ICI
Wir machen ein Video! => In Keynote we set "animation" to 4 seconds per slide, in the end we export "film".

Melin@ will bring the magazine

We need to count the humans present for Faustin or ask about registration numbers
maybe we need a slide with the funding logos :/? m: when i understood faustin correctly writing it down on one of the slides should be enough - in case the logo is ugly

Title: Krüppelqueer: intersecting the trans-crip archive

Access Copy: https://docs.google.com/document/d/1YGJ_0yuUy-Lgi1nm_awDpCbX7yrxE_sO2NcaiEeL2tA/edit?usp=sharing 

Introduction sima: 03:50 - shorten to 2:30ish
     slide: Krüppelzeitung1.jpg
     
     Today we want to present our archival research and artistic interpretations of the Krüppelzeitung (crip paper.
     
     [Slide: ]
     
It was self-published between 1979 and 1985, created by activists of the crip movement (called the Krüppel Gruppen). During these years, disabled people increasingly organized themselves in the cripple movement in West Germany, also in part to criticize, demonstrate and block the UN's International Year of the Disabled 1981. They called it the “UN Year of the disablers” instead.
During this time, many groups and alliances were formed.

The Krüppelzeitung as a mouthpiece for the crip movement of this time was radical, blunt, and multi-perspective in it's publishing. Important themes were self-determination and rights to choose how one lives, but also themes that were relevant for the time like criticizing euthanasia, closely following court cases (frankfurter urteil) and political descicions, and using a lot of sarcasm and humour.
The core group around the Krüppelzeitung also never tired to try reaching out outside their own bubbles. They were especially self-critical about not having been successful in deinstitutionalization.

We were initally fascinated by how contemporary the Krüppelzeitung seems still today. It's at the same time shocking and familiar. Why does a text from the 1980ies sound like it was written in 2024? Nothing shows it more clearly than the progress report on the implemantation of the UN disability Inclusion Strategy, in which Germany was reprimanded for it's non-compliance.

In our work together and individually we've noticed how profoundly people are touched by the work done by the disability activists around the Küppelzeitung, which is something that brought us together as a collective to read, discuss, analyze and create around.

    Method melin@: ca. 03:00

        
        <SLIDE:

• Crip Archives that are not queer (explicitly)

Kumbier: systemazing Queerness in the Archive as oppositional, unruly an coalitional
2. Queer Archives that are not explicitly adressing cripness
Hartman: Violance  the Archive, Critical Fabulation
3. medical Archives / NS Archives 
Völcker: Frauen der unterwelt
Keeling: affect as a tool to negotiate the archive>

Navigating the violence of the archive 

Queer Disabled life in Germany particular is archived in broadly speaking three forms of archives. Each of these Archives offered us chances as well as specific hurdles – those influenced our methodology, which we still understand as  work in progress.
The first archive is the not queer-specific archive of the crip movements. The Website archiv-der-behindertenbewegung.org offeres different pamplets and magazines of crip self organizations from the late 1970s till today. The magazines are scans, some are well decodified, others are barely searchable. There is no specific codification of the sources – searching for queer moments though has to happen the old fashioned way - reading everything. Also these different magazines werent queer specific, everything published had to get through the heterosexual matrix first – which influences the specifity of the sources. Here we found it particular helpful to understand Queerness in the Archive through kumbiers systematification – oppositional, unruly and coalitional. We also leaned on Hartmens understanding of the gaps in the archive, which we try to fill thorugh critical fabulation – two men in need of care going to a shopping trip, acting as abledmanly as possible is understood by us as an intervention into abled cis het masculinty in the public sphere.
The second archive to negotiate queer disability are gay, lesbian and queer archives. Here we tend to lean rather on the social and cultural model of disablity to decodify disabled bodies in the archive rather than simple self-identification. Lorde f.e. is understood as a forthinker of disablity justice movements in the present time, even though she herself explicitly didnt identify as disabled. As blured the lines are between queerness, disability,illness and pathologizing as blurry are the lines in a approach to de_codify the archives.
The last archive will be part of our next research round -medical archives. We will be lead by Völckers research-writes approach to Women of the underworld, where she used the medical archives of the NS time to decodify queer women who were impriosined and muerdered labeled as crazy. Here we rely on Keelings conzeptualization of affect -even if the subjects due to the times context hadnt got the possibilty to safely identify as queer or disabled, we try to understand those notes on them thorugh affect.

