Giovanna Zapperi | Université de Genève (original) (raw)
Books by Giovanna Zapperi
Nataša Petrešin-Bachelez, Giovanna Zapperi, Mercedes Pineda (eds.), Musas insumisas / Defiant Muses. Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s, Madrid : Museo Reina Sofia , 2019
Un examen critique des liens entre esthétique et politique à travers la figure emblématique de Ca... more Un examen critique des liens entre esthétique et politique à travers la figure emblématique de Carla Lonzi (1931-1982), critique d'art novatrice et l'une des fondatrices du néo-féminisme en Italie.
Da circa un decennio la storia biografica e teorica di Carla Lonzi, figura preminente del femmini... more Da circa un decennio la storia biografica e teorica di Carla Lonzi, figura preminente del femminismo italiano degli anni ’70, è oggetto di una continua riscoperta, non solo in Italia: dapprima con la ripubblicazione di tutti i suoi scritti, tra i quali il famosissimo Sputiamo su Hegel; poi con convegni e studi specifici. Sta così riemergendo il lavoro di riflessione di un’autrice affascinante ed enigmatica che ha saputo pensare il femminismo quanto il mondo dell’arte, il potere quanto le forme dell’emancipazione delle donne.
Giovanna Zapperi si interessa alla traiettoria di Carla Lonzi e ai rapporti tra arte e femminismo nell’Italia tra gli anni ‘60 e ‘70. Attingendo a fonti di archivio inedite, questo libro dimostra che i due periodi che sembrano scandire la biografia di Carla Lonzi (prima la critica d’arte, poi il femminismo) segnano in realtà un percorso che intreccia l’intera espressione teorica di questa importante autrice. Questa lettura ci consente allora di ricavare dal pensiero di Carla Lonzi categorie per leggere il presente, tanto per una critica all’altezza dei tempi sul ruolo e l’uso delle immagini, quanto per capire le forme di subordinazione legate al genere, all’identità e alle classificazioni sociali che non cessano di riprodursi.
La radicale creatività della vita e degli scritti di Carla Lonzi trovano in questo libro una sintesi biografica e analitica compiuta, grazie alla minuziosa e fertile ricerca della storica dell’arte e femminista Giovanna Zapperi, la quale di quel «gesto creativo all’altezza della vita» è in tutto e per tutto un’erede.
INDICE:
Introduzione
Capitolo 1: Circa 1970
Capitolo 2: Critica del sapere
Capitolo 3: Divenire Soggetti
Capitolo 4: Il tempo del femminismo
Capitolo 5: Carla Accardi
Capitolo 6: L'altra creatività
Capitolo 7: Contro l'arte
Epilogo: Suite Rivolta
La trasformazione di Marcel Duchamp in Rrose Sélavy rende l'artista una figura ambivalente, insta... more La trasformazione di Marcel Duchamp in Rrose Sélavy rende l'artista una figura ambivalente, instabile e contraddittoria. L'adozione di un alter ego femminile rimanda alla necessità di ripensare la mascolinità dell'artista e il mito del genio-creatore nel quadro di una modernità che investe tanto il piano della produzione e dei consumi, quanto quello della sessualità e dei comportamenti femminili. Le autorappresentazioni fotografiche realizzate attorno al 1920, quasi sempre con l'aiuto di Man Ray, rivelano infatti un "altro" Marcel Duchamp, profondamente ambivalente nei confronti della virilità dell'artista. Le "strategie di sé" con cui Duchamp confonde le tracce della sua identità passano per il femminile, ovvero per l'irruzione dell'altro nella modernità che lui stesso sta elaborando. Al di là di ogni posizione identitaria, Rrose Sélavy mette in scena la "donna" come una figura della molteplicità che destabilizza l'idea di una mascolinità coerente e unitaria.
This book is the outcome of a common need, both theoretical and political, to elaborate a feminis... more This book is the outcome of a common need, both theoretical and political, to elaborate a feminist reflection on the intertwining of gender and visuality, starting from the Italian context. The topic of “the image of women” has come to the fore as an emergency in conjunction with the sex scandals that accompanied the decline of Berlusconi-ism, strongly characterized by a renewed visibility of sexist ideas and behavior. Our contribution calls back to radical feminism as the key to interpreting the present, with the prospect of reconnecting it to crucial contemporary questions, starting with gender. Instead of addressing the downgrading of the female gender to eroticized and subjugated images and its more or less direct relationship with women’s condition in Italy, our departure point was a critique of representation as a gendered domain and the answers provided by feminist movements. In fact, our aim was to problematize a series of questions that were raised by Berlusconi’s sex scandals, but which have been constantly deferred to a more opportune moment, removed from the contingency and an emergency that seemed to call for a straightforward, immediate, compact and shared answer.
The visual field is a crucial area for feminist reflection, starting with a problematization of questions that involve a multiplicity of subjects who do not necessarily identify with the category of “woman.” The image and the forms of subjugation inflicted on women are, in fact, indivisible from the many articulations through which difference is created. The female image as a screen of power has a double weight: on the one hand, it hides power dynamics through processes of naturalization and legitimation; on the other, it also represents a political field of negotiation and conflict, both a product and a place of production.
In rendering increasingly evident the impossibility of distinguishing between political and private, Italian and global political events have proven feminism right. If “the time is now,” we don’t need redemption in order to make room for an image of women that is complete and dignified; rather, it must be re-invented. The critique of processes of naturalization of alterity, of the crystallization of identity, of the co-optation of every form of diversity, of the criminalization and marginalization of conflict and of the racialization of society is central to feminist politics. Topics regarding the feminization of labor – the extension of the characteristics which have historically been attributed to female labor, i.e. care-giving and reproduction – to the entire work sphere, the intertwining of identities, politics and the demands of situated positions and the structural violence of a productive system have become central junctions representing starting points for rethinking possible common politics.
La transformation de Marcel Duchamp en Rrose Sélavy marque un décentrement de la figure de l’arti... more La transformation de Marcel Duchamp en Rrose Sélavy marque un décentrement de la figure de l’artiste, désormais traversée par l’instabilité, l’ambivalence et la contradiction. Prendre un alter égo féminin n’est pas anodin : c’est remettre en cause la notion de créateur-génie masculin. Les autoreprésentations photographiques et l’utilisation du travestissement, moins connues que les readymades ou le Grand Verre, révèlent un « autre » Marcel Duchamp, profondément ambivalent et troublé par le genre.
