From 2019-2021 Luzie Meyer conceptualized and lead a seminar series as part of a pre-doctoral fellowship supported by the DiGiTal fund at the KH Weißensee in Berlin. The class departed from Donna Haraway’s concept of “situated knowledges” to approach artistic practices on the intersections between sound, text, performance, and music.

Referring back to Haraway’s queerfeminist* proposition for a new epistemology based on necessarily partial perspectives, various queerfeminist* artists’ productions, working methods, biographies, uses of technology, and attitudes were discussed with regard to the socio-cultural milieus from which they developed.


Recurring topics were the potential for subversive uses of tools and (aesthetic) languages to counteract patriarchal aesthetics, institutions of supremacy, and material relations within various art contexts. Especially questions of voice, gender, race, authorship, and performativity came up while consulting the work of artists and writers such as:

Pamela Z, Laurie Spiegel, Terre Thaemlitz, Saidyia Hartman, Donna Haraway, Suzanne Cusick, Anne Boyer, Cathy Berberian, Legacy Russell, Sara Ahmed, Hélène Cixcous, Anne Carson, Kaja Silverman, Sally MacArthur, Ute Wassermann, Alex Goody, Bonnie Gordon, Michaela Melián, Gudrun Gut, CA Conrad, Wendy Carlos, Lyra Pramuk, Laurie Anderson, Moor Mother, Billy Bultheel, Mina Loy, Sister Nancy, Baroness Elsa von Freytag-Loringhoven, Gertrude Stein, Kathy Acker, Miharu Koshi, Caterina Barbieri, Midori Takada, Jutta Koether, Meredith Monk, Erykah Badou, Roxanne Shante, Ikue Mori, Barbara Hannigan, Nora Turato, Louise Lawler, Valie Export, and more.