Towards a Feminism of the Void

Void

 

In October 2015, Audrey Wollen posted a picture on Instagram with the message ‘a PSA brought to u by ur local chapter of Female Nothingness’. The picture comprises a black and white composite image with the words BEWARE MALE ARTISTS MAKING ARTWORK ABOUT EMPTINESS/NOTHING DOES NOT BELONG TO YOU/GIRLS OWN THE VOID/BACK OFF FUCKERS!!!! next to crudely crossed out images of a John Cage manuscript, and works by, amongst others, Yves Klein (Le Vide (The Void)), Bas Jan Ader (Broken Fall (Organic). Amsterdamse Bos. Holland 1971) and Robert Barry, (Inert Gas Series: Helium. Sometime during the Morning of March 5, 1969, 2 Cubic Feet of Helium Will Be Released into the Atmosphere, 1969).[1]Wollen’s piece, alongside her ‘Sad Girl Theory’ (where she states, and I agree, that ‘the sadness of girls should be recognised as an act of resistance’[2]), is brilliant, both for its immediately blunt but recognisable vantage point, its militancy and its humour. ‘GIRLS OWN THE VOID’ – but what, we might ask, pushing past the humour, does it mean to own (the) nothing? A nothing that is possessed and taken away at the same time. Wollen’s synonymy – emptiness, nothing, void – and the defensive possessive ‘BACK OFF FUCKERS!!!!’ posits an ironic essentialism on two levels: the very idea of owning nothing, and the idea that ‘girls’ have a privileged insight into the nothing by virtue of being ‘girls’. It is precisely the sort of joke/non-joke that cannot be fully articulated, because it takes place on the very terrain of representation itself, which is also where sex and language do their obscure work. In this sense the joke morphs into something much more serious, revealing once again, that all jokes are acts of aggression, even in defensive formation.

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