Memory of touch in Laurie Anderson’s ‘Heart of a Dog’


“One cannot know another time through visual information alone.”[1] Our memories are stored in the body as much as in the mind; corporeal as much as cerebral. Films that deal with memories must, therefore, do more than simply convey sounds and images. They must speak of and to the other senses. Laurie Anderson’s experimental doco-drama Heart of a Dog animates intimate memories encoded in touch by shifting from optical to haptic vision[2] and enabling the cinematic image to reach the “senses that are close to the body.”[3]

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Eastern Thoughts: a travel memoir by Marta Maia and Vitor Queiroz

“And everything starts at the airport. […] Structures that put us closer to the rest of the world and that separate us from the people who have seen us grow.”


Eastern Thoughts is a poetic, philosophical, and tender reflection on the phenomenon of travelling. Writer Marta Maia and photographer Vitor Queiroz traverse 1708 km through Cambodia, Vietnam and Thailand to bring us an inward contemplation on the feelings attached to journeying, the complexity (and complicity) of tourism, the meaning of home and belonging, our attachment to memory, and more. This book will be of interest to and a consolation for all those travelers at heart who constantly seek out for an embracing place, and are always a little bit homesick.
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Photography.Ontology. – fugitivity, fixity, anxiety, confusion, …

Words can’t represent the sensation of freedom; the age of freedom will be the age of pictures.’ Frederick Douglass, 19th century


The text at the entrance of the current Frida Khalo and Diego Rivera exhibition at the Art Gallery of New South Wales notes: “Some scholars suggest that Frida first saw herself in a photograph before she discovered mirrors.” Khalo was well aware of the power of photography to fashion and shape ones identity and she used it candidly to construct hers. So was Frederick Douglass, the late nineteenth-century orator and former slave who early on recognised the contradictory nature of photographic medium – both its objectifying and its revolutionary power. Douglass’ relationship to photography was one of the topics discussed in the recent Photography.Ontology. symposium held at the University of Sydney and developed by the university research cluster Photographic Cultures.

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Why feminism doesn’t work in Asia?

“The oppression of women knows no ethnic nor racial boundaries, true, but that does not mean it is identical within those boundaries.” (Andre Lorde)

Bharit Kher, Hybrid series self portrait, 2007, digital C-print, 45 x 54 cm,Rockbund Art Museum, Shanghai

Bharti Kher, Hybrid series self portrait, 2007, digital C-print, 45 x 54 cm

She gazes boldly outside of the frame, her eyes fixed on the lens, confronting the viewer with the piercing look. In conventional feminist theory, the return of the gaze signifies resistance – once an object of the gaze, the woman asserts herself as a daring subject; like Manet’s Olympia she addresses the voyeur, challenging his position of power. As such, Bharti Kher’s Hybrid series self portrait is not dissimilar to artworks of western feminists such as Claude Cahun, Hannah Wilke, or Cindy Sherman all of which, like Kher, use the return of the gaze and the performative self-portraiture to assert their presence, reclaim their female bodies and subvert the patriarchal power dynamics.[1] Furthermore, as they use their own bodies and perform variety of roles, these artists point to the fluidity of identity and to its construed (rather than innate) nature. Kher, as noted in the recent Biennale of Sydney catalogue, “sees the body as a literal and metaphorical site for the construction of ideas around gender, mythology and narrative.” Fusing human and animal body parts into “strangely beautiful but quietly grotesque hybrid figurative sculptures,” she creates “mythical urban goddesses, creatures who came out of the contradiction of the idea of femininity or the idea of womanhood … she is the goddess, the housewife, the mother, the whore, the mistress, the lover, the sister … everything’.”[2] Continue reading

Countess Le Castiglione: author, scribe, or trickster?

“Mirror of male desire, a role, an image, a value, the fetishized woman attempts to locate herself, to affirm her subjectivity within the rectangular space of another fetish – ironically enough, the ‘mirror of nature’.” Abigail Solomon-Godeau

Figure 1: Louis Pierson, The Eyes, c1864.

Figure 1: Louis Pierson, The Eyes, c1864.

A mysterious femme fatale of the nineteenth century Paris, Countess Le Castiglione immortalised herself through a fascinating series of more than four hundred photographs taken over a period of forty years, the majority between 1856 and 1865 “at the height of [her] fame and beauty.”[1] Rather than conventional portraits, these photographs record her elaborate performances in which she either restages scenes from her life or plays a variety of mythological and fictional characters.[2] The costumes, the set-designs, and the overall scenarios were all meticulously designed and directed by the Countess herself, the photographer being there as a mere technician.[3] More than a means of self-expression or signs of narcissism, these photographs could be understood as the Countess’ attempt to take control over her own representation and challenge the narrow, patriarchal view of previously assigned identity inscriptions, thus, asserting herself as an autonomous subject rather than a fetishized object of the gaze.

According to theorist of fetishism and photography, Abigail Solomon-Godeau, such a reading of Countess’ photographs is presumptuous because it is impossible for the Countess to occupy a critical position from which she would desire to overturn the patriarchal principles of fetishisation. As she watches herself, explains Solomon-Godeau, the Countess automatically assumes a position of a patriarchal surveyor and can only relate to herself through this patriarchal gaze.[4] From this position, which is tainted by an inherent patriarchal scopic regime, she is unable to radically reimagine herself as anything but an object of sight. Rather than disavowing patriarchal prerogative, she participates in it and even endorses it. Solomon-Godeau writes: “a living artifact, the countess has so fully assimilated the desire of others that there is no space, language, or means of representation for any desire that might be termed her own.”[5] Rather than an author, she is nothing more than “a scribe”.[6]

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Rodchenko’s Twisted Views

A. Rodchenko – V. Stepanova Archive Moscow House of Photography Museum_Pioneer-Trumpet Player. 1930 Vintage Print Collection of Moscow House of Photography Museum: Multimedia Art Museum Moscow

Alexsander Rodchenko, Pioneer with a trumpet, 1930

With multi-story buildings and high scaffoldings, rapid vehicles and airplanes, the early twentieth century urban and technological developments literally revolutionized the way we see the world. Soviet era photographer Alexander Rodchenko maintained that photography must respond to the new reality of urban life and capture images from radically “different vantage points.”[1] Rather than following the traditional belly-button or eye-level perspective (which pictorialist photographers inherited from paining) camera should capture events “from inside, from above down, and from below up.”[2] Only in this way can camera fulfill its task[3] and function as prosthesis of the eye, offering the view that is truer (more objective) than the naked eye could ever capture.[4] Continue reading