2019 November 28 / 13:30
deviant crip chronopolitics

Fantasy is what allows us to imagine ourselves otherwise; it establishes the possible in excess of the real; it points elsewhere. In the course of Statement at the Department of Site-specific Art, I will show several examples of my work and also talk about Crip Magazine as one of the projects that can be understood as an intervention.

Desire, time traveling, and fragmented bodies are some of the themes that connect the different pieces in the new volume of Crip Magazine (Volume #3 Actually, the Dead Are Not Dead.) This will be the last issue that has been edited by one or two individuals only. We are about to continue running Crip Magazine as a collective. I hope so.

Eva Egermann works with different media and collectives, such as the Manoa Free University, following a process-oriented approach. She has previously taught at the Art Academies of Vienna, Linz, Lucerne and Kassel, and was research fellow at the University of California, Berkeley. Egermann has been awarded several prizes for work related to her practice-based PhD on ‘Crip Modes of Artistic Research’.

Her practice embraces a wide variety of media and materials, from artist publications to exhibitions (including On Uncanny States and Bodies, a group show curated by Egermann at Lakeside Kunstraum in Klagenfurt, Austria in 2013), and artworks in the form of installation, video or performance (such as An Outcast Night, 2013, 2015).

Crip Magazine is a self-published magazine project. It explores forms of representation that oppose the conditions of normality/abnormality. The magazine is released on an irregular basis; the first issue was published in January 2012, while the second followed in May 2017. A new edition of Crip Magazine has been produced in the course of Bergen Assembly 2019.

 Crip Magazine comprises contributions on subjects such as crip pop culture, the history and presence of radical crip movements, and subcultural, left and queer contexts of disability. Its contributions deal with pain, opening up a transformative perspective on dis/abled body issues and bodily relations.


Image credits: Cover of Crip Magazine #3 Actually, the Dead Are Not Dead: Lorenza Böttner performing Venus de Milo, Snapshot by Eva Egermann in the Exhibition Requiem to the Norm, Württembergischer Kunstverein, 2019