Cet ouvrage montre que Duchamp échappe toujours à sa canonisation dans l’histoire de l’art. Les déplacements et les réinventions avec lesquels il brouille les pistes passent par le « féminin » ou l’irruption de l’Autre dans la modernité qu’il élabore.
Edited Books by Giovanna Zapperi
For several years now, the name of Carla Lonzi has been breaking out in art history after a compa... more For several years now, the name of Carla Lonzi has been breaking out in art history after a comparatively long-time silence. Art critic, poet and feminist, Lonzi’s work evades easy definitions. Renewed interest in her writing led to two major scholarly publications written in Italian, alongside international responses from contemporary art historians, curators, artist exhibitions, conferences and reading groups. This recent attention to Lonzi has instigated new conversations around radical feminism, contributing to the delinking of an Anglo-American canon frequently associated with major accounts of the feminist movement in art. The developing discourse has also, and this is crucial, started to disseminate a feminist vocabulary that produces dissonances within mainstream strategies of presenting the relationship between art and feminism in the contemporary art world across generations and geographies.
Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) explore... more Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil.
Exhibition catalogue for the exhibition "Defiant Muses", Museo Reina Sofia, Madrid, 2019 (English and Spanish).
With texts by Nataša Petrešin-Bachelez, Giovanna Zapperi, Alexandre Moussa, Ros Murray, François Vergès, Élisabeth Lebovici, Nicole Fernández Ferrer
- Nataša Petrešin-Bachelez and Giovanna Zapperi, Defiant Muses: An Introduction.
- Alexandre Moussa, "Undoing the diva": Delphine Seyrig as an Actress, or the Deconstruction of Myth.
- Ros Murray, Cutting Up Men? Delphine Seyrig and Carole Roussopoulos's Playful Forms of Video Activism.
- Françoise Vergès, To Be a Woman, Not a Vision. Delphine Seyrig's Feminist Quest.
- Elisabeth Lebovici, "Never seen but Fully Imagined": Delphine Seyrig's Part(s) in Ulrike Ottinger's Cinema.
- Nataša Petrešin-Bachelez and Giovanna Zapperi in Conversation with Nicole Fernandez Ferrer, "A Remarkable Story". The Centre Audiovisuel Simone de Beauvoir in Paris.
Epilogue: Correspondance and Testimonies.
Quel type de savoir une recherche artistique est-elle susceptible de produire? Quels sont ses mét... more Quel type de savoir une recherche artistique est-elle susceptible de produire? Quels sont ses méthodes et ses objets? Ce livre explore la possibilité de penser l'art comme une manière d'expérimenter avec le savoir historique, en se situant dans un registre qui ne relève pas seulement de l'information ou de la consommation, mais qui renvoie à l'actualisation et au processus consistant à faire émerger ce qui demeure inconnu, marginalisé ou refoulé.
Avec les contributions de: Sophie Wahnich, Natasa Petresin Bachelez, Teresa Castro, Dean Inkster, Florence Lazar, Vincent Meessen, Patricia Esquivias, Giovanna Zapperi, Pauline Boudry et Renate Lorenz, Virginia Villaplana Ruiz, Alejandra Riera, Sybil Coovi-Handemagnon, Judith Revel, Olivier Marboeuf.
"The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and so... more "The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and social history of Italy in the decades following the Second World War; she occupies a singular position, which today merits reevaluation. A reputed art critic of the 1960s artistic scene, both friend and collaborator of such figures as Carla Accardi, Luciano Fabro, and Jannis Kounellis, she wrote “Autoportrait” in 1969, a “love letter” to the artists and to creation, but also a farewell chorus to art criticism and the art world. The following year she founded Rivolta Femminile, an active feminist collective, thus becoming the central figure of Italian feminism.
This publication of “Autoportrait," translated into French for the first time, is accompanied by a foreword, and a critical and biographical structure by art historian Giovanni Zapperi, showing the singularity of Carla Lonzi’ s project. Made up of a series of recorded interviews, subsequently transcribed and recomposed to give birth to a particular textual montage, “Autoportrait” is an experimental attempt to reinvent art criticism thanks to a fragmentary discourse and an iconography in which reproductions of works mix with intimate images. An invaluable document on Italian art in the 1960s, “Autoportrait” is a polyphonic book, “a kind of maieutic banquet” to which Carla Lonzi invites us in order to rethink the production of discourse on art and artists."
Edited Journals by Giovanna Zapperi
Multitudes, 2007
Sommaire: Majeure 29. Narrations postcoloniales - Antonella Corsani, Christophe Degoutin, Fran... more Sommaire:
Majeure 29. Narrations postcoloniales
- Antonella Corsani, Christophe Degoutin, François Matheron, Giovanna Zapperi: Narrations postcoloniales
- Fatimah Tobing Rony: Le Troisième oeil
- Nirmal Puwar: Architectures de la mémoire Image, son et pierre
- Romaine Moreton: Quand la parole libère (de) l écrit, et l écrit (de) la parole
- Gloria Anzaldùa: Movimientos de rebeldía y las culturas que traicionan
- Alessandra Gribaldo et Giovanna Zapperi: Un autre regard Ethnographie, narration et postcolonialisme
- Mahasweta Devi: Draupadi
- Gayatri Chakravorty Spivak: « Draupadi »: Avant-propos de la traductrice
Papers by Giovanna Zapperi
Histoire de l'art en France: 1964-2024, 2024
Entre 2009 et 2011 l’espace des collections permanentes du Musée National d’Art Moderne à Paris é... more Entre 2009 et 2011 l’espace des collections permanentes du Musée National d’Art Moderne à Paris était pour la première fois consacrée aux artistes femmes, jusqu’alors quasiment absentes de la programmation du musée. L’accrochage elles@centrepompidou, réalisé sous le commissariat de Camille Morineau marque les contradictions du discours muséal français par rapport au féminisme et au genre. Cet article prend cet évènement pour point de départ pour dresser un état des lieux critique de la réception tardive des débats féministes dans l’histoire de l’art en France. Il met en évidence les ambivalences et les contradictions à travers lesquels les positions féministes ont fini par s’imposer dans le paysage artistique français.