<SLIDE: Artefacts & Artistic Interpretations>
We will now each share with you some artefact from the Krüppelzeitung with our own artistic interpretations. I will begin by talking about the Krüppelzeitung's Font, and translations.

<SLIDE: Cover, "krüppelfont.png">
When looking at the Cover of the Krüppelzeitung, the strong gothic print of the title stands out. Gothic print, or: Fraktur in German, is often associated with Nazi Germany, which was true until 1941, when the Nazis banned Fraktur on the wrong claim that it was invented by Jewish letter makers. But the Fraktur on the cover is softer than the usual letters for one reason: It was likely drawn by one of the authors themselves and then photocopied, and not set in letters. What resulted was a more soft version of the otherwise rather harsh font called Cloister Black. Only the letters of the word "Krüppelzeitung" and the subtitle "Zeitung von Krüppel für Krüppel", are available in this softer crip version of the font. I have drawn over the letters so that I could rearrange them.

<SLIDE: Qüpp, qup.png>
Based on the existing letters and without referencing the original font, I began constructing missing letters that are important for our research: The "Q" needed to write "Queer" for example. What resulted from combining old letters and new imaginations for letters is a new word: "Qüpp" – Not just Krüppel, not just queer, but something in which both dimensions are interwoven.

After working with this Qüppelfont, I started recognizing Cloister Black in the city. For example, on my way to a queer event, at Anhalter Bahnhof. Since I already understood this font as a carrier of Qüpp wisdom, I inserted some questions into my photos of these places. For example, on the Slide, there is a photo of the Anhalter Bahnhofs font that becomes visible when one exists a train and looks at the wall. Around the existing font, I have added a question: Is the elevator at Anhalter Bahnhof actually working?

<SLIDE: Translations>
To talk more about language and translations: In our group we realized that a lot of contemporary information on disability is available and circulated in English, while the Krüppelzeitung is not. This means that knowledge about the Krüppelzeitung is underrepresented in disability discourse.

<SLIDE: the 3 translated snippets, translationtest1-3.png>
In one of the texts I translated, the queer Krüppel/frau Nati Radtke describes her experience of dating another crip. She finds reasons for her discomfort, today we would maybe read it as internalized ableism, in her role as a crip/woman. She writes: "Crip/women have to be strong and invulnerable in order to be allowed to lead a self-determined life. To show any vulnerability means to be easily injured [...]. This makes it hard to share wounds and impairments with the public. When crip women show their "imperfections" openly, only sensationalist looks as well as ignorant questions await. Again, it is made apparent who is not "normal" - another stitch."

Artefact Melin@
   

my artefact was part of a special issue in the crip magazine 1982 october edition concerning the cripwomen meet ups, one writer was the by iz just mentioned natti radke - a copied announcement which they commented on. I will show you this edited version - as the original is in german.
<SLIDE der SENATOR>
The proposed elegance of the disabled women that is getting closer to an abled embodied norm through a tool is what remembered me of Lordes cancer experiences and how she felt when a white women of a breast cancer organization showed her beige pads to wear as a protesis replacement – and she was promised to be as  attractive as before to her non existent husband. I found Lordes thought here profoundly moving – even if it helps to attract someone – the sension of being touched wouldnt be transported for her – in oposite even – she wouldnt be able to  experience the closeness – protected from touch through material. 
The Senator is different and similar – different as it actually helps to walk and makes the disability in most cases more visible – but similar as in offering an entrance to cisabledwomeness – if you use this stick you might still be disabled, but you can re-enter elegance thoough it, as the announcement tries to communicate a base pillar of abledciswomenhood.
Through translating it, it became clearer to me how incredibly everything is gendered in german -senator, neutral in english is male in german. Sie can be understand in german as the polite adverb, but is with a lower case s a female prounoun. The advertisment is being subtle in that way-transporting an abledgeneredness through those double meanings. The announcement is copyed from a copy i guess – and my translation is also a digital copy from the pdf. The maybe beforehand more naunced colors become harsh – we do not see anymore clear faces or people, the image is now closer to being a symbol of gendered bodies. 
He ist standing in front of her, she is leaning on him, the men on the one side and the maled senator waliking stick on the other side.
This commentary of the women is written on top of it: „a serious advertisment from a medical magazine“, in reflection of the „announcement“ their commentary is set at an angle at the corner. 
I find the term lady, Dame in german, remarkable here. As it does not only transport abledness and cis femaleness but also sucsessfully transprot a class marker. A reflection of the term elegance. With this Walkingstick even the nonabledgendered cripwomen can not only acsess abledwomennes ,no, she can also acsess higher clas womennes through playing into class codes.
Build on the rhytm and tone of this critical intreaction between the announcement and the cripwomen I right now create a loopvideo, that negotiates the SENATOR as a form of bodymasking. As Senator is gendered in german as a male - i create the Senatorin - a mask my queer autistic self is wearing to negotiate the neurotypical bi-gendered world. 

