ABSTRACT

Geographical and political locations affect and shape feminist imaginaries as well as stories of feminist activism and theorizing. Postsocialist space gets lost because it is “largely presumed to be a process of democratization or Europeanization and thus uncritically positioned vis-a-vis the first world”. The concept of disidentification has been used as a theoretical tool to grasp the intersections of gender and generation and to critically conceptualize political tensions among different feminist waves. Embodying a character is an important theme in Anna-Stina Treumund’s work, increasingly so in her work since Drag. In the case of Treumund in Drag, there is no clear referent, no person in particular into whom she is trying to morph herself. Framing is unavoidable. It is how cultural life works. To some extent, then, it can be argued that reading images is not always dependent on the intentions of the one who made them.