EVELIN STERMITZ

(Áustria - Austria)

EVELIN STERMITZ M.A., M.Phil., studied Media and New Media Art at the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, and holds the degree in Philosophy from Media Studies. Her works in the field of media and new media art focus on post-structuralist feminist art practices. In 2008 she founded ArtFem.TV - Art and Feminism ITV and received a Special Mention for the project at the IX Festival Internacional de la Imagen, VI Muestra Monográfica de Media Art, University of Caldas, Manizales, Colombia, in 2010.

Her works have been exhibited and screened at various venues such as the MMoMA Moscow Museum of Modern Art, Russia / Vetlanda Museum, Sweden / Centro Nacional de las Artes, Mexico City / MAMBA Museo de Arte Moderno de Buenos Aires, Argentina / PAN Palazzo delle Arti Napoli / CAM Casoria Contemporary Art Museum, Naples, Italy / Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia / Fundació Joan Miró and CCCB Centre de Cultura Contemporània de Barcelona, Spain / Museum of Fine Arts, Florida State University, USA / MAC/VAL Musée d'Art Contemporain du Val-de-Marne, France / Chelsea Art Museum, New York, USA / International Museum of Women, San Francisco, USA / Museo de las Mujeres, San José, Costa Rica / New Museum, New York, USA / Anthology Film Archives, New York, USA.


TÍTULO - TITLE

BLACK BLUE ABSTRACT

DURAÇÃO - TIME

08'11''

ANO - YEAR

2014

PAÍS - COUNTRY 

(Áustria - Austria)

FORMATO - FORMAT  

16:9


13-1S  BLACK BLUE ABSTRACT -  Evelin Stermitz   1ª SESSÃO | 1st SESSION

IMAGE PLAY ► International Video Art Festival - III Edition 2021 (Funchal, Madeira - Portugal)

CREDITS:

Evelin Stermitz Concept and Video.

Sound, Rising Mix, composed by Elise Kermani with Natasha Kermani, violin, 2014

SYNOPSIS:

BLACK BLUE ABSTRACT: In an abstract form, black and blue are visualizing a color surface for the screen. The color movements are vanishing and reappearing in a constant flow. The abstract surface for the screen describes endless possibilities of contingency.


TÍTULO - TITLE                              DURAÇÃO - TIME              ANO - YEAR             PAÍS - COUNTRY                FORMATO - FORMAT

THE MAGIC MIRROR                                 04'14''                           2019                      (Áustria - Austria)                              16:9   

SEES BLACK AND WHITE


7-2S  THE MAGIC MIRROR SEES BLACK AND WHITE - Evelin Stermitz   2ª SESSÃO | 2nd SESSION

IMAGE PLAY ► International Video Art Festival - III Edition 2021 (Funchal, Madeira - Portugal)

CREDITS:

Evelin Stermitz Concept, Performance and Video

+ Electronic Music Score recorded, composed and mixed by Elise Kermani, 2019

SYNOPSIS:

THE MAGIC MIRROR SEES BLACK AND WHITE: Mirrors have long been associated with female knowledge and power, and mirrors can be fruitfully used to think about how the fantastic represents and responds to everyday experience. The centrality of the magic mirror allows the doubled, divided, or multiplied self that reflects women's psychological experiences to be fully portrayed.

The mirror was a driving metaphor for Luce Irigaray, whose 1974 book, the one that got her expelled from Lacan's circle, was entitled 'Speculum of the Other Woman', punning on the use of the word 'speculum' to mean 'mirror'. Irigaray continued to work with this metaphor also in further writings such as 'This Sex Which Is Not One'. Simultaneous with the rise of second-wave feminism, Lacan's mirror stage and issues of the internalized male gaze described through the metaphor of the mirror by Sandra Gilbert and Susan Gubar in 'The Madwoman in the Attic', the mirror became a highly significant issue during the 1970s. With Naomi Wolf's book 'The Beauty Myth', the question of appearance as a feminist issue took on new urgency, and so was the age-old relationship between women and mirrors interrogated anew within 1990s feminism. The mirror doubles the boundary between the subject and object, self and other, I and not-I. The mirror emerges as a potent source of self-creation, magic, and ultimately story-telling itself. Contemporaneous theory argues that the mirror becomes a symbol of telling stories through a feminine subjectivity that is characterized by permeable ego boundaries and connection with others, as well as with the alienation from the self under conditions of patriarchy. The mirror's - and fantasy's - illusion of another world, identical and yet opposite to ours, creates a space for expressing the lived experiences of women and envisioning the feminist change necessary to improve those experiences.

(Source: Veronica Schanoes, Fairy Tales, Myth, and Psychoanalytic Theory: Feminism and Retelling the Tale. Routledge, 2016)