04:32
Artefact Ren: Ephemera & Images 

In the KrüppelZeitung I have been attending to the epehemera and the images: the doodles, the traces, the things that are left hanging in the space between the written german thoughts, the edges of each of the articles where little notational gestures of connection are drawn, stitching together articles with disparate meanings, queer crip joy and play. I follow Che Gosset who writes about practices of ephemeral visuality for trans*queer contexts as those that might create parallel spaces, that sustain an underworld beneath the world of the status quo. Following her work I am thinking about the contours of the articles that are emerging in the Krüppel Zeitung, what are the conditions around these articles, both in this physical printed magazine and the visual marginalia that resists a coherence that a more linear language of writing an article requires. The Krüppel Zeitung compiles queer gestures, connecting illustrations together — over the issues published, many of these same images and ephemera repeat. My ongoing interest in these gestural doodles and drawings brings me to thinking, what kind of wording are they making possible through their repetition.

Every issue of the Krüppel Zeitung begins with this bang. The image on the screen, includes a person holding a boulder above their head. This impossibly heavy weight, they lift again and again, at the beginning of each KrüppelZeitung issue, lifted ahead. And again, like the flipping open of the page of the magazine, the boulder is thrown, the weight of our hands, flipping the page open - now in this time - again slams down on the word —Integration—. It is as though the power of all of our hands flipping open the KrüppelZeitung since it began in 1979 smashes — Integration — apart as the words sitting next to it “BAMM” and “KRACKS” and exclamation and movement lines show are illustrated, Integration flys apart, persistently shattering assimilation as routine praxis. 

In another edition, this one from October 1982, the image on the front cover greets us as a street scene, a wheelchair user rolls along the street - passing a 'Cafe', eyes peer out from behind the door, the window, up from the street and across from the brick wall. The walls, floor, doors and windows all have eyes, and the small person who rolls among them has eyes and looks back. I suggest that these many questioning eyes are met with endurance, as Hil Malatino speaks about it, a persistance of movement that don't demand a confession of what's going on, they don't mobilize the will to know, they don't presume that there are answers to be found out, rather they practice with watching and subsisting, over time.
                                
Following the gestures, drawn intonations, stories, cuts and reformulated queer doodles that mark the edge of those who published the Krüppel Zeitung's dreaming. Today too, the ephemeral doodles hold the edges of the conversations that we have had in our work, looking back at my notes from the duration of our project, I see a doodled container that holds space for a sip of water, a network formulation that relates to the care web we are part of and a re-performance of a snail drawn in the margins of the Krüppel Zeitung re-emerging at the edges of my notes as I have absentmindedly drawn it again while we have been discussing how and what to post on our Mastodon. These precise ephemeral gestures of drawing, doodling, making space - these are the opening gestures that form a basis of collectively marking again and again our future otherwise, over time with the KrüppelZeitung. This kind of space of the edges where images emerge has been and continues to be my interest with our project. 

Artefact sima:
    Überleitung
    slide: image Krüppelzeitung2_80.jpg
    Text: Wenn Krüppel Einkaufen geht - When crips go grocery shopping
    
    The artefact I'm focusing on is a contribution, an experience report by Christian and Udo (No last names given), who go grocery shopping together. The report from 1980 - a year before I was born - felt like it could have been written today, it mirrored my experiences of trying to navigate a very mundane simple thing like a supermarket as a wheelchair user. I decided to interpret the text as a short film, which I will show the beginning of now.
    
