PRESENTATION: Guilty, guilty, guilty! Towards a Feminist Criminology

The trial of Marianne Bachmeier*, 2nd November 1982, IMAGO teutopressThe group exhibition “Guilty, guilty, guilty! Towards a Feminist Criminology” undertakes a feminist assessment of jurisdictional power. The focus is on “women on trial”—female artists, “bad mothers,” women defendants and women plaintiffs on a rather lost cause. In this context, the courtroom does not only appear as a site of legal assessment, but primarily as a space in which a political or ideological image of women is always implicitly negotiated and constructed.

By Dimitris Lempesis
Photo: Kunstraum Kreuzberg/Bethanien Archive

“The face of war is unwomanly” stated journalist Svetlana Alexievich in her a seminal book of the same title, and the same seems to apply to the juridical history of female delinquency, women’s lawbreaking, and “unlawful” resistance. As sociologist Carol Smart has argued since the late 1970s, there is striking lack when it comes to assessing a female criminology, and even more so if we dare to think of it as a feminist criminology. To fathom the latter is one of the aims of this project. Utilizing a diverse range of methods and forms, including sound, film, collage, installation, research-based works, and activist practices, the artists will navigate through the juridical and bureaucratic sphere, consider alternative evidence, and reflect on double standards. They consider the trials of female concentration camp guards in postwar Germany (Dominique Hurth), the case of a Palestinian underage girl detained at the gateway of an Israeli settlement (Roee Rosen), the fatal stabbing of Marwa El-Sherbini at the Dresden court (Noa Gur), the hunting down of terrorist Patricia Hearst (Dennis Adams), and the precarious conditions of queer youth in American juvenile detention centers (Sam Richardson, Krystal Shelley and Shevaun Wright, conceived by Suzana Milevska). They also address legal constructs of femininity and motherhood (Barbara Breitenfellner, Susanne Sachsse), the distribution of guilt in divorce and child custody trials (Nika Dubrovsky, Ekaterina Shelganova), as well as the particular case of the Zwi Migdal mafia (Galit Eilat). They ultimately and importantly (Rüzgâr Buşki, İpek Duben) consider cases of killings in self-defense—and those who were not able to defend themselves. The common grounds remain the respective attempt to relocate the conviction of “being guilty” in the social and political conditions. Guilty of murder, or guilty of being alive? Guilty of breaking the law, or guilty of breaking it “unwomanly”? The exhibition “Guilty, guilty, guilty! Towards a Feminist Criminology” responds to these questions in two ways. First, by providing access to a specific stores of “feminist knowledge” of the accused female that is usually excluded from view or silenced in dusty mountains of files. More importantly, by creating a sense of coherence and solidarity between otherwise parceled, uprooted, or assumingly singular incidents of female disobedience—as a major key to a feminist reading of the law.

Participating artists and theoreticians: Dennis Adams, Barbara Breitenfellner, Rüzgâr Buşki, İpek Duben, Nika Dubrovsky, Galit Eilat, Noa Gur, Dominique Hurth, Kwiekulik, Suzana Milevska in collaboration with Sam Richardson, Krystal Shelley and Shevaun Wright, Roee Rosen, Susanne Sachsse, Ekaterina Shelganova

Photo: The trial of Marianne Bachmeier*, 2nd November 1982, IMAGO teutopress

* On 2/11/1982, Marianne Bachmeier was initially charged in court with murder. Later the prosecution dropped the murder charge. After 28 days of negotiations, the Board agreed on the verdict. Four months after the opening of proceedings she was convicted on 2/3/1983 by the Circuit Court Chamber of the District Court Lübeck for manslaughter and sentenced for unlawful possession of a firearm to six years in prison but was later released after serving three years.

Info: Curator: Sonja Lau, Assistant Curator: Shohreh Shakoory, Kunstraum Kreuzberg/Bethanien, Mariannenplatz 2, Berlin, Germany, Duration: 12/11/2022-19/2/2023, Days & Hours: Mon-Wed & Fri-Sun 10:00-20:00, Thu 10:00-22:00, www.kunstraumkreuzberg.de/

İpek Duben, LoveGame, 1998–2001. Installation. Courtesy İpek Duben / Banu and Hakan Çarmıklı Collection, Istanbul
İpek Duben, LoveGame, 1998–2001. Installation. Courtesy İpek Duben / Banu and Hakan Çarmıklı Collection, Istanbul

 

 

Roee Rosen, Explaining the Law to Kwame (film still), 2020.Video, 23 minutes. Courtesy Roee Rosen.
Roee Rosen, Explaining the Law to Kwame (film still), 2020., Video, 23 minutes. Courtesy Roee Rosen

 

 

Dominique Hurth, Preparations for trials of Belsen criminals. B.U. 10363.The interior of Luneburg Town Gymnasium, now being converted into a Court of Justice., 2022. Watercolor on paper, 21 x 29.7 cm. Courtesy Dominique Hurth.
Dominique Hurth, Preparations for trials of Belsen criminals. B.U. 10363. The interior of Luneburg Town Gymnasium, now being converted into a Court of Justice., 2022. Watercolor on paper, 21 x 29.7 cm. Courtesy Dominique Hurth

 

 

Photo of a protester in St. Petersburg in support of the “Khachaturyan Sisters”
Photo of a protester in St. Petersburg in support of the “Khachaturyan Sisters”