Archiving Our Bodies:

This article analyses artworks by three non-binary or trans masculine artists: Kris Grey, No title (2019), Emmett Ramstad, The good ones (2006), and Marie Ahlberg Andersen, My Dick Clit has many forms (2022). I look at the corporeal traces the artworks display: wound scabs, blood drops, and crotch...

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Main Author: Storm Madsen
Format: Article
Language:Danish
Published: The Royal Danish Library 2025-01-01
Series:Kvinder, Køn & Forskning
Subjects:
Online Access:https://tidsskrift.dk/KKF/article/view/141262
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author Storm Madsen
author_facet Storm Madsen
author_sort Storm Madsen
collection DOAJ
description This article analyses artworks by three non-binary or trans masculine artists: Kris Grey, No title (2019), Emmett Ramstad, The good ones (2006), and Marie Ahlberg Andersen, My Dick Clit has many forms (2022). I look at the corporeal traces the artworks display: wound scabs, blood drops, and crotch imprints, and find that they present a proof of trans becoming which, I would like to suggest, counters hegemonic narratives of transition and disturbs the notion of proof in relation to trans life; to highlight instead, the slowness, temporal multiplicity, and volatile uncapturability of trans embodiment. Through the article, I analyze Grey’s, Ramstad’s, and Andersen’s transition documentation as forms of counter-archiving, as well as how they function as t4t archival offerings – an invitation for other trans people to engage with their transition documentation and the potential of shaping their trans becoming through them. Through my personal narratives as refl exive, personal introductions to the analysis, the artworks, as a t4t archive, shed light on the moments and experiences that in small steps gets us, as trans people, closer to the way we want to be seen and feel about ourselves.
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issn 2245-6937
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series Kvinder, Køn & Forskning
spelling doaj-art-5098b8277dd44a97ab63dae1eb88dc902025-01-24T01:03:22ZdanThe Royal Danish LibraryKvinder, Køn & Forskning2245-69372025-01-0137210.7146/kkf.v37i2.141262Archiving Our Bodies:Storm Madsen This article analyses artworks by three non-binary or trans masculine artists: Kris Grey, No title (2019), Emmett Ramstad, The good ones (2006), and Marie Ahlberg Andersen, My Dick Clit has many forms (2022). I look at the corporeal traces the artworks display: wound scabs, blood drops, and crotch imprints, and find that they present a proof of trans becoming which, I would like to suggest, counters hegemonic narratives of transition and disturbs the notion of proof in relation to trans life; to highlight instead, the slowness, temporal multiplicity, and volatile uncapturability of trans embodiment. Through the article, I analyze Grey’s, Ramstad’s, and Andersen’s transition documentation as forms of counter-archiving, as well as how they function as t4t archival offerings – an invitation for other trans people to engage with their transition documentation and the potential of shaping their trans becoming through them. Through my personal narratives as refl exive, personal introductions to the analysis, the artworks, as a t4t archive, shed light on the moments and experiences that in small steps gets us, as trans people, closer to the way we want to be seen and feel about ourselves. https://tidsskrift.dk/KKF/article/view/141262ArchiveEmbodimentbecomingt4ttransitiontemporality
spellingShingle Storm Madsen
Archiving Our Bodies:
Kvinder, Køn & Forskning
Archive
Embodiment
becoming
t4t
transition
temporality
title Archiving Our Bodies:
title_full Archiving Our Bodies:
title_fullStr Archiving Our Bodies:
title_full_unstemmed Archiving Our Bodies:
title_short Archiving Our Bodies:
title_sort archiving our bodies
topic Archive
Embodiment
becoming
t4t
transition
temporality
url https://tidsskrift.dk/KKF/article/view/141262
work_keys_str_mv AT stormmadsen archivingourbodies