     - shows 2 min of film - (Ren to add this)

Exploring the text and my own experiences made me realize how many of us crips rely on care and how some tasks, like grocery shopping is one of the first where we (gladly) give over the care. This seemed to be the same for the writers: the supermarket being a place of anxiety and vulnerability and them wanting to occupy the space nevertheless. Their descision to do this together, as two crip men sharing a care task is for me inherently queer - queering care and exploring alternative care webs how Leah Lakshmi Piepzna-Samarasinha would frame it - crip to crip care instead of ableds caring for us. 

Ren:
For now, we are closing this talk by saying thank you all for your attention. And we hope to meet you on Mastodon to get into more crip history together.

References:
Cloister Black: https://www.myfonts.com/de/collections/cloister-black-ct-font-castletype
Fraktur: Garfield, Simon. 2012. Just my type: Ein Buch über Schriften. Ullstein Buchverlage Berlin
Gosset, Che. "Existing in the World: Blackness at the edge of Trans Visibility" in: Tourmaline, Eric A. Stanley, and Johanna Burton, eds. 2017. Trap Door : Trans Cultural Production and the Politics of Visibility. Cambridge, Massachusetts: The MIT Press.
Hartman, Saidiya. 2008. “Venus in Two Acts.” Small Axe: A Caribbean Journal of Criticism (26).
Keeling, Kara. 2009. “LOOKING for M—.” GLQ: A Journal of Lesbian and Gay Studies 15 (4): 565–82. https://doi.org/10.1215/10642684-2009-002.
Kumbier, Alana. 2014. Ephemeral Material: Queering the Archive: Gender and Sexuality in Information Studies. Ephemeral Material: Litwin Books.
Lorde, Audre. The Cancer Journals. 2. ed. Aunt Lute Books, 1980. An Aunt Lute Foundation Book.  page 42
Malatino, Hil. Trans Care. University of Minnesota Press, 2020. https://doi.org/10.5749/j.ctv17mrv14.
Piepzna-Samarasinha, Leah Lakshmi. 2018. Care Work: Dreaming Disability Justice. Vancouver: Arsenal Pulp Press. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1934092.
Völcker, Tine Rahel, ed. 2021. Frauen der Unterwelt: Queerfeministische Antworten auf Psychiatriegewalt, Sexismus und Ableismus. 1. Auflage. Münster: edition assemblage.




Ausblick / What is next (~ 3 mins, can be 5, Ren & Iz):
<SLIDE: what is next>
In the coming weeks, we will post further insights on our mastodo  feed, @kquepp@fedisabled.social
and you are all invited to engage with them online. For this, we have organized a structure with the help of the ephemerals.

<SLIDE: show and describe our "guiding system". We will post more info on..>

Our interest in Krüppelqueerness has only grown during the project and new questions have come up: What about the term 'Krüppel/frau' (crip/woman, written  with a slash), with Krüppelfrau not being the same as 'cis-woman' – a term that critically intervenes into female gender norms? How can we understand past crip intimacies between disabled people of the same gender that happened outside the bounds of queer discourse? And what can we learn from tuning into past nuances of living crip relationships, solidarities and conflicts?

This is why we will continue working on the project, create a artistic-methodological mode of translations and broaden our source materials. So far, we have done multi modal reseach on queerness in the Krüppelzeitung – and are now interested to find evidence of crip experiences in queer movements between the 70ies and 90ies. We have just began to collaborate with Spinnboden, a Berlin archive of lesbian and queer hirstory. We are reading through Info Gelesch, the magazine of Gehörlose und Lesben & Schwule in Nürnberg from 1994, the women's magazine COURAGE, the Hamburger Frauenzeitung and their discussions of a erotic photo exhibition by disabled women, the lesbian magazine IRRSINN, or the partial attempts of the Lesbenfrühlingstreffen of the 90ies to make disability access and practice a hesitant trans* inclusion. 
    
