Abstract
Mislabeling has material consequences and leaves traces; myths, too, may have tangible effects. These links cannot be reduced to the zero-sum fields of true/false or object/label; instead, they suggest a fictive, contingent mode. With this essay, we are not aiming to discover forgotten truths, nor to place or displace entities within established or novel forms of categorization. Instead, we sketch one method of exploring networks of association in museums to demonstrate the complex and paradoxical operations of what we label nonbinary difference: a generative potential that foregrounds instabilities, rather than a given identity to be represented.
| Original language | English |
|---|---|
| Title of host publication | Gender, Sexuality, and the Museum |
| Subtitle of host publication | Activism, Unruliness, and Alterity |
| Editors | Amy Levin, Joshua Adair |
| Publisher | Routledge |
| Publication status | Accepted/In press - 2019 |
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Keywords
- non-binary
- nonbinary
- dionysus
- museum object
- photography
- materiality
- new materialism
- material-discursivity
- gender
- queer
Cite this
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Nonbinary Difference : Dionysus, Arianna, and the Fictive Arts of Museum Photography. / Johannesson, Asa; Le Couteur, Clair.
Gender, Sexuality, and the Museum: Activism, Unruliness, and Alterity. ed. / Amy Levin; Joshua Adair . Routledge, 2019.Research output: Chapter in Book/Conference proceeding with ISSN or ISBN › Chapter
TY - CHAP
T1 - Nonbinary Difference
T2 - Dionysus, Arianna, and the Fictive Arts of Museum Photography
AU - Johannesson, Asa
AU - Le Couteur, Clair
PY - 2019
Y1 - 2019
N2 - This collaborative essay explores a pair of museum photographs depicting the same marble sculpture: a Roman copy of a Greek fourth-century BCE bust of Dionysus, housed at the Capitoline Museums in Rome. The first photograph is an anonymous twentieth-century reproduction – with Arianna printed underneath, crossed out with ballpoint – found by Åsa Johannesson in the Eugenie Strong Collection at the British School at Rome archive. The second is a photograph of the bust made by Johannesson in 2017, taken in response to the archival image. As nonbinary trans people doing artistic research through practice, we explore the assemblage of associations and resonances generated by these images to articulate relations among photography, labeling, gender, museums, and archives. We aim to display complexity and connectivity, rather than to draw firm conclusions. Following Karen Barad, we refer to our approach as a material-discursive method. The interconnections in museum collections – links formed between things by classification and labeling, by grouping and arrangement, by histories and myths – are simultaneously semiotic and material. Mislabeling has material consequences and leaves traces; myths, too, may have tangible effects. These links cannot be reduced to the zero-sum fields of true/false or object/label; instead, they suggest a fictive, contingent mode. With this essay, we are not aiming to discover forgotten truths, nor to place or displace entities within established or novel forms of categorization. Instead, we sketch one method of exploring networks of association in museums to demonstrate the complex and paradoxical operations of what we label nonbinary difference: a generative potential that foregrounds instabilities, rather than a given identity to be represented.
AB - This collaborative essay explores a pair of museum photographs depicting the same marble sculpture: a Roman copy of a Greek fourth-century BCE bust of Dionysus, housed at the Capitoline Museums in Rome. The first photograph is an anonymous twentieth-century reproduction – with Arianna printed underneath, crossed out with ballpoint – found by Åsa Johannesson in the Eugenie Strong Collection at the British School at Rome archive. The second is a photograph of the bust made by Johannesson in 2017, taken in response to the archival image. As nonbinary trans people doing artistic research through practice, we explore the assemblage of associations and resonances generated by these images to articulate relations among photography, labeling, gender, museums, and archives. We aim to display complexity and connectivity, rather than to draw firm conclusions. Following Karen Barad, we refer to our approach as a material-discursive method. The interconnections in museum collections – links formed between things by classification and labeling, by grouping and arrangement, by histories and myths – are simultaneously semiotic and material. Mislabeling has material consequences and leaves traces; myths, too, may have tangible effects. These links cannot be reduced to the zero-sum fields of true/false or object/label; instead, they suggest a fictive, contingent mode. With this essay, we are not aiming to discover forgotten truths, nor to place or displace entities within established or novel forms of categorization. Instead, we sketch one method of exploring networks of association in museums to demonstrate the complex and paradoxical operations of what we label nonbinary difference: a generative potential that foregrounds instabilities, rather than a given identity to be represented.
KW - non-binary
KW - nonbinary
KW - dionysus
KW - museum object
KW - photography
KW - materiality
KW - new materialism
KW - material-discursivity
KW - gender
KW - queer
M3 - Chapter
BT - Gender, Sexuality, and the Museum
A2 - Levin, Amy
A2 - Adair , Joshua
PB - Routledge
ER -