Charting Cartographies of Resistance: Line of Flight in Women Artists’ Narratives

In this paper I chart lines of flight in women artist’s narratives. In focusing on the complex interrelations between the social milieus of education and art, what I suggest is that they should be analysed as an assemblage where power relations and forces of desire are constantly at play in creating conditions of possibility for women to resist, imagine themselves becoming other and for new possibilities in their lives to be actualised. As a novel approach to social ontology the theory of assemblages offers an analytics of social complexity that accounts for open configurations, continuous connections and unstable hierarchies, structures and axes of difference. In reconsidering resistance as immanent in dispositifs of power and assemblages of desire, what I finally argue is that women artists’ narratives contribute to the constitution of minor knowledges and create archives of radical futurity.

Narrative Personae and Visual Signs: Reading Leonard’s intimate photo-memoir. a/b: Auto/Biography Studies.

: In this paper, I look at Joanne Leonard’s Being in Pictures and engage in a critical dialogue with an assemblage of visual and textual narratives that comprise her intimate photo memoir. In doing this I draw on Hannah Arendt’s take on narratives as tangible traces of uniqueness and plurality, political traits par excellence in the cultural histories of the human condition. Being aware of my role as a reader/viewer/interpreter of a woman artist’s auto/biographical narratives, I move beyond dilemmas of representation or questions of unveiling “the real Leonard”. The artist is instead configured as a narrative persona, whose narratives respond to three interrelated themes of inquiry, namely the visualization of spatial technologies, vulnerability and the gendering of memory. Key words: gendered memories, narrative persona, spatial technologies, photo memoir, vulnerability