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About Bucharest Air

Contemporary Romania seems to be characterized by a prolonged and seemingly permanent state of anxious and sometimes schizofrenic transition between Nicolae Ceausescu’s oppressive socialist regime and an imported, aggressive capitalism that often seems to lack defined moral guidelines or rules; this period of transition confronts citizens with new and specific challenges at every step, making Romania a place of discovery proper as well as a country which during the past 20 years has been in a constant and dynamic development.


Romania’s social, demographic and economic divisions would place the country in between second and third world countries: unbridgeable gaps between a relatively small but financially powerful ruling class and the common citizen, huge differences in living standards between industry and commerce orientated cities and the rural, agriculture based countryside as well as deeply rooted corruption and a lack of a practicable direct democracy being only a few criteria to name; Romania’s adherence to the European Union, soon to be as equal partner, contradicts the above, generating a specific kind of visual and culture-based conflict, between that which ‘is’ and that which is ‘hoped for’, generating in this way a rich source of information as well as inspiration.
 
Due to its history and geographic location, Romania could also be perceived as a melting pot of different European cultures and identities: with over 45 local dialects based on a mixture of Latin and Slavonic languages and minorities ranging from Russian speaking Lipoveni to a strong Hungarian, Turkish, German and Gypsy community, Romania is a strong example of the historical development of a truly multicultural society with both its flaws and positives to go along.
 
Viewed in this light, the artist best suitable for a residency in Bucharest would be found in the segment of art which deals with issues closely related to an analysis of society as either fragment or whole; research and on-site investigation, dialogue and a will to enter intellectual, cultural and artistic exchange on both an international level as well as a local one, a feel for context and a desire to work within a local scene or situation seem to be prerequisites.
 
The Residency program is open to all art professionals who have a genuine interest in a period of working and living in Bucharest and can host artists working with photography, video, new media and internet, drawing, performance, research based work, installation, site specific (public space) interventions and similar. The Residency is less suitable for painters and artists who work with large scale studio-based sculpture. However, if need be, there are opportunities for renting an external workplace which could suit specific artistic needs and projects.


Tudor Bratu

Tudor Bratu (1977, NL) is an internationally active artist currently living and working in Amsterdam and Bucharest. Besides his involvement with visual art, his activities include teaching, lecturing and critical writing. In March 2010, Tudor Bratu set up Bucharest AIR, an artist in residence project meant to facilitate international artistic production, research and cultural exchange in Romania. For more information visit Tudor Bratu.

Bucharest AIR collaborates closely with the Centre for Visual Introspection, The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB) and Transartists.
 

Bucharest Air

Alex Mirutziu

Alex Mirutziu is a Romanian artist who makes work that's pretty queer, he has an interesting website which can be found HERE the navigation of the site is a little unusual but it's worth the effort, I came across him in an issue of DIK Fagazine which is a queer art zine produced in Poland, their recent issue focuses on Romania.
//emma

parkour

have also been finding parkour really interesting as a method of exploration navigation

though it is only cool when you are like her. Had to search a while to find female parkour which was not trivializing. in one they shopped high heels.....just sayin.....

guy debord on derive (i know you guys know it :)

One of the basic situationist practices is the[literally: “drifting”], a technique of rapid passage through varied ambiances. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.

In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.

But the dérive includes both this letting-go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities. In this latter regard, ecological science — despite the narrow social space to which it limits itself — provides psychogeography with abundant data.

The ecological analysis of the absolute or relative character of fissures in the urban network, of the role of microclimates, of distinct neighborhoods with no relation to administrative boundaries, and above all of the dominating action of centers of attraction, must be utilized and completed by psychogeographical methods. The objective passional terrain of the dérive must be defined in accordance both with its own logic and with its relations with social morphology.

In his study Paris et l’agglomération parisienne (Bibliothèque de Sociologie Contemporaine, P.U.F., 1952) Chombart de Lauwe notes that “an urban neighborhood is determined not only by geographical and economic factors, but also by the image that its inhabitants and those of other neighborhoods have of it.” In the same work, in order to illustrate “the narrowness of the real Paris in which each individual lives . . . within a geographical area whose radius is extremely small,” he diagrams all the movements made in the space of one year by a student living in the 16th Arrondissement. Her itinerary forms a small triangle with no significant deviations, the three apexes of which are the School of Political Sciences, her residence and that of her piano teacher.