// 2 minutes

Vortrag:
    - Rahmenbedigungen: The time limit of 15-20 minutes per presentation, excluding the Q&A, also applies to presentations by more than one speaker. = Maximum 5 Minuten pro Person
    
    - Intro (3 min)
    - Jede*r stellt ein Artefakt vor (3 min pro Person / Artefakt)
    - Ausblick + Am Ende den Link der Website teilen (5 min)

• - In Keynote statische Präsentation

- concepts that come are regulary f.e. Persöhnlichkeitszerstörung, Love, NS Time


Title: Krüppelqueer: intersecting the trans-crip archive
Names: Melina Morr de Pérez (Pen Name: SchwarzRund), PhD Candidate History Department University of Erfurt, Simo Kupiainen (Artist Name: simo_tier) Berlin University of the Arts/Art in Context & MELT (Ren Loren Britton & Iz Paehr) Arts-Design Duo
Bio: Composed of two art-design-research duos, VAMKY & MELT this presentation is the first public moment of our collective collaborative work. Across our practices we share concerns around disabilty justice, intersectional trans*feminisms and teachings, archival practice, community praxis and activist organising. As Vamky writes: together we podcast, create and advise on about disabilities, neurodivergences and disability rights. & As MELT writes: By building worlds along arts-design research structures MELT's work resources ways of being together that figure in the present and future our flourishing. www.meltionary.com + https://vamky.de/ 

From 1979 until 1986, the Crip Collective, including Franz Christoph and Udo Sierck, self-published the Krüppelzeitung (Crip Magazine) in Bremen. The Krüppelzeitung focused on intersectional perspectives: In the first magazine, a comic introduced questions of disabled genders, fetishization, de-sexualization, and lust. This prompted us to explore gender non-conformity/queerness in the 1980s German Crip Movement, emphasizing gaps in the archive. Our work contributes to Disability Studies through artistic research on the crip aesthetics of the magazine and archival analyses of the movements it represents, expanding from queer, feminist, and Black archive studies, drawing inspiration from the work of Garcier and Kumbier. This contribution addresses three questions: What aesthetic forms does the Krüppelzeitung adopt, and how does it involve community drawings and letters? How does it capture daily experiences of the world of (BIPoC) crips, and how are experiences discussed that break gender and desire binaries? How do we acknowledge that, despite functioning as the voice of the Krüppelbewegung, it fell short in recognizing non-academic and institutionalized disabled people?

Through our artistic, analytical, and facultad-based approach, we engage with texts and visuals of the Krüppelzeitung transdisciplinary to know-feel our history. We access and create access to the magazine through the multiplicity of our languages: German, English, Karelian, Spanish, and Autistic Sign. Our findings connect to the interconnectedness of Gender_in_Access, recognition of a_sexual selves, and queer dis_Abled Bodies in social movements concerning the recognition of the self, group-based identities, and lived reality across time. We will present drawings, translations, snippets, repetitions in the Krüppelzeitung, and our artistic-analytical responses to the materials. Our intersectional, transdisciplinary, and queer approach allows for a new and deeper understanding of the German accumulation of rights for queer, disabled, and migrant bodies in the 1980s and today.

Mentioned concepts and literature:
Gloria Anzalduá: Borderlands/La Frontera. The New Mestiza, 1987.
Christoph, Franz; Frehe, Horst: Krüppelzeitung. Zeitung für Krüppel von Krüppel (1), 1979.
Stacy Clifford: Simplican, Capacity Contract. Intellectual Disability and the Question of Citizenship, 2015.
Nancy Fraser: Rethinking Recognition, in: New Left Review May June 2000, 107–120.
Angela Garcia: The Ambivalent Archive, in: Anand Pandian/Stuart McLean (eds.), Crumpled Paper Boat. Experiments in Ethnographic Writing, 29-44, 2017.
Alison Kafer: Feminist, Queer, Crip, 2013.
Alana Kumbier: Ephemeral Material: Queering the Archive. Gender and Sexuality in Information Studies, 2014.
Robert McRuer: Crip Theory. Cultural Signs of Queerness and Disability, 2006. 
Christian Mürner, Udo Sierck: Krüppelzeitung. Brisanz der Behindertenbewegung. Neu-Ulm: AG-SPAK-Bücher, 2009.

