Women in Dark Times
Page 33
85 Aslam, Maps for Lost Lovers, p. 348.
86 Brandon and Hafez, Crimes of the Community, p. 117.
87 Unni Wikan, Generous Betrayal: Politics of Culture in New Europe (Chicago: Chicago University Press, 2002), p. 5.
88 Brandon and Hafez, Crimes of the Community, p. 142.
89 Ibid., p. 92.
90 Sanghera, Shame, p. 142.
91 Ibid., p. 152.
92 Brandon and Hafez, Crimes of the Community, p. 88.
93 Ibid., p. 105.
94 Wikan, In Honor of Fadime, p. 44.
95 Sunny Hundall, ‘The Left cannot remain silent over “honour killings”’, New Statesman, 4 August 2012.
96 Radhika Coomaraswamy, ‘Preface: Violence against Women and “Crimes of Honour”’, in Welchman and Hossain, ‘Honour’ (London: Zed Books, 2005), p. xi.
97 Das cited in Wikan, In Honor of Fadime, p. 250.
98 Ibid., p. 249.
99 Katherine Pratt-Ewing, Stolen Honor: Stigmatising Muslim Men in Berlin (Stanford: Stanford University Press, 2008), p. 162.
100 Wikan, In Honor of Fadime, p. 158.
101 Husseini, Murder in the Name of Honour, p. xiv.
102 Cited in Welchman and Hossain, ‘Honour’, p. 12.
103 Husseini, Murder in the Name of Honour, pp. 173–4.
104 ‘“Honour” crimes bring nothing but shame’, Daily Telegraph, 4 February 2008.
105 Ibid.
106 Judith Butler, Frames of War: When Is Life Grievable? (London: Verso, 2009), p. 105.
107 Pratt-Ewing, Stolen Honor, pp. 159–60.
108 ‘So-called “honour crimes”’, Resolution 1327, 2003, of the Parliamentary Assembly of the Council of Europe, clause 1.
109 Ziauddin Sardar, ‘Forced marriages disgrace Islam’, New Statesman, 27 March 2008.
110 Abu-Lughod, personal communication.
111 Brian Brady, ‘A question of honour: Police say 17,000 women are victims every year’, Independent, 10 February 2008; also cited in Husseini, Murder in the Name of Honour, p. 161.
112 Pankaj Mishra, ‘A culture of fear’, Guardian, 15 August 2009.
113 Nurkhet Sirman, ‘Kinship, Politics and Love: Honour in Postcolonial Contexts: The Case of Turkey’, in Shahrzad Mojab and Nahla Abdo (eds), Violence in the Name of Honour: Theoretical and Political Challenges (Istanbul: Bilgi University Press, 2004), p. 53.
114 Abu-Odeh, ‘Crimes of Honour’, p. 168.
115 Ibid.
116 Ibid.
117 Begikhani in Welchman and Hossain, ‘Honour’, p. 220.
118 Wikan, In Honor of Fadime, p. 142.
119 Aslam, Maps for Lost Lovers, pp. 41, 160, 281.
120 Ibid., p. 348.
121 Wikan, In Honor of Fadime, p. 140.
122 Ibid., p. 237.
123 Hannana Siddiqui, ‘“There is no ‘honour’ in domestic violence, only shame!” Women’s struggles against “honour” crimes in the UK’, in Welchman and Hossain, ‘Honour’, p. 272.
124 Norma Khouri, Forbidden Love (New York: Random House, 2003), p. 51.
125 Mishra, ‘A culture of fear’.
126 Siddiqui, ‘“There is no ‘honour’ in domestic violence, only shame!”’, Welchman and Hossain, ‘Honour’, p. 273.
127 Jane Martison, ‘The Great Silent Crime’, Guardian, 10 May 2012.
128 Nicholas Watt, ‘Cultural sensitivity putting rights at risk, warns Cameron’, Guardian, 27 February 2008.
129 Wikan, In Honor of Fadime, p. 263.
130 Brandon and Hafez, Crimes of the Community, p. 120.
131 GOV.UK, ‘Tougher language requirements announced for British Citizenship’, https://www.gov.uk/government/news/tougher-language-requirements-announced-for-british-citizenship
132 Aslam, Maps for Lost Lovers, p. 174.
133 Ibid., p. 284.
134 Sigmund Freud, Studies on Hysteria, 1893–5, Standard Edition of Complete Psychological Works, Vol. 2 (London: Hogarth, 1955), p. 160.
