Suchergebnisse

In this contribution Mineke Bosch connects to Rosemarie Buikema's work with the Museum of Equality and Difference which aims at inspiring museum and exhibition curators to tell more complex stories that include postcolonial and gender perspectives. Bosch focuses on the importance of objects for the history of women and gender, and the value of historical knowledge about women and gender for museums and heritage institutions. She does so by discussing many aspects of the making of the exhibition Strijd! 100 jaar vrouwenkiesrecht (Struggle! 100 Years of Women's Suffrage) in the Groninger Museum in 2019. The exhibition through its objects not only changed the story of women's suffrage, it also enlarged 'suffrage literacy'. This in turn led to the recognition and acceptance of objects from this historical episode by museums.

In her work on cultural critique, Rosemarie Buikema conceptualizes culture as a terrain for the elaboration and contestation of collective memory, a form that mediates social formations, and a practice that critically supplements the political. Taking the polysemic relationship between culture and critique as our starting point, we bring Buikema's reflections to bear on our own work on post-Yugoslav visual art, feminist graphic narratives, and digital media. We pay special attention to the question of "medium specificity", which is central to Buikema's conceptual intervention. Our goal is to illustrate the expansive reach of this intervention across multiple fields of inquiry.

For numerous public interests there are supervisory bodies, such as the Netherlands Authority for the Financial Markets (AFM) and the Netherlands Authority for Consumers and Markets (ACM). Drawing on the multidisciplinary Transformative Equality Approach that was developed in the UU Gender and Diversity Hub, we argue that it is high time to establish a Netherlands Authority for Emancipation (NEMA). Rather than putting the onus for emancipation and equality on those who suffer from inequality, the government should take ownership of inequality problems by establishing a supervisory body for effective compliance and enforcement of equal treatment legislation.

It remains very exceptional when highly gifted women musicians are crowned maestra, conductor of a symphony orchestra. There are various explanations for this deprivation. Contextualised in historical and statistical data, this article zooms in on what I refer to as the 'baton barrier'. Not so much of an invisible boundary as has become known as the glass ceiling, preventing women their upward mobility, for ages, this musical barrier has been in our face: literally, the image, the portrayal of the traditionally masculine orchestral director.

In this article we reflect on our longstanding work within a powerful European network of feminist scholars. Here we consider how we have collaboratively created and sustained embodied infrastructures of care in building feminist academic scholarship, supporting the next generations of feminist scholars into the academy, and working through creative praxis to generate feminist and queer activism within and beyond academic spaces. We argue that our gendered bodies, identities and material actions have built embodied infrastructures that have facilitated feminist access to higher education and career development and advanced gender equalities discourse beyond the academy through our creative activist networks.

This article is focused on Professor Buikema's intellectual oeuvre and the relation between art and politics as it materialised in MOED (Museum of Equality and Difference). Astrid Kerchman and Rosa Wevers, MOED's former project coordinators, reflect on their collaboration with Buikema through an interview with artist Iris Kensmil on the important role of art in complex social issues relating to emancipation, representation, and resistance. Drawing on the interview with Kensmil and Buikema's Revolts in Cultural Critique (2020), Alessandra Benedicty-Kokken reflects on the meaning of feminist leadership within an institutional context.

South Africa is a context within which Rosemarie Buikema has thought deeply and conducted much of her empirical research for her book Revolts in Critique. This contribution pursues some of the ways in which Buikema's scholarship resonates with contemporary South African currents of thinking towards justice goals, within the academy and in the larger post-apartheid South Africa. Buikema's work provides a valuable philosophical framework for thinking with art for change, particularly through her feminist postcolonial conceptualization of the 'poetics of recycling' which underlines the assertion that the articulation and/or the memory of trauma is not a linear process but a cycle that has to be reiterated, time and again in order to open up alternative imaginaries. I explore in particular the productive possibilities of this framework in thinking with current South African feminist decolonial and queer scholarship, art and activism that deploys imagination and creativity to disrupt the raced, classed, and gendered inequalities and violences that still characterise this local landscape.

