Reflections on the Human Condition - Api-fellowships.org

118 SESSION II
psychologists, journalists and other cultural workers are
also being requested to contribute their expertise.
While grounded in the discipline of art history, particularly
feminist art history, this project aims to be transdisciplinal
by working closely with other disciplines
(anthropology, history, sociology, medicine, etcetera);
and activist, thus enacting active advocacy by linking
up with affected communities (e.g. children survivors
of abuse, Moro women, migrant workers, former sexual
slaves, survivors of war and other conflicts, etc). In
the process, this project hopes to contribute in a very
preliminary way, as I have done in this paper, to the
emerging—and hence still inadequately theorized—
field of feminist investigation: the visual poetics of the
gendered dimension of trauma and shame.
REFERENCES
Bamadhaj, Nadia. 2003. Enamlima Sekarang. Exhibition
catalogue. Kuala Lumpur: Valentine Willie Fine Art.
Buckley, Sandra. 1997. Broken Silence: Voices of Japanese
Feminisms. Los Angeles, London: University of
California Press, Berkeley.
Hagiwara, Hiroko. 1995. “Silenced by History – Tomiyama
Taeko’s Harbin Series.” In Silenced by History. Aija e no
shiza to Hyogen Organizing Committee (ed.). Tokyo:
Gendai Kikaku Shitsu.
Kasahara, Michiko. 2005. Life Actually: The Works of
Contemporary Japanese Women – Love, and Solitude and
Laughter for Survival in Japan. Exhibition catalogue.
Tokyo: MOT Annual. Museum of Contemporary Art.
Kelsky, Karen. 2001. Women on the Verge: Japanese
Women, Western Dreams. Durkham and London: Duke
University Press.
Jennison, Rebecca. 2003. Remembering as Resistance:
The ‘Shaman’ and the ‘Fox’ in the Art of Tomiyama
Taeko. In Journal of Kyoto Seika University, No. 25,
pp.185-186.
Johnson, Barbara. 2002. Electronics Exploration. In
Art in America, May 2002, pp. 125-126.
Landy, Marcia. 1996. Cinematic Uses of the Past.
Minneapolis: University of Minnesota Press.
Nakamura Keiji. 1990. Private Visions: Japanese Video Art
in the 1980s. Exhibition Catalogue. Tokyo: The Japan
Foundation.
Pollock, Griselda. 2005. “Three Essays on Trauma and Shame:
Feminist Perspectives on Visual Poetics”. Unpublished
paper presented in the 9 th Interdisciplinary Congress on
Women, 21 June 2005, Seoul, Korea. Unpublished.
Ref lections on the Human Condition: Change, Conflict and Modernity
The Work of the 2004/2005 API Fellows
Cited with Permission from Author.
Pollock, Griselda. 2004. What is Feminist Art? Or How
Not to Answer a Question Like This in Six Thousand
Words. In First International Women’s Art Festival in
Taiwan. Collected Essays. Taiwan: Kaohsiung Museum
of Fine Arts.
Said, Edward. 1994. Representations of the Intellectuals.
In The 1993 Reith Lectures. London: Vintage.
Sajor, Indai Lourdes. 1997. Women in Armed Conflict
Situations. In Remembering What we have tried to forget.
Manila: Asian Center for Women’s Human Rights
(ASCENT).
Shimada, Yoshiko. Art Activism 1992-98. Exhibition
catalogue. Tokyo: OTA Fine Arts.
Spivak, Gayatri Chakravorty. 1988. Can the Subaltern
Speak? In Marxism and the Interpretation of Culture. C.
Nelson and L. Grossberg (eds.). Basingstoke: Macmillan
Education.
Sturken, Marita. 1990. Paradox in the Evolution of
an Art Form: Great Expectations and the Making of
a History. In Illuminating Video: An Essential Guide to
Video Art. Doug Hall and Sally Jo Fifer (eds.). Aperture
Foundation.
ENDNOTES
1 Japanese names in the essay follow the surname-given
name format.
2 Unpublished work cited with permission from the author,
who wrote in an email dated August 16, 2005: “I
am delighted the paper was of interest to you and please
use the citations with referencing to that paper and the
occasion. I will read it with interest. I wish you well
with your work. Griselda Pollock”
3 The New Order version also pegs the number of generals
killed to six. But around the Yogyakarta Kraton or palace,
the center of the city, there are eight streets named
after the slain generals, because two more military officers
were allegedly killed for the same purpose. Bamadhaj
opted to refer to eight instead of six generals for this
exhibition.
4 These insights were gathered (as summarized by Art
Studies Professor Roberto Paulino) during a conversation
with Dr. Estrada-Claudio in her faculty room at the
University of the Philippines, February 21, 2006. In
that conversation, we aimed to identify discussion points
for a conference on trauma, healing and art, organized
by the author, slated for November at the Metropolitan
Museum of the Philippines (see epilogue).