© 2022 Jakob Galler, Thomas Galler and _957 Independent Art Magazine Photographed, edited and designed by Jakob and Thomas Galler. _957 N☁33 Independent Art Magazine, Lucerne Untitled #1, Collection Aargauer Kunsthaus Armleder, Marc Bauer, Seline Baumgartner, Reto Boller, Christoph Brünggel, Balthasar Burkhard, Miriam Cahn, Valentin Carron, Julian Charrière, Tatjana Erpen, Valérie Favre, Urs Fischer, Fischli/Weiss, Sylvie Fleury, Pia Fries, Agnes Fuchs, Franziska Furter, Thomas Galler, Christian Gonzenbach, Michel Grillet, Stefan Gritsch, Michael Günzburger, João Maria Gusmão/Pedro Paiva, Alex Hanimann, Andrea Heller, Teresa Hubbard/Alexander Birchler, Daniel Robert Hunziker, Bruno Jakob, San Keller, Esther Kempf, Zilla Leutenegger, Urs Lüthi, Lutz & Guggisberg, Christian Marclay Max Matter, Thomas Müllenbach, Barbara Müller, Christian Philipp Müller, Yves Netzhammer, Rivane Neuenschwander, Karim Noureldin, Edit Oderbolz, Taiyo Onorato & Nico Krebs, Uriel Orlow, Mai-Thu Perret, Elodie Pong, Markus Raetz, Didier Rittener, Giacomo Santiago Rogado, Ugo Rondinone, Christian Rothacher, Ilona Ruegg, Mario Sala, Hans Schärer, Shirana Shahbazi, Francisco Sierra, Roman Signer, Veronika Spierenburg, Christine Streuli, Hugo Suter, Paul Takács, Fiona Tan, Hannah Villiger, Beat Zoderer These additions, including many works by contemporary artists, serve as a source of fresh inspiration and form surprising associations within the portfolios. Bechtler Foundation, or from patrons of the Aargauische Kunstsammlung - have contributed enormously to the outstanding importance of the collection in the European art scene. In recent years, notable donations and loans - such as those from the Ringier Collection, the Federal Collection of Contemporary Art, the Walter A. The Collection - the cornerstone of the Aargauer Kunsthaus - is growing apace, and today consists of over 20,000 pieces of Swiss art dating from the 18th century to the present day.
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The Tv Crime Drama, Edinburgh University Press, Edinburgh.Boabooks, edition fink, Jungle Books and tria publishing platform In Id., Poetics of Prose, Blackwell, Oxford. (eds.) European Television Crime Drama and Beyond, Palgrave Macmillan, Basingstoke. Detecting Women: Gender and the Hollywood Detective Film, Suny Press, Albany. Unclaimed experience: Trauma, narrative and history, John Hopkins University Press, Baltimore. Ashby’s investigations will bring her back to Rwanda, forcing her to cope with traumas and mysteries that still blur her memory, and to confront the violence that gave shape to the history of her country.
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In the series produced and distributed by Netflix, Kate Ashby is an investigator orphaned during Tutsi genocide in Rwanda and adopted by an international lawyer from London. This paper aims to analyse Black Earth Rising (2018) drama series, a case study which is particularly emblematic for the understanding of the interstitial role embodied by female detectives in European television crime series, not only for what concerns narrative structures of crime genre, but also for gender issues. Living in the shadow of their traumatic past (Caruth 1996), gives them the ability to develop an empathetic relation with the victims and often the two narrative roles come to coincide.
In fact, if every crime investigation always entails an in-depth exploration of mysterious events from the past (Todorov 1977), female detectives are often haunted by the spirits tormenting their memory. The precariousness female detectives’ identities is able not only to challenge gender stereotypes but also to complicate the narrative strategies of crime genre. Moreover Nordic Noir’s female detectives represent an identity which reveals itself as precarious: on one hand, they do not feel compelled to adhere to the prescriptions of gender stereotypes anymore, but on the other, in their relationships they face permanent struggle for the recognition of their subjectivity. Female Investigators between Gender Issues, Memories and Borders Unstable memories and precarious identities in Black Earth Rising Massimiliano Coviello In contemporary crime drama the contribution of Nordic Noir genre has proven to be crucial in problematizing the representation of female detectives (Turnbull 2014, Hill 2018) and challenge the traditional sexist heritage of crime genre, a genre whose tension towards an overturn of the order disrupted by a criminal act is usually conservative (Gates 2011).
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