« Le féminisme au musée : un paradoxe français », in O. Bonfait et al. (dir.), Histoire de l’art en France : 1964-2024, Lyon, CIHA 2024, pp. 394-403.
Konturen, 2022
Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was al... more Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film industry, strongly resonates with recent debates prompted by the #metoo movement.
Palinsesti, n. 8, 2019, 2019
Woman is the other in relation to man. Man is the other in relation to woman. Equality is an ideo... more Woman is the other in relation to man. Man is the other in relation to woman. Equality is an ideological attempt to subject women even further. [...] Liberation for woman does not mean accepting the life man leads, because it is unliveable; on the contrary, it means expressing her own sense of existence. 1
Laurent Schmid et al. (eds.), Laptop Radio. La radio siamo noi, Geneva, HEAD - Link editions 2019, 2019
Translated from French by Jason Francis Mc Gimsey. Previously published in French: “L’autoportrai... more Translated from French by Jason Francis Mc Gimsey. Previously published in French: “L’autoportrait d’une femme. Préface.” In Carla Lonzi, Autoportrait, translated from Italian by Marie-Ange Marie-Vigueur, edited and prefaced by Giovanna Zapperi, Paris-Zurich, JRP Ringier, 2012, pp. 7—35.
Afterall. A journal for Art, Context, and Enquiry, 2018
e-flux journal , 2018
This article is an intervention in the feminist debate prompted by the #metoo movement via a crit... more This article is an intervention in the feminist debate prompted by the #metoo movement via a critical analysis of the letter published in Le Monde in January 2018 (aka Deneuve column) arguing for the freedom to “importuner” (bother or sexually harass women), and signed by 100 women (among them: art critics, curators, artists, filmmakers...). In our text we analyze the entanglement between a specific (national) understanding of sexual difference, a neoliberal representation of subjectivity and the overlap of critique and censorship emerging from the letter.
Nataša Petrešin-Bachelez, Giovanna Zapperi, Mercedes Pineda (eds.), Musas insumisas / Defiant Muses. Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s, Madrid : Museo Reina Sofia , 2019
Un examen critique des liens entre esthétique et politique à travers la figure emblématique de Ca... more Un examen critique des liens entre esthétique et politique à travers la figure emblématique de Carla Lonzi (1931-1982), critique d'art novatrice et l'une des fondatrices du néo-féminisme en Italie.
Da circa un decennio la storia biografica e teorica di Carla Lonzi, figura preminente del femmini... more Da circa un decennio la storia biografica e teorica di Carla Lonzi, figura preminente del femminismo italiano degli anni ’70, è oggetto di una continua riscoperta, non solo in Italia: dapprima con la ripubblicazione di tutti i suoi scritti, tra i quali il famosissimo Sputiamo su Hegel; poi con convegni e studi specifici. Sta così riemergendo il lavoro di riflessione di un’autrice affascinante ed enigmatica che ha saputo pensare il femminismo quanto il mondo dell’arte, il potere quanto le forme dell’emancipazione delle donne.
Giovanna Zapperi si interessa alla traiettoria di Carla Lonzi e ai rapporti tra arte e femminismo nell’Italia tra gli anni ‘60 e ‘70. Attingendo a fonti di archivio inedite, questo libro dimostra che i due periodi che sembrano scandire la biografia di Carla Lonzi (prima la critica d’arte, poi il femminismo) segnano in realtà un percorso che intreccia l’intera espressione teorica di questa importante autrice. Questa lettura ci consente allora di ricavare dal pensiero di Carla Lonzi categorie per leggere il presente, tanto per una critica all’altezza dei tempi sul ruolo e l’uso delle immagini, quanto per capire le forme di subordinazione legate al genere, all’identità e alle classificazioni sociali che non cessano di riprodursi.
La radicale creatività della vita e degli scritti di Carla Lonzi trovano in questo libro una sintesi biografica e analitica compiuta, grazie alla minuziosa e fertile ricerca della storica dell’arte e femminista Giovanna Zapperi, la quale di quel «gesto creativo all’altezza della vita» è in tutto e per tutto un’erede.
INDICE:
Introduzione
Capitolo 1: Circa 1970
Capitolo 2: Critica del sapere
Capitolo 3: Divenire Soggetti
Capitolo 4: Il tempo del femminismo
Capitolo 5: Carla Accardi
Capitolo 6: L'altra creatività
Capitolo 7: Contro l'arte
Epilogo: Suite Rivolta
La trasformazione di Marcel Duchamp in Rrose Sélavy rende l'artista una figura ambivalente, insta... more La trasformazione di Marcel Duchamp in Rrose Sélavy rende l'artista una figura ambivalente, instabile e contraddittoria. L'adozione di un alter ego femminile rimanda alla necessità di ripensare la mascolinità dell'artista e il mito del genio-creatore nel quadro di una modernità che investe tanto il piano della produzione e dei consumi, quanto quello della sessualità e dei comportamenti femminili. Le autorappresentazioni fotografiche realizzate attorno al 1920, quasi sempre con l'aiuto di Man Ray, rivelano infatti un "altro" Marcel Duchamp, profondamente ambivalente nei confronti della virilità dell'artista. Le "strategie di sé" con cui Duchamp confonde le tracce della sua identità passano per il femminile, ovvero per l'irruzione dell'altro nella modernità che lui stesso sta elaborando. Al di là di ogni posizione identitaria, Rrose Sélavy mette in scena la "donna" come una figura della molteplicità che destabilizza l'idea di una mascolinità coerente e unitaria.
This book is the outcome of a common need, both theoretical and political, to elaborate a feminis... more This book is the outcome of a common need, both theoretical and political, to elaborate a feminist reflection on the intertwining of gender and visuality, starting from the Italian context. The topic of “the image of women” has come to the fore as an emergency in conjunction with the sex scandals that accompanied the decline of Berlusconi-ism, strongly characterized by a renewed visibility of sexist ideas and behavior. Our contribution calls back to radical feminism as the key to interpreting the present, with the prospect of reconnecting it to crucial contemporary questions, starting with gender. Instead of addressing the downgrading of the female gender to eroticized and subjugated images and its more or less direct relationship with women’s condition in Italy, our departure point was a critique of representation as a gendered domain and the answers provided by feminist movements. In fact, our aim was to problematize a series of questions that were raised by Berlusconi’s sex scandals, but which have been constantly deferred to a more opportune moment, removed from the contingency and an emergency that seemed to call for a straightforward, immediate, compact and shared answer.
