic risk. As such, individuals with a mutation are often subjected to perform the same clinical labor as those who are already sick with a disease, which can involve invasive medical surveillance, preventative surgeries, and family planning. Self-Care is my artistic attempt to reckon with these biotechnological ruptures in identity caused by the rising use of genetic diagnostics in medicine. Using my body, Self-Care weaves a narrative about health, gender, and identity that seeks to resist the confines of the medical gaze. The work features a specially designed chest binder housing living BRCA1 mutant breast cancer cells, which allows the artist to take on the caring responsibilities of their cancer before it emerges in their body. Building off the artwork, this paper explores contemporary issues surrounding Hereditary Breast and Ovarian Cancer Syndrome in global healthcare systems. Traversing the boundaries between sick and healthy, male and female, and parent and child, this paper sets out to both present the scholarly research surrounding Self-Care and provide a platform of critical self-reflection for the artwork to question how best we can care for ourselves and others.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With this text, I intend to theoretically interpret the relations between historical and contemporary art, science, and health through the modalities of politics, ethics, and aesthetics. The first hypothesis points to the possibilities of the historical construction of discourse and visual representations of confronting the actions of biopolitics, necropolitics, and politics in a critical relationship between art, science, and health. The understanding of biopolitical and necropolitical functions and effects of science and medicine are re-examined, tested, and critically revealed in modern and contemporary artistic research. I will point to different functional and interventional modes of art: art as a symptom, art as a critical practice, art as a subversive practice and, most importantly, art as an emancipatory practice. I am interested in special cases: artistic provocations or subversion of ethical norms, activist questions about universal human and planetary ethical norms, and critical limits of medical morality and ethics.
{"title":"Functional and Dysfunctional Relations of Art, Science, and Health","authors":"M. Šuvaković","doi":"10.25038/am.v0i29.577","DOIUrl":"https://doi.org/10.25038/am.v0i29.577","url":null,"abstract":"With this text, I intend to theoretically interpret the relations between historical and contemporary art, science, and health through the modalities of politics, ethics, and aesthetics. The first hypothesis points to the possibilities of the historical construction of discourse and visual representations of confronting the actions of biopolitics, necropolitics, and politics in a critical relationship between art, science, and health. The understanding of biopolitical and necropolitical functions and effects of science and medicine are re-examined, tested, and critically revealed in modern and contemporary artistic research. I will point to different functional and interventional modes of art: art as a symptom, art as a critical practice, art as a subversive practice and, most importantly, art as an emancipatory practice. I am interested in special cases: artistic provocations or subversion of ethical norms, activist questions about universal human and planetary ethical norms, and critical limits of medical morality and ethics.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139319259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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