Добавил:
Sekretar
kiopkiopkiop18@yandex.ru
t.me/Prokururor I Вовсе не секретарь, но почту проверяю
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Ординатура / Хирургия / Библиотека им академика М.И. Перельмана / Книга_5553_Библиотеки_им_академика_М_И_Перельмана
.pdf
analyzes how historical and contemporary patterns of power
contribute to healthcare that discriminates:
Our bodies are never simply “just seen.” They are
simultaneously gendered and racialized—and this is also the
case when we are ill. The consequence is that, conversely,
illness must also be analyzed as a construct in which the
intertwining of “race,” gender, and sexuality are constantly re-
inscribed, one that consequently reflects societal zones of
power such as racism and heterosexism and is also permeated
by colonial echoes. . . . The subjugation of Black people to
passively and expediently imagined bodies (de-subjectification)
is one of the central colonial echoes that reverberate as a
moment of White self-evidence, included in today’s medical
context. (Hutson 2007, 229 –30)
Regarding the medical context, Hutson exposes Western medicine as
a White technology of dominance and control and as an exclusionary
field of knowledge production. She emphasizes the importance of
relating the two to one another, in order to strain toward a space for
the articulation of silenced experiences. According to Hutson, this
analysis is key for not just enabling a vocalization and a possible
overcoming of such silences, but also for deliberately marking the
above-mentioned constructions as violent (2007, 230). Her inquiry into
how histories of German colonialism have created a basis for
racialized biological interpretations demonstrates how the same
histories remain disregarded when looking at contemporary linkages
between science, politics, and colonial legacies.
In view of these historical reductions or even de-historicizations,
both colonialism and structurally normative Whiteness are not
perceived as violent contexts that have shaped and, in updated
versions, continue to shape scientific research and work. (2007,
235)
A similar consideration of course can be stated in regard to gendered
constructions of illness and legacies of patriarchal junctures. Arguing
along kindred scrutiny, May Ayim concludes in the article “White
Stress/Black Nerves” (2003) that systemic disregard and bias, more
13
14
often than not, result in mistrusting the patient, rather than
interrogating the precarious legacies of the system.
Most available cases examining the mental-health situation of
immigrants and black Germans are based on medical and
symptomatic interpretations. Very seldom do social scientists
candidly state their research interests and self-critically reflect
upon their own position and assessment methodologies.
Nevertheless, if, often, we find reference to differences in the
manifestation and handling of illnesses, there remains a lack of
guidance and examples explaining how such differences can be
appropriately incorporated, and where the possibilities and limits
of therapeutic efficacy lie. Frequency and characteristics of
individual illnesses are the focus of interest, but not the personal
and social circumstances within which these illnesses develop.
The result is, then, that, instead of pursuing the causal factors
for the illness, it is often the patients themselves that become
problematized. (2003, 91– 92)
These practices of imposing narratives and the systematic deprivation
of the right to speak about one’s body and its pains exhibit a pattern
of silencing individual experiences. Therefore, we have placed the
narratives of the affected as the essence of our artistic
conceptualization.
The sculptures consist of three pieces of lead, ranging from 1.3
meters to 1.5 meters in width, and 45 centimeters in height. They are
each framed by a large steel construction that itself is elevated to a
height of 1.8 meters. At the height of the audience’s head, the lead is
clamped into the frame, punched in with eyelets, held up by wire, and
installed like a banner, while evoking barriers, hurdles, or a way to
display signs in a public space of sorts. The marks of construction
and time are still visible. Seams from welding, scars from sanding,
and rust from aging remain an integral part of the material as a
marker of its history and reprocessing. Some old and grown over with
scabs, some fresh and open, like an exposure of the lower layers of
skin. The quotes (see page 10), translated into notations are
embossed and debossed on each sheet of lead, naturally appearing
mirrored on the opposite side. The malleability of the material allows
for it to be bent into shape. Upon further visual investigation, the
viewer will be able to decipher that the statements from the medical
professionals—directed toward the participants and making a lasting
impression on them—emerge outward. The notation translated from a
personal statement retracts inward as debossed.
This material translation of the latter topics and statements relate
to the consideration of embossing and debossing as an intimate
technique of laying bare and uncovering the nuances of systemic
violent patterns. This amalgamation of the methodological and
technical with the physical aspects constitutes a dynamic that
becomes visible when looking at the lead as dislocated in its original
form. Additionally, the mirroring of the contents both figuratively and
metaphorically renders the hegemonic ambivalence of this power
dynamic even more prominent. As a conscious, physical action, done
by hand and carefully executed, the confrontation with the material is
deepened. Pushing, punctuating, dragging, and hammering the lead
into shape recalls the way in which words and forms of treatment can
inscribe themselves into our bodies, our experiences, and our minds.
A lasting impression that leaves its markings, dents, and expansions,
sometimes so forceful that it rips small cuts and holes into the metal.
These ostensible wounds reflect the distinct micro and macro
aggressions of the healthcare system as a whole.
