![]() Finally, in relation to the conditions of our current knowledge economy, the article asks if a consideration of WAA could contribute to new imaginings of the archive as a moving and hospitable place. The argument contains a detailed exploration of voice as the primary medium for WAA, using Mladen Dolar's analysis of its particular ambiguities as a medium to relate back to the in-between status of the archive as Worsley conceives it. From this ambiguous position, Lewandowska struggles with questions of public and private, power and disempowerment, presence and absence and displacement through language to negotiate a creative praxis. In relation to this, I argue that Lewandowska performs uncertainty through the archive taking up the double position of guest and host in a foreign culture. Worsley describes a living archive as a subjective territory encompassing feelings, emotions and the irrational chaos of life. Picking up on Terry Cook's drawing together of postmodernism and archive theory, the article looks specifically at Victoria Worsley's diagrammatic description of the ‘in-between space’ of the archive to draw a link through time between Worsley's conception of the ‘New Model Arkive’ and Lewandowska's recorded collection. Framing the discussion on this pivotal example of an artist's alternative archival practice is a consideration of a paradigm shift in archival theory. This article looks at Marysia Lewandowska's Women's Audio Archive (WAA) considering it as an important feminist precursor to a more widespread interest in archives throughout the visual arts. KEYWORDS Yoko Ono, peep shows, performance, VALIE EXPORT, video art ![]() Reexamining Ono’s and EXPORT’s performances in this context, this essay suggests that vulnerability and risk provide artistic and political strategies for negotiating shifting cultural terrain. Resonant between each phenomenon is a burgeoning affective economy that rewrote the architectures of commerce in the city, creating entirely new systems of service labor and amplifying the circulation of images, particularly images of women, as privileged commodities. Mapping these shifts sheds new light on the material conditions that engendered feminist approaches to media, performance, and site specificity. ![]() Within the ecosystem of the 1960s metropolis, public sexuality served as amobile force that shifted the aesthetics and traffic of city life. The sets of practices examined here are situated within mutually implicated urban economies, systems of exchange that were undergoing unprecedented renegotiation during this period. This essay reads the work of two experimental feminist video and performance artists in the 1960s and ’70s (Yoko Ono and VALIE EXPORT) alongside concurrent transformations taking place within their urban landscapes, in particular the widespread emergence of pornographic media arcades.
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