Book Section
Astrid Deuber-Mankowsky

Affective-Political Work with Documents

Sharon Hayes and Yael Bartana
In: Astrid Deuber-Mankowsky, Queer Post-Cinema: Reinventing Resistance, Cultural Inquiry, 32 (Berlin: ICI Berlin Press, 2025), pp. 53–80
Rights: © by the author(s). This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Part of Queer Post-Cinema Containing:
Introduction
Autoimmunity and Sexual Difference in Todd Haynes’s Films Superstar: The Karen Carpenter Story, Poison, and Safe
Affective-Political Work with Documents: Sharon Hayes and Yael Bartana
Intense Play with Light and Sound: Reading Su Friedrich’s Seeing Red (2005) together with Walter Benjamin’s and Gilles Deleuze’s Philosophies of Technology
The iPhone as a Medium of Queer Aesthetics and Fluid Subjectivity: Charlie Prodger’s Bridgit
She Is Inseminating: Thanatopolitics and Reproduction in Claire Denis’s Science Fiction Film High Life (2018)
Coda
Title
Affective-Political Work with Documents
Subtitle
Sharon Hayes and Yael Bartana
Author(s)
Astrid Deuber-Mankowsky
Identifier
https://doi.org/10.37050/ci-32_2
Is Part Of
Queer Post-Cinema
Place
Berlin
Publisher
ICI Berlin Press
Date
6 May 2025
Rights
© by the author(s)
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
http://creativecommons.org/licenses/by-sa/4.0/
Language
en-GB
page start
53
page end
80
Source
Astrid Deuber-Mankowsky, Queer Post-Cinema: Reinventing Resistance, Cultural Inquiry, 32 (Berlin: ICI Berlin Press, 2025), pp. 53–80

