Dekonstruktion von Zweigeschlechtlichkeit - anita.a.mörth

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that you are the better one than another one. So this is this kind of egoistic attempt, that showing to
the whole world, showing off.
A: One thing that's very interesting for me is this 'without a point of reference'. For me it's hard to
imagine how it actually can work, because we only exist within communication with others. So how
can I imagine myself without anything or anyone else.
AB: It's a little bit your topic of course. But I think that's the big chance for a non-affected way of
thinking. It is about constructing an experience, [?] consists of events, situations that happen in your
life, but all those events and situations have been in a way translated by your own language, by your
own perception of the world, by your own very subjective approach to reality, and what reality
consists of. Of course mainly including people of different genders. It is a little bit like writing a book
without any footnotes. And I don't know if my thinking is correct, but again I think that poetry is
something which, poetry always comes without footnote. The only footnote to a poetry is your life.
That's a book which does not have a bibliographical address. And one of the philosophers, I don't
know if it is correct to call her feminist philosopher, but a philosopher who is using as a material for
her work, this is very much her own life, this is Luce Irigaray. And my favourite book which was
written by Luce Irigaray, the one which does not have any footnote, and I appreciate it very much,
just because of this, is a beautifully titled book which is called "Elemental Passions".
I love this title, I love the word elemental, and maybe this 'elemental' is the answer to your question
'how is it possible to achieve this situation without any point of reference'. Something is elemental.
Something is basic. Something which is at the starting point as if. And the starting point you don't
have a point of reference because you don't have an experience, you don't have an experience of a
surrounding reality. Your knowledge is being at the process of construction. This is exactly the
moment when Cindy Sherman decided not to include herself anymore in the frame of her photograph,
because she was at the threshold. Because she was at the moment when she was sort of expelling all
this dirt, the abject. And you know what abject is. Abject is between subject and object so you are
neither this nor that, you are [points on in-between on his drawing] this is a definition of abject. So it
is neither this nor that but it's a-bject. And a-bject is everything what is dirty, everything what is
improper, everything your body wants to get rid of. Your vomit, the left-over, dirt or something,
everything what is out of mainstreaming away [?] Everything that is without order, what is disorderly,
what is in this sense rebellious at the same time, this protesting against. This is why Cindy Sherman
was photographing vomits, food which was left and rotten and all that. And maybe you remember this
photograph which was really a kind of transitory moment, when you have those vomits and this rotten
food and so on and you have a frame - of glasses. And you can still see Cindy Sherman if you are very
attentive because there is a reflection of her face in the screen of the frame of the glasses. She is sort
of present but already out. That's the moment.
But this is the moment, when you look into the mirror and you recognize 'I am Anita, I am a girl' or
so, then it's too far. It's too late. What she was talking about was then when this is like a puzzle. You
look into the mirror and you are not complete. You are this sliced body. [Cormocell?] Then you slowly
get closer to - and then - see yourself.
A: But it never gets complete, does it.
AB: At this stage it never gets complete. It gets complete later at the age of 6 months or something.
What other questions you have here?
A: Would it help us not to talk about gender at all or just not talk about it in this - as you say -
simplistic way.
AB: No, no, no, one of course has to talk about it, but I think there is a very urgent need to develop a
new language. Because I think that's what is a weakness of this feminist or - because its to much
[fastening this still?] by this kind of 60ties language, the passé language. And - I think we went
through this very accelerated moment in the psychological development of human being with the very
strong influence of media on our consciousness. With a - I think I can't identify them right now - but
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