Dissidence, Dissidance: Claude Cahun & Marcel Moore's Visions and/in Oxana Chi's Motions

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Notes

1 See Chi (2012), http://oxanachi.de/productions/kill-joy.html

2 The product of Cahun and Moore’s collaboration has long been presented (in exhibitions and publications) as the sole authorship of Claude Cahun, and many images taken by Marcel Moore, or by both authors, have been and continue to be archived and displayed as self-portraits. However, current scholars such as Tirza True Latimer have amply demonstrated the fact that their art was often the result of a collaborative process, as documented for instance by labels on negatives and letters. See, for example, Latimer (2006).

3 “L'aventure invisible. L'objectif suit les yeux, la bouche, les rides à fleur de peau … L'expression du visage est violente, parfois tragique. Enfin calme – du calme conscient, élaboré, des acrobates. Un sourire professionel – et voilà ! Reparaissent la glace à main, le rouge et la poudre aux yeux. Un temps. Un point. Alinéa.”

4 See Ahmed (2010).

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Notes on contributors

Layla Zami

Dr. Layla Zami is an interdisciplinary artist and scholar, currently Visiting Assistant Professor of Humanities and Media Studies at Pratt Institute. Her work orbits around the intersection of cultural memory, historical trauma, gender/race/diaspora studies and spacetime. Born in Paris, France in 1985, Zami holds a PhD in Gender Studies from Humboldt-University in Berlin, Germany, where she also earned a Teaching Award. Publications include Contemporary PerforMemory (transcript, Critical Dance Studies, 2020). Zami is a Resident Artist with Oxana Chi Dance Art, and a Co-Curator at the International Human Rights Art Festival.