The visual field is a crucial area for feminist reflection, starting with a problematization of questions that involve a multiplicity of subjects who do not necessarily identify with the category of “woman.” The image and the forms of subjugation inflicted on women are, in fact, indivisible from the many articulations through which difference is created. The female image as a screen of power has a double weight: on the one hand, it hides power dynamics through processes of naturalization and legitimation; on the other, it also represents a political field of negotiation and conflict, both a product and a place of production.
In rendering increasingly evident the impossibility of distinguishing between political and private, Italian and global political events have proven feminism right. If “the time is now,” we don’t need redemption in order to make room for an image of women that is complete and dignified; rather, it must be re-invented. The critique of processes of naturalization of alterity, of the crystallization of identity, of the co-optation of every form of diversity, of the criminalization and marginalization of conflict and of the racialization of society is central to feminist politics. Topics regarding the feminization of labor – the extension of the characteristics which have historically been attributed to female labor, i.e. care-giving and reproduction – to the entire work sphere, the intertwining of identities, politics and the demands of situated positions and the structural violence of a productive system have become central junctions representing starting points for rethinking possible common politics.
La transformation de Marcel Duchamp en Rrose Sélavy marque un décentrement de la figure de l’arti... more La transformation de Marcel Duchamp en Rrose Sélavy marque un décentrement de la figure de l’artiste, désormais traversée par l’instabilité, l’ambivalence et la contradiction. Prendre un alter égo féminin n’est pas anodin : c’est remettre en cause la notion de créateur-génie masculin. Les autoreprésentations photographiques et l’utilisation du travestissement, moins connues que les readymades ou le Grand Verre, révèlent un « autre » Marcel Duchamp, profondément ambivalent et troublé par le genre.
Cet ouvrage montre que Duchamp échappe toujours à sa canonisation dans l’histoire de l’art. Les déplacements et les réinventions avec lesquels il brouille les pistes passent par le « féminin » ou l’irruption de l’Autre dans la modernité qu’il élabore.
For several years now, the name of Carla Lonzi has been breaking out in art history after a compa... more For several years now, the name of Carla Lonzi has been breaking out in art history after a comparatively long-time silence. Art critic, poet and feminist, Lonzi’s work evades easy definitions. Renewed interest in her writing led to two major scholarly publications written in Italian, alongside international responses from contemporary art historians, curators, artist exhibitions, conferences and reading groups. This recent attention to Lonzi has instigated new conversations around radical feminism, contributing to the delinking of an Anglo-American canon frequently associated with major accounts of the feminist movement in art. The developing discourse has also, and this is crucial, started to disseminate a feminist vocabulary that produces dissonances within mainstream strategies of presenting the relationship between art and feminism in the contemporary art world across generations and geographies.
Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) explore... more Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil.
Exhibition catalogue for the exhibition "Defiant Muses", Museo Reina Sofia, Madrid, 2019 (English and Spanish).
With texts by Nataša Petrešin-Bachelez, Giovanna Zapperi, Alexandre Moussa, Ros Murray, François Vergès, Élisabeth Lebovici, Nicole Fernández Ferrer
- Nataša Petrešin-Bachelez and Giovanna Zapperi, Defiant Muses: An Introduction.
- Alexandre Moussa, "Undoing the diva": Delphine Seyrig as an Actress, or the Deconstruction of Myth.
- Ros Murray, Cutting Up Men? Delphine Seyrig and Carole Roussopoulos's Playful Forms of Video Activism.
- Françoise Vergès, To Be a Woman, Not a Vision. Delphine Seyrig's Feminist Quest.
- Elisabeth Lebovici, "Never seen but Fully Imagined": Delphine Seyrig's Part(s) in Ulrike Ottinger's Cinema.
- Nataša Petrešin-Bachelez and Giovanna Zapperi in Conversation with Nicole Fernandez Ferrer, "A Remarkable Story". The Centre Audiovisuel Simone de Beauvoir in Paris.
Epilogue: Correspondance and Testimonies.
Quel type de savoir une recherche artistique est-elle susceptible de produire? Quels sont ses mét... more Quel type de savoir une recherche artistique est-elle susceptible de produire? Quels sont ses méthodes et ses objets? Ce livre explore la possibilité de penser l'art comme une manière d'expérimenter avec le savoir historique, en se situant dans un registre qui ne relève pas seulement de l'information ou de la consommation, mais qui renvoie à l'actualisation et au processus consistant à faire émerger ce qui demeure inconnu, marginalisé ou refoulé.
Avec les contributions de: Sophie Wahnich, Natasa Petresin Bachelez, Teresa Castro, Dean Inkster, Florence Lazar, Vincent Meessen, Patricia Esquivias, Giovanna Zapperi, Pauline Boudry et Renate Lorenz, Virginia Villaplana Ruiz, Alejandra Riera, Sybil Coovi-Handemagnon, Judith Revel, Olivier Marboeuf.
"The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and so... more "The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and social history of Italy in the decades following the Second World War; she occupies a singular position, which today merits reevaluation. A reputed art critic of the 1960s artistic scene, both friend and collaborator of such figures as Carla Accardi, Luciano Fabro, and Jannis Kounellis, she wrote “Autoportrait” in 1969, a “love letter” to the artists and to creation, but also a farewell chorus to art criticism and the art world. The following year she founded Rivolta Femminile, an active feminist collective, thus becoming the central figure of Italian feminism.
This publication of “Autoportrait," translated into French for the first time, is accompanied by a foreword, and a critical and biographical structure by art historian Giovanni Zapperi, showing the singularity of Carla Lonzi’ s project. Made up of a series of recorded interviews, subsequently transcribed and recomposed to give birth to a particular textual montage, “Autoportrait” is an experimental attempt to reinvent art criticism thanks to a fragmentary discourse and an iconography in which reproductions of works mix with intimate images. An invaluable document on Italian art in the 1960s, “Autoportrait” is a polyphonic book, “a kind of maieutic banquet” to which Carla Lonzi invites us in order to rethink the production of discourse on art and artists."
