Pages

Showing posts with label queer regions. Show all posts
Showing posts with label queer regions. Show all posts

Monday, 30 November 2020

Ameliorative Homecomings: Framing the Queer Migrant in Documentary


 Ameliorative Homecomings: Framing the Queer Migrant in A Sinner in Mecca (2015) and Whos Gonna Love Me Now? (2016) 

published in The Garage Journal: Studies in Art, Museums & Culture, Issue 01 ‘Transitory Parerga: Access and Inclusion in Contemporary Art,’ edited by Vlad Strukov (University of Leeds): pp. 245-263. [open access link]



Cüneyt Çakırlar's study critically analyzes the themes of queer migrancy and homecoming in two recent documentaries. Parvez Sharma
A Sinner in Mecca (2015) documents the filmmakers journey from the U.S. to Saudi Arabia for his hajj pilgrimage. Using an essayistic, first-person documentary register, Sharma constructs a tension around his attachments to nation, religion, and sexuality. While the film offers a critique of religion as a punitive state apparatus, Sharmas pronounced proprietorial relation to a migrant gay Muslim identity functions in progressive counter-valence. Tomer and Barak Heymanns portrait documentary, Whos Gonna Love Me Now? (2016), tells the story of Saar, an Israeli gay man who was expelled from his Jewish community in Israel and has emigrated to London. Treating Saars HIV diagnosis as the marker of an affective crisis, the film oscillates between two distinct spaces of domesticity: Saars family in Israel, and his circle of friends in the U.K. In both films, the conflict between religion, national belonging, and sexual identity is resolved through a normative pull towards home and its affective restructuring of intimacy in the context of queer migrancy. The ameliorative status of homecoming operates as a default resolution in these films. A longing for home is that which both films register as the constitutive attachment of the queer migrant.

 

Keywords: affect, essay film, first-person, intersectionality, LGBTQ documentary, migration, religion, sexuality, transnationalism


To access the open-access journal, visit https://thegaragejournal.org/en/


The Garage Journal: Studies in Art, Museums & Culture is an independent interdisciplinary academic platform that advances critical discussions about contemporary art, culture, and museum practice in the Russian and global contexts. It publishes original empirical, theoretical, and speculative research in a variety of genres, celebrating innovative ways of presentation. Fully peer-reviewed, The Garage Journal provides an open-access source book of ideas for an international audience.


Friday, 11 January 2019

Soufiane Ababri's solo show at The PILL, Istanbul




Following his solo show, Here is a Strange and Bitter Crop, which was on display at the Space in London last year, the French-Moroccan artist Soufiane Ababri has recently launched an exhibition of his recent work at the gallery The PILL (Istanbul & Paris) titled Memories of a Solitary Cruise (10 January - 23 February 2019). Through his use of the spectacular scene of traditional Turkish wrestling, Ababri's project intervenes into the racialised and sexualised modes of Orientalism. Exploring male friendship and homoeroticism in Arab and Middle Eastern cultures through the intersections of race, gender and sexuality, Ababri's art of appropriation creates a productive friction by depicting Arab or "Oriental" with the aesthetic tools of Western canons/masters of homoerotic arts.

The gallery commissioned Cüneyt Çakırlar to author a piece that introduces Ababri's art practice to the Istanbul audience. The English version of Çakırlar's piece can be accessed from this link. The Turkish translation has recently been published in Manifold.

Thursday, 26 February 2015

My Child (2013) in Nottingham


Cuneyt Cakirlar hosted a screening event for the documentary My Child (2013). Can Candan’s feature documentary focuses on a Turkey-based activist collective initiated by the parents of LGBTI individuals in Turkey (LISTAG). LISTAG, founded in 2008, is a solidarity and support group for friends, families and especially parents of LGBT individuals, actively working against homophobia, transphobia, discrimination and hate crimes in Turkey. To gain visibility, the group participates in discussions, panels and conferences in cooperation with NGOs and universities in Turkey. Candan’s feature documentary recounts these parents’ experiences. http://www.mychilddocumentary.com

My Child has been travelling in international festivals and its public visibility in Turkey had become an important catalyst that facilitated debates in the Turkish parliament on LGBTI rights. Mr Candan visited the UK with 2 members of LISTAG under the sponsorship of British Embassy in Ankara. NTU hosted them in Nottingham and the film was shown at Broadway Cinema on 1 December 2014. The event was followed by a Q&A session with the director and the LISTAG members, Mr Metehan Özkan and Ms Sema Yakar. 

