What does resistance to biopower look like from a feminist artistic perspective? How can theory be grounded and practiced? Can participatory feminist art be an alternative to the dichotomy of theory vs practice❔MOED in conversation with Elena Ascione: “Thicker Than Blood: how participatory art can expose and subvert biopower.” Ascione addresses these pressing questions through her reading of “Thicker Than Blood”, a participatory concept piece by Izdihar Afyouni: “Thicker Than Blood looks at the manipulation of bodies as tools of structures of power. It re-enacts the workings of biopower by grounding its (abstract) pervasiveness to an art night, to an event that questions the separation between theory and practice and the interweaving of art and life.” -MOED
Two upcoming group shows as part of PILOTENKUECHE.
PV 18/5/2019 7PM
“As an audience member and inexplicable participant at Izdihar Afyouni’s immersive art exhibition Thicker Than Blood, and having been subjected to The Interrogation, this review focuses my an account of the influence that this kind of event has on a person – namely, to be exposed to the underlying oppressive practices in modern societies due to arbitrary factors that lead to power relation imbalances which can be used to marginalise (and ultimately punish) the least powerful. This review contains an autobiographical weight, since I was subjected to a mock interrogation procedure by the artist and her colleague, and so the narrative I will put forward here might be of value to understand Thicker Than Blood’s importance as a work that sought to denaturalise what is natural, and problematise what might, at first, seem unproblematic.”
Cruelty can coexist both with pleasure and joy within human experience. It isn’t indeterminate – we all recognise the workings of cruelty through our personal experiences. These might cause us to identify cruelty with interpersonal exchange, as something enacted between people, but its scope is far larger. For artist and curator Izdihar Afyouni cruelty is most acutely present in state policies that regulate free movement, bodies and agency. She discusses her ongoing curatorial project and exhibition series Thicker Than Blood [TTB] with academic and contributing artist Jessica Worden, and how they respectively approach cruelty and consent in their practices.
Curated by Izdehar Afyouni
26 September at 18:00–23:30 at The Flying Dutchman (156 Wells Way, SE5 7SY London, United Kingdom). One night only.
Thicker Than Blood is a conceptual live art show and performance evening that explores the ethical and policy implications of racial and genetic profiling.
Entrance to the event is free, with a donation policy; a small sample of your blood. Your experience of the evening will be determined by the worth of your blood.
Featuring new work by Jessica Worden, Izdehar Afyouni, Victoria Suvoroff, Venus Raven, Katy Connor, Bethany Carter and Ellie English.
Zero Landscape by
Katy Connor (Bristol)
Zero Landscape explores the interplay of vast and microscopic, through a series of 2D and 3D print works that reflect on the mediation of global and interior landscapes. Zero Landscape places sculptural objects in dialogue with large-scale prints that consider the body's spatial positioning by both medical and geo-locational technologies.
The works presented here are all derived from the same digital source: a digital scan of the artist's blood made with an Atomic Force Microscope.
Jessica Worden (London)
Radiation poisoning. Disappearing bodies. Violent traces. A piece on objectification, the everyday violence of invisibility and strategies for survival.
Izzy Diga (London)
Izdehar Afyouni is an artist and curator. Her current work is concerned with the action-perception mismach in institutional narratives of the body-as-a-tool and the codification of self-harm as a category of behaviour.
Ellie English (London)
This body of work pushes at the boundary lines between the public and the private, invites us to interact with the banality of the everyday natural world, and acts as a catalyst for self exploration.
Connected in the space are two women desperately trying to hold onto their identity. Using the medium of yellow wallpaper, we embody and explore the non-physical boundaries of mental illness.
Victoria Suvoroff (Brighton)
A fleshy inquiry into the functionality and aesthetics of our 'apparatus'
Venus A. Raven (Greece)
Venus is a merciless hyperpredator whose goddamn visa to the US was declined. She's pissed off and she's not pulling any fucking punches with this performance.
Driving, relentless soundtrack by Miss Wanna (London)- Techno goddess and founder of Livenowsleeplater
Free and open to all.
Humbled and excited to be exhibiting alongside some incredible Arabic women artists this month.
Curated by *Joud Halawani Al-Tamimi, the ‘Multitudes’ exhibition forms an integral part of the Arab Women Artists Now (AWAN) Festival 2017. It comprises the work of 10 both established and emerging Arab women artists.
At a time when Arab women continue to be misrepresented, their experiences essentialised, and their bodies and garments used to bolster a discourse that portrays the Arab world as backward and regressive, ‘Multitudes’ seeks to deconstruct what it really means to be an Arab, an Arab woman and an Arab woman artist.
It accordingly takes the audience on a journey from the political and social to the personal, while highlighting the frequent intersection between the personal and the political.
The exhibition is about Arab women reclaiming their narratives, their bodies and their experiences.
The ultimate aim is to increase understanding around Arab women’s diverse realities and concerns, shed light on the multitudes contained within each of them, while providing an alternative, more nuanced narrative surrounding the Arab region and its peoples.
The exhibition will be running from the 1st-19th March.
• Alia Ali
• Arwa Al Neami
• Hela Ammar
• Houda Ghorbel
• Lubna Abdel Aziz
• Asmaa Al Anbari
• Izdehar Afyouni
• Nessma Djhouri
• Nour Malas
• Maya Beano