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Yours, KOW

Barbara Hammer

, Estate of Barbara Hammer

Feb 12 – Mar 17, 2011

DeutschEnglish

The documentary and experimental films of Barbara Hammer are considered among the earliest and most extensive representations of lesbian identity, love, and sexuality.

Das Werk der Dokumentar- und Experimentalfilmerin Barbara Hammer gilt als eine der ersten und umfangreichsten Darstellungen lesbischer Identität, Liebe und Sexualität.

To date, Hammer’s work has received little attention from the art world. Yet film retrospectives at New York’s MoMA (2010) and the Tate Modern, London, (2012) are now recalling the artist, who was born in Hollywood in 1939, as a pioneer of queer cinema who made decisive contributions to feminism and gay liberation as well as avant-garde cinema and performance art. On the occasion of Hammer’s eighth participation in the Berlin International Film Festival, we are pleased to present the first ever-solo show of her work, with a focus on the 1970s.

To the extent that love between women had made it into the movies at all, it remained embedded in a matrix of heterosexual—and almost exclusively male—gazes and narrative forms. “Even if the characters were lesbian, the script projects lesbian characters within a heterosexual world of role-playing, lovemaking, and domestic and professional life,” Hammer wrote (1). In order to create independent representations of women’s passion for their own gender and to bring them to theaters, Barbara Hammer and the circle of lesbian feminists of which she was a member in early-1970s San Francisco discarded conventional cinematic practices and started from scratch. Beginning in 1970, Hammer experimented with filmic representations of a new lesbian self-awareness that was only just breaking free from social taboos. “Visibility was the central concern for lesbians making cinema at this time, for the simple and profoundly sad reason that there were few or no pictures, images, or representations available. The screen space, on and off, was blank. Not just marginalized, but not there. There was no cinema to deconstruct. There was no gaze to analyze. […] We stepped into the void, the invisible, the blank screen, and named ourselves ‘lesbian.’”(2)

Im Kunstfeld wurde Hammer bislang noch wenig rezipiert. Film-Retrospektiven im New Yorker MoMA (2010) und in der Tate Modern London (2012) rufen aber nun die 1939 in Hollywood geborene Pionierin des Queer Cinema als eine Künstlerin ins Gedächtnis, die sich dem Feminismus und der homosexuellen Emanzipation ebenso verschrieb wie dem Avantgardekino und der Performance. Anlässlich ihrer achten Teilnahme an den Internationalen Filmfestspielen Berlin zeigen wir Barbara Hammers erste Einzelausstellung überhaupt und legen dabei den Fokus auf die Siebzigerjahre.

Sofern es die Liebe zwischen Frauen bis dato überhaupt ins Kino geschafft hatte, blieb sie eingebettet in eine Matrix heterosexueller – und fast immer nur männlicher – Blicke und Erzählformen. „Selbst wenn die Charaktere lesbisch waren, entwarf sie das Skript doch innerhalb einer heterosexuellen Welt des Rollenspiels, Liebemachens, des häuslichen und beruflichen Umfelds“, schrieb Hammer (1). Um die Passion für das gleiche Geschlecht aus der eigenen Perspektive in die Kinos zu bringen, wiesen Barbara Hammer und der Kreis lesbischer Feministinnen, dem sie Anfang der Siebzigerjahre in San Francisco angehörte, die konventionelle Filmpraxis zurück und begannen bei null. Hammer experimentierte ab 1970 mit filmischen Repräsentationen eines neuen lesbischen Selbstbewusstseins, das sich gerade erst aus gesellschaftlichen Tabus befreite. „Unser Hauptanliegen war Sichtbarkeit – aus dem einfachen und traurigen Grund, dass Lesben, die Kino machten, wenige oder gar keine Bilder vorfanden. Für uns war die Kinoleinwand leer. Nicht nur marginalisiert, sondern gar nicht da. Es gab kein Kino, das wir dekonstruieren, es gab keinen Blick, den wir analysieren konnten. […] Wir stellten uns in die Lücke, ins Unsichtbare, in den leeren Screen und nannten uns selbst ‚Lesben‘.“ (2)

Barbara Hammer, Double Strength, 1978, 16 mm film transferred to Digibeta, 4:3, Colour, sound, 16 min, exhibition view, KOW, 2011
DeutschEnglish

Her films broach taboos such as the female orgasm and menstruation.

Sie erschließt tabuisierte Themen wie den weiblichen Orgasmus und die Menstruation.

