I decided to use zines coming from my own experience of having heard about Sara Ahmed’s work with a reading group that adopted her blog’s name: Feminist Killjoys. I loved the idea of this reading group eager to let people know about Ahmed and feminism. I have decided to work with the craft board zine as an invitation to go back to the experience of the human relationship with the handcraft, with the cardboard as an immediate space to discharge emotions and to relate with a tactile experience within the piece. Disorientations is intended to be the anarchive of this piece and, at the same time, a repertoire of sentences that I considered relevant to complement participants’ experience.
The encounter with the zine is essential so that people can be able to get closer to aspects or concepts in a fast way. This is a tool that I found relevant in the dissemination of feminist approaches. In the emergency of everyday rituals, I found zines as a way to go further than social media in the sense of communication through the emotional relationship with the object. It can be reproduced because it is made of paper and photocopies and it is also invaluable compared to high-tech experiences. However, they can act as a dossier to take home and experience afterwards, and they can be as useful for documentation as a newspaper. During the presentation, people can create their own relationship with the cardboard and draw, paint, break, intervene it and, most importantly, read the content.
It includes excerpts from Sara Ahmed, Julietta Singh, Brahma Prakash, and Robin Wall Kimmerer. I would love to explore more deeply the concept of disorientation in relation to paper. The structure of this zine is still very linear and traditional. The experience can be an absolute disorientation if its structural design changes. However, the disorientation that I want to propose is more conceptual. This means that the content can create tension between orientations in the narrative of the zine itself. Although it is not explanatory of the piece, it gives hints of the places of transit during the piece. It is also a trace of the practitioner’s experience with the readings. It is a translation of concepts that were premeditatedly taken to disorient the experience of the archive.
Fall 2021
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