For the Introduction and Q&A, please see below. Special thanks to NTU students Darrell Bickley, Hafsa Mirza, Umair Naushashi and Laura Shenton for preparing the film.







Monday, 26 January 2015

Documenting Art and Performance: Embodied Knowledge, Virtuality & the Archive


The Asian Art and Performance Consortium (AAPC) of the Academy of Fine Arts (KuvA) and the Finnish Theatre Academy (TeaK) of the University of the Arts Helsinki jointly hosted a symposium focused on documenting and archiving Asian and trans-cultural performance and fine arts. This is the third and final symposium organized under the Shifting Dialogues - Asian Performance and Fine Arts research project, funded by the Academy of Finland in 2011-2014.

Issues raised at the symposium included embodied, iconographic and electronic transfer of performance traditions in Asia related to live performance and traditional pedagogies. These include the use of moving image, photography, web-based presence and new media, historical and theoretical writings, the construction of archives, museums and libraries.

Cuneyt Cakirlar, in his paper “Mediation of Document: Ethnographic Turns and Art as Methodological Object in Critical Humanities”, examined relations of ethnography, contemporary art practice, globalisation and scalar geopolitics with particular reference to a selection of artists including Kutlug Ataman, Ming Wong, Akram Zaatari, Slavs & Tatars. Concentrating on these artists’ engagement with ethnography, Cuneyt’s paper analyzed a selection of videos and gave an account of different scalar aspects of their artworks as well as the ways in which conceptual art-objects bear the potential of forming transient archives in academia to exemplify critical methodologies of ‘dealing with data’. Rather than addressing scale as a differential concept, this paper aimed to demonstrate the ways in which these artworks produce self-scaling, self-regioning subjects that unsettle the hierarchical constructions of scale and facilitate a critique of the scalar normativity within the global art world’s documentary regionalisms and internationalisms.

Sunday, 15 December 2013

Special Issue: Revisiting Ethnographic Turn in Contemporary Arts (Critical Arts)



The special issue "Revisiting Ethnographic Turn in Contemporary Arts", edited by Kris Rutten, An van Dienderen and Ronald Soetaert, has been published in the journal Critical Arts: South-North Cultural and Media Studies. Cuneyt contributed to the special issue with an article focusing on documentary video in arts. 

         
Cakirlar, C. "Aesthetics of Self-Scaling: Parallaxed Transregionalism and Kutluğ Ataman’s Art-Practice", Critical Arts 27(6), 2013, 684-706. 

This article examines relations of ethnography, contemporary art-practice, globalisation and scalar geopolitics with particular reference to Kutluğ Ataman’s art-works. Having been shortlisted for the Turner Prize at the Tate and awarded the prestigious international Carnegie Prize in 2004 with his forty-screen video installation Küba (2004), Ataman became an extremely well-known, globally acclaimed artist and filmmaker. Self-conscious of their global travel and critically attentive to the contemporary ethnographic turn in the visual arts scene, Ataman’s video-works perform a conscientious failure of representing cultural alterity as indigeneity. Concentrating on the artist’s engagement with ethnography, this article contains three main parts. Analyses of the selection of videos in each part will give an account of different scalar aspects of Ataman’s artworks. It will first revisit a previous study (Çakirlar 2011) on the artist’s earlier work of video-portraits including Never My Soul! (2002) and Women Who Wear Wigs (1999). A detailed discussion of Küba follows, which may be taken as the ‘hinge-work’ in Ataman’s oeuvre that marks a scalar transition in his critical focus – from body and identity to community and geopolitics. The discussion will then move to a brief analysis of the series Mesopotamian Dramaturgies, including the screen-based sculptures Dome (2009), Column (2009), Frame (2009), English as a Second Language (2009), and The Complete Works of William Shakespeare (2009). Rather than addressing scale as a differential concept, this article aims to demonstrate the ways in which Ataman’s art-practice produces self-scaling, self-regioning subjects that unsettle the hierarchical constructions of scale and facilitates a critique of the scalar normativity within the global art world’s regionalisms and internationalisms. 
To link to this article: http://dx.doi.org/10.1080/02560046.2013.867591