Bio notes:
MELT (Ren Loren Britton & Iz Paehr) builds worlds along three arts-design research structures: Anti-Ableist Technologies, The Meltionary and Zeitgeber. Actioning shape-shifting processes that generate material, aesthetic and infrastructional transformations intersecting Trans* feminism and Disability Justice, their work interweaves themes of: climate change, coalation building, critical technical practice and access. MELT's work resources ways of being together that figure in the present and future our flourishing. MELT shares work in the forms of videos, installations, websites, lectures and workshops. www.meltionary.com

VAMKY Collective founded 2020, 3 Seasons of the Podcast Rampe? Reicht! and publishers of the Bi-Zine https://vamky.de/

Simo Kupiainen, artist name: simo_tier, artist collective: VAMKY, M.A. Art in Context at UdK Berlin, first Semester, B.A.(without Degree) historical musicology at the University of Hamburg and Gender Studies and Skandinavisitik at Humboldt University Berlin, research focus: Disability Studies, Indigenous Studies and Transfeminist studies.http://simo-tier.de/

Melina Morr de Pérez, artist name: SchwarzRund, artist collective: VAMKY, PhD candidate History Department University of Erfurt, MA Gender Studies Humboldt University Berlin and BA in Cultural and Gender Studies at Humboldt University Berlin, research focus: Audre Lordes political Philosophy (PhD Project), Disability-, Gender-, and Caribbean studies. https://schwarzrund.de/

Iz Edit:
From 1979 until 1986 the Crip Collective including Franz Christoph, Udo Sierck and other significant actors of the German Krüppelbewegung (Crip Movement) self-published the Krüppelzeitung (Crip Magazine) in Bremen. The Krüppelzeitung centered intersectional perspectives: In the first magazine, a comic introduces questions of disabled genders, fetishization, de-sexualization, and lust. This has moved us to consider gender non conformity/queerness in the 1980s German Crip Movement with a focus on gaps in the archive. Our work adds to disability studies through artistic research on the crip aesthetics of the magazine and through archival analyses of the movements that it represents expanding from queer, feminist and Black archive studies, among others drawing on the work of Angela Garcier and Alana Kumbier. This contribution addresses three questions: What aesthetic forms does the magazine take and how does it engage community drawings and letters? How does the Krüppelzeitung hold daily experiences of the world of crips and how are experiences discussed that break gender and desire binaries? How do we address that even though the Krüppelzeitung functioned as the voice of the Krüppelbewegung, it failed when it came to the recognition of non-academic and institutionalized disabled people?

Through our artistic, analytical, and falcultad (Anzaldúa) based approach, we engage texts and visuals of the Krüppelzeitung transdisciplinary to know-feel through our hirstory. While the publishing team consisted mostly of journalists with academic backgrounds, contributions from the community were written, drawn, collaged, and photographed by crips with various ways of languaging and academic access. We access and create access into the magazine through the multiplicity of languages in our group: German, English, Karelian, Spanish, American Sign Language and Autistic sign. Findings connect to the interconnectedness of Gender_in_Access, recognition of a_sexual selves, and queer dis_Abled Bodies in social movements concerning the recognition of the self, group-based identities, and lived reality across time. At ICI we will present drawings, translations, snippets, and repetitions in the Krüppelzeitung, as well as our artistic-analytical responses to the materials. Our intersectional, transdisciplinary, and queer approach to the material and moments of the political movement allows a new and deeper understanding of the German accumulation of rights for queer, disabled, and migrant bodies in the 1980s and today.