Multitudes, 2007
Sommaire: Majeure 29. Narrations postcoloniales - Antonella Corsani, Christophe Degoutin, Fran... more Sommaire:
Majeure 29. Narrations postcoloniales
- Antonella Corsani, Christophe Degoutin, François Matheron, Giovanna Zapperi: Narrations postcoloniales
- Fatimah Tobing Rony: Le Troisième oeil
- Nirmal Puwar: Architectures de la mémoire Image, son et pierre
- Romaine Moreton: Quand la parole libère (de) l écrit, et l écrit (de) la parole
- Gloria Anzaldùa: Movimientos de rebeldía y las culturas que traicionan
- Alessandra Gribaldo et Giovanna Zapperi: Un autre regard Ethnographie, narration et postcolonialisme
- Mahasweta Devi: Draupadi
- Gayatri Chakravorty Spivak: « Draupadi »: Avant-propos de la traductrice
Histoire de l'art en France: 1964-2024, 2024
Entre 2009 et 2011 l’espace des collections permanentes du Musée National d’Art Moderne à Paris é... more Entre 2009 et 2011 l’espace des collections permanentes du Musée National d’Art Moderne à Paris était pour la première fois consacrée aux artistes femmes, jusqu’alors quasiment absentes de la programmation du musée. L’accrochage elles@centrepompidou, réalisé sous le commissariat de Camille Morineau marque les contradictions du discours muséal français par rapport au féminisme et au genre. Cet article prend cet évènement pour point de départ pour dresser un état des lieux critique de la réception tardive des débats féministes dans l’histoire de l’art en France. Il met en évidence les ambivalences et les contradictions à travers lesquels les positions féministes ont fini par s’imposer dans le paysage artistique français.
« Le féminisme au musée : un paradoxe français », in O. Bonfait et al. (dir.), Histoire de l’art en France : 1964-2024, Lyon, CIHA 2024, pp. 394-403.
Konturen, 2022
Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was al... more Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film industry, strongly resonates with recent debates prompted by the #metoo movement.
Palinsesti, n. 8, 2019, 2019
Woman is the other in relation to man. Man is the other in relation to woman. Equality is an ideo... more Woman is the other in relation to man. Man is the other in relation to woman. Equality is an ideological attempt to subject women even further. [...] Liberation for woman does not mean accepting the life man leads, because it is unliveable; on the contrary, it means expressing her own sense of existence. 1
Laurent Schmid et al. (eds.), Laptop Radio. La radio siamo noi, Geneva, HEAD - Link editions 2019, 2019
Translated from French by Jason Francis Mc Gimsey. Previously published in French: “L’autoportrai... more Translated from French by Jason Francis Mc Gimsey. Previously published in French: “L’autoportrait d’une femme. Préface.” In Carla Lonzi, Autoportrait, translated from Italian by Marie-Ange Marie-Vigueur, edited and prefaced by Giovanna Zapperi, Paris-Zurich, JRP Ringier, 2012, pp. 7—35.
Afterall. A journal for Art, Context, and Enquiry, 2018
e-flux journal , 2018
This article is an intervention in the feminist debate prompted by the #metoo movement via a crit... more This article is an intervention in the feminist debate prompted by the #metoo movement via a critical analysis of the letter published in Le Monde in January 2018 (aka Deneuve column) arguing for the freedom to “importuner” (bother or sexually harass women), and signed by 100 women (among them: art critics, curators, artists, filmmakers...). In our text we analyze the entanglement between a specific (national) understanding of sexual difference, a neoliberal representation of subjectivity and the overlap of critique and censorship emerging from the letter.
Texte zur Kunst, n. 108, December 2017, pp. 86-101
In 1969, Italian art critic Carla Lonzi published Self-portrait (“Autoritratto”), a montage of a ... more In 1969, Italian art critic Carla Lonzi published Self-portrait (“Autoritratto”), a montage of a series of conversations she recorded with fourteen artists (all male except Carla Accardi). The book is also a farewell: in 1970, together with Accardi, she founded “Rivolta Femminile” – one of the first feminist collectives in Italy – and never came back to art criticism. For Lonzi there was no possible reconciliation between her activity as an art critic and her subsequent feminist engagement, and this has contributed to the representation of her trajectory as dramatically bifurcated. Lonzi quickly became one of the founding figures of Italian second-wave feminism and the author of a number of provocative texts.
In this paper I will go back to this moment of rupture in order to stress the significance of Lonzi’s writings in the framework of a feminist critique of art history. I will focus on two interrelated issues that will help reconsider her activity within the international context of the relations between art and feminism. The first issue concerns her refusal to engage as a feminist art critic and her critique of the art world, considered as a sum of institutions, sites, languages, as well as forms of sociability, life and labour. The second point interrogates the challenges that Lonzi’s ambivalent position towards art poses to the attempt to reinscribe her into a feminist art history. The radical nature of Lonzi’s rupture still remains to be interrogated in order to open up new paths for feminist art history and theory.
The feminist revolution of the 1970s marked a decisive moment in the contestation of the roles th... more The feminist revolution of the 1970s marked a decisive moment in the contestation of the roles that define us as men and women, pursued through a new awareness of the roles that construct 'woman' as a dependent, secondary being. The process of exploring identities and sexual norms was often activated in the context of performative actions that questioned masculinity and femininity as social roles, impugning all essentialisation of identity. It was in the context of these transformations, which put subjectivity and the relation to the other at the centre, that masculinity could emerge as a construction and a political category. If masculinity -white, heterosexual masculinity -traditionally occupies the space of neutrality, universality and disinterestedness, being a man therefore means not being marked by difference. These questions had a profound effect on the art of the late 20th century. However, most analyses restrict themselves to their resonance in art made by women. It is much rarer for art made by men to be considered from a feminist standpoint, that is to say, from a perspective that is capable of naming masculinity rather than passing it off as universal.
