ADMA 2023-2024

In my research, I explore the lived experiences and intimate dynamics within an intergenerational mother-daughter relationship through the lens of queer phenomenology.

Throughout history, phenomenology has consistently emphasised specific perspectives, orientations, and objects, presenting them as inherently neutural and accessible while labelling others as inaccessible and uncomfortable. Sara Ahmed argues that queering phenomenology unveils the arrangement of social relationships in space and how queerness disrupts and reorders these relationships, diverging from recognised paths.

Queer phenomenology (Sara Ahmed) involves the examination of how specific spaces and objects are frequently considered neutral or objective. It then challenges this assumption by adhering to the traditional practices of phenomenology.

This is a photo of the process of turing a rainboot to a filming devise.

(Photo courtesy of the artist.)

My research journey delves into the intricate layers of identity, memory, and belonging within the realm of migration and queer phenomenology. Through the lens of my own experiences, I explore the nuanced interactions between my mother and me, navigating both distance and proximity. This exploration addresses broader societal inquiries into coexistence, the negotiation of domestic spaces, and the reimagination of digital kinship.

This is a still image from a video that I took using a filming tool, the metal ball. The overlapping visuals include interactions between my AdMa program colleague and me, as well as my mother's interactions with her colleague in the hospital working environment.

(Image courtesy of the artist.)

As a time-based media video artist, I blend theoretical inquiry with creative video expression. My central focus of this visual investigation lies in crafting self-made filming tools using repurposed objects—a process I term "queering tools." These tools, transformed in function and form, serve as instruments for capturing video visuals from many angles and perspectives, thus challenging conventional viewpoints. This inherent drive propels me to delve deeper into the concept of queerness within "Queer Phenomenology" by revitalising discovered domestic items and engaging in object-making, and visual exhibiting through performances.

Here are my performance tools and setup in the "We Who Are About" AdMa public presentation.

(Photo courtesy of the artist.)

During the presentation performance at Het Bos in Antwerp.

(Photo Photo taken by Saskia Van der Gucht.)

During the presentation performance, the projection from the gym ball's angle was displayed on the white wall.

(Photo Photo taken by Saskia Van der Gucht.)

I develop a multifaceted exploration of how queerness reshapes perspectives and relationships, particularly within intergenerational dynamics. Through the creation of experimental video art, performance, and theoretical frameworks, I aim to uncover new dimensions of intimacy, memory, and cultural negotiation. Ultimately, this interdisciplinary approach will contribute to broader societal discussions on identity, belonging, and the politics of cohabitation, shedding new light on the complexities of my feminist-queer migration experiences.

This is a photo of the video "Space and Place" screening in an intimate dark room during the exhibition.

(Photo courtesy of the artist.)

Here are the script photo books placed in a suitcase, exhibited in the screening room of the exhibition. The narrative combines personal experiences and collective memories shared with my mother. By fictionalising elements, I reimagine the past by transforming my character into my mother's bag. Part of the content from this script will be shown in the AdMa TYPP.

(Photo courtesy of the artist.)