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From compassion to distance: Hannah Höch’s ‘Mother’
European Journal of Women's Studies ( IF 1.395 ) Pub Date : 2021-06-29 , DOI: 10.1177/13505068211028977
Andrea Pérez-Fernández 1
Affiliation  

This article addresses the work of the German artist Hannah Höch in the light of the struggle for abortion rights in the Weimar Republic. I attempt to show how Höch’s uses of the technique of photomontage can be read as a way of introducing a distance between the work and the viewer that allows us to question the beliefs we use to make sense of the world. Specifically, I discuss her photomontage Mutter (‘Mother’), a version of a photograph taken by John Heartfield, and some of her writings and interviews. I also examine closely the material conditions and political debates in which Höch’s work – as a social practice – developed. After a brief introduction and a methodological outline, I present Höch in the context of Berlin Dada and summarise the main underlying arguments of my hypothesis. Namely, that the major interest of Höch’s photomontages lies in the complex articulation of activism and philosophy, and in the way in which they put mainstream categories into question by ‘distancing’ fragments of reality.



中文翻译:

从同情到距离:Hannah Höch 的“母亲”

本文根据魏玛共和国争取堕胎权的斗争来探讨德国艺术家汉娜·霍赫 (Hannah Höch) 的作品。我试图展示 Höch 对蒙太奇技术的使用如何被解读为一种在作品和观众之间引入距离的方式,让我们能够质疑我们用来理解世界的信念。具体来说,我讨论她的蒙太奇穆特(“母亲”),约翰哈特菲尔德拍摄的照片版本,以及她的一些著作和采访。我还仔细研究了霍赫的作品——作为一种社会实践——发展的物质条件和政治辩论。在简要介绍和方法论大纲之后,我在柏林达达的背景下介绍了 Höch,并总结了我的假设的主要潜在论点。也就是说,Höch 的蒙太奇照片的主要兴趣在于激进主义和哲学的复杂表达,以及他们通过“疏远”现实片段来质疑主流类别的方式。

更新日期:2021-07-01
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