Posts tagged with "Façadomy":

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Male-ness: Masculinity and Suffocation

This is the second in a series of partnerships between AN and Façadomy, a contemporary journal that reflects on issues in contemporary identity through the lenses of art and architecture. The first was "Female-ness, Corb, and Contraband"; Façadomy is also now crowdfunding the full edition of it's first issue, Gender Talents.

Gender Talents begins with the work of Grimstad, Norway–based sexologist and Transgender icon Esben Esther. P. Benestad who has observed seven unique genders in their work as a doctor and therapist in Scandinavia. The issue is composed of reflections on these categories by Andreas Angelidakis, Kimberly R. Drew (@museummammy) and Juliana Huxtable.
A selection from the second of these 7 genders follows below: Male (as defined by Façadomy)
Masculinity can be reified by machismo, but this is not essential to maleness. A Male is an individual who describes himself as Male and can be considered one of the gender majorities. Maleness derives its conventions from characteristics attached to those who are chromosomally XY: sperm production, Male sex organs, deepened voice after puberty, a higher ratio of muscle mass to body fat than Females. When an XY individual with the conventional characteristics of a Male also perceives himself as Male, this individual is understood as a “Cis-Male.” Males may have another chromosomal constellation or may not possess any of the traditional characteristics listed above. The WWII bunkers on the coast of Normandy are muscular concrete protection devices, slowly sinking into the sand for the past 70 years.
Paul Virilio photographed these structures for his seminal book Bunker Archaeology. Most gay guys who are really fit seem to be total bottoms, and one could arbitrarily assume that their somatic condition is a coat of armor, a protection of a fragile masculinity. They really want to be men, so maybe that could be a good fit for the Male phenomenon. I like these bunkers because they spend their life sitting alone on a beach, waiting. — Andreas Angelidakis ____________________ ____________________ Ornamented and suffocated by the veil of privilege, maleness exists as an identity that is performed in a trial by fire. What’s at the core of performing maleness? How can we take inventory over masculinity? What has your dick (proverbial, actual, or acquired) done to oppress the other? — Kimberly R. Drew
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A crowdfunding campaign for a magazine that explores identity through art, architecture, and social science

Can a penis be relieved of its supposed maleness—mere flesh in a psychic void? Façadomy is a new publication that explores themes in contemporary identity through the lenses of art, architecture, and social science. It's inaugural issue, Gender Talents, is currently in the midst of a crowdsourcing campaign on Kickstarter. Gender Talents explores the landscape of self-determined gender. It builds off the work of progressive sexologist Esben Esther P. Benestad, who has observed seven distinct genders in their practice as a therapist in Norway. Three prominent voices in contemporary art and architecture reflect on these seven themes, intersecting gender with notions of performativity, race, sexuality, and the built environment. Andreas Angelidakis, an architect and curator based in Athens, imagines each gender through avatars which take the unlikely form of buildings and esoteric furniture. These examples from the built environment weave human-scale metaphors that draw parallels between contemporary ruins and the sinking regimes of traditional masculine/feminine dynamics. Supporting this campaign funds the mass production of Gender Talents and helps to proliferate a deeper understanding of gender in the 21st century. Knowledge is the only weapon we have against the adversity and violence that people outside of the gender majorities face on a daily basis. This reality only worsens when it's compounded by sexuality, class and race Slogans and buzzwords are an important part of activism, but can only serve as the gateway to rich political ideas that warrant further consideration from curious minds.
(Those interested can read Female-ness, Corb, and Contraband, a previous Façadomy post featuring text by Andreas Angelidakis and others.)
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Female-ness, Corb, and Contraband

Andreas Angelidakis and Juliana Huxtable kick off the first in a series of partnerships between AN and Façadomy, a contemporary journal that reflects on issues of identity through the lenses of art and architecture.