Such data — examples of a modern poetry capable of provoking sharp emotional reactions (in this particular case, outrage at the fact that anyone’s life can be so pathetically limited) — or even Burgess’s theory of Chicago’s social activities as being distributed in distinct concentric zones, will undoubtedly prove useful in developing dérives.

If chance plays an important role in dérives this is because the methodology of psychogeographical observation is still in its infancy. But the action of chance is naturally conservative and in a new setting tends to reduce everything to habit or to an alternation between a limited number of variants. Progress means breaking through fields where chance holds sway by creating new conditions more favorable to our purposes. We can say, then, that the randomness of a dérive is fundamentally different from that of the stroll, but also that the first psychogeographical attractions discovered by dérivers may tend to fixate them around new habitual axes, to which they will constantly be drawn back.

An insufficient awareness of the limitations of chance, and of its inevitably reactionary effects, condemned to a dismal failure the famous aimless wandering attempted in 1923 by four surrealists, beginning from a town chosen by lot: Wandering in open country is naturally depressing, and the interventions of chance are poorer there than anywhere else. But this mindlessness is pushed much further by a certain Pierre Vendryes (in Médium, May 1954), who thinks he can relate this anecdote to various probability experiments, on the ground that they all supposedly involve the same sort of antideterminist liberation. He gives as an example the random distribution of tadpoles in a circular aquarium, adding, significantly, “It is necessary, of course, that such a population be subject to no external guiding influence.” From that perspective, the tadpoles could be considered more spontaneously liberated than the surrealists, since they have the advantage of being “as stripped as possible of intelligence, sociability and sexuality,” and are thus “truly independent from one another.”

At the opposite pole from such imbecilities, the primarily urban character of the dérive, in its element in the great industrially transformed cities — those centers of possibilities and meanings — could be expressed in Marx’s phrase: “Men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive.”

One can dérive alone, but all indications are that the most fruitful numerical arrangement consists of several small groups of two or three people who have reached the same level of awareness, since cross-checking these different groups’ impressions makes it possible to arrive at more objective conclusions. It is preferable for the composition of these groups to change from one dérive to another. With more than four or five participants, the specifically dérive character rapidly diminishes, and in any case it is impossible for there to be more than ten or twelve people without the dérive fragmenting into several simultaneous dérives. The practice of such subdivision is in fact of great interest, but the difficulties it entails have so far prevented it from being organized on a sufficient scale.

The average duration of a dérive is one day, considered as the time between two periods of sleep. The starting and ending times have no necessary relation to the solar day, but it should be noted that the last hours of the night are generally unsuitable for dérives.

But this duration is merely a statistical average. For one thing, a dérive rarely occurs in its pure form: it is difficult for the participants to avoid setting aside an hour or two at the beginning or end of the day for taking care of banal tasks; and toward the end of the day fatigue tends to encourage such an abandonment. But more importantly, a dérive often takes place within a deliberately limited period of a few hours, or even fortuitously during fairly brief moments; or it may last for several days without interruption. In spite of the cessations imposed by the need for sleep, certain dérives of a sufficient intensity have been sustained for three or four days, or even longer. It is true that in the case of a series of dérives over a rather long period of time it is almost impossible to determine precisely when the state of mind peculiar to one dérive gives way to that of another. One sequence of dérives was pursued without notable interruption for around two months. Such an experience gives rise to new objective conditions of behavior that bring about the disappearance of a good number of the old ones.[1]

The influence of weather on dérives, although real, is a significant factor only in the case of prolonged rains, which make them virtually impossible. But storms or other types of precipitation are rather favorable for dérives.

