Discursive viewpoints on disability studies

Result #1

Discursive viewpoints on disability studies  (there is a photo of me with my hand over my mouth as if I were a child asking if I am allowed to speak), and the stories of the disabled and the mentally ill which have been recorded by the camera. These images are printed in black-and-white, so that they can be read in a range of sizes, from small to large, and are then cut out to fit the screen. In a sense, the text is placed on the image, and the resulting piece is a filmic painting, a filmic image. The camera has no name, and the text is written as it is photographed.The process is simple and direct, and it is difficult to find fault with it. I am not sure that the text and the images are in conflict, but they are not presented as such. They are presented as one can see them in the gallery, but they seem to exist in a very different place. The text is written in English and, as a result, it is difficult to understand. The images are in Chinese, which, however, is not an easy language to translate. They seem to be the product of a dialectal or linguistic exchange, and the Japanese are not the only languages spoken in China. The images are printed in black-and-white, and therefore they seem to be of a very different nature from the text.The other piece in the show is a six-minute video, which shows the artist walking down a city street. The camera shows him from behind, and the photographs taken of him are printed on the windows of the car. This piece is also in Chinese, and therefore more difficult to understand. The video is shown in the gallery, but the photograph is taken from a distance. The distance makes the distance seem more intimate, and the distance seems less real. The distance is not erased; it is merely shifted. The distance between the photographer and the camera is not erased; it is merely shifted.

Result #2

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Result #3

Discursive viewpoints on disability studies  and the work of artists such as Raffaello Sanzio, Olafur Eliasson, and Benjamin H. D. Bernheim, as well as on the relationship between the art of the 70s and the art of the present, with many of the works in the show reflecting a fascination with the symbols of the past. The most recent work in the show, a video of Eliassons The Dance of the Blind, 1999, was a tribute to the pioneers of the movement of resistance, which was founded in the 60s by artists such as Eliasson, who was also a member of the avant-garde band Ant Farm. In this work, Eliasson is seen dancing with the band members, with his hands in the air, and with the crowd of blind people, who applaud him. The video ends with the band members and Eliasson together as a group, singing and dancing, in the same gesture that once led the resistance against the Nazis. This gesture, repeated by the blind people, became an emblem of the resistance to the totalitarianism of the Third Reich, which, in the end, proved to be more about the spirit of resistance than the actual physical manifestation of it.The works in the show were by some of the most prominent artists of the 70s, and were marked by the absence of a single voice. But there were some works that had been shown in the past, such as the photograph of Bernheim, who died in 1992, who had been excluded from the exhibition because he was a member of the band Wannabe. The photo was taken by Bernheim, who was then in the process of making a film, The Gift. The film was to be shown as a display case at the Berlin Kunsthalle; the exhibition, however, was not available to purchase. The absence of a single voice is a testament to Bernheims passing.

Result #4

Discursive viewpoints on disability studies vernacular, and the way in which such studies have been incorporated into the discourse of contemporary feminism. In the same spirit, this exhibition sought to explore the ways in which the postcolonial condition of the subject is manifested through images of the body. The first room, which featured a selection of framed photographs of people in public spaces, included images of black women using the toilet, and a group of sculptures from the collection of hand-painted metal masks and dolls from the collection of the African Museum in New York. These objects are rooted in African masks, which have been used by modern and contemporary artists alike in diverse contexts. They are also re-presented here in a gesture of solidarity with the black women who have recently come under fire from right-wing politicians. In the same room, a video installation from the project, The Black Woman, 2009, juxtaposed interviews with black women in London and New York with images of a black woman with a prosthetic device. The video, shown in two versions, is the second part of an installation that also includes a large-scale video projection of a black woman who appears to be trapped in a white house. The work is titled The Black Woman, 2009, and the viewer is invited to enter the space. Here, the black woman is represented as a woman of the same age as the artist and as the same race as the other woman. The footage is looped, and one can imagine the images in the first two versions of the piece being projected onto the wall of the gallery. The artist, who appears in a white suit, is also seen on the video, wearing a prosthetic device and, speaking with the black woman, conveying a sense of vulnerability and a certain empathy that is not evident in the other images. The videos apparent ambiguity is further heightened by the fact that the artist repeatedly refers to the black women as white.

Result #5

Discursive viewpoints on disability studies vernacular, the show also included photographs of the artist at work in various environments. In one, she stands with a pair of binoculars in her hands, the lenses fixed on her face in the same position she would be in if she were blind. In another, she stands with binoculars in her hands, the lenses focused on her face in the same position she would be in if she were blind. In yet another, she stands with binoculars in her hands, the lenses focused on her face in the same position she would be in if she were blind.In this show, the artist is shown in the company of a number of people who, like her, are visibly disabled, and in many instances her presence seems a kind of presence, a presence that is both visceral and metaphorical. The images of her hands and hands—like the images of her face—are in fact made up of three different photographs: one of them shows the artist with her hands in the same position as the other two, and one shows her hands in the same position as the other two. The difference between the two images—the one in which the hands are in the same position as the other two, and the one in which the hands are different—is emphasized by the difference in the coloration of the hands. It is a difference that is, in itself, a difference, and it is the difference that makes the difference. The artist, in a sense, is a witness to the difference, and one can feel the difference, too.In this exhibition, we also saw how the body has been conceptualized in the work of artists such as David Hammons, who uses body parts as material. Hammons is concerned with the body in all its physical and emotional states, and this show, too, was devoted to the body. The artist was an extremely specific and direct presence in the show.