A più di trent'anni dalla sua morte, Carla lonzi è considerata la figura emblematica del femminis... more A più di trent'anni dalla sua morte, Carla lonzi è considerata la figura emblematica del femminismo italiano degli anni settanta, i cui scritti continuano ad avere un'eco decisiva negli attuali dibattiti femministi. lonzi rimane tuttavia una figura inclassificabile: risulta complicato descrivere l'attività di una donna che non ha mai smesso di sfidare quell'insieme di dispositivi che riducono la vita ad un'insieme di categorie, di ruoli e identità. Carla lonzi ha sperimentato modi di vivere e di scrivere alternativi nel contesto della cultura italiana degli anni sessanta e settanta, quando le strutture sociali del paese erano messe alla prova da una contestazione di massa e dall'emergere del movimento femminista. la sua pro-'emergere del movimento femminista. la sua pro-emergere del movimento femminista. la sua produzione è infatti caratterizzata da una continua sperimentazione e reinvenzione delle forme espressive tradizionali, prima nel mondo dell'arte, durante tutti gli anni sessanta, poi nel femminismo, dal 1970 fino alla sua morte prematura avvenuta nel 1982. Nell'arco di un decennio lonzi ha scritto una serie testi che rappresentano altrettante pietre miliari del femminismo italiano: Sputiamo su Hegel (1970), decostruzione feroce della dialettica servo-padrone, La donna clitoridea e la donna vaginale (1970) sul nesso tra sessualità e cultura patriarcale, il monumentale Taci, anzi parla. Diario di una femminista (1978), e Vai pure. Dialogo con Pietro Consagra (1980), la lunga conversazione con il suo compagno, lo scultore pietro Consagra, che mette fine ad un rapporto d'amore ventennale. Questi scritti sono attraversati da una tensione creativa e sperimentale, in cui Carla lonzi reinventa la scrittura, la creatività e la produzione di sapere, appropriandosi di una serie di forme espressive tradizionalmente «minori» o legate a pratiche d'avanguardia, come il diario, la conversazione o il manifesto.
Studi Culturali, Apr 2015
Carla Lonzi’s writings challenge current notions of history and temporality that she reinvents in... more Carla Lonzi’s writings challenge current notions of history and temporality that she reinvents in their relation to subjectivity. In Autoritratto (1969), Lonzi questions official art historical narratives, largely based on formats such as the monograph, or the chronological succession of (male) artists, movements, and categories. In her subsequent feminist writings, she develops an anti-dialectical understanding of historical time where history itself is understood as a male construction from which women are structurally excluded. As she writes in Let’s Spit on Hegel (1970), feminism interrupts both chronological continuity and the monologue of patriarchal history. This essay addresses these issues by focusing on Lonzi’s writings across the 1960s and 1970s and the way she explores alternative modes of knowledge production. I particularly focus on her uses of reproduction technologies (recording, montage and photography) in order to shape a different temporality, her notion of the “Unexpected subject” (Soggetto imprevisto) and the link between past and present, and finally her ideas about women’s history (including women artists). This essay is partly based on archival research and previously unpublished material.
Géoesthétique, 2014
Du régime politique de la cartographie – Défaire la carte – Ici, Ailleurs – Habitations du monde ... more Du régime politique de la cartographie – Défaire la carte – Ici, Ailleurs – Habitations du monde – Conclusion.
Feminist Review, n. 105, November 2013: 21-47, 2013
"Recent debates in the field of contemporary art have underlined the political importance of crea... more "Recent debates in the field of contemporary art have underlined the political importance of creative reworkings of the past, especially for those subjects that have been traditionally marginalised. A feminist perspective has been nevertheless quite absent from such debates. This article addresses feminist uses of archival documents in the visual arts through the analysis of three works produced in the past two decades: The Fae Richard’s Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance Operations (1998) by Renée Green and Queen of the Artists’ Studios (2004–2007) by Andrea Geyer. These works share an interest for women’s histories and representations by composing a series of documents (both factual and fictive) into complex narratives where history and subjectivity intersect.
Keywords: archive; feminist genealogies; women’s history; visual arts
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Sin dai suoi esordi nei primi anni settanta, la critica femminista delle immagini, che ha attrave... more Sin dai suoi esordi nei primi anni settanta, la critica femminista delle immagini, che ha attraversato le discipline della storia dell'arte, dei film studies, della semiotica e dei media studies, si è confrontata con la questione cruciale del rapporto tra il visuale e la costruzione del femminile. Questo problema si è imposto da subito sia nell'ambito della riflessione teorica che in quelli della critica d'arte e della pratica artistica. È proprio a partire da un dialogo serrato con la teoria e la pratica che prende le mosse l'articolo di Griselda Pollock, Cosa c'è di sbagliato nelle «Immagini delle donne»? * uno degli interventi più significativi nell'articolare una teoria femminista delle immagini sviluppatasi nel corso degli anni settanta a partire dai testi ormai «canonici» di Linda Nochlin (1971), nel campo della storia dell'arte, e di Laura in quello dei film studies. Il fatto che questo saggio non risulti catalogabile in una delle tante discipline con cui dialoga rappresenta senz'altro uno dei suoi punti di forza, in quanto tra gli obbiettivi della critica femminista vi era proprio quello di scardinare i limiti disciplinari facendo interagire storia dell'arte, semiotica e critica marxista attraverso un'analisi intrecciata di immagini derivate sia dalla sfera artistica che da quella della cultura di massa. Per Griselda Pollock infatti la compartimentazione disciplinare rappresentava uno degli ostacoli maggiori all'articolazione teorica e politica del problema rappresentato dall'espressione «Immagini delle donne». I confini angusti della storia dell'arte come disciplina accademica erano -e per molti versi lo sono tutt'ora -parte integrante di quell'insieme di dispositivi che contribuiscono a offuscare il modo in cui l'ideologia interviene nelle rappresentazioni visive.
This paper takes as its starting point the modernist notion of the artist as an autonomous figure... more This paper takes as its starting point the modernist notion of the artist as an autonomous figure and looks at 1970s feminist revisions of it. I will propose to read the relation between art, life and labour through the lens of Carla Lonzi’s critique of art as labour, as part of her call for a rejection of male competitive structures in favour of non-productivity and free relations. Carla Lonzi was an important art critic and feminist in 1960-70s Italy, who decided to withdraw from the art world in 1970. In her texts, art emerges as entwined with a number of institutions, power relations, and strategies, as well as forms of sociability, life and labour that structurally oppress women. This paper will draw on Lonzi’s ideas about the artist’s alienation and masculinity in order to test their resonances from the point of view of a contemporary feminist critique of the capture of life and its reduction to labour.