The spatial field of a dérive may be precisely delimited or vague, depending on whether the goal is to study a terrain or to emotionally disorient oneself. It should not be forgotten that these two aspects of dérives overlap in so many ways that it is impossible to isolate one of them in a pure state. But the use of taxis, for example, can provide a clear enough dividing line: If in the course of a dérive one takes a taxi, either to get to a specific destination or simply to move, say, twenty minutes to the west, one is concerned primarily with a personal trip outside one’s usual surroundings. If, on the other hand, one sticks to the direct exploration of a particular terrain, one is concentrating primarily on research for a psychogeographical urbanism.

In every case the spatial field depends first of all on the point of departure — the residence of the solo dériver or the meeting place selected by a group. The maximum area of this spatial field does not extend beyond the entirety of a large city and its suburbs. At its minimum it can be limited to a small self-contained ambiance: a single neighborhood or even a single block of houses if it’s interesting enough (the extreme case being a static-dérive of an entire day within the Saint-Lazare train station).

The exploration of a fixed spatial field entails establishing bases and calculating directions of penetration. It is here that the study of maps comes in — ordinary ones as well as ecological and psychogeographical ones — along with their correction and improvement. It should go without saying that we are not at all interested in any mere exoticism that may arise from the fact that one is exploring a neighborhood for the first time. Besides its unimportance, this aspect of the problem is completely subjective and soon fades away.

In the “possible rendezvous,” on the other hand, the element of exploration is minimal in comparison with that of behavioral disorientation. The subject is invited to come alone to a certain place at a specified time. He is freed from the bothersome obligations of the ordinary rendezvous since there is no one to wait for. But since this “possible rendezvous” has brought him without warning to a place he may or may not know, he observes the surroundings. It may be that the same spot has been specified for a “possible rendezvous” for someone else whose identity he has no way of knowing. Since he may never even have seen the other person before, he will be encouraged to start up conversations with various passersby. He may meet no one, or he may even by chance meet the person who has arranged the “possible rendezvous.” In any case, particularly if the time and place have been well chosen, his use of time will take an unexpected turn. He may even telephone someone else who doesn’t know where the first “possible rendezvous” has taken him, in order to ask for another one to be specified. One can see the virtually unlimited resources of this pastime.

Our loose lifestyle and even certain amusements considered dubious that have always been enjoyed among our entourage — slipping by night into houses undergoing demolition, hitchhiking nonstop and without destination through Paris during a transportation strike in the name of adding to the confusion, wandering in subterranean catacombs forbidden to the public, etc. — are expressions of a more general sensibility which is no different from that of the dérive. Written descriptions can be no more than passwords to this great game.

The lessons drawn from dérives enable us to draw up the first surveys of the psychogeographical articulations of a modern city. Beyond the discovery of unities of ambiance, of their main components and their spatial localization, one comes to perceive their principal axes of passage, their exits and their defenses. One arrives at the central hypothesis of the existence of psychogeographical pivotal points. One measures the distances that actually separate two regions of a city, distances that may have little relation with the physical distance between them. With the aid of old maps, aerial photographs and experimental dérives, one can draw up hitherto lacking maps of influences, maps whose inevitable imprecision at this early stage is no worse than that of the first navigational charts. The only difference is that it is no longer a matter of precisely delineating stable continents, but of changing architecture and urbanism.

Today the different unities of atmosphere and of dwellings are not precisely marked off, but are surrounded by more or less extended and indistinct bordering regions. The most general change that dérive experience leads to proposing is the constant diminution of these border regions, up to the point of their complete suppression.

Within architecture itself, the taste for dériving tends to promote all sorts of new forms of labyrinths made possible by modern techniques of construction. Thus in March 1955 the press reported the construction in New York of a building in which one can see the first signs of an opportunity to dérive inside an apartment:

“The apartments of the helicoidal building will be shaped like slices of cake. One will be able to enlarge or reduce them by shifting movable partitions. The half-floor gradations avoid limiting the number of rooms, since the tenant can request the use of the adjacent section on either upper or lower levels. With this setup three four-room apar

on the road

On the road was a book which used the idea of the moment and the situation......being there.....as the thing in itself, the beat mindset.....a movement......and the words, that which was left behind, almost a relic of the moment, but a way to lead others into the moment.

