Why is gender perspective on politics important what makes it relevant and timely today, and what can a gender approach contribute to the understanding of contemporary politics? Gender and gender politics are contested concepts in feminist theory and political science as well as travelling concepts that change meanings in different contexts, influenced by time, place, and space. The Beijing conference in 1995 established a temporary consensus about gender equality and women’s equal rights as (universal) ideals supported by many national governments and by UN institutions. The political conflicts during the last 20 years following 9/11 in 2001 and the subsequent ‘war on terror’ exacerbated the political polarization around gender politics and women’s right. The Arab Spring 2010/11 and the Growth of Rightwing political parties and movements in the West mobilized against women’s rights organizations targeting women’s rights, ‘gender ideology’ sexuality, LGBTQ and abortion issues. These global political developments inspired a growing activism led by younger people across the world concerned with gender equality, women’s rights and abortion, sexual harassment, gender violence and rape, for example Black feminists and minority groups in Black Life Matters, the #MeToo, 'A rapist in your path’ [un violador en tu camino], etc. The post-pandemic period and the experience of living with Corona for more than two years, including the recent War in Ukraine, have affected many people’s lives and futures hard has provided a unique opportunity for collective self-reflection. This inspires existential questions about the implications of contemporary political, social, and environmental developments or gender politics and social justice. The book aims to rethink gender and politics from intersectional and transnational perspectives. The ‘intersectional turn’ concerns the transformation of national politics, democracy, and welfare states premised on the inclusion of women, and other marginalized and racialized social groups. The ‘global turn’ is premised on transnational and postcolonial understandings of the geopolitical, environmental, and social problems from the perspective of social and environmental justice.
POEX 65 was a transdisciplinary experiment and event which took place in Copenhagen December 10-20, 1965. Short for ’POetry EXperiment’, POEX 65 was an exhibition event curated and created by Danish artist Knud Hvidberg (1948-91). It aimed at breaking the boundaries of artgenres, the false devision of professional and amateur, as well as the autonomy of the ‘work of art’ through the active use of technological and mediated platforms such as Flexowriters, Punch Paper Poetry, and Electronic Visual Music. As such, it was a very important event in Scandinavian media art history with more than 80 participants from 5 countries – from as different field as Conceptual Art, Electronic Music, Modern Jazz Poetry, Fluxus, Performance Art, Modern Dance, Concrete Poetry, Poesie Sonore etc... Nevertheless, POEX 65 somehow was forgotten – and almost erased from the academic memory and public archives. In 1990s POEX 65 was only hesitantly recognized as one of the most ambitious and original events of the 1960s in Denmark – but in short passages and footnotes. POEX 65 remained an enigma. The event itself has reached an almost total black-out 45 years later. The works themselves are not there anymore – or are but fragments. So why bother?This paper is about why it is extremely important to bother and care about the performative & collaborative media art practices like POEX 65. It is about the methodological and theoretical considerations put into the ongoing task conducted in the research project ‘The Unheard Avantgardes’ which is part of the LARM Infrastructure (focusing on sound in archives in Denmark and Northern Europa). But first and foremost, my paper will be about POEX 65 – the artists and their ideas, the art works, the contexts and the events; And the Paradigms of Post-Performative Media Art Practices at play in POEX 65.