HYEJI NAM HILDE KROHN HUSE JESSICA LEACH IVANA FILIP RACHELLE BEAUDOIN KAREN PIDDINGTON KATYA GROKHOVSKY JEANNETTE CASTIONI JOJO TAYLOR NADJA VERENA MARCIN INDEPENDENT WOMEN’S CINEMA Ivana Filip S P E C I A L E D I T I O N
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04 Verena Marcin Nadja 140 Beaudoin Rachelle How to Undress In Front Of Your Husband Untitled 26 164 Jojo Taylor Ivana Filip Open Day CAT ZEN GARDEN 58 190 Jeannette Castioni Jessica Leach 86 206 Katya Grokhovsky Hilde Krohn Huse Life Full of Holes Bad Woman Code Red Comment Down Below 108 228 Karen Piddington Hyeji Nam Not only do slugs understand the value of humour... Play With Me
Cinemakers meets Nadja Verena Marcin Lives and works in New York, USA and NRW, Germany In “How to Undress In Front Of Your Husband” I replicate a misogynist 1940s “How to” short, depicting the do’s and don’ts of female disrobing, subverting the original video's authoritarian male gaze into a humorous self-reflective statement on the status quo of women in society. Recreating the short in great detail, I play both characters 'the good and the bad woman', confronting the original's patriarchal narrator with delightful self-awareness. Disrupting the original's dangerous ideology, the video-performance highlights the absurdity of its creation in the first place but also points at prevailing truths on gender inequality. “At the core, I aim to express that the full world of gender and the breadth of its expression has the potential to exist within one person, and that person is also the almighty oppressor or oppressed—depending on how we want to see it.” An interview by Francis L. Quettier and Dora S. Tennant email@example.com Hello Nadja and welcome to : we would like to introduce you to our readers with a couple of questions regarding your background. You have a solid formal training and after having earned your Diploma in Visual Arts from the Academy of Fine Arts in Münster, you attended independent studies with John Bock in Berlin and then you moved to the United States to nurture your education with a MFA of Visual Arts, that you received from the prestigious Columbia University, in New York City. How did these experiences address your artistic research? Moreover, does your cultural background inform the way you relate yourself to art making in general? I actually attended many more Art schools:
Cinemakers Bauhaus University in Weimar, Villa Arson - École Nationale Supérieure d'Arts in Nice, University of Art Berlin, Academy of Fine Arts in Münster, HEAD - Geneva School of Art and Design and OTIS in Los Angeles. In addition, Prof. John Bock mentored me over the course of three years and I finally attend the School of the Visual Arts at Columbia University in New York; temporarily bound to a system, understanding the locality of politics and the mille plateau of the world. Born as a secondary generation immigrant to a Slovakian father and a German mother, my parents also represent two systems of the world one that is highly individualized, capitalist and egocentric, and another one that is all about communal power, land and hardship. Whilst growing up in my thinking, I was somewhat “off”, a good portion. Nowadays, I go back and forth between the US, Germany and Bolivia. The temporary geographical location provides my curiosity with a home. You are an eclectic artist and your versatile practice ranges from video and performance art to installations, photography and drawing, revealing the ability of crossing from a media to another: before starting to elaborate about your artistic production, we would invite to our readers to visit in order to get a synoptic idea about your artistic production: would you tell us what does address you to such captivating multidisciplinary approach? How do you select a medium in order to explore a particular theme? Fascinated by plays, books and movies, I started drawing as child and writing as teenager. My father bought a video camera and I taught myself how to use it with fourteen. Nowadays - when I work with professional actors, photographers or DP’s, it still has this playful feel. My friends don’t match at a birthday party, and so does my artwork. There is a mix of low and high aesthetics that lend significance. The personal, intimate, naïve and playful mode goes along with high-end, elaborate, filmic imagery. Like a game I have rules for each medium. For example, my drawings - all they need is to exist, as much as writing comes deliberately. These prompt gestures, their simplicity, gives birth to ideas. When I produce a performance, I use these ideas and spend time re-contextualizing them like characters on a chessboard – thinking about stage, emotional architecture, reversed gaze, dynamics of audience confrontation and how politics shift with subversion. It all leads to the
Cinemakers final live moment in which I push traditional parameters and engagement the viewer as participant. For this special edition of we have selected , an extremely interesting experimental video that our readers have already started to get to know in the introductory pages of this article and that can be viewed at . What has at once captured our attention of your insightful inquiry into the attempt women's identity is the way your stimulating of the idea behind the original movie creates such a powerful of male gaze on women’s representation. While walking our readers through of , would you tell us how did you develop the initial idea? My video is a scene-to-scene recreation of the original a 1937 short comedic film directed by the "father of modern exploitation” Dwain Esper. The original film was made in the early days of the first consumer cameras and explains how these became a propaganda tool for peeping at the women inside of
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