“They danced down the streets like dingledodies, and I shambled after as I’ve been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn…”


And for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotus-lands falling open in the magic mothswarm of heaven. I could hear an indescribable seething roar which wasn't in my ear but everywhere and had nothing to do with sounds. I realized that I had died and been reborn numberless times but just didn't remember because the transitions from life to death and back are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it."

http://www.terebess.hu/english/ontheroad1.html < full book here

More Roni Horn

I've always loved the simplicity of Roni Horns work...I kind of envy it actually. I like the consideration of water because I live on an Island and am constantly reminded of the sea...most cities are built beside water sources, Bucharest is situated on the banks of the Dâmbovița River, which flows into the ArgeșRiver, a tributary of the Danube...this is where we travel to.
//emma

Roni Horn - Water

//emma

Common Love: Rona Yefman

//emma

Interesting to me in terms of collaborative portraiture, alter ego's and queer images. I would like to develop an alter ego.

engage2012-ABOUT THE PROJECT

                engage 2012 artist led residential city project

          project description and details

Thematic background

During engage2012, a group of artists will travel from their different cities of residence, to Bucharest, Romania where none of them have ever been before. They will stay in Bucharest for two weeks. The artists will go out on their own into the city, where they explore, engage and interact, drawing from their own artistic practice and perspective. In this way they are made aware of their surroundings; a city in which they are strangers, newcomers. Bucharest Air, an artist run organization, will host the project and in return the project participants will share their research in a public presentation at the end of their stay.

Each day the group will meet together and share their thoughts and experiences, developing both their dialogue with the group and with the city of Bucharest.

The artists leave their homes, where reactions and interactions are often familiar and defined. They come together in a foreign city, where they themselves are the others, simultaneously being in the city, as well as apart from it due to their position as foreigners. The artists who are participating in engage2012 have during the course of their own practices, explored issues such as inside(r)/ outside(r), separate/ integrated, subject/ object. They have an interest in continuing these explorations, bringing their practices “onto” a city in an open and communicative process. They intend to establish a dialogue with each other, with the city, and with their host.

The process questions where and how “art” takes place. Here the dialogue is central, the making and unmaking of ideas and collective and individual strife, pushing beyond the boundaries set out for us.

How

As the project is intended to involve both individual research and collective dialogue all the participants will be expected to partake in daily meetings/ conversations. When, and under what circumstances these will take place will be planned within the group. It could, for example, be over dinner or in a public space. Apart from these meetings the participants are expected to engage with the city, explore it through the interface of their own art practice. Whatever impressions, questions or conflicts that appear relevant during these daily engagements with the city will constitute the topics of our conversations. Each participant will be encouraged to support their thoughts with “material” they have collected throughout the day; stories, drawings, anecdotes, found ephemera, recordings etc. During the first part of the project these meetings are intended to be closed so as to socially establish the group. As a form of presentation at the end of the project they will then be held open to the public for 1-3 days. During these final meetings participants can invite the public and local artists to join in the conversation. It could be moderated as a large “around-the table” or a speed-dating session. This is meant as the conclusion of the residential aspect of the project. The three organizing artists have also been invited by Bucharest Air director Tudor Bratu to present a lecture/ workshop to local art students about their individual practices and their experience of working together on engage2012.

Engage2012 is currently without funding, proposals for funding are being submitted locally by each artist, if you can offer funding or support for the project please contact us directly. We anticipate that engage will develop further, considering that we have had such positive responses from several art organizations across Europe, we foresee an ongoing dialogue and collaboration internationally, developing rich and diverse networks of exchange.

Documentation/ Publication

Throughout the process the meetings will be documented via audio recordings (ca 1-3 h daily). The transcriptions of these conversations, as well as any additional material produced in/ around/ and relevant to the project by the participants will be edited together in a publication. This publication is intended to exist online as a blog and newsletter from which parts could be sent to existing art-magazines. If possible we also wish to produce a small paper-edition that can be presented in an exhibition. It is however important to point out that the conclusion of the project takes place in the open conversations during the final stage of our stay.

