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Judith Sieber: Refusal of Form: The Critical Potential of W.E.B. Du Bois’s Charts for the Paris World’s Fair, 1900
Refusal of Form: The Critical Potential of W.E.B. Du Bois’s Charts for the Paris World’s Fair, 1900
(S. 339 – 358)

Judith Sieber

Refusal of Form: The Critical Potential of W.E.B. Du Bois’s Charts for the Paris World’s Fair, 1900

PDF, 20 Seiten

  • Künstlerische Praxis
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Judith Sieber

lives and works in Berlin. She was a member of the DFG graduate program “Cultures of Critique” at Leuphana University Lüneburg, from 2017 until 2022. Her dissertation, titled Kritik linearer Zeit, formulates a critique of the universalistic concept of the directed and linear timeline established via diagrams in eighteenth century England. Together with Marius Hanft and Lotte Warnholdt she edited the volume Weiterschreiben. Anschlüsse an Rebecca Ardners “Affirmation und Negation als Figuren der Kritik” (2020). Her texts and exhibition reviews have been published in, among others, AQNB, Arts of the Working Class and Rundbrief Fotografie. From 2015 to 2016 she was a Global Humanities Junior Fellow at the Johns Hopkins University in Baltimore.
Weitere Texte von Judith Sieber bei DIAPHANES
  • On Withdrawal—Introduction

    In: Sebastián Eduardo Dávila (Hg.), Rebecca Hanna John (Hg.), Ulrike Jordan (Hg.), Thorsten Schneider (Hg.), Judith Sieber (Hg.), Nele Wulff (Hg.), On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

Sebastián  Eduardo Dávila (Hg.), Rebecca Hanna John (Hg.), ...: On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

What forms does withdrawal—meaning either that which withdraws itself or which is being withdrawn—take in artistic and cultural practices? What movement(s) does it create or follow in specific contexts, and with what theoretical, material, and political consequences? The contributors of this book address these questions in a variety of writing practices, each focusing on specific scenes. These scenes are organized under three parts that structure the chapters: Passivity, Failure, and Refusal; Disappearance and Remembrance; Resilience and Resistance. Through interviews, artistic and literary texts, visual contributions, and academic texts, the authors explore various modalities of withdrawal ranging from a silencing of critical voices to a political and aesthetic strategy of refusal. The enforced disappearance of government opponents, for instance, may be implemented as a means of state violence, but withdrawing may also mean the decision not to participate in such violence, either through forms of passivity or refusal. Moreover, in the neoliberal logic of resilience, the relationship between subjective agency and imposition from the outside remains tense. The aim of this book is to tackle these tensions, as well as the ambiguities and complexities of withdrawal.

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