Recent debates in the field of contemporary art have underlined the political significance of doc... more Recent debates in the field of contemporary art have underlined the political significance of documentary and archival practices in their ability to address issues of displacement and belonging. In this presentation I will discuss some brief case studies which all deploy documentary strategies in which archival materials are both produced and appropriated. Referring to Mary Louise Pratt’s notion of the “contact zone” as the space of colonial encounters, this presentation considers uses of archival documents in art in their potential to address the conflicting forces that shape our postcolonial present.
I am not quite sure when or how I came across Carla Lonzi’s writing. It happened in the casual ma... more I am not quite sure when or how I came across Carla Lonzi’s writing. It happened in the casual manner in which sometimes one’s life changes in unexpected ways. Lonzi’s writing did not change my life, but it offered me an opportunity to reflect upon it. Lonzi’s feminist practice is a work of unearthing, undoing, and undressing that shakes up the foundation of our culture and beings. What has society made of me? Who am I? Lonzi ceaselessly questions her sense of self, the place society had assigned to her, refusing to conform to social roles and fixed identities. An art critic, a feminist, a poet, a woman, but above all a subject seeking freedom, Carla Lonzi represents a unique figure in the history of Italian feminism. I discussed her radical life and thought with writer and researcher Giovanna Zapperi. I met Giovanna some years ago — I think it was 2013 or may be 2014 — through a mutual friend. Giovanna teaches History and Theory of Art at École Nationale Supérieure d’Art in Bourges, France. She is currently working on a book on Carla Lonzi which will be published next year (2017). She has also edited and prefaced the French edition of Autoritratto [Self-Portrait, 1969] published by JRP Ringier in 2012. Our conversation happened partly via email and partly in person, when, back from the US where she had been lecturing on Carla Lonzi, and on her way to Paris, where she lives, Giovanna agreed to meet at a bar in the district of Kreuzberg in Berlin. What follows is an edited version of a much longer exchange.
Relazione introduttiva alla giornata di studi Carla Lonzi : critique d'art et féministe / art cri... more Relazione introduttiva alla giornata di studi Carla Lonzi : critique d'art et féministe / art critic and feminist, organizzata dal gruppo di ricerca Travelling Féministe/Travelling Feminism alla Maison Rouge di Parigi
Delphine Seyrig (1932-1990) is best known for the roles she played in French auteur cinema, most ... more Delphine Seyrig (1932-1990) is best known for the roles she played in French auteur cinema, most notably in Alain Resnais’ Last Year at Marienbad (1961), where she became the symbol of an idealized and sophisticated femininity. But “acting” was not merely a profession for Seyrig: during the 1970s, she became indeed an activist working collaboratively within the framework of the feminist movement. At the same time, working with women filmmakers such as Chantal Akerman, Marguerite Duras or Ulrike Ottinger allowed her to explore a variety of female roles and to unravel her own image as a diva. Around 1975, together with activist video maker Carole Roussopoulos and translator Ioana Wieder, she produced a series of videos under the collective name “Les Insoumuses” (Defiant Muses). In their tapes, such as Sois belle et tais-toi (1976), SCUM Manifesto (1976), and Maso and Miso vont en bateau (1976), video became an emancipatory tool and an agent of political activism. In 1982, the three women established the “Centre audiovisuel Simone de Beauvoir” in Paris, thus providing an unprecedented audio-visual archive of the struggles of the time, in and beyond France, which include the fight for legal abortion, against torture and the Vietnam war, for the rights of sex workers’ and political prisoners, and the involvement in the antipsychiatry movement.
Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil. Seyrig as well as actress and friend Jane Fonda, cinematographer Babette Mangolte, poet and painter Etel Adnan, writer and activist Kate Millett, or philosopher Simone de Beauvoir appear as knitting nodes of a wider, plural, transnational fabric. Videos, artworks, photographs, archival documents, and films are associated within sections that convey the multiple political concerns that the feminist movement was raising at this precise historical moment, which resonate with a set of problems concerning art and politics today, as feminists keep on building alliances, rise against the film industry’s structural sexism and challenge normative gender roles. Seyrig’s troubled positions in-between aesthetics (cinema, video), work (profession, industry) are marked by a continuum between the actress and the activist thus reminding of the on-going significance of the 1970s feminist slogan: “the personal is political”.
Les Muses Insoumises. Delphine Seyrig entre cinéma et vidéo féministe
LES MUSES INSOUMISES. DELPHINE SEYRIG, ENTRE CINÉMA ET VIDÉO FÉMINISTE. "Les muses insoumise... more LES MUSES INSOUMISES. DELPHINE SEYRIG, ENTRE CINÉMA ET VIDÉO FÉMINISTE.
"Les muses insoumises, Delphine Seyrig entre cinéma et vidéo féministe" présente la diversité des activités de l’actrice à la croisée de l’histoire du cinéma, de la vidéo et du mouvement féministe en France et propose ainsi de revenir sur son parcours de femme engagée, devant et derrière la caméra.
La rencontre avec Carole Roussopoulos en 1974 est à l’origine de l’intérêt de Delphine Seyrig pour la vidéo. Avec Ioana Wieder, elles fondent le collectif « Les Insoumuses » et réalisent des vidéos dans une économie de moyens qui leur permet de s’exprimer librement. Maso et Miso vont en bateau, SCUM Manifesto et Sois belle et taistoi expérimentent un nouveau langage documentaire qui mêle humour et critique sociale.
Les vidéos conservées au Centre Audiovisuel Simone de Beauvoir à Paris, fondé en 1982 par Seyrig, Roussopoulos et Wieder, fournissent une cartographie des luttes de l’époque : le droit à l’interruption volontaire de grossesse, à la liberté sexuelle, les conditions de vie des travailleuses du sexe, les droits des prisonnières politiques, la torture, la guerre au Vietnam ou encore à l’antipsychiatrie. Pour Seyrig, née à Beyrouth, dans un milieu cosmopolite, ayant passée une partie de sa vie à New York, les alliances politiques et artistiques (Jane Fonda ou Ulrike Ottinger) se situent toujours dans un cadre résolument international.
L’exposition propose de revenir sur l’histoire du féminisme en France à partir de sa dimension visuelle et médiatique à travers un ensemble de vidéos, photographies et documents inédits. Delphine Seyrig joue de la diversité de ses positions pour trouver une expression personnelle qui renvoie aux liens inextricables entre art et politique. Sa trajectoire, marquée par le continuum entre l’actrice et l’activiste, rappelle ainsi le slogan phare des manifestations féministes des années 1970 : « Le personnel est politique ».