135 Shafak, Upper Wimpole Street Literary Salon, 8 November 2012.
136 Onal, Honour Killing, p. 56.
137 Wikan, In Honor of Fadime, p. 205.
138 Onal, Honour Killing, p. 72.
139 Husseini, Murder in the Name of Honour, p. 12.
140 Shafak, Honour, p. 266.
141 Tariq Ali, ‘Murder in the family’, London Review of Books, 30:24, 18 December 2008.
142 Saeed Shah, ‘Woman gang-raped on orders of tribal elders is living in fear as suspects are freed’, Guardian, 22 April 2011.
143 Wikan, In Honor of Fadime, p. 116.
III: LIVING
1 Juliet Mitchell, ‘Women: the Longest Revolution’, New Left Review, 40, December 1966.
2 See, for example, Nina Power, One-Dimensional Woman (London: Zero, 2009); Laurie Penny, Unspeakable Things (London: Bloomsbury, 2014); and for an overview, Kira Cochrane, ‘How feminism fought back,’ Guardian, G2, 11 December 2013.
3 ‘Psychoanalysis, Politics and the Future of Feminism: A Conversation’, Juliet Mitchell and Jacqueline Rose, with Jean Radford, Women: a cultural review, 21:1, 2010.
4 Wendy Beckett, Contemporary Women Artists (Oxford: Phaidon, 1988).
5 Griselda Pollock, Encounters in the Virtual Feminist Museum: Time, Space and the Archive (London: Routledge, 2007), and After-affects/After-images – Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013).
5. The Shape of Democracy: Esther Shalev-Gerz
1 Esther Shalev-Gerz, ‘Sound Machine’, Esther Shalev-Gerz (Paris: Jeu de Paume, 2010), pp. 108–9.
2 ‘Equality: coalition is missing the point about women’, editorial, Observer, 12 February 2012; Jane Martison, ‘Cuts are widening the gender gap’, Guardian, 13 May 2013; Martison, ‘Women paying the price for Osborne’s austerity package’, Guardian, 20 March 2012; Beatrix Campbell, The End of Equality, Manifestos for the 21st Century (Chicago: University of Chicago Press and Seagull, 2014).
3 Esther Shalev-Gerz, ‘Perpetuum Mobile’, Esther Shalev-Gerz (Paris: Jeu de Paume), p. 64.
4 Ibid.
5 Meryman, ‘Fame May Go By’, p. 11.
6 Marianne Lamonaca, ‘Recontextualising Labor: A Curator’s Encounter’, Esther Shalev-Gerz, Describing Labor (Florida: The Wolfsonian, 2012), p. 61.
7 Shalev-Gerz, Describing Labor, p. 26.
8 Ibid., p. 50.
9 Ibid., p. 53.
10 Ibid., p. 57.
11 Ibid., p. 29.
12 Ibid., p. 54.
13 Esther Shalev-Gerz, ‘White-Out – Entre l’écoute et la parole’, Esther Shalev-Gerz (Paris: Jeu de Paume) p. 76.
14 Esther Shalev-Gerz, Two Installations – White Out: Between Telling and Listening; Inseparable Angels: The Imaginary House of Walter Benjamin (Stockholm, Historical Museum, 2002), p. 62.
15 Ibid.
16 Woolf, Three Guineas, p. 208.
17 Shalev-Gerz, Two Installations, p. 62.
18 Ibid., p. 56. Incomplete emancipation, unequal pay for equivalent jobs for example, is still legal (thanks to Jason Bowman for pointing this out).
19 Nicole Schweizer, ‘Foreword: Esther Shalev-Gerz: Between Listening and Telling’, Esther Shalev-Gerz (Lausanne: Musée cantonal des Beaux-Arts, 2012), p. 5.
20 Ingela Lind, ‘A Dialogue with Esther Shalev-Gerz’, Two Installations, p. 56.
21 Marta Gili, ‘Interview’, Esther Shalev-Gerz (Paris: Jeu de Paume), p. 158.
22 Ibid.
23 Ingela Lind, ‘A Dialogue with Esther Shalev-Gerz’, p. 57.
24 Raminta Jūrėnaitė, untitled essay in Esther Shalev-Gerz, Still/Film (Vilnius: Vilnius Academy of Arts Gallery, 2009), p. 34.