Ren Edit:
From June 1979 until 1986 the Crip Collective including Franz Christoph, Udo Sierck and other significant actors of the German Krüppelbewegung (Crip Movement) self-published the central Krüppelzeitung (Crip Magazine) in Bremen. The Krüppelzeitung centered intersectional perspectives from the start: on page nine of the first magazine the comic from Franz Lohri and Christian Ritter introduces questions of disabled genders, fetishization, de-sexualisation, and lust. The Krüppelzeitung has moved us, to consider perspectives of: gaps in the archive, and gender non conformity/queerness in the 1980s German Crip Movement. Our work adds to the canon of disability studies through artistic research perspeciives that engage the visual cultures of the magazine and through archival analyses of the movements that it represents expanding from queer, feminist and Black archive studies. A major reference for our work is Angela Garcier's "The Ambivalent Archive" and Alana Kumbier's Ephemeral Material: Queering the Archive. Our paper answers three main questions: first, what form does the magazine take and how does it shape-shift to encompass drawings and community member's letters? Second, how does the Krüppelzeitung hold daily experiences of the world of crips, queers and non-queers and how does it share experiences that break gender and desire binaries? And lastly: how do we address the fact that even though the Krüppelzeitung functioned as the voice of the Krüppelbewegung (Crip Movement), its recognition of disabilities and identities failed when it came to the recognition of the individual and especially the non-academic and often institutionalized disabled people. This problematic of this movement is evident throughout the magazine, we would look forward to participating in the conference to connect to  questions of how identity categories can be a stumbling block for true recognition for the right to equal political participation, from our research we wonder, how would the Krüpp
elzeitung and Krüppelbewegung have been different if these missing people had been included?

Through our artistic, analytical, and falcultad (Anzaldúa) based approach, we are engaging modes of responsiveness to text and graphics in the Krüpppelzeitung and the writings of the Krüppelfrauen Group of the late 1970s and 1980s that break with disciplinary modes of knowing and move towards transdisciplinary sites of knowing-feeling through our hirstory. Our findings connect to the interconnectedness of Gender_in_Access, recognition of a_sexual selves, and queer dis_Abled Bodies in social movements concerning the recognition of the self, the group-based identity, and the lived reality in past, present, and future. At ICI we will present drawings, translations, snippets, and repetitions we found in the Krüppelzeitung. In the Krüppelzeitung the (self-) recognition of disabled, queered, and degendered perspectives in this collaborative magazine is understood through the multiplicity of languages in our research group: German, English, Karelian, Spanish, American Sign Language and Autistic sign which helps us to showcase how differences can be recognized in the language of this magazine. The articles by the publishers Sierck, Radtke, and Christoph are in German, the writers were mostly working journalists with an academic background. The contributions from the community were written, drawn, and photographed by people with various levels of language and academic access. Our intersectional, transdisciplinary, and queer approach to the material and moments of the political movement allows a new and deeper understanding of the German accumulation of rights for queer, disabled, and migrant bodies in the 1980s and today.

Edited out for length problems
References for our work include Nancy Fraser's "Rethinking Recognition"; Stacy Clifford's "Intellectual Disability and Citizen Rights"; Alison Kafer's Feminist, Queer, Crip; Robert McRuer's Cultural Signs of Queerness and Disability.

