Month: April 2015

Meet the Badass Feminist Fighting Sexism — One Menstrual Pad at a Time

“Imagine if men were as disgusted with rape as they are with periods,” Elonë wrote on one pad, quoting a tweet. This particular message embodies the project’s aim: On one hand, women’s bodies are vandalized, harassed and objectified. On the other, they are often erased when it comes to the reality of menstruation: Blood turns blue in commercials, girls are encouraged to keep their periods private and this natural process treated as somethingembarrassing or shameful. Period-shaming is real; in fact, one of the biggeststories at this year’s Australian Open involved a player alluding to her period as a factor in her match loss.

The pads are striking images that force viewers think about women’s bodies in nontraditional ways — primarily, as human bodies instead of sexualized objects of desire.

via Meet the Badass Feminist Fighting Sexism — One Menstrual Pad at a Time.

Advertisements

Menstrual Activism. Damals und heute

Came across this interesting article on Menstrual Activism: Then and Now

umstandslos.

von Cornelia

Die Grenzen unserer Rubrik “Muttermythen” haben wir für die “Im Fluss”-Ausgabe etwas geweitet: Für den zweiten Teil des Beitrages über Menstruation, Kunst und Aktivismus beleuchten wir den Kampf gegen einen Mythos bzw. dessen vielfältige Umkehr und Dekonstruktion, der eben nicht nur Mütter, sondern Menschen mit Gebärmutter insgesamt vielfach seit der Pubertät verfolgt, im Laufe der Zeit (Nachlese: Teil 1: Periodische Kunst – Aktivistische Periode).

Eine der jüngsten, im breiten öffentlichen Interesse stehenden Aktionen aus der Rubrik “menstrual activism” (“Menstruationsaktivismus”) ist die Fotoserie der ägyptischen Bloggerin Aliaa Magda Elmahdy. Unter dem Titel “Photo-action Against ISIS” veröffentlichte sie im letzten August auf arebelsdiary.blogspot.com Bilder von sich und einer unbekannten Femen-Aktivistin, wie sie auf die Flagge der Terrororganisation Islamischer Staat menstruieren bzw. koten.

(c) Aliaa Magda Elmahdy (c) Aliaa Magda Elmahdy | via arebelsdiary.blogspot.com

In einem Vice-Interview mit Missy-Magazine-Mitherausgeberin Chris Köver sagt Femen-Aktivistin Inna Schewtschenko dazu: “Dieses Mal haben wir eine fotografische Botschaft gewählt, weil wir…

View original post 1,996 more words

Egyptian Mummies and Voyeurism

Rosetta Stone

My one main stop en route to Lisbon was to visit The British Museum in London [and visit my dear sister]. I decided that rather than try to see a bit of everything, that I would select one section to view in detail. I picked the Egyptian section as this is hailed as a must-see.   The first object I encountered was the Rosetta Stone. I managed to get right up the front of the crowd have a good close look at the hieroglyphs (they are quite small and fine chiselled) but I was quite aware that I was annoying people.  What I noticed immediately was that many visitors are more concerned with taking a photograph of an object rather than ‘looking’ and ‘seeing’ the object in the space of the museum. Yes, I am usually one to photograph an object in a collecting institution (if the practice is allowed). However, I prefer only to take pictures of objects that I am particularly drawn to or that I intend to look at again, and, for pictorial research. Many visitors would point and shoot randomly at objects not even bothering to look at them.  I wondered if these snap-happy visitors would look back at their photos later? Personally, I find it a bit strange to visit a museum or gallery and default to viewing the objects down the barrel of the camera; or in many cases these days via a smartphone held out between the viewer and the object. What does this say about the interaction between the object and the audience?  That it is more important to document the visit to the museum than to encounter the presence of the artifact?   Egypt has become consumed by consumerism.  Like the Mona Lisa, the Rosetta Stone and all Egyptian art have become ‘cultural capital’.  In another direction, there appears to be a simulacrum of Darth Vader upon the surface of the vitrine containing the Rosetta Stone. As part of photographing exhibits in museum cases – the reflection of the photographer and other visitors leave an impression, imprint, or reflected image that layers over the artifact.

IMG_1806Perhaps I am a bit old fashioned but I struggled with the physicality of overcrowding and cacophony of voices in the collection rooms. Headphones allowed me to regain some element of quietness. I made my way through the large Egyptian monuments, statues and sarcophagi downstairs and then upstairs to the rest of the Egyptian collection.  What I encountered downstairs was nothing compared to the room that housed the Egyptian mummy collection.  I experienced complete inter-repulsion (the juxtaposition of desire and repulsion) at wanting to look as these ornate mummy cases containing embalmed and bound bodies while simultaneously feeling repulsed by the voyeurism happening in this room. Coupled with some guilt at participating in the act of taking photographs of ancient objects and remains from pillaged Egyptian tombs.

When I came upon an ornate mummy case that once belonged to a high-born female, I noticed that the Kohl tear running down her cheek was all that remained of her missing lapis lazuli eye evoking an all-pervading sense of ‘trespassing’. The exhibition room was filled with many Egyptian mummies and petrified bodies in vitrines – I felt like the aura of each of the mummies was still present in the space.

At this point, I left the Egyptian section, and around the very next corner I found ‘The Queen of the Night’, terracotta relief from Mesopotamia dated between 1765-1745 BC. This discovery refreshed me and led me to explore all of the Ancient Civilisation sections for the female divine.

IMG_1813