25 Ibid., p. 35.
26 Ingela Lind, ‘A Dialogue with Esther Shalev-Gerz’, p. 57.
27 Ibid.
28 ‘Interview: Esther Shalev-Gerz and Dorothy von Drathen’, Irréparable (La Roche-sur-Yon: Musée de la Roche-sur-Yon, 1996), (p. 2 – pages unnumbered).
29 Jacqueline Ros
e, ‘Interview with Esther Shalev-Gerz’, 7 June 2013, for Trust and the Unfolding Dialogue Research Project, Valand Academy, University of Gothenburg, November 2013, in Esther Shalev-Gerz: The Contemporary Art of Trusting, Uncertainties and Unfolding Dialogue (Stockholm: Art and Theory, 2013).
30 Georges Didi-Huberman, ‘Blancs Soucis de Notre Histoire’, Esther Shalev-Gerz (Lausanne), pp. 57–68.
31 Nora M. Alter, ‘Sampling the Past: An Aural History’, Esther Shalev-Gerz (Lausanne), p. 139.
32 Didi-Huberman, ‘Blancs Soucis de Notre Histoire’, p. 61.
33 Rose, ‘Interview with Esther Shalev-Gerz’; see also Christopher Bollas, The Shadow of the Object: Psychoanalysis of the Unthought Known (London: Free Association Books, 1987).
34 ‘Interview: Esther Shalev-Gerz and Doris von Drathen’, Irréparable (p. 1 – pages unnumbered).
35 Esther Shalev-Gerz, First Generation, ed. Vendela Heurgren (Fittja, Sweden: Botkyrka Multicultural Centre, 2006), p. 93.
36 Gili, ‘Interview’, Esther Shalev-Gerz (Paris: Jeu de Paume), p. 158.
37 Ibid.
38 Menschendinge/The Human Aspect of Objects, in Esther Shalev-Gerz (Paris: Jeu de Paume), p. 96.
39 ‘The Berliner Inquiry’, Esther Shalev-Gerz (Paris: Jeu de Paume), p. 58.
40 ‘Interview with Charlotte Fuchs’, Hanover, 2001. My thanks to Esther Shalev-Gerz for making available the transcript of this interview and the interview with Isabelle Choko which took place in Paris in 2001.
41 Claude Lanzmann, Shoah, p. 117.
42 Esther Shalev-Gerz, all quotations from Entre l’écoute et la parole: Derniers Témoins: Auschwitz-Birkenau 1945–2005 (Paris: Hotel De Ville, 2005).
43 Didi-Huberman, ‘Blancs Soucis de Notre Histoire’, p. 60.
44 Annika Wik, ‘In-Between: The Cut’, Esther Shalev-Gerz (Lausanne: Musée cantonal des Beaux-Arts, 2012), p. 71.
45 Didi-Huberman, ‘Blancs Soucis de Notre Histoire’, p. 57.
46 Rose, ‘Interview with Esther Shalev-Gerz’, 7 June 2013.
47 Matthew Abess and Esther Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’, Describing Labor, p. 76.
48 Letter personally communicated to me by Shalev-Gerz, quoted here with permission of its author.
49 Jacques Rancière, ‘The Work of the Image’, Menschendinge, p. 13.
50 Rosa Luxemburg to Adolf Warski, end November or beginning December 1918, Letters, p. 484.
51 Gili, ‘Interview’, p. 157.
52 ‘Dora, Neuilly-sur-Seine’, Shalev-Gerz, Entre l’écoute et la parole, oral testimony.
53 ‘Yvette Ley, Noisy-le-Sec’, Shalev-Gerz, Entre l’écoute et la parole, oral testimony.
54 Gili, ‘Interview’, p. 158.
55 Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’, Describing Labor, p. 84.
56 For example, Nicole Schweizer, ‘Foreword’, p. 4, and Annika Wik, ‘In-Between: The Cut’, Esther Shalev-Gerz (Lausanne), pp. 69–72.
57 Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’, Describing Labor, p. 83.
