User:Michel W/Thesis

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Introduction

I want to examine the connection between cyberfeminism, the aesthetics of cyborg, and Taiwan/Asian queer communities. Within the cyborg concept, there’s a focus on non-binary opposition and the ambiguity of identity and boundaries. Similar to queer and non-binary people, liberate gender, break free from binary-centered opposition, and actively embrace a future of diversity, heterogeneity, and hybrid identities. In addition, I am interested in exploring cyberfeminism within an Asian context. Modern queer and gender spectrums have already broken down the traditional binary concept of gender; could there be even more possibilities? Do we still need this or similar myths and metaphors?

❣ Chapter I. Cyborg Aesthetics and Queer Identity

In this chapter I want to examine how cyborg,cyberfeminsim aesthetic enhance the understanding of queer and non-binary identites, particularly in Asia contexts.

I.I Artistic representations of the Queer-Cyborg

How do artistic representations (e.g., fashion, wearable tech, performance art) visualize and express queer experiences through the cyborg?

There are various mediums to embody the cyborg aesthetic, with fashion being one of the most prominent. Manfred Thierry Mugler perfectly transformed this aesthetic into his FW95 haute couture collection, featuring his iconic robot-style metallic suit combined with silver armour, and transparent perspex cut-outs at the bust, belly and legs. It amplifies the fusion of human and machine, draws inspiration from 'Maschinenmensch' (Maria), the chimera-like character from Thea von Harbou's novel Metropolis, later adapted into the sci-fi silent film Metropolis by Fritz Lang. Recently, this fembot suit regained attention when the actress Zendaya wore it at the Dune 2 premiere in London in February 2024, showing that the concept of merging the human body with machine or metal remains timeless. Luckily I had the chance to see this iconic robot suit in person at the Thierry Mugler: Couturissime exhibition at Kunsthal Rotterdam in late 2019. I still remember these astonishing and truly amazing sensations when I saw the exquisite craftsmanship and empowered by the bold statement of the design. From his various collections there's frequently a metaphor for 'Women as a powerful weapon, beautiful and fearless.' He emphasized strength and resilience , a mix of femininity with futuristic elements. As Garelick (2012) noted:

Thierry Mugler refused “pretty,” or “soft” fabrics and sculpted clothes instead in latex, metal, Vulcanized rubber. They were not meant to be comfortable or liberating. Mugler was the first to create stiletto heels out of actual steel, turning the foot into a James Bond-style metal weapon. He put women in body armor; he made them look like space aliens or futuristic warriors. The frequently outrageously masculine nature of the fantasies somehow managed to exaggerate the femaleness of the women inside.

While Mugler's designs empower women, I believe they also resonate with non-binary and fluid identities. Femininity, in my opinion, is not only for a single gender; it is a spectrum of personal traits that can be embraced and express by anyone. For example, Casey Cadwallader, the current creative director of Mugler, is famous for challenging traditional gender norms through the Mugler collection. As a queer person, Casey views femininity as diverse and inclusive. His work reflects this belief and using fashion to give voice to gender-diverse people. Moreover, Fashion could also be a statement for people to claim their identities and raise the awareness of LGBTQIA+ themes.

From Macaulay (2021) mentioned,

Mugler under Casey Cadwallader champions this with the inclusion of plus-size bodies and a mix of gender identities. Cadwallader’s usage of the queer and trans community can be considered as genius for many reasons. For one, it pays homage to Thierry Mugler and his spring/summer 1992 show in which he worked with drag artist Lypsinka, an iconic collaboration with fashion and the drag community. Also, it introduces a conversation about queer and trans visibility in the industry, ranging from the casting to the music used in the video, giving a platform for queer artists as well as normalising trans women in high fashion runways.

In relation to cyborg representation in performance art, German contemporary artist Rebecca Horn's early piece Finger Gloves (1972) express the body extension and cyborg aesthetic features the five-meter-long gloves made from balsa wood and cloth, allowing the wearer to reach objects meters away. It also explores the relationships between body and space, boundaries, isolation, and the tactile sensation of touching. This work inspired by her personal experience of isolation during a 12-month hospital stay between 1968 and 1969 due to a severe lung illness. She started to create different objects and make her own wearable body-sculptures in order to enhance her physical accessibility from the hospital bed. Another similar piece, Touching the Walls with Both Hands Simultaneously is a part of her Berlin Exercises Series (1974-1975), extends the concept of Finger Gloves. In this work, Horn slowly outstretches her arms to reveal long thin white cones attached to each finger, these attachments are carefully extended to reach the perimeter of the studio, a motion that registers Horn’s desire to make contact with the world outside her body (Whorrall-Campbell, 2021).

According to Diana Bularca(2019),

Horn’s early practice has been associated with prosthetic constructions, but they are not prostheses whose function is to substitute a missing body part. Rather, as Katharina Schmidt (1993, 76) notes, they are instruments designed for the refinement of the senses, instruments to ‘go beyond common experience.’

Horn's work reminds me of the empowering potential of the cyborg concept. By reconstructing the boundaries between self and the external world, her creations redefine the relationship between subject and object, offering new ways to experience and interact with the world (Jones & Macel, cited in Bularca, 2019).

Reference and Bibliography

❥ Haraway, D. (1985). A cyborg manifesto. Victoria, British Columbia: Camas Books.

❥ Rhonda, G. (2012) _Fashion, Cyborgs, and the Case of Thierry “Manfred” Mugler - artpress_. https://www.artpress.com/2012/09/04/fashion-cyborgs-and-the-case-of-thierry-manfred148-mugler/.

❥ Macaulay, S. (2021) _Is Mugler carrying trans representation in fashion right now? - Reborn Comms_. https://blog.yorksj.ac.uk/sammacaulay/2021/03/23/mugler/.

❥ Bularca, D. (2019) 'Rebecca Horn: devising intersubjective connections,' _World Art_, 9(3), pp. 329–349. https://doi.org/10.1080/21500894.2019.1637639.

❥ Whorrall-Campbell, E. (2021) _Desirous Dreams: The feminist erotics of Rebecca Horn’s ‘Berlin Exercises in Nine Parts’ (1974–75)_. https://www.anothergaze.com/desirous-dreams-feminist-erotics-rebecca-horns-berlin-exercises-nine-parts-1974-75/.