The essay contemplates retirement as a portal of possibilities which may open time for diving into both haunting and joyful questions that being tied up with admin work formerly prevented the pursuit of. Questions which the retired academic could engage in are piled up, e.g. the haunting ones concerning classical humanities' celebration of Universal (White) Man and human exceptionalism. Questions about portals leading from the haunted space of the Humanities to an elsewhere, and what to take with us through these portals, are also addressed. Critique and aesthetics are discussed as possibly worthwhile to carry to the other side.

In this essay, Berteke Waaldijk outlines the early development of gender studies in Utrecht through the course 'Between Margin and Centre, Women in Culture and Society'. The course lent itself perfectly to an interdisciplinary approach and addressed many interrelated themes, such as gender, colonialism, racism and a politics of location. The course was also an example of close collaboration between Berteke Waaldijk and Rosemarie Buikema, whose ideas and academic careers influenced each other.

Writing sometimes involves wandering. This writing seeks to say and show what it is to write wandering around the edges of the arts and humanities. It also concerns why some writing is difficult, and thence writing on some of those difficulties. These problematics are wandered around, by several rounds – some images invoked by edge-wandering; registering particular significant individuals; how particular places persist in understandings of wandering; disciplines and methodologies, including reflecting on spatiality and locationality; interdisciplinarity and academia; transnational wanderings across writing genres; and relations of art, humanities, science and politics, understood as personal, work, political and theoretical.

This article deals with art, fashion design, and cultural practice as both critique and creativity. It analyses artworks by William Kentridge, Sue Austin, and Lina Iris Viktor, as well as the fashion of Viktor & Rolf, reading these different works as modes of resistance and revolt against current forms and relations of power and knowledge. The authors place emphasis on new materialism and posthuman theory as theoretical frameworks that expand the range of cultural critique. They add a thematic focus on the actual bodies, the materials of cultural action, and the role of non-human elements in the making of artworks. With reference to feminist, decolonial and indigenous theories, the article analyses the workings of counter-cultural memories in contemporary art and fashion design practices.

Framed against Timothy Clark's comments on the potency of ecocriticism, in this contribution I first zoom in on how cultural critique according to Rosemarie Buikema can contribute to discussions on matters of common concern. I then sketch two lines of argument that emerge from her work: firstly, the way in which art and culture can break through societal silences and, secondly, the importance of history and the past for cultural production in the present. Both issues are important where it concerns climate change and the Anthropocene. They lead to the essential question when thinking about ecocriticism: not 'where goes cultural critique' (the 'quo vadis' question), but what kind of critique is necessary?

This essay takes its point of departure in images of the victims of the 2023 Turkish-Syrian earthquake. It examines their rhetoric, comparing them to those of Alan Kurdi, the Syrian toddler who washed ashore on a Turkish beach in 2015, and contrasting with the narrative techniques employed by two contemporary novels. It combines cultural critique with an inquiry into the role of art as an agent of change to imagine new ways of doing citizenship and promoting social change in times of crisis, in line with Rosemarie Buikema's mission to develop new and multilayered scenarios for change and transnational justice.

This article seeks to articulate in one image the diverse genocides in German history, an image able to capture the piling wreckages of history in a flash. The point of departure is a multimedia installation by William Kentridge called Black Box (2005), in which he thematizes the Herero and Namaqua genocide during German colonial rule between 1904 and 1908. This research wants to respond to Kentridge's demand for grief work, and relies on Walter Benjamin's (1968) vision of history writing and Rosemarie Buikema's (2020) concept of revolts to seek out theoretical and conceptual possibilities that allow it to posit simultaneously the singularity of the Holocaust, to articulate its deep connections with colonial crimes, and to demand a working through of Germany's genocidal history.

This volume focusses on the role of art, culture and politics in transitions and the struggle for social justice. Sometimes these transitions are traumatic and violent processes as in the case of post-apartheid South Africa. In other cases, as in Europe, they involve long-standing histories that are multi-directionally linked to colonialism, holocaust and totalitarianism. The authors explore intersectional issues of transition and social change in conjunction with broader debates on the role of democracy, citizenship and human rights. In doing so, they engage with the work of feminist scholar Rosemarie Buikema.