58 Woolf, Three Guineas, p. 255.
59 Ingela Lind, ‘A Dialogue with Esther Shalev-Gerz’, and Gili, ‘Interview’, Esther Shalev-Gerz (Paris: Jeu de Paume).
60 Rose, ‘Interview with Esther Shalev-Gerz’, 15 May and 6 June 2013, and Esther Shalev-Gerz: The Contemporary Art of Trusting, Uncertainties and Unfolding Dialogue (Gothenburg: University of Gothenburg and Valand Academy, 2014). The publication is based on the second of these interviews; all other quotations are from my notes from the first interview.
61 ‘Interview: Esther Shalev-Gerz and Doris von Drathen’, Irréparable (p. 2 – pages unnumbered).
62 Shalev-Gerz, Describing Labor, p. 75.
63 Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’, Describing Labor, p. 81.
64 Rose, ‘Interview with Esther Shalev-Gerz’.
65 Ibid.
66 Ibid.
67 Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’, Describing Labor, p. 84.
68 Shalev-Gerz, Two Installations, p. 56.
69 John Harris, ‘UKIP: the battle for Britain’, Guardian, 18 May 2013.
70 Tony Judt, Postwar, p. 9.
71 Ibid.
72 Rose, ‘Interview with Esther Shalev-Gerz,’ p. 197; see also Describing Labor, p. 79.
73 Ibid.; also private communication, July 2013.
74 Faqir, My Name Is Salma, p. 25.
75 Esther Shalev-Gerz, Les portraits des histoires, p. 53.
76 Esther Shalev-Gerz, The Place of Art, University of Gothenburg, Art Monitor, 2, 2008, p. 74.
77 Shalev-Gerz, Les portraits des histoires, p. 62.
78 Shalev-Gerz, Les portraits des histoires, Bromwich. This exhibition was cancelled when the venue, The Public, shut down in 2008. Typescript of interviews provided by the artist.
79 Shalev-Gerz, Les portraits des histoires, p. 61.
80 Shalev-Gerz, Les portraits des histoires, Bromwich, typescript.
81 Shalev-Gerz, The Place of Art, p. 75.
82 Alain Badiou, De quoi Sarkozy est-il le nom? (Paris: Lignes, 2007), p. 59.
83 Shalev-Gerz, Les portraits des histoires, p. 30.
84 Ibid., p. 53.
85 Shalev-Gerz, The Place of Art, pp. 113–14.
86 Ibid., p. 115.
87 ‘On Two, 2009: Script of the Video Installation, Jacques Rancière and Rola Younes’, Esther Shalev-Gerz (Lausanne), pp. 147–8.
88 ‘On Two’, Esther Shalev-Gerz (Paris: Jeu de Paume), p. 117.
89 ‘On Two’, Esther Shalev-Gerz (Lausanne), p. 148.
90 Ibid.
91 Ibid.
92 Ibid., p. 147.
93 Ibid.
94 Rose, ‘Interview with Esther Shalev-Gerz’.
6. Coming Home: Yael Bartana
1 Strasberg, Marilyn and Me, p. 76.
2 Ibid., p. 79.
3 Sebastian Cichoki and Galit Eilat (eds), A Cookbook for Political Imagination (hereafter Cookbook) (Warsaw: Zach?ta National Gallery of Art, 2011), p. 285.
4 Camilla Nielsson, ‘Hollywood Exodus’, Cookbook, p. 285.
5 Ibid., p. 287.
6 Yael Bartana, Mary Koszmary (Nightmares), first of film trilogy . . . And Europe Will Be Stunned, opening address by Sławomir Sierakowski.
7 Galit Eilat, Sebastian Cichoki, Yael Bartana, ‘Jewish Renaissance Movement in Poland (JRMiP)’, Cookbook, p. 4.
8 ‘A Conversation between Yael Bartana, Galit Eilat and Charles Esche’, . . . And Europe Will Be Stunned (Berlin: Revolver, 2010), p. 115.
9 Bartana, Assassination (Zamach), third of film trilogy . . . And Europe Will Be Stunned, address by Rifke.
10 Bartana, Mary Koszmary, opening address by Sławomir Sierakowski.
11 Ibid.
12 Eva Hoffman, Shtetl: The Life and Death of a Small Town and the World of Polish Jews (London: Secker & Warburg, 1998), p. 247.