Original Text:
In June 1979 the Crip Collective surrounding Franz Christoph and other significant actors of the German crip movement was first self-published in Bremen, Germany. From there on till 1986 the magazine functioned as the main voice for the movement. It is therefore one of many identity-based magazines and zines that were flourishing in the 1980s. ON page 9 of the first magazine they already addressed intersectionality: the comic bs Franz Lohri and Christian Ritter questions, gender, fetishization, de-sexualisation, and lust from a disabled perspective. This moved us, VAMKY and Meltionary, two Crip Collectives, to examine the Krüppelzeitung through the lenses of Queerness, Gaps in the Archive, and Gender in the 1980s German Crip Movement. 
The Question of Recognition and Disability has been broadly discussed in different publications, f.e. by the editor-in-chief of later issues of the Krüppelzeitung Udo Sierck and other global scholars of Disability Studies. We heavily rely on the findings of Nancy Fraser: „Rethinking Recognition“, Stacy Clifford: Intellectual Disability and Citizen Rights, Alison Kafer: Feminist, Queer, Crip; Robert McRuer: Cultural Signs of Queerness and Disability. We will add to the canon of Disability Studies through the lens of artistic language and size, and the archival analyses of Movements from Queer, feminist, and Black Studies-based Archive studies. Starting Points are the text by Garcier: The Ambivalent Archive and Kumbier's Queering the Archive.
Our Paper will try to answer three main questions: First, how does size play into the form of the magazine? the magazine as a self-published short form and the inclusion of drawings and readers' letters. Second,  Where does the daily experience of the world of crips, queer and non-queer break the gender and desire binaries? And lastly, we ask: even though the Krüppelzeitung functioned as the Voice of the movement, its recognition of disabilities and identity failed when it came to the recognition of the individual and especially the non-academic and often institutionalized crip. This diversion of the movement connects to the conference question of identification categories as a stumbling block for true Recognition of the right to equal political treatment. Through our artistic, analytical, and falcultad (Anzaldúa) based approach, we found modes of responsiveness to text and graphics in the Krüpppelzeitung and the Writings of the Krüppelfrauen Gruppen of the late 1970s and 1980s. Our findings are the interconnectedness of Gender_in_Access, recognition of a_sexual selves, and queer dis_Abled Bodies in social Movements concerning the recognition of the self, the group-based identity, and the lived reality in past, present, and future. At ICI we will present doodles, snippets, and repetitions we found in the Krüppelzeitungen. The language of  (self-) recognition of the disabled, queered, and degendered self in this collaborative magazine is understood through the multiplicity of languages in our research group: German, English, Karelian, Spanish, and autistic sign usage helped us to showcase the difference in recognition through the language of the magazines. The articles by the publishers Sierck, Radtke, and Christoph are in German, the writers were mostly working journalists with an academic background. The contributions from the community were written, drawn, and photographed by people with various levels of language and academic access. Our intersectional, transdisc
iplinary, and queering approach to the material and the in it discussed moments of the political movement allows a new and deeper understanding of the German accumulation of rights for queer, disabled, and migrant bodies in the 1980s and today.

Mentioned Sources and literature:

Gloria Anzalduá: Borderlands/La Frontera. The New Mestiza, 1987.
Christoph, Franz; Frehe, Horst: Krüppelzeitung. Zeitung für Krüppel von Krüppel (1), 1979.
Stacy Clifford: Simplican, Capacity Contract. Intellectual Disability and the Question of Citizenship, 2015.
Nancy Fraser: Rethinking Recognition, in: New Left Review May June 2000, 107–120.
Angela Garcia: The Ambivalent Archive, in: Anand Pandian/Stuart McLean (eds.), Crumpled Paper Boat. Experiments in Ethnographic Writing, 29-44, 2017.
Alison Kafer: Feminist, Queer, Crip, 2013.
Alana Kumbier: Ephemeral Material: Queering the Archive. Gender and Sexuality in Information Studies, 2014.
Robert McRuer: Crip Theory. Cultural Signs of Queerness and Disability, 2006. 
Christian Mürner, Udo Sierck: Krüppelzeitung. Brisanz der Behindertenbewegung. Neu-Ulm: AG-SPAK-Bücher, 2009.

Bio notes:
MELT Bio:
MELT (Ren Loren Britton & Iz Paehr) builds worlds along three arts-design research structures: Anti-Ableist Technologies, The Meltionary and Zeitgeber. Actioning shape-shifting processes that generate material, aesthetic and infrastructional transformations intersecting Trans* feminism and Disability Justice, their work interweaves themes of: climate change, coalation building, critical technical practice and access. MELT's work resources ways of being together that figure in the present and future our flourishing. MELT shares work in the forms of videos, installations, websites, lectures and workshops. www.meltionary.com

    VAMKY Collective
    founded 2020, 3 Seasons of the Podcast Rampe? Reicht! and publishers of the Bi-Zine https://vamky.de/
    
Simo Kupiainen, artist name: simo_tier, artist collective: VAMKY, M.A. Art in Context at UdK Berlin, first Semester, B.A.(without Degree) historical musicology at the University of Hamburg and Gender Studies and Skandinavisitik at Humboldt University Berlin, research focus: Disability Studies, Indigenous Studies and Transfeminist studies.http://simo-tier.de/

Melina Morr de Pérez, artist name: SchwarzRund, artist collective: VAMKY, PhD candidate Hisotry Department University of Erfurt, MA Gender Studies Humboldt University Berlin and BA in Cultural and Gender Studies at Humboldt University Berlin, research focus: Audre Lordes political Philosophy (PhD Project), Disability-, Gender-, and Caribbean studies. https://schwarzrund.de/