Thursday, 7 November 2013

Shifting Dialogues II: Sexual Artifice in Asian Art and Performance


The Asian Art and Performance Consortium (AAPC) of the Academy of Fine Arts (Kuva) and the Finnish Theatre Academy Helsinki (Teak) hosted a symposium focusing on manifestations of sex, sexuality and gender in Asian art and performance on 17-19 October. This was the second symposium organized under the ongoing research project, Shifting Dialogues. The project is funded by the Academy of Finland in 2011-2014.

Following the focus on “The Politics of Site, Locality & Context in Performance and Visual Arts” last year, this year’s project targets at issues of sexual embodiment and gender subjectitivy in Asian/Asiatic art-practice with emphasis on performance arts, film, video art, installation, live art, and dialogical work.

In his paper “Troubled Objects of Nationalism and Masculinity”, Cüneyt Çakırlar explored the role of scalar, regional, and global/international discourses in contemporary art criticism. Cüneyt’s paper discussed the practice of a selection of artists producing work from/on/about the Middle East (Erinç Seymen, Taner Ceylan, Akram Zaatari, Slavs and Tatars, etc.). Questioning their critical use of geo-political location, region and scale in their aesthetic framework, Cüneyt talked about performative, transregional methodological/theoretical approaches to globalized art forms, which would contextualize, if not re-enact, the ways in which these artistic subjectivities inhabit the world.

Friday, 20 September 2013

Taner Ceylan's Lost Paintings


Well-known for his provocative photo-realist paintings, the Istanbul-based artist Taner Ceylan (b. 1967) began his Lost Paintings Series as a contemporary exploration of the Orientalist gaze. Upsetting both Western and national master narratives, the Lost Paintings Series presents “Oriental” figures in a fascinating navigation of history, power and narrative. Esma Sultan (2012), Ceylan’s depiction of an eighteenth-century Ottoman princess renowned for her cruel disposition, draws on the empowering mythology of passionate, ruthless and assertive womanhood that characterizes accounts of her life. Deploying a male body under jewelled tulle, 1553 (2013) creates a queer image of Roxolana who, initiating the era of what is known as the Sultanate of Women, made a huge impact on the evolution of Ottoman politics and, as the chief minister to the Sultan, played a crucial role in the Empire’s external and internal affairs. Recovering and drawing together forgotten legacies and silenced voices in a brilliantly imagined new setting, ten paintings in Ceylan’s series invite the viewer to look behind the veil of Orientalism and the politics of representation. Rather than offering a corrective, the artist amalgamates irony, playfulness and realism to recast Orientalism as heterogeneous and susceptible to negotiation, contestation and even subversion.

Collaborating with Serkan Delice (UAL) and Wendy Meryem Kural Shaw (Universitaet Bern), neyt Çakırlar co-authored the artist’s monograph The Lost Paintings, which is to be published in September 2013 on the occasion of Ceylan’s solo exhibition at the Paul Kasmin Gallery in New York.

Thursday, 7 March 2013

Queer/ing Regions: Symposium Report

Cuneyt Cakirlar reports on the Centre's recent symposium on Queer/ing Regions.

Since their paths crossed at NTU, Cuneyt Cakirlar and Hongwei Bao were having conversations about their research and the ways in which they respond to the contemporary scholarship on queer globalization(s) and transnational sexuality studies. While collaborating with students, activists, policy-makers, artists, filmmakers – whose work bears a critical affinity with the growing trends of queer and LGBT activism in Turkey and China, they realized that these “travels” were critically informing their discourse of cultural translation between regions.   