13 Ibid., p. 108.
14 Ibid.
15 Lief Magnusson, ‘Introduction’, Esther Shalev-Gerz, First Generation, p. 5.
16 Ibid., p. 8.
17 Ibid., p. 5.
18 Ringelblum Archive: Polish-Jewish Relations, p. 257, cited in Michael C. Steinlauf, Bondage to the Dead: Poland and the Memory of the Holocaust (New York: Syracuse University Press, 1997), p. 87, my emphasis.
19 Ibid.
20 Ibid., p. 129.
21 Jan T. Gross, Neighbors: The destruction of the Jewish Community in Jedwabne (Princeton: Princeton University Press, 2001), and Antony Polonsky and Joanna B. Michlic, The Neighbors Respond: The Controversy over the Jedwabne Massacre in Poland (Princeton: Princeton University Press, 2004).
22 Steinlauf, Bondage to the Dead, p. 84. See Steinlauf for the complex details of this history, especially in relation to the occupation of Poland by Russia, Nazi Germany and then the Soviet Union in the 1940s.
23 Ibid., p. 191, my emphasis.
24 Cited in Jan T. Gross,
Fear, Anti-Semitism in Poland after Auschwitz, An Essay in Historical Interpretation (Princeton: Princeton University Press, 2006), pp. 174–5.
25 Ibid., p. 175.
26 Ibid.
27 http://www.artesmundi.org/en/about-us
28 Ariella Azoulay and Adi Ophir, ‘Guided Imagination’, Cookbook, p. 88.
29 Ibid., p. 89.
30 Arendt, ‘We Refugees’, The Jew as Pariah, p. 65, essay also included in Arendt, Jewish Writings.
31 Juli Carson, ‘Postcards from the Real: The Jewish Renaissance Movement in Poland’, Cookbook, p. 156.
32 Arendt, ‘We Refugees’, p. 56.
33 Ibid., p. 63.
34 Ibid., p. 57.
35 ‘Interview with Yael Bartana’, ArtiT (Amsterdam: Annet Gelink Gallery, Tel Aviv: Sommer Contemporary Gallery, 2012), transcript p. 2.
36 ‘Interview with Yael Bartana’, ArtiT, transcript p. 4.
37 Eilat, Cichoki, Bartana, ‘Jewish Renaissance Movement in Poland (JRMiP)’, Cookbook, p. 4 (emphasis original).
38 ‘Interview with Yael Bartana’, ArtiT, transcript p. 2.
39 Ariella Azoulay, ‘“Come back! We need you!” On the video works of Yael Bartana’ (Tel Aviv: Short Memory Center for Contemporary Art and Rachel and Israel Pollack Gallery, The Teacher’s College of Technology, 2008), transcript p. 8.
40 Personal communication from artist.
41 ‘A Conversation between Yael Bartana, Galit Eilat and Charles Esche’, . . . And Europe Will Be Stunned, p. 48.
42 Ibid., p. 166.
43 Ibid., p. 94.
44 Ibid., p. 95.
45 Yael Bartana, ‘The Return from the Moon’, presented at the Moderna Museum, Malmö, Sweden, September 2010, cited in Gish Amit, ‘When Suffering Becomes an Identity’, Cookbook, p. 209. Bartana is citing Arendt: ‘They escaped to Palestine as one might wish to escape to the moon.’ Arendt, ‘Zionism reconsidered’, The Jew as Pariah, p. 138.
46 For a fuller account of these early works by Bartana, see Joshua Decter, ‘Yael Bartana: P.S. 1 Contemporary Art Center, New York’, Art Forum, 47:8, 2009.
47 ‘A Conversation with Yael Bartana, Galit Eilat and Charles Esche’, p. 95.
48 Ibid., p. 49.
49 Ibid., p. 48.
50 ‘Interview with Yael Bartana’, ArtiT, transcript p. 2.
51 Jonathan Jones, ‘The Shock of the Old’, Guardian, 14 April 2011.
52 Yael Bartana, Emily Jacir, Lee Miller, Wherever I Am (Oxford: Museum of Modern Art, 2004).
53 Antony Penrose (ed.), Lee Miller’s War – Photographer and Correspondent with the Allies in Europe 1944–1945, foreword by David E. Scherman (London: Thames & Hudson, 1992), p. 9. The photograph is reproduced in Bartana, Jacir, Miller, p. 81.