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Body Acts Queer BODY Body Acts Queer BODY Body Acts Queer is an exploration of the performative and ideological functions of clothes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & GUNN MAJA ACTS Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. UNIVERSITY OF BORÅS STUDIES IN ARTISTIC RESEARCH NO 14 2015 14 NO RESEARCH ARTISTIC IN STUDIES UNIVERSITY BORÅS OF QUEER Working with clothing and fashion design from a queer feminist perspective, I transform queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which MAJA GUNN bodies act, are perceived and are produced within the fashion field, givingexamples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transformations – where desire, bodily experiences and interaction create a change. UNIVERSITY OF BORÅS STUDIES IN ARTISTIC RESEARCH NO 14 2015 BODY ACTS QUEER MAJA GUNN ISBN: 978-91-87525-59-9 URN: http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-123 Editor: Lars Hallnäs PHOTOGRAPHS: © Maja Gunn p. 69 (On & Off), p. 70–77 (If you were a girl I would love you even more), p. 85–93 (The Club Scene: Sappho Island) © Jonas Esteban Isfält p. 78–83 (The Club Scene: Culture Club) © Elin Nordlinder p. 84 (The Club Scene: Culture Club) GRAPHIC DESIGN/LAYOUT: Anna Gorbow UNIVERSITY OF BORÅS Published: June 2015 STUDIES IN ARTISTIC Printed and bound: Responstryck, June 2015 RESEARCH NO 14 2015 Copyright 2015 Maja Gunn ABSTRACT Body Acts Queer Body Acts Queer is an exploration of the performative and ideological functions of clo- thes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Working with clothing and fashion design from a queer feminist perspective, I trans- form queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which bodies act, are perceived and are produced within the fashion field, giving examples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transforma- tions – where desire, bodily experiences and interaction create a change. Keywords: Body, Clothes, Design, Desire, Direction, Fashion, Feminism, Gaze, Gender, Ideology, Other, Perception, Performance, Performative, Performativity, Power, Research, Sexuality, Text, Queer, Writing. 2 3 ACKNOWL­ Acknowledgements Many people have contributed to this work. Firstly, I would like to extend my sincere thanks to all of the participants in my projects. Thank you for participating and sha- ring your experiences! I could not have completed this work without you! EDGEMENTS I would like to thank my main advisor, Hanna Landin, for your encouragement, enthusiasm and sharp eyes. I am so happy that you have been by my side throughout this journey! The support from my co-advisor Emma Göransson has been of great importance for this work. I am truly grateful for all of your feedback! Thank you Tiina Rosenberg for your kind words and important support in the most critical of mo- ments. Thanks also to my examiner, Lars Hallnäs, for believing in my work and giving me positive feedback when I needed it the most. I am truly grateful for the fruitful cooperation with the art and architecture group MYCKET: Mariana Alves, Katarina Bonnevier and Thérèse Kristiansson, who I worked with in the project The Club Scene. Thank you for your great generosity and for sharing your thoughts and ideas! Thanks also to Annika Enqvist of the New Beauty Council and Lina Zavalia and Rebecca Vinthagen at Settings. Thanks to graphic designers Elin Nilsson and Josefin Carlén for your work with the publication If you were a girl I would love you even more. Thanks to Jonas Esteban Isfält and Elin Nordlinder for photographing Culture Club, and to Santiago Mostyn for filming. Thank you Moa Sjöstedt and Minna Magnusson for assistance. Thanks also to David Boothroyd and Magnus Persson. My warmest thanks also go to the institutions and galleries that have shown the works in this thesis. In particular, I would like to thanks Glenn Adamson, who cura- ted Tendenser/Tenderness – the exhibition where I first showed If you were a girl I would love you even more. Thank you Louise Wallenberg for being the moderator at my artist talk and presentation at Bonniers Konsthall, and thank you Yuvinka Medina for inviting me. I would like to thank all of the institutions and people that have invited me to present my research in various lectures, presentations and workshops; especially Jenny Edlund, Fredric Gunve, Sofia Hedman Martynova, Helena Hertov, Emma Lindblad, Roland Ljungberg, Daniel Koch, Jennifer Mack, Ingela Nilsson, Jane Philbrick, Bella 4 5 ACKNOWLEDGEMENTS Rune, Helen Runting, Sofie Rykowski, Uta Brandes and Hanna Wirman. Thank you to my students and colleagues at the School of Textiles. Thank you The National Artistic Research School, and especially Emma Kihl and Ylva Gislén for your inspiration and support. Thanks to Richard Langlais for your feedback and Elin Hallberg for your costume skills at Culture Club. Thank you Marika Lagercrantz for nice discussions about performance, Helena Eriksson for discussions about writing and thank you Kajsa G Eriksson and Lena Berglin for the nice words. Thanks to international Gender Design Network (iGDN) for great teamwork in support- ing, discussing and highlighting gender and feminist perspectives in the design field. A tremendous thank you goes to my family and friends for all of your support. Especially I thank Dwayne Edmondson, Olle Gunn, Elin Israelsson, Christer Gunn, Sara Gunn, Anna Gorbow, Ann Damoison Larsson, Martin Falck, Nicholas John Stevens, Jenny Mörtsell, Iki Gonzalez Magnusson, Lydia Kellam, Katarina Matsson, Oscar Guermouche, Jacob Huurinainen, Jenny Olsson, Stefan Dufgran, Martin Benninge, Kira Carpelan, Patrick Kretschek, Rita Maria De Castro, Theresa Traore Dahlberg, Anna Lo Westlin, Maria Winterstrid, Daniela Kuhn Bueno, Angelica Piñeros Virgüez, Kerstin Lagnefeldt and David Andersson. Thank you for the inspiration, for help with the logistics and for believing in me. My warmest thanks go to my child Otto who traveled with me to conferences all over the world and who, during my most intense periods, made me lift my eyes from my books and practice and take the oh-so- important breaks. The presence of your amazing energy has made me remem- ber what this is or should be all about: Love. This work is dedicated to my mother, Christina Garbergs Gunn, who passed away during the writing of this thesis. Thank you for giving me the language, and for always being my biggest fan. I know you would have loved to read this. 6 7 CONTENTS ABSTRACT .................................................2 ACKNOWLEDGEMENTS ......................................4 CONTENTS .................................................8 INTRODUCTION ............................................10 ON & OFF .................................................14 IF YOU WERE A GIRL I WOULD LOVE YOU EVEN MORE ...........38 THE CLUB SCENE ..........................................50 PHOTOGRAPHS ...........................................69 AIM ......................................................96 ABOUT ...................................................98 QUEER ..................................................114 DESIGN ..................................................118 PERFORMATIVE DESIGN RESEARCH .........................130 DISCUSSION .............................................140 NOTES ..................................................186 REFERENCES ............................................188 8 9 INTRODUCTION Introduction In this thesis in performative design research I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Whilst this thesis focuses on the field of design and the performative acts of dressed bodies, it is also partly an exploration of performative words, texts and speech acts. The bodily experiences of clothes are described through dialogue, monologue and partici- pants’ voices. The texts embody the clothes, and so become a part of the design practice. The exploration of text and dressed bodies is conducted in three projects:
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