Using a hand-held camera, Hammer initially shot on 8 mm stock. Her second film—created in 1968 while the artist is still married, and her name is Barbara Ward—programmatically shows the desecration of a graveyard. Though only at the beginning of her development as an artist, she already disturbs the peace of the dead, confidently erecting a monument to herself amid them: “Barbara Ward Will Never Die.” The young filmmaker stakes her claim to a place in history. From now on she will document her own coming-out and her sexual liberation (“X,” 1973). She creates portraits of herself and lovers in lesbian relationships and biographies (“Double Strength,” 1978) and seeks to define an active, participant, and passionate gaze on lesbian sex. Her films broach taboos such as the female orgasm and menstruation. The rise of the performance art movement inspires films such as “Menses” (1974) and “Superdyke” (1975), created spontaneously during collective actions and ritual experiments. The feminist occupation of public spaces—including San Francisco’s city hall—and the parodic appropriation of cinematographic myths of masculinity ranging from Robin Hood to Easy Rider coalesce in “Superdyke.” “Blue Film No. 6: Love Is Where You Find It” (1998) is a found porn flick: a threesome. Hammer excises the male part, retaining the two ladies and an amusing digest of voyeuristic platitudes.

Hammer frequently appears in front of the camera, by herself or with friends, filling the cinematic screen with her own presence. She participates in the feminist project of making the private—in her case, even the most intimate aspects of life—public. To date, she has created an oeuvre comprising ca. eighty films, beginning with short and experimental formats but soon adding more extensive documentary works. Hammer, who moved to New York in 1983, time and again reflects on her own life and body, for instance addressing her bout with cancer in “A Horse Is Not a Metaphor” (2009). At the same time, she works to create filmic structures beyond narrative, linear space and linear time, by chronicling the biographies of marginalized women, and experiments with the filmic material itself.

1+2 Barbara Hammer, “The Politics of Abstraction,” in Queer Looks: Perspectives on Lesbian and Gay Film and Video, ed. Martha Gever, John Greyson, Pratibha Parmar (New York and London: Routledge, 1993), 71.

Text and photos: Alexander Koch / Translation: Gerrit Jackson

Mit der Handkamera dreht Hammer zunächst auf 8-mm. Programmatisch zeigt ihr zweiter Film von 1968 – da ist sie noch verheiratet und heißt Barbara Ward – eine Grabschändung. Künstlerisch noch am Anfang stört sie dennoch die Ruhe der Toten, um sich selbstbewusst in deren Mitte ein trotziges Denkmal zu setzen: „Barbara Ward Will Never Die". Die junge Filmemacherin reklamiert einen Platz in der Geschichte. Von nun an dokumentiert sie ihr Comingout und ihre sexuelle Befreiung („X“, 1973). Sie entwirft (Selbst-)Bildnisse lesbischer Beziehungen und Lebensläufe („Double Strength“, 1978) und sucht nach einem aktiven, beteiligten und leidenschaftlichen Blick auf lesbischen Sex. Sie erschließt tabuisierte Themen wie den weiblichen Orgasmus und die Menstruation. „Menses“ (1974) und „Superdyke“ (1975) greifen Impulse der aufkommenden Performancebewegung auf. In kollektiven Aktionen und rituellen Experimenten entstehen sie binnen Stunden. „Superdyke“ verquickt die feministische Besetzung des öffentlichen Raums – einschließlich des Rathauses von San Francisco – mit der parodistischen Aneignung kinematographischer Männlichkeitsmythen von Robin Hood bis Easy Rider. „Blue Film No 6: Love Is Where You Find It“ (1998) hingegen basiert auf Found Footage. Aus einem Pornostreifen - ein flotter Dreier - schneidet Hammer den männlichen Part heraus. Übrig bleiben die beiden Damen und eine amüsante Kurzfassung voyeristischer Plattitüden.

Oft steht Hammer vor der Kamera, allein oder mit Freundinnen, und füllt die Kinoleinwand mit sich selbst. Sie nimmt Teil an dem feministischen Projekt, das Private – hier sogar das Intimste – öffentlich zu machen. Bis heute entsteht ein rund 80 Filme umfassender Korpus aus kurzen experimentellen und bald auch längeren, dokumentarischen Formaten. Immer wieder reflektiert Hammer, die 1983 nach New York geht, das eigene Leben und den eigenen Körper, so ihre Krebserkrankung in „A Horse is Not A Metaphor“ (2008). Zugleich arbeitet sie an filmischen Strukturen jenseits von Narration, linearem Raum und linearer Zeit, fungiert als Chronistin marginalisierter Frauenbiographien, experimentiert mit dem Filmmaterial selbst.

1+2 Barbara Hammer, “The Politics of Abstraction,” in Queer Looks: Perspectives on Lesbian and Gay Film and Video, Martha Gever, John Greyson, Pratibha Parmar (Hg.), New York/ London: Routledge, 1993

Text und Fotos: Alexander Koch

Barbara Hammer, Double Strength, 1978, 16 mm film transferred to Digibeta, 4:3, Colour, sound, 16 min, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, Double Strength, 1978, 16 mm film transferred to Digibeta, 4:3, Colour, sound, 16 min, exhibition view, KOW, 2011
Barbara Hammer, Double Strength, 1978, 16 mm film transferred to Digibeta, 4:3, Colour, sound, 16 min, exhibition view, KOW, 2011
Barbara Hammer, Double Strength, 1978, 16 mm film transferred to Digibeta, 4:3, Colour, sound, 16 min, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011
Barbara Hammer, exhibition view, KOW, 2011

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