artparasites interviewed SABIWALSKY, liked the work, but:


Hi Lisa,


I have somewhat unfortunate news: our editor in chief is not happy with the images we took during our visit/interview. The concept & medium of your current body of work is very intriguing, both for me and for the rest of the team, yet we've increasingly placed a high priority on our top visual, as it has proven to be an important factor that determines whether our readers click on the article or not.


There's been times when we've even had to discard stories due to unsatisfying visuals and a lack of alternatives. However, we do not want to discard your story so we've come up with an alternative:


In the past (...) has made use of nudity in order to attract readership, build on the content of the article, and develop our stamp as a non-standard art magazine.

I've proposed the deployment of a female nude model in order to bring your story into the spotlight.

In this case, I feel it works at a meta level with the mythology that you've been engaging with–where a female vessel has been a key element in the dissemination/longevity of a male entity (Lenin's wife and Pero's daughter). The twist, in this case, is that even though a nude female is acting as a vessel to bring forth the words of this male writer, it is the story of a female which I want to bring forth.

All I'm asking at this point is your permission for the use of a nude female model in the cover of your story.

And I ask because we understand how controversial the nude body can sometimes be. I can assure you that, when writing my stories that include a nude, I've always been careful to maintain the integrity of the artwork, the artist and my very own. If you care to see, here are two examples of stories in which I've made use of a nude body:  (...)

Let me know if this idea is acceptable to you – I wouldn't want to jeopardize your concept/integrity.

All the best,


SABIWALSKY prefers her men in chains:


Hello ...,


The photos, particularly of me, are really are not that good, it is true - the work needs to be photographed differently, also, the work is not easy to photograph. Juan Pablo Diaz of okk has some better ones. But I am happy to go along with what you suggest.

However - I imagine that the scene with Simon and Pero might be visually particularly interesting - this would preferably include a male model in chains next to the female nude. As you can see in some of the images, the male is an attractive, well built figure. Robert, the curator, told me he could send some images of himself nude, but I trust you to have sources more adequate to what you have in mind.

It might even expand your readership. Attaching the historical sources I particularly like (Sebald):

A re-staging of this scene, or better, because of the possible sensitivity, a quoting. (Of course, in keeping with the standards of your publication, the scene might be modified somewhat, the breast need not actually be in contact with the male model.)

Considering the attractiveness of mild S&M to many people, that might really work for you - and give it some added depth, and bring it up to date (female gaze, etc.).

Would that be possible?

I would really love that and could see myself contributing a bit for the model fee, if needed!

Best, Lisa








=>>> DIY Femen


for those who lack what artparasites readers need

















Sabiwalsky was a chemical engineer before the Wende, then she migrated, doing care work for money... she has so much to say and she get so much dirty laundry with embedded memories to wash, clean, and iron, knowing about the technology behind the stains and environmental damage to the bodies sweating into the fabric, the contaminated human milk stains from the border, as well as traces of illicit affairs, knowing, also, about the abominable conditions of production of the fabric for example in the maquiladores, where Glauer was sent to by her institution for "internationalized" research. Sabiwalsky understands what Glauer is looking for, but she hesitates, can not speak to her directly, her position forbids it.


... Glauer comes on to define, defend and speak about Sabiwalsky.

Glauer is a white middle class academic feminist artist, with all the complexity that position entails, (including some blindness to her own privilege, no matter how hard she tries, as seen in her adoption of the title "Skyjacking accross borders with toy guns" - which her friends pointed out might have some people not make it across the border.), who deals with care work and migration within an academic environment increasingly determined by neoliberalism.

She has to be very careful to not fall into the trap of unconsciusly,supporting the structure she is in by presenting her difference to these highly qualified women, who migrate and highly qualified artists such as Huber who end up doing care work so that women like Glauer can work in academia, though she is being coached to do just that.

She has been coached to hide and minimize her dependence on outsourced care work for her family. Glauer understands very well that the male dominated academic engineering environment is pleased to have her deal with the female and non-threatening care-work theme, this allows them to tolerate her in their environment.

Glauer therefore begins with the seductive fascination of engineering as presented in the popularizing magazines, to develop a common ground, then, when she has their attention, describing them, their history, showing her admiration of the German Engineer, going for the development of a specific type of masculinity, and from there moving to gender differences between East and West. (Using, also, the advice from a colleague to put in a few youngish breasts here and there to keep their attention.)


In the mean time, Sabiwalsky shakes her head at the silly pink science stuff BMBF produces to get girls into engineering. That was not necessary when she was growing up, her mother, after all, was an "Atomverkäuferin"!