Cuneyt and Hongwei decided to facilitate a dialogue between scholars whose practice contains "regional" emphases in queer contexts. One of their inspirations was Gayatri Gopinath’s theorization of the region. Gopinath questions how useful regionality can operate as “a concept through which to explore the particularities of gender and sexual logics in spaces that exist in tangential relation to the nation but that are simulatenously and irreducibly marked by complex national and global processes” (2008: 343). Thus, the main objective of Queer/ing Regions has been to address the possibilities/potentials of a critical "(self-)regioning" and thus to question the ways in which the complex regional/local formations of sexual dissidence emerges as objects of theoretical inquiry when situated within a global context by means of academic and activist practice.

Exploring critically the "transnational" turn in the second-wave queer scholarship which questions the global/ised intersections between race, ethnicity, nation/diaspora, gender and sexuality, the symposium "Queer/ing Regions" aimed to facilitate a critical intellectual exchange focusing on the discourses of the "regional" in contemporary queer criticism. The organizers attempted to revisit the critical potentials of reclaiming the regional in queer critique. Rather than presuming the regional actors as passive recipients of global flux, this conversation focused on the complex dynamics of local/global systems in sexual politics. How can we understand transnational formations of sexual subjectivities  without assuming a radical alterity between the local and the global, or the west and the east? How can we understand the uneasy nexus of community and sexuality in a global framework without avoiding to hear the voices of regional actors? How can we identify modes of negotiation and contestation in the encounter of the local sexual politics/practices with the Gay International?

The first session of Queer/ing Regions started with Professor William Spurlin’s paper on the new forms of ‘queer’ writing emerging in French from the Maghreb. Accounting for the historical influence of French colonialism and Arab Muslim culture, Spurlin’s paper explored how “this new writing (Eyet-Chékib Djaziri. Rachid O., Abdellah Taïa. Nina Bouraoui) has created spaces specifically for the textual and social negotiation of new forms of dissident sexuality  and regional belonging whilst simultaneously blurring received cultural distinctions between gender-defined performances of homosexuality (active/passive) and struggles for a sexual identity as a discursive position (hetero/homo) not merely reducible to its manifestations in the West.” Following Spurlin’s talk, Howard Chiang considered Sinophone studies as an emerging field that suggests a conceptual framework exposing “where the liminal spheres of queer studies and Chinese Studies overlap”. Chiang ended his talk with a suggestive rereading of one of the most celebrated films in which homosexual experience in the PRC is depicted, Lan Yu (2001). In the final paper of this panel, Professor Richard Phillips shared his reflections and observations on the workshop “Postcolonial Sexualities: Emerging Solidarities” which he recently organized at the University of Sheffield. Phillips explored matters of “empirical and theoretical predicaments”, “dispersed agencies” and risks of “authenticity fetishisms” implied within discourses of the regional.

The second panel of the symposium hosted three geographers who attempted to relate to the region-as-concept from within the disciplinary foundations of geography. Gavin Brown suggested that queer studies (and lesbian and gay studies before it) have periodically considered the role of political economy in shaping sexual identities and politics, but has not engaged with political ecology. “Mak[ing] a case for understanding sexual identities in the context of resource consumption (and local ecologies) at various spatial scales”, Brown’s paper argued that “the emergence of 'modern' gay identities in the Global North largely coincides with the period of high-carbon consumption.” Following this discussion, Silvia Posocco responded explicitly to the organizers’ invitation to consider “discourses of the regional in contemporary queer criticism”. Suggesting that “comparative and regional might become contradictory tools”, Posocco discussed some of the problems and possibilities that open up “when one foregrounds the epistemological and political dimensions inherent in how scale, relation and perspective are figured in queer analysis.” Following Posocco’s inspiring paper, Jon Binnie referred to recent debates in human geography on “the relational politics of scale, networks and assemblage to pose questions of contemporary transnational queer studies.” Relying on his recent empirical study of transnational activism on LGBTQ politics in Central and Eastern Europe, Binnie suggested that “these debates can enrich debates on the politics of space within transnational queer studies, by opening up new agendas for a critical engagement with the region.”