The exhibition Suite Rivolta investigates the possibility to rethink 1970s radical feminism withi... more The exhibition Suite Rivolta investigates the possibility to rethink 1970s radical feminism within a contemporary political and artistic framework. The show gathers together works and documents related to the figure and writings of Carla Lonzi (1931–1982), an important art critic and feminist in 1960s–1970s Italy. Lonzi’s ideas about creativity, sexuality, and politics strongly resonate with some of the most urgent issues in art and feminism today.
Review of Soulèvements, cur. Georges Didi-Huberman, Jeu de Paume, Paris October 18, 2016 – Januar... more Review of Soulèvements, cur. Georges Didi-Huberman, Jeu de Paume, Paris October 18, 2016 – January 15, 2017 published in MAY, N° 17, 04/2017
Il Manifesto, Jan 31, 2014
Se le Guerrilla Girls -collettivo di artiste travestite da gorilla -si aggirassero per le strade ... more Se le Guerrilla Girls -collettivo di artiste travestite da gorilla -si aggirassero per le strade di Roma in queste settimane avrebbero sicuramente qualcosa da ridire sulla mostra del Palazzo delle Esposizioni sull'arte a Roma negli anni settanta, dove le artiste si contano sulle dita di una mano, e il ruolo del femminismo è relegato ad una nota a pié di pagina. Eppure Roma negli anni settanta è stato il cuore pulsante di un movimento che, non lo si ripeterà mai abbastanza, ha avuto un impatto talmente profondo e ramificato da coinvolgere gli aspetti più diversi della vita sociale e della cultura. L'arte non è di certo rimasta illesa, come fortunatamente ci ricordano due preziosi volumi pubblicati recentemente, tra i primi tentativi di rileggere l'arte italiana degli anni settanta a partire da una prospettiva femminile e femminista. La questione del genere appare infatti sempre più chiaramente come il grande rimosso della storia dell'arte italiana del secondo dopoguerra, dove le intense discussioni sviluppatesi nel mondo anglosassone sul sessismo della disciplina hanno avuto scarsissima eco.
Revue Internationale des Livre et des Idées, n. 16, mars 2010
L'avenir du passé. Art contemporain et politiques de l'archive, Rennes, Presses Universitaires de... more L'avenir du passé. Art contemporain et politiques de l'archive, Rennes, Presses Universitaires de Rennes-ENSA Bourges, coll. « Arts contemporains » 2016. Editions de textes Carla Lonzi, Selbstbewusstwerdung. Schriften zu Kunst und Feminismus, traduit de l'italien par Catrin Dingler et Henrieke Markete, Berlin, B_books/Polypen 2021 (Choix des textes et introduction).
Cette journée d’étude s’inscrit dans le cadre du séminaire de recherche « L’objet de l’exposition... more Cette journée d’étude s’inscrit dans le cadre du séminaire de recherche « L’objet de l’exposition », qui réunit les étudiants de l’option « Médiation culturelle et Pratiques de l’exposition » du master en histoire de l’art de l’Université de Tours et du master Art de l’Ecole Nationale Supérieure d’Art de Bourges. Elle bénéficie du soutien de l’École Nationale Supérieure d’Art de Bourges et du laboratoire InTRu (EA 6301).
« L’objet de l’exposition » porte une réflexion sur l’exposition comprise en tant qu’objet d’étude à part entière. Chaque année, le séminaire se propose d’aborder ce vaste champ de recherche à travers le choix d’une thématique particulière, reprise lors d’une journée d’étude qui clôture le cycle. Pour la deuxième année consécutive, c’est « le regard ethnographique » qui est étudié.
Après une journée d’études en 2015 consacrée à un ensemble de questions reliant pratiques artistiques, stratégies curatoriales et ethnographie, cette année notre champ de recherche entend aborder de manière plus directe la question d’une possible décolonisation de l’espace de l’exposition.
Cette journée d’étude s’inscrit dans le cadre du séminaire « L’objet de l’exposition », qui réuni... more Cette journée d’étude s’inscrit dans le cadre du séminaire « L’objet de l’exposition », qui réunit les étudiants de l’option « Médiation culturelle et Pratiques de l’exposition » du master en histoire de l’art de l’Université de Tours et du master Art de l’Ecole Nationale Supérieure d’Art de Bourges. Elle bénéficie du soutien de l’Ecole Nationale Supérieure d’Art de Bourges et du laboratoire InTRu (EA 6301).
« L’objet de l’exposition » porte une réflexion sur l’exposition comprise en tant qu’objet d’étude à part entière. Chaque année, le séminaire se propose d’aborder ce vaste champ de recherche à travers le choix d’une thématique particulière, reprise lors d’une journée d’étude qui clôture le cycle. Cette année, c’est « le regard ethnographique » qui est étudié.
Après le « tournant ethnographique » des années 1990 – évoqué par la notion d’« artiste en ethnographe » théorisée par Hal Foster – les pratiques curatoriales et artistiques plus récentes attestent d’un intérêt grandissant pour l’ethnographie, considérée du point de vue de ses objets et de ses institutions. Une multiplicité d’expositions a récemment posé des questions complexes qui touchent au rapport, souvent controversé, entre art contemporain et musée ethnographique, au problème de la restitution d’objets et d’artefacts pillés en contexte colonial, ou au statut des objets qui se trouvent dans ces musées. Les musées d’ethnographie, eux-mêmes, semblent de plus en plus trouver dans l’intervention d’artistes au sein de leur collection une solution à leur besoin de rénover et d’interroger leurs pratiques. A ce titre, le travail que mène Clémentine Deliss au Weltkukturen Museum de Francfort est exemplaire.
Program basis voor actuele kunst bak basis voor actuele kunst bak Unpacking Aesthetics and the Fa... more Program basis voor actuele kunst bak basis voor actuele kunst bak Unpacking Aesthetics and the Far Right 17.03.2018 PERFORMATIVE CONFERENCE Propositions #4: Unpacking Aesthetics and the Far Right is part of BAK's long-term artistic research series and convening platform Propositions for Non-Fascist Living (2017-2020 prompted by the surfacing of contemporary fascisms. This is the fourth performative conference within the series and brings together artists, theorists, and writers to seek ways of unpacking the current relations of art and fascist-curious aesthetics.