Irina Aristarkhova – författare

The question "Where do we come from?" has fascinated philosophers, scientists, and artists for generations. This book reorients the question of the matrix as a place where everything comes from (chora, womb, incubator) by recasting it in terms of acts of "matrixial/maternal hospitality" producing space and matter of and for the other. Irina Aristarkhova theorizes such hospitality with the potential to go beyond tolerance in understanding self/other relations. Building on and critically evaluating a wide range of historical and contemporary scholarship, she applies this theoretical framework to the science, technology, and art of ectogenesis (artificial womb, neonatal incubators, and other types of generation outside of the maternal body) and proves the question "Can the machine nurse?" is critical when approaching and understanding the functional capacities and failures of incubating technologies, such as artificial placenta. Aristarkhova concludes with the science and art of male pregnancy, positioning the condition as a question of the hospitable man and newly defined fatherhood and its challenge to the conception of masculinity as unable to welcome the other.

The question "Where do we come from?" has fascinated philosophers, scientists, and artists for generations. This book reorients the question of the matrix as a place where everything comes from (chora, womb, incubator) by recasting it in terms of acts of "matrixial/maternal hospitality" producing space and matter of and for the other. Irina Aristarkhova theorizes such hospitality with the potential to go beyond tolerance in understanding self/other relations. Building on and critically evaluating a wide range of historical and contemporary scholarship, she applies this theoretical framework to the science, technology, and art of ectogenesis (artificial womb, neonatal incubators, and other types of generation outside of the maternal body) and proves the question "Can the machine nurse?" is critical when approaching and understanding the functional capacities and failures of incubating technologies, such as artificial placenta. Aristarkhova concludes with the science and art of male pregnancy, positioning the condition as a question of the hospitable man and newly defined fatherhood and its challenge to the conception of masculinity as unable to welcome the other.

Interpreting the meaning of hospitality in an unwelcoming political moment  Amid xenophobic challenges to America’s core value of welcoming the tired and the poor, Irina Aristarkhova calls for new forms of hospitality in her engagement with the works of eight international artists. In this first monograph on hospitality in contemporary art, Aristarkhova employs a feminist perspective to critically explore the artworks of Ana Prvački, Faith Wilding, Lee Mingwei, Kathy High, Mithu Sen, Pippa Bacca, Silvia Moro, and Ken Aptekar and asks who, how, and what determines who is worthy of our welcome. Spanning a diverse range of contemporary art practices, Arrested Welcome shows how artists challenge our existing notions of hospitality-culturally, philosophically, and politically. From the role of “microcourtesies” in social change to the portrayal of waiting as a feminist endeavor, Aristarkhova looks deeply into topics such as gender stereotypes of welcome, ways to reclaim civility, and the means by which guests (sometimes human, sometimes animal) push the limits of our hosting traditions. Blending a feminist analysis of hospitality with in-depth case studies on how contemporary artists stimulate personal reflection and political engagement, Aristarkhova initiates these important conversations at a critical time of national and international hospitality crises.

Interpreting the meaning of hospitality in an unwelcoming political moment  Amid xenophobic challenges to America’s core value of welcoming the tired and the poor, Irina Aristarkhova calls for new forms of hospitality in her engagement with the works of eight international artists. In this first monograph on hospitality in contemporary art, Aristarkhova employs a feminist perspective to critically explore the artworks of Ana Prvački, Faith Wilding, Lee Mingwei, Kathy High, Mithu Sen, Pippa Bacca, Silvia Moro, and Ken Aptekar and asks who, how, and what determines who is worthy of our welcome. Spanning a diverse range of contemporary art practices, Arrested Welcome shows how artists challenge our existing notions of hospitality-culturally, philosophically, and politically. From the role of “microcourtesies” in social change to the portrayal of waiting as a feminist endeavor, Aristarkhova looks deeply into topics such as gender stereotypes of welcome, ways to reclaim civility, and the means by which guests (sometimes human, sometimes animal) push the limits of our hosting traditions. Blending a feminist analysis of hospitality with in-depth case studies on how contemporary artists stimulate personal reflection and political engagement, Aristarkhova initiates these important conversations at a critical time of national and international hospitality crises.

Night Sweats: Cyberfeminist Practices intervenes in this moment of rapid biotechnological development and international political turmoil with thought-provoking, creative, and justice-oriented essays on art and life: opting out of the sludge and consent theatre presented by standard “terms and conditions”; creating plant-assisted reproductive technologies (pARTs) such as indecision trees; practicing compassionate inquiry; and becoming a cyborg-elder. Refusing the authoritarian turn and backlash against reproductive, LGBTQIA+, and racial justice movements, its authors and contributors—artists, writers, scholars, designers, activists, and educators—draw on the twenty-five years of cyberfeminist art work from the subRosa art collective, as well as Black, postcolonial, and environmental feminisms. The overall motto of the book is “we will save ourselves,” with examples taken from critical and revisionist histories of alchemy, the automation of writing systems, and reproductive mutual aid. In doing so, the authors develop new analyses of (cyber)feminist contributions to bioart, tactical media, gender, women’s, and sexuality studies, media studies and communication, technoscience studies and STS, durational art, and performance studies.