In the final panel, building upon her previous research on Shanghai's gay political economy, Camila Bassi explored the remarkable phenomenon of the reality television show, "Mongolian Cow Sour Yogurt Super Girl Contest". Bassi made connections “between the socio-cultural and the politico-economic aspects of the Super Girl phenomenon, in order to fully illustrate the radical space that was created in China for an antihero and lesbian identity.” Following Bassi’s discussion, Enda McCaffrey explored shifting male homosexual practices in specific urban centres in the UK in the 1970s and 1980s. McCaffrey examined “how homographies of this period, set against a unique backdrop of terrorism, military occupation and urban segregation, stand out as traces of a queer ars erotica that is integrative, relational and invisible, but which have been lost to later hypervisible marks of gay identification.” The final paper of the event was Bethan Stevens’ piece which offered a creative exploration of a queer experience of travelling between Sussex, England, and Kigali, Rwanda, in 2007. Attentive to small details, Stevens’ writing sought to show “how the local, regional and global interact in everday life, sometimes in uncanny ways.”

We genuinely hope that the diverse multi-disciplinary content of the symposium triggered inspiring and productive conversations, and hopefully, an ongoing dialogue for further collaborations.  

Tuesday, 29 January 2013

Queer/ing Regions: full programme

Below you'll find details of the full programme for the Queer/ing Regions Symposium which takes place on 7 February 2013 in CELS001 and 002 on the Clifton Campus of Nottingham Trent University. The event is free. If you are interested in attending, please contact Dr Cuneyt Cakirlar or Dr Hongwei Bao.  

This research symposium aims to facilitate a critical intellectual exchange focusing on the discourses of the “regional” in contemporary queer criticism. Departing from the “transnational” turn in the second-wave queer scholarship exploring the global/ised intersections between race, ethnicity, nation/diaspora, gender and sexuality, we would like to address the possibilities/potentials of a critical “self-regioning” and thus to question the ways in which the complex regional/local formations of sexual dissidence emerges as objects of theoretical inquiry once situated within a global context by means of the critical, academic and activist practice. We would like to revisit the critical potentials of reclaiming the regional in queer critique. Rather than presuming the regional actors as passive recipients of global flux, this conversation will be delving into the complex dynamics of the global/local binary in sexual politics. How can we understand transnational formations of sexual subjectivities without assuming a radical alterity between the local and the global, or the west and the east? How can we understand the uneasy nexus of community and sexuality in a global framework? How can we identify modes of negotiation and contestation in the encounter of the local sexual politics and practices with the Gay International?

 PROGRAMME

10:20 Arrivals and tea/coffee 

10:45 Welcome

11:00-12:30 PANEL 1:

Chair: Dr. Liz Morrish (NTU)

Professor William Spurlin (Brunel)
Shifting Geopolitical Borders/Shifting Sexual Borders:
Renegotiations of (Queer) Regionalism in a Transnational World

Dr Howard Chiang (Warwick)
(De)Provincializing China:
Queer Historicism and Sinophone Postcolonial Critique

Professor Richard Phillips (Sheffield)
Centres, Margins and Sexuality Politics:
Asians and Muslims as Cultural Minorities in ‘Mostly Liberated Societies’

12:30-1:30 Lunch 

1:30-3:00 PANEL 2:

Chair: Professor Gregory Woods (NTU)

Dr Jon Binnie (Manchester Metropolitan)
In What Sense is There a Regional Problem in Transnational Queer Studies?

Dr Silvia Posocco (Birkbeck)
‘The Problem of Context’:
Issues of Scale, Relation and Perspective in Queer Studies

Dr Gavin Brown (Leicester)
Political Ecologies of Sexuality:
Rethinking the Place of the Region (and Other Scales) in Queer Research

3:00-3:30 Tea/coffee break 

3:30-5:00 PANEL 3:

Chair: Dr Robert Kulpa (UEA)

Dr Camila Bassi (Sheffield Hallam)
What's Radical about Reality TV?
An Unexpected Tale of a Chinese Antihero and Space for Lesbian Identity

Dr Enda McCaffrey (NTU)
From Homographies of Invisibility to Hypervisibility:
Queering and De-Queering City Centre Space

Dr Bethan Stevens (NTU)
Queerly Between: Sussex, England and Kigali, Rwanda (a travel narrative)