FIG. 3 Awa Naghipour, Joana Atemengue Owana, Golnar Kat Rahmani, Seen but
Not Heard, installation view, 2024. Photo: Joana Atemengue Owona
FIG. 4 Awa Naghipour, Joana Atemengue Owana, Golnar Kat Rahmani, “Also ich
hab’ generell nicht viel Vertrauen, dass mir mit erlebtem Rassismus im
medizinischen Kontext geholfen wird, oder dass er als solcher überhaupt
anerkannt wird,” 2024, lead and steel, 1.8 × 1.5 m. Photo: Joana Atemengue
Owona
Regarding the lead itself, the most palpable significance it poses
for us is its long history in the sciences and medicine to shield and
protect a patient from the radiation of X-rays. Contrary to it
functioning like an armor, intended to safeguard from harm, it is also
heavily toxic. Lead can poison the body, therefore posing a hazardous
health risk if ingested. This dooming reality renders it fortuitous and
fatal, protective, and devastating at the same time, and transfers a
dual and contradictory agency to the installation—a duality of agency
that is agonizingly pronounced by the impossibility of promptly
translating the musical notations into sound. The works are not simply
illustrating the circumstances of discriminatory practices; they are
testimonials to the complexity of ramifications that are imposed upon
the targeted individuals. On the one hand, not believing a patient,
ignoring, stereotyping, or not taking them seriously is an explicit
negation of autonomy. Not to be heard, on the other hand, does not
mean not being able to speak. On the contrary, it often means having
to labor intensely—speak more, louder, repeatedly—in order to be
noticed. A silent display of sheet music is just that: silent. Only when
sitting in this ringing silence are we able to hear the faint clamors of
those unheard and disbelieved by the medical system. In some ways,
the inaudible notations on the sculptures insist on an engagement with
the sound of these voices, especially because they are being
silenced. The pieces therefore think through the quotes and the
meaning they carry. The silence critiques, pokes back, perforates,
pinches, and shrieks of absence and presence at the same time. The
viewer is thrown back onto themselves, having to deal with a subject
that exceeds even spoken words. The evident silencing, then, is
juxtaposed by the titles of the works. Directly stating the participants’
experiences of bias and uncommonly long for a title, the complete
quotes are readable once more.
FIG. 5 Awa Naghipour, Joana Atemengue Owana, Golnar Kat Rahmani, “Sie
haben aber , Sie können nicht acht Stunden am Tag im Kurs sitzen und
zuhören und lernen,” 2024, lead and steel, 1.8 × 1.3 m. Photo: Joana Atemengue
Owona
FIG. 6 Awa Naghipour, Joana Atemengue Owana, Golnar Kat Rahmani, “So jetzt
reicht’s aber, Sie müssen jetzt endlich mit diesem Schmerz lernen zu leben, weil
alle Frauen machen das und alle Frauen erleben das,” 2024, lead and steel, 1.8 ×
1.5 m. Photo: Joana Atemengue Owona
As mentioned in “A Transdisciplinary Approach to Intersectional
Discrimination in German Healthcare,” we are extending the offer to
anyone affected by these biases to contact us and share their
account of their experiences. Contact information can be found on the
accompanying leaflet, which includes a representational demand,
chosen again by the interview participants themselves and directed
toward the hegemonic power structures of the medical system.
These demands have their own way of critiquing and disrupting
common stereotypical narratives, highlighting social attitudes, and,
most importantly, pointing out the absurdity, frustration, intensity, and
urgency this project aims to convey. The transdisciplinary approach,
but especially the imperative inclusion of individuals with lived
experiences of illness, can create a distinct space of attention. It
places at its heart the multidimensional perspectives and draws
comprehensible links between them, while emphasizing the
importance of disrupting imposed silences. Or, in the words of Audre
Lorde:
We can learn to work and speak when we are afraid in the
same way we have learned to work and speak when we are
tired. For we have been socialized to respect fear more than
our own needs for language and definition, and while we wait in
silence for that final luxury of fearlessness, the weight of that
silence will choke us. The fact that we are here and that I speak
these words is an attempt to break that silence and bridge
some of those differences between us, for it is not difference
which immobilizes us, but silence. And there are so many
silences to be broken. (2007, 44)
Our collaboration carries with it the intention of political mediation,
communication, and exchange so that we can contribute to starting to
close the gaps and continuities of a dismissive system and of a
broader dialogue about health, illness, and human experience. For
being poisoned by a system that should be there to protect us means
that this system needs to change drastically.
Contributions
This project was a co-creative collaborative process substantially and
collectively carried out by all contributors.
Initiation and first draft of the concept: Awa Naghipour
Concept development and finalization: All
Graphic design: Golnar Kat Rahmani
Interview protocol: All
Interviews: Golnar Kat Rahmani, Awa Naghipour
Musical notations: Awa Naghipour
Lead sculptures: Joana Atemengue Owona
Leaflet content: Interview participants and all
Leaflet design: Golnar Kat Rahmani
“A Transdisciplinary Approach to Visualizing Intersectional
Discrimination in German Healthcare”: Awa Naghipour
“Artistic Reflections”: Joana Atemengue Owona
FIG. 7 Awa Naghipour, Joana Atemengue Owana, Golnar Kat Rahmani, “So jetzt
reicht’s aber, Sie müssen jetzt endlich mit diesem Schmerz lernen zu leben, weil
alle Frauen machen das und alle Frauen erleben das,” 2024, lead and steel, 1.8 ×
1.5 m. Photo: Joana Atemengue Owona
Соседние файлы в папке Библиотека им академика М.И. Перельмана