Crip Magazine. Actually, the Dead Are Not Dead #03

TitelCrip Magazine. Actually, the Dead Are Not Dead #03
AutorenHg. Eva Egermann, Hg. Iris Dressler, Egermann Eva, Bilda Linda, B. Julia, Ilitcheva Ianina, Walden Romily Alice, Ortiz Antonio Centeno, Preciado Paul B., Schönwiese Volker, Taylor Sunaura, Kaffenberger Saskia, Jakobsen Jakob, Garde Jonah, Collective C.R.E.M.E., Hofer Raina, Lindholm Jemina und Lüthi Eliah
VerlagEva Egermann (Eigenverlag)
SchlagwörterAntonio Centeno, C.R.E.M.E. Collective, Elia Lüthi, Eva Egermann, Ianina Ilitcheva, Iris Dressler & Hans D. Christ, Iris Kopera, Jakob Jakobsen, Jemina Lindholm, Jonah I. Garde, Julia B., Linda Bilda, Lorenza Böttner, Nicole voec, Paul B. Preciado, Philmarie, Raina Hofer, Rick Reuther, Romily Alice Walden, Saskia Kaffenberger, Shannon Finnegan, Sunaura Taylor, Valérie Favre, Volker Schönwiese, Walter Ego

Crip Magazine is an evolving process. We aim at offering the best possible accessibility. The texts of this issue exist in English. Texts are printed in the typeface Sassoon, a font that was designed by Rosemary Sassoon especially for early readers.Presumably from 2020 onward, an accessible PDF version of the magazine will be free to download online. If requested, we offer various formats that can be read by, for example, screen readers. Please contact us if you have any questions regarding this. Also, please contact us in case you wish to contribute or get involved.

Basic orientation: Crip Magazine is an art project.Reproduction forbidden unless specifically authorized. The form of gender-sensitive language used was determined by each individual author. Contributions designated by name do not necessarily reflect the opinion of the publisher.

How great that it was possible to realize a new edition of Crip Magazine in the context of Bergen Assembly 2019! Bergen Assembly is a triennial of contemporary art that takes place every three years in the Norwegian city of Bergen. Its 2019 edition entitled Actually, the Dead Are Not Dead was conceived by a group of twelve co-curators. At the center of this project is a preoccu-pation with life, with an understanding of life beyond the binary oppositions of life and death, human and non-human, subject and object, abled and disabled, healthy and sick: that is, beyond those normative mo-dels and constructions of life which are produced by the institutions of medicine, politics, law, and culture. The project explores the emancipatory and political potentialities of art, its capacities to think, conceive, and live life differently. Here, we are interested not in any heroic discourses or gestures, but in aesthetic and emanci-patory practices in which strengths and vulnerability, mourning and joy, conflict and celebration, the living and the dead belong together. Actually, the Dead Are Not Dead comprises an exhibition, a broad discursive, performative, and mediation program as well as various new productions. From the very beginning, we have understood Bergen Assembly as a decentral platform that engages with long-term projects situated across the fields of art, research, and activism. This is why we were not only interested in presenting Crip Magazine in Bergen, but also in sup-porting the production of its third edition. Crip Magazine inherently relates to two of the major aspects with which Actually, the Dead Are Not Dead is concerned: first, the rebellious, dissident, and non-normative body as a tool and object of artistic and political practices; and second, aesthetic forms and formats that make it possible to share the knowledge and experiences of emancipation and resistance: magazines, posters, banners, manuals, and more. Our interest in collaborating with Crip Magazine was free of any requirements concerning content and form. Nevertheless, some of the contributions of this third edition are directly related to Actually, the Dead Are Not Dead, especially to the exhibition and to The Parliament of Bodies: The Impossible Parliaments, the latter curated by Paul B. Preciado and Viktor Neumann. We are very happy about these correlations that at the same time allow Bergen Assembly to reach out and connect with other contexts and networks. - Iris Dressler, Hans D. Christ, artistic directors of Bergen Assembly 2019

Editorial: Goddess on the mountain top ...*
"The Venus becomes the vortex for thinking about the female body,” writes Lennard Davis in his book Enf­orcing Normalcy: Disability Deafness and the Body. In discourses on disability aesthetics, representations of Venus de Milo became a topic: Tobin Siebers and Lennard Davis have written about it, and artists like Alison Lapper and Mary Duffy (e.g., in her photographic series Cutting the Ties that Bind) have referred to depictions of Venus de Milo in their artistic work. Interestingly, this reference also appears in the oeuvre of Lorenza Böttner. The image on the cover of this issue of Crip Magazinestruck me when I first saw it in the exhibition Lorenza Böttner:Requiem for the Norm at the Würtenbergischer Kunstverein in Stuttgart in May 2019. A black-and-white photograph shows Lorenza posing as Venus de Milo. Later on, she comes down and asks the audience: “What would you think if art came to life?” as Paul B. Preciado describes more closely in his text on page 25 of this issue. I find this picture to be witty and stunning at the same time, and in my interpretation it serves as a critique on the canon of visual art. The Venus tradition is founded in the idea of mutilation, fragmented bodies, decapitation, and amputation. As Kaja Silverman points out, referencing images of the body in film, society creates a “protective shield” that insulates it against the possibility of mutilation, fragmentation, and castration (Silverman, 14). We bring back the limbs through our imagination. A phenomenon not unlike the experience of a phantom limb, as Lennard Davis writes, referencing psychoanalytic theory. But the “real” body, the observer’s body, is in fact always already a “fragmented” one. “We all—first and foremost—have fragmented bodies. It is in tracing our tactical and self constructing (deluding) journeys away from that originary self that we come to conceive and construct that phantom goddess of wholeness, normalcy, and unity—the nude” (Davis, 141). “(Queer-)crip perspectives can help to keep our attention on disruptive, inappropriate, composing bodies—bodies that invoke the future horizon beyond straight composition” (McRuer, 155).With the term chrononormativity, Elizabeth Freeman describes a timeliness that is following a normative regime. A “deviant chronopolitics,” she says, is one that envisions “relations across time and between times” that upturns developmentalist narratives of history (Freeman, 58, 63). Lorenza and many others have become agents in a deviant chronopolitics and the cripping of art history. Crip Magazine collects artifacts of this transhistorical crip (sub)culture. It relates to historical struggles, aiming to create transtemporary connections and communities across time. Desire, time traveling, and fragmented bodies are some of the themes that connect the different pieces in this volume. Many thanks to all of the people who have contributed their stunning work this time around. This issue of Crip Magazine is produced collaboratively in the course of Bergen Assembly 2019. Thanks go to everybody who has helped and supported the process, especially to Iris Dressler. This will be the last issue that has been edited by one or two individuals only. We are about to continue running Crip Magazine as a collective. I hope so. (Momentarily exploring ways of doing so ...) Please get in touch if you want to offer support or become involved.


Z Sonstige 02