Publication scheduled for 6 May 2025

References

  • Ahmed, Sara, The Promise of Happiness (Cambridge: Cambridge University Press, 2010) <https://doi.org/10.1215/9780822392781>
  • Angerer, Marie-Luise, Vom Begehren nach dem Affekt (Berlin: Diaphanes, 2007)
  • Angerer, Marie-Luise, Timing of Affect: Epistemologies, Aesthetics, Politics, ed. by Marie-Luise Angerer, Bernd Bösel, and Michaela Ott (Berlin: Diaphanes, 2013)
  • Angerer, Marie-Luise, Desire after Affect, trans. by Nicholas Grindell (London: Rowman & Littlefield International, 2014)
  • Aumont, Jacques, L’Image (Paris: Arman Colin, 2011)
  • Bartana, Yael, interviewed by Michael Juul Holm as part of the ‘Louisiana Talks’ series, 'Yael Bartana: Returning 3.3 Million Jews', Louisianna Channel (2011) <https://channel.louisiana.dk/video/yael-bartana-returning-33-million-jews> [accessed 25 February 2025]
  • Benjamin, Walter, ‘Two Poems by Friedrich Hölderlin’, in Benjamin, Selected Writings, ed. by Michael W. Jennings and others, 4 vols (Cambridge, MA: Belknap Press of Harvard UP, 1996–2003), I: 1913–1926 (1996), pp. 18–36
  • Berlant, Lauren, ‘Cruel Optimism’, differences, 17.5 (2006), pp. 21–36
  • Berlant, Lauren, ‘Slow Death (Sovereignty, Obesity, Lateral Agency)’, Critical Inquiry, 33.4 (2007), pp. 754–80
  • Berlant, Lauren, The Female Complaint: The Unfinished Business of Sentimentality in American Culture (Durham, NC: Duke University Press, 2008) <https://doi.org/10.1215/9780822389163>
  • Bryan-Wilson, Julia, ‘We have a Future: An Interview with Sharon Hayes’, Grey Room, 37 (2009), pp. 79–93 <https://doi.org/10.1162/grey.2009.1.37.78>
  • Bryan-Wilson, Julia, ‘Sharon Hayes Sounds Off’, Afterall, 38 (Spring 2015), pp. 16–27 <https://doi.org/10.1086/681283>
  • Bryan-Wilson, Julia, email interview with Sharon Hayes for the Herb Alpert Award in the Arts 2013 <http://herbalpertawards.org/artist/influences-2> [accessed 20 February 2024]
  • Clough, Patricia Ticineto, and Jean Halley, eds, The Affective Turn: Theorizing the Social (Durham, NC: Duke University Press, 2007) <https://doi.org/10.2307/j.ctv11316pw>
  • Cvetkovich, Ann, Depression: A Public Feeling (Durham, NC: Duke University Press, 2012) <https://doi.org/10.1215/9780822391852>
  • Deleuze, Gilles, Cinema, trans. by Hugh Tomlinson and Robert Galeta, 2 vols (Minneapolis: University of Minnesota Press, 1986–89), II: The Time-Image (1989)
  • Deleuze, Gilles, and Félix Guattari, What is Philosophy?, trans. by Hugh Tomlinson and Graham Burchell (New York: Columbia University Press, 1994)
  • Hayes, Sharon, and Laurence Weiner, ‘A Conversation’, BOMB live: In the Open: Art+Architecture in Public Spaces, Weiner Studio, Greenwich Village, 2010 <https://www.youtube.com/watch?v=bviC4bfSAQw> [accessed 20 February 2024]
  • Ivakhiv, Adrian, ‘The Art of Morphogenesis: Cinema In and Beyond the Capitalocene’, in Post-Cinema Theorizing 21st-Century Film, ed. by Shane Denson and Julia Leyda (Falmer: Reframe Books, 2016), pp. 724–49 <https://reframe.sussex.ac.uk/post-cinema/> [accessed 24 May 2024]
  • Massumi, Brian, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke University Press, 2002) <https://doi.org/10.1215/9780822383574>
  • Shaviro, Steven, Post-Cinematic Affect (Winchester: Zero Books, 2010)
  • Tuschling, Anna, ‘The Age of Affect Computing’, in Timing of Affect: Epistemologies, Aesthetics, Politics, ed. by Marie-Luise Angerer, Bernd Bösel, and Michaela Ott (Berlin: Diaphanes, 2013), pp. 179–90
  • Wöhrer, Renate, Dokumentation als emanzipatorische Praxis. Künstlerische Strategien zur Darstellung von Arbeit unter globalisierten Bedingungen (Munich: Fink, 2015) <https://doi.org/10.30965/9783846753415>
  • Wöhrer, Renate, ‘Die Kunst des Dokumentierens. Zur Genealogie der Kategorie “dokumentarisch”’, in Beyond Evidence. Das Dokument in den Künsten, ed. by Daniela Hahn (Paderborn: Fink, 2016), pp. 5–17 <https://doi.org/10.30965/9783846757475_004>
  • Bartana, Yael, dir., True Finn — Tosi suomalainen (2014)
  • Bartana, Yael, dir., And Europe Will Be Stunned (2007–11)
  • Bartana, Yael, dir., Summer Camp/Awodah (2007)
  • Bartana, Yael, dir., Freedom Border (2003)
  • Hayes, Sharon, In the Near Future, New York, 2005, multiple-slide-projection installation
  • Hayes, Sharon, In the Near Future, 2009, multiple-slide-projection installation comprising 13 actions, 13 projections, and 1052 slides
  • Hayes, Sharon, dir., Ricerche: Three (2013)
  • Hayes, Sharon, dir., Ricerche: One (2019)
  • Hayes, Sharon, dir., Ricerche: Two (2020)
  • Pasolini, Pier Paolo, dir., Comizi d’Amore ( Love Meetings) (1963)

Cite as: Astrid Deuber-Mankowsky, ‘Affective-Political Work with Documents: Sharon Hayes and Yael Bartana’, in Astrid Deuber-Mankowsky, Queer Post-Cinema: Reinventing Resistance, Cultural Inquiry, 32 (Berlin: ICI Berlin Press, 2025), pp. 53-80 <https://doi.org/10.37050/ci-32_2>