Art informed by second-wave feminism has often cast domestic space as a site of ambivalence if not unhomeliness, inspired by gender-critical dissent. This article expands on previous research into the strategic unhomeliness of feminist art by focusing on works informed by anti-nuclear activism as well as feminism in the 1980s. Drawing on psychoanalytic approaches to conflict, I trace anti-nuclear (per)mutations of dystopian domesticity in feminist visual and material cultures that give form to the collective nightmare of a nuclear holocaust. In the art practice under consideration domesticity is thrown into crisis anew: the home is expanded into a site of pacifist resistance while also being cast as the place of the feared premature and violent death of loved ones by nuclear disaster. Motherhood and gendered care-giving are simultaneously challenged and mobilised in the consciousness-raising performances and posters of Sister Seven, as well as Margaret Harrison’s recreations of the periphery fence of the Greenham Common RAF military base. The feminist pacifist – curative – response to the threat of nuclear war as a ‘paranoid elaboration of mourning’ (Fornari) is pre-emptive mourning, which, unlike pre-emptive strikes, rises to the defence of survival.

中文翻译：

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先发制人的对炸弹的哀悼：女权主义和反核行动主义启发的艺术中爆炸的家庭

受第二波女权主义影响的艺术，受性别批判异见的启发，常常将家庭空间塑造成一个充满矛盾的地方，即使不是不温馨的地方。本文通过关注 1980 年代反核激进主义和女权主义的作品，扩展了先前对女权主义艺术的战略性不洁之举的研究。借鉴对冲突的精神分析方法，我追溯了女权主义视觉和物质文化中反乌托邦家庭生活的反核（变）突变，这些突变形成了核大屠杀的集体噩梦。在所考虑的艺术实践中，家庭再次陷入危机：家庭被扩展为和平主义抵抗的场所，同时也被塑造成令人恐惧的亲人因核灾难过早和暴力死亡的地方。在提高意识的表演和七姐妹的海报，以及玛格丽特·哈里森对格林汉共同皇家空军军事基地外围围栏的再现中，母性和性别关怀同时受到挑战和动员。女权主义和平主义者——治愈——对核战争威胁的“哀悼的偏执详细阐述”（Fornari）的回应是先发制人的哀悼，与先发制人的打击不同，它是为了保护生存。