Recent debates in the field of contemporary art have underlined the political importance of creative reworkings of the past, especially for those subjects that have been traditionally marginalised. A feminist perspective has been nevertheless quite absent from such debates. This article addresses feminist uses of archival documents in the visual arts through the analysis of three works produced in the past two decades: The Fae Richard's Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance Operations (1998) by Renée (...) Green and Queen of the Artists’ Studios (2004–2007) by Andrea Geyer. These works share an interest for women's histories and representations by composing a series of documents (both factual and fictive) into complex narratives where history and subjectivity intersect. (shrink)

The crisis, characteristic of our present postcolonial era, in the historically-codified forms of talking about alterity has permitted the emergence of what can be called « stories of the other » — stories about those who have been implicitly excluded from the position of the subject. This crisis is particularly evident in a discipline such as anthropology, which is founded precisely upon narratives of the Other. Beginning with the problems posed by the possibility of a visual narration of alterity, this (...) article proposes to analyse the connections among narrative, representation and identity in the works of Tracey Moffat, Isaac Julien and Fiona Tan. In their videos and installations, the question of the gaze fixed on the other is articulated around the themes of memory and the crisis of ethnography as a means of representation of or narrative about cultural alterity. These artists stage an « other » gaze capable of bringing out repressed and subaltern histories. They affirm an identity that is marginal and hybrid at the same time, beyond the myths of origin and purity that delineate colonial and colonialist thought. (shrink)

Résumé En 2007, bon nombre d’expositions, colloques et numéros monographiques de revues se sont penchés sur les rapports entre l’art et le féminisme, alors que la Documenta 12, très critiquée pour son approche conservatrice, restera peut-être dans l’histoire pour avoir été la première Documenta à montrer 50 % d’artistes femmes. En s’interrogeant sur ces différents phénomènes, cet article pose la question des temporalités du féminisme opposées à la linéarité du récit de l’histoire de l’art et propose une utilisation stratégique du (...) féminisme dans le domaine esthétique. (shrink)

Résumé En 2007, bon nombre d’expositions, colloques et numéros monographiques de revues se sont penchés sur les rapports entre l’art et le féminisme, alors que la Documenta 12, très critiquée pour son approche conservatrice, restera peut-être dans l’histoire pour avoir été la première Documenta à montrer 50 % d’artistes femmes. En s’interrogeant sur ces différents phénomènes, cet article pose la question des temporalités du féminisme opposées à la linéarité du récit de l’histoire de l’art et propose une utilisation stratégique du (...) féminisme dans le domaine esthétique. (shrink)

This article analyses the work of the Italian collective Kinkaleri, situated on the border between various artistic disciplines . It focuses on the implications of their collective mode of working, on their questioning of the nature of the stage, and on the anti-spectacular aesthetics that characterized their later projects.

Smithson, Notari, Le Corbusier, Einstein…Renée Green’s work sketches genealogies through reconstructions and inquiries based on displacements through times and spaces, between the present and the past, the subject of narration and the subject of the story, here and elsewhere. In these back-and-forth movements between archive and fiction, historical figures emerge as ghosts which literally haunt her films, occupying a spatial borderline between imagination, history and the desires invested in the process of remembrance.