We have begun and maintained this blog thus far and this could become a public document of the overall process from early planning stages to the point of visiting and residing in the new city, sharing the knowledge gained over the course of this artist-organized project.

Who is Behind Engage 2012?

This project is born from the collective concerns and curiosities of three artists; Josefin Rasmuson (Sweden) Emma Haugh (Ireland) and Tess Walkowski (US/ Resident in the Netherlands). Josefin Rasmuson and Tess Walkowski met during their studies in Amsterdam. During this period they organized several projects together. Josefin Rasmuson met Emma Haugh during Aerial Blue (organized by the Good Hatchery, Ireland) summer 2011 where they both participated in a "survival camp for contemporary artists". These relations are the basis for engage2012. The three artists meet regularly online for collaborative writing sessions and group discussion about the project and it’s ongoing development.

Juan Delgado- Le Reve de Newton

Hello friends, 

I just had to share this video with you, I find it so beautiful. 

http://lerevedenewton.wordpress.com/

Its by Juan Delgado, a friend artist who I met during This is Not a Gateway in London.

Josefin r

Inspiring blog

http://arttorrents.blogspot.com/
inactive since 2008, but the stuff thats there is interesting

josefin r

Text for AVATARVARO, Premiere 8 dec, Stockholm

(this text will originally be published in SWE, here food for thought)


To be the body without the mind.
To reflect with passive distance on the actions performed by the body, as if they were not one's own.
To experience proximity to another person freed from the isolation of the “I”.

In the meeting of avatars there is complicity and trust, a twinkle of an eye, a silent undertone.
Whilst the operators'  isolated “I”s desperately attempt to overcome the undefinable divide between them the avatars are already there, they are already mobilizing.
They have found that they have something in common, in the midst of freedom from power and responsibility. .
And perhaps this experience of community is about (for once) ending up  on the "right" side in the great simplified Revolutionary drama - without hypocracy or divided identities.

In all of this, the hand-over becomes a happy one, like a romantic form of apathy.
Why do we want to hand ourselves over like this?
Is it not enough to be spectators in the society and time we are living in, do we also want to be spectators to our own lives, to the actions performed by our own bodies? Maybe it is the expression of a generations impotence in relation to the global problems and power-structures that define their lives. Why are we supposed to take responsibility of something we have no power over, of problems we haven't created?

Or perhaps it isn't a time-specific behavior, rather the opposite; it is this readiness to mental slavery and freedom of responsibility desired by our parents and their parents that have shaped the power-structures that we are now living with.
In that case, we should rather free ourselves from romantic notions from apathy.
Its all the same in the end though - we decide guiltily and throw ourselves into a liberation from all responsibility.


There is an image of an installation by Anish Kapoor - in the middle of the floor in a completely white room is a perfectly black and flat circle. (See Descent into Limbo, 1992) (1).
Except its not a circle but a hole, a hole that seems to open beyond the room, beyond the frontier constituted by the floor, wall or installation.
On the other side of the hole is the nothingness, a great dark dissolution of the "I". The void.
It is horrifying and seductive, and inviting.

The Operator has the power through agreement, and we can assume that there is also an agreement for how this power may be used.
Thereby we have crossed to the other side of the frontier, we have handed ourselves over and the discussion has shifted towards what comes next. 
Marina Abramovic made a performance in 1974, Rythm 0, in which she handed over the power to the audience. She had placed 72 objects on a table, amongst others a rose, honey,
a feather, a whip a gun and a bullet. The audience was invited to use these tools on the artist, as they chose, for pain or pleasure.
The session lasted for 6 hours and when the time was up she walked of the stage bleeding.
She is reported to have said "What I learned was that ...if you leave it up to the audience, they can kill you"(2).

