Unsere Ausstellung "On se prend la main" beleuchtet LGBTQAI+-Erfahrungen aus einer interkulturellen Perspektive.
Hierbei steht im Vordergrund, queere Stimmen aus verschiedenen kulturellen Kontexten sprechen zu lassen, indem die Ausstellung persönliche Geschichten von LGBTQAI+ Erfahrungen in Form von Erzählungen, Gedichten und Bildern, die von Student*innen und Fellows gesammelt wurden, zeigt.

Die Ausstellung ist den gesamten Juni 2024 über im Tübinger Brauwerk Freistil zu sehen.
Sie wird im Rahmen des Pride Month in Zusammenarbeit mit unseren Fellows, Studierenden des Masterstudiengangs "Cultures of the Global South" und dem Zentrum für Gender- und Diversitätsforschung organisiert. 

mit Dr. Ponni Arasu (Global Encounters Fellow) 

Di, 18. Juni 2024, 18.15 Uhr
Brechtbau Theater
(Wilhelmstr. 50, 72074 Tübingen)

Das "one-woman"-Stück der tamilischen queer-feministischen Performerin, Forscherin und Aktivistin Dr. Ponni Arasu bringt den autobiografischen Ausdruck der Performerin mit Geschichten von queeren Menschen zusammen. Die Performance befasst sich mit Prozessen der Konditionierung, der Formung, der Begrenzung und des Traumas, die Teil dieser Erfahrung sein können. Es zeigt den verkörperten Prozess, aus diesem Zustand herauszukommen - was manchmal als Heilung erlebt wird.

Es handelt sich um ein experimentelles Stück, bei dem Stimme und Körper den Weg weisen, ohne Sprache. 
Bitte bringen Sie einen Gegenstand mit, den Sie mit Liebe und Sicherheit assoziieren, um ihn während der Aufführung zu benutzen. Sie erhalten ihn nach der Aufführung wieder zurück.

Eintritt frei, Spenden erwünscht.
Diese Veranstaltung wird vom Zentrum für Gender- und Diversitätsforschung in Zusammenarbeit zusammen mit dem College of Fellows organisiert.

Dr Lorena Grigoletto
"Landscape and Imaginary: Philosophy, Arts, Literature"

Abstract
The proliferation of terms derived from the word “landscape” (cityscape, seascape, soundscape, inscape, etc.), as well as the association of a second term specifying its typology (cultural landscape, digital landscape, etc.), testifies to the richness and current fortune of this concept. A semantic extension that nevertheless needs to be discussed, in particular due to the ambiguous proximity of the term “landscape” with other words sometimes understood synonymically (atmosphere, scenery, setting). Indeed, since the first reflections on landscape in the philosophical sphere (Simmel), the term has certainly gained a new phase in its already complex evolution. The contrast between the unity of the term “nature” and the multiplicity inherent in the word “landscape” signals a fundamental change of direction in the sphere of thought, first and foremost linked to the critique of dualism and the attempt to rearticulate and overcome various dichotomies (nature-culture, object-subject, I-other). Landscape, in fact, understood as the peculiar physiognomy of a territory determined by its physical, anthropic, biological and ethnic characteristics, is inseparable from the observer and the way in which it is perceived and experienced. The notion of landscape, therefore, represents a challenge in the intercultural sphere because it forces us to question the presence or absence of a similar term in different languages, as well as a set of formal elements that characterise its representation in art or literature. The predilection for the term “landscape”, therefore, supports and even stimulates the need to explore different epistemological perspectives. The debate on the existence or non-existence of “landscape” in different cultures, as well as its “birth”, according to certain art historiography, during the Renaissance, is also part of this. The history of landscape as a pictorial genre, the area in which the term initially consolidated, is thus increasingly joined by landscape as a dimension of existence and as a specific way of relating to the territory, capable of sanctioning the assumption of different paradigms and introducing new aesthetic, ethical and political practices. Its belonging to the realm of the visible as much as to that of the invisible also makes it a “place” of reflection par excellence in the sphere of studies on the imaginary. The term “imaginary”, which is also controversial, refers here to a certain tradition of thought (Bachelard, Durand) according to which it is not opposed to reality. Instead, it is understood as a totality composed of a linguistic dimension (metaphors, symbols, narratives) and an iconic dimension (paintings, photographs) capable of forming coherent and dynamic ensembles. In this perspective, the aim of this workshop is to reflect jointly on these two concepts, landscape and imaginary, in their widest possible semantic scope. In order to explore the relationship between landscape and the imaginary in philosophy, the arts and literature, we will focus on the following thematic axes: the relationship between landscape, perception and representation; the link between landscape and identity in an intercultural and/or postcolonial perspective; the link between landscape and ecology. Finally, the scientific-academic research will be flanked by a moment of transdisciplinary reflection by artists defined as “process-creation window”. The metaphor of the window, so important for the foundation of the pictorial genre of landscape, will therefore be the occasion for a focus on the landscape as it appears and is implicated in the processes of art.  

Dr. Havva Sinem Uğurlu
"n.n."

Mi, 10. Juli 2024, 12.00 Uhr 
Großer Senat, Neue Aula
(Geschwister-Scholl-Platz, Tübingen)

Weitere Informationen folgen in Kürze.

Dr. Ponni Arasu
"n.n."

Mi, 24. Juli 2024, 12.00 Uhr 
Großer Senat, Neue Aula
(Geschwister-Scholl-Platz, Tübingen)

Weitere Informationen folgen in Kürze.