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Viscerālais feminisms kā mākslas interpretācijas metode

100%

Kukaine J.

Makslas Vesture un Teorija

2020

vol. 24

63-75

The article introduces the notion of visceral feminism and advances its usage as a methodological framework for art interpretation capable of addressing urgent political and artistic challenges, as well as histories of traumatic legacies and imperial powers (among them, the peculiarity of the post-Soviet condition). Drawing encouragement from feminist political theory, carnal aesthetics and new materialism, visceral feminism enhances corporeality in order to address the visceral dimension of the body and the capacity for a liveable life. Due to the multitude of theoretical references, the first part of the article is devoted to providing an insight into the continuity of visceral feminism and the leading traditions of feminist philosophy, especially of feminist aesthetics and theories of the body. It should be noted that in the academic debates of the last decade, the term ‘visceral’ has already obtained some theoretical coverage. However, its potential for grounding a methodological approach for a profoundly feminist art interpretation, especially within the political framework of the Eastern Europe, has not yet been elaborated. After providing a brief summary on the theoretical context of visceral feminism, the term is defined and examined in detail by incorporating theoretical insights of both post-structural theory (notably, Judith Butler) and the new materialism (Barbara Bolt, Jane Bennett etc.). For the purpose of visceral scrutiny, two artworks have been selected – the painting “Susanna and the Elders” by Artemisia Gentileschi (1610) and a work by Latvian artist Rasa Jansone, “Self-Portrait. Exercise Machine I” (2017). Both are examined from the perspective of visceral feminism. This enables us to account for a variety of issues of the marginalization and oppression of women embedded both in the gendered art history and today’s culture, as especially manifest in the patterns of passive victimhood and sexual objectification. While the juxtaposition of the iconic work of feminist art scholarship from the Baroque era (Gentileschi) and a contemporary painting which draws on post-Soviet legacies and the neo-liberal cult of a superwoman (Jansone) may seem daring, the encounter of the two artworks succeeds in encouraging a transgenerational and transnational feminist genealogy in arts, based on the visceral experiences of bodies, their capacity to act and to strive for a liveable life.

Czy polska sztuka konceptualna ma płeć?

84%

Hussakowska M.

Sztuka i Dokumentacja

2012

issue 6

29-40

The essay was inspired by Pawel Dybel’s book The secret of the "other gender". Disputes around the sexual differences in psychoanalysis and feminism, in which he asked a question about the gender of logos. My – less ambitious – attempt was to try to describe the potential of gender in Polish conceptual art. The question is ahistorical, but there are a number of reasons to ask it. Many female artists that were very active during the time of conceptual incitation are invisible. Polish conceptualism which was formed be some artistic couples, historically has lost female faces. Some of these contributors – like Natalia LL or Ewa Partum – we can find out about in the discourse among first Polish feminist artists, but the question of women’s input into conceptualism is still open and does not attract enough interest of scholars. Maybe this is because of the fragile and delicate matter of an artistic partnership in contrast with the heroic notion of artistic individuality that is still attractive for conceptual artists. Maybe this is because of dangerous stereotypes about masculinity and femininity and male and female roles in artistic couples. There are very few scholars who are interested in examining the notion of collaboration in its very complex form. Much of the contemporary discourse on Polish conceptual art has been conveyed through exhibitions. This tactic may be seen as paying respect to the form of an exhibition – a specific, ideal medium to consider works of art not individually, but as they interact with each other. The specifics of conceptual works that were generally visually unattractive in the early seventies has changed, partly because of the most recent generation. The new face of Polish conceptualism is very conservative with regard to the lack of input by women. Unfortunately the belief popular among scholars and curators that women do not do ‘serious’ work still persist, but fortunately for those women artists who are active and visible – they found a useful label in the discourse. Placing them within the feminist movement, one should not forget their conceptual roots, and should delete the question as to whether their works were serious.

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Viscerālais feminisms kā mākslas interpretācijas metode

Czy polska sztuka konceptualna ma płeć?