The audience that caresses with a feather or loads a bullet into the gun hides behind both Operator and Avatar, and the relation between them is least to say ambivalent.
Both can view what is happening with distance; one because s-he does not make the decisions that rule his/her actions,
and the other because s-he always maintains the physical distance to any potential consequences that may come as result of these actions.
What comes next. Through the darkness.
Perhaps the only insight is that there is only more darkness, and if we hand over the power it will further or later be used against us.
Or perhaps - apart from the various monsters of humanity -  there are caverns deep down in the dark, in the shapeless, blunt betweenspace where only the Avatars can fit.
And perhaps that is the strength of the avatars. Beyond the competition of the "I"s they are gathering an underground army. ;-))

(1) Descent into Limbo, 1992, Museum de Pont, Tilburg, NL, Groen, Rianne,
http://riannegroen.blogspot.com/2011/01/into-unknown-void-in-contemporary-art.html
(2) A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002),  p 29

www. turteatern.se/avatarvaro/


Josefin r

"Escape Attempts" Lucy R Lippard

Good evening!

I just finished reading “Escape Attempts,” Lucy Lippard’s introduction to her book on conceptual art, Six Years: The dematerialization of the art object from 1966 to 1972:

I find it inspiringly pragmatic and there are loads of ideas from it that I think could be looked at and discussed further. At this point I was reading it 1) because I like the way she writes, 2) Im doing a little research as you may know on art connected to ideas of void/ emptiness/ postapocalyptic melancholia and its cultural/ historical context, and stumbled on this. 

In any case, I think the final paragraph is somewhat of a cut-out-and-keep-in-you-pocket:

Perhaps most important, Conceptualists indicated that the most exciting "art" might still be buried in social energies not yet recognised as art. The process of extending the boundaries didn't stop with Conceptual art: These energies are still out there, waiting for artists to plug into them, potential fuel for the expansion of what "art" can mean. The escape was temporary. Art was recaptured and sent back to its white cell, but parole is always a possibility. 

 Cheerful and cynical at the same time.

Whole text

/Josefin r

Intelligent Bodies

Intelligent Bodies and Ecological Subjectivities:
Merleau-Ponty’s Corrective to Postmodernism’s
“Subjects” of Education


This is a text my Mum forwarded on to me yesterday. It's categorized under philosophy of education but I found it relevant to multiple concerns. I really like that these ideas re-unite all aspects of lived experience and don't atomize the complexity of how we physically experience and navigate the world. the ideas in relation to location are particularly relevant to engage2012 as-well as ideas about 'encountering' the world rather than 'perceiving' it.


READ THE FULL TEXT HERE


//emma

something lovely

Birds on the Wires from Jarbas Agnelli on Vimeo.


Emma

Shoplifters of the World Unite - Slavoj Žižek on the meaning of the riots

"Alain Badiou has argued that we live in a social space which is increasingly experienced as ‘worldless’: in such a space, the only form protest can take is meaningless violence. Perhaps this is one of the main dangers of capitalism: although by virtue of being global it encompasses the whole world, it sustains a ‘worldless’ ideological constellation in which people are deprived of their ways of locating meaning. The fundamental lesson of globalisation is that capitalism can accommodate itself to all civilisations, from Christian to Hindu or Buddhist, from West to East: there is no global ‘capitalist worldview’, no ‘capitalist civilisation’ proper. The global dimension of capitalism represents truth without meaning."

Real the full article HERE

Emma

Julia Kristeva - Strangers to Ourselves

This text by Julia Kristeva is very well attuned to our project. I have posted some extracts below, most of the text can be read online HERE. I particularly like how she suggests that we not attempt to solidify 'otherness' but 'merely touch it...without giving it a permanent structure'. 

Emma

PSYCHOSIS part I

 

I saw the exhibition Psychosis Part I at Färgfabriken in Stockholm. I thought these two works perhaps esp. interesting to Emma. Also these are works by artists in the nextdoor countries to Romania.  I really liked the one below by Chto Delat?

Another note that I found personally interesting has to do with to contrast between this exhibition 

and the one next door; works from the Master Students at Konstfack textile dep. The first was so incredibly dense, full of words, reference, overlapping sounds and importance, the second was whitish, silent, still, and as if hanging suspended mid air in no-time space. 

//J

JUDITH BUTLER QUOTEs-emma's notebook

Judith Butler from 'Undoing Gender' 

Good to consider when thinking about the 'other'

I come back to this a lot