The portmanteau of Façadomy’s title is mimetic—it’s contents and practitioners are brought together from seemingly unrelated fields. Each issue is based on the work of a non-arts based professional, and the responses by a diverse panel of cultural producers. The result is a polytonal visual essay on a relevant contemporary topic. Gender Talents, Façadomy’s inaugural issue, presents gender at the intersection of art and architecture. Gender Talents begins with the work of Grimstad, Norway–based sexologist and Transgender icon Esben Esther. P. Benestad who has observed seven unique genders in their work as a doctor and therapist in Scandinavia. The issue is composed of reflections on these categories by Andreas Angelidakis, Kimberly R. Drew (@museummammy) and Juliana Huxtable. A selection from the first of these 7 genders follows below: Female (as defined by Façadomy) Femininity can be accentuated with ornaments, but it is not essential to femaleness. A Female is an individual who describes herself as Female and can be considered one of the gender majorities. Femaleness derives most of its conventions from the characteristics attached to individuals that are chromosomally XX: production of ova, milk-producing mammary glands (after childbirth), a higher ratio of fat to body weight than Males, fairer voice, motherhood and caregiving. When an XX individual with the conventional characteristics of Female also perceives herself as Female, this is understood as Cis-Female. Females may have another chromosomal constellation or may not possess any of the traditional characteristics at all. La Tourette by Le Corbusier. She looks like a nest. Once you start to go inside, she is gorgeous, a hallucinogenic beauty of proportion, warmth, and detail. She is the most caregiving of buildings, with spaces that are sensual, protective, welcoming and, at times, inspire awe. And if La Tourette is a female, the dark blue and red chapel is her womb. You can glimpse at the sky, sense distant sunlight from within, and you never want to leave. La Tourette is the mother you always wanted: flamboyant, caring, generous and superior. She may not be ornamental, or visually glamorous in her facade, but she is thoughtful and smart. —Andreas Angelidakis FEMALE THE OTHER SEX. NOT I, BUT SOMETHING OTHER. SCALING THE FOLDS OF LABIA THAT STAND AGAINST THE UNKNOWN. I CLOSE MY EYES AND SEE FLASHES OF OTHER SILHOUETTES, FORMS GENDERED THROUGH RELIEF AND IN THE REMAINS OF NEGATIVE SPACE. I STRUGGLE TO MAKE OUT THE FORMS OF WHAT SEEM LIKE HIPS, BREASTS, BUT THESE POINTS FAIL TO SIGNIFY FULLY, AND HAVE BEEN SHUT OFF; CONTRABAND. SHE IS PERHAPS INSOFAR AS HER WOMB BEARS CERTAIN POTENTIALS FOR RE-PRODUCTIVE LABOR; IF BARREN—SAINT OR NON-ENTITY. A HOMOCHROMOSOMAL RELATIONSHIP THAT (THEY’D LIKE YOU TO BELIEVE) FORGOES THE FIRST WHY OF SUBJECT FORMATION. THE TECHNOSCIENTIFIC CODES CREATED BY THE WRITERS OF CERTAIN MYTHOLOGY REFLECT THEIR BIASES. THEY LOOK AT THE 3-D STRUCTURES FROM ABOVE, ANTHROPOMORPHIZE THEIR CURIOUS “APPEARANCE” WITH AN ALPHABET WHOSE HEGEMONY RESTS ON FORCED SEXUAL ENCOUNTERS. “SHE” DESIGNATES ALL THAT IS NOT “HE,” A SEMIOTIC ZONE OF ABJECTION RENDERED EVERYTIME HE SAYS “BITCH.” TO SAY NOT MALE DOESN’T SUFFICE, THE TENSION BETWEEN THE TWO PARTIES; SPECTACLE DISTRACTION FROM THE KNIFE; CLITERECTOMY. A SPACE OF SHELTER AND COMMUNION FOR ALL WHO “SHE” ASSUMES AND ALL WHO ASSUME “SHE” —Juliana Huxtable