{"id":62515,"date":"2024-12-09T07:30:26","date_gmt":"2024-12-09T06:30:26","guid":{"rendered":"https:\/\/a-desk.org\/?p=62515"},"modified":"2024-12-09T12:28:39","modified_gmt":"2024-12-09T11:28:39","slug":"sobre-violencia-y-liberacion-en-el-legado-critico-de-effy-beth","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/sobre-violencia-y-liberacion-en-el-legado-critico-de-effy-beth\/","title":{"rendered":"Sobre viol\u00e8ncia i alliberaci\u00f3 en el llegat cr\u00edtic d\u2019Effy Beth"},"content":{"rendered":"<p>\u00c9s crucial subratllar que el llegat d\u2019Effy Beth no es limita a la perfomance en si; la seva influ\u00e8ncia s\u2019expandeix cap a una nova forma d\u2019enteniment i acci\u00f3 cr\u00edtica a l\u2019art i a la vida quotidiana. El que planteja el seu treball \u00e9s una q\u00fcesti\u00f3 fonamental: com podem no nom\u00e9s comunicar idees de forma m\u00e9s efectiva, sin\u00f3 tamb\u00e9 incitar un canvi sem\u00e0ntic i aut\u00e8ntic que motivi a les persones cap a una major empatia i acci\u00f3 social pel que fa a les injust\u00edcies i desigualtats que persisteixen a la nostra societat? Com podem interpel\u00b7lar els prejudicis entorn del masclisme i la transf\u00f2bia?<\/p>\n<p>L\u2019obra d\u2019Effy Beth es caracteritza per una profunda exploraci\u00f3 d\u2019aquestes tem\u00e0tiques, on podem pensar en la met\u00e0fora com un fil conductor que entrella\u00e7a algunes de les performances de forma significativa. L\u2019artista va reprendre les idees de Nietzsche sobre la creaci\u00f3 de realitats a partir d\u2019aquestes, aix\u00ed com les exploracions conceptuals de Lakoff i Johnson <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_62515_1('footnote_plugin_reference_62515_1_1');\" onkeypress=\"footnote_moveToReference_62515_1('footnote_plugin_reference_62515_1_1');\" ><sup id=\"footnote_plugin_tooltip_62515_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_62515_1_1\" class=\"footnote_tooltip\"> Lakoff, G., &amp; Johnson, M. (1980). <em>Metaphors we live by<\/em>. University of Chicago Press. <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_62515_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_62515_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> que tracten sobre com tamb\u00e9 determina en gran manera les nostres experi\u00e8ncies sensorials quotidianes i la forma de percebre el m\u00f3n que ens envolta. Si la nostra comprensi\u00f3 de la realitat \u00e9s determinada per les met\u00e0fores que travessen i estructuren el teixit social, llavors podem utilitzar la met\u00e0fora no tan sols com un recurs ling\u00fc\u00edstic, sin\u00f3 tamb\u00e9 com un sentit en si mateix que pot ser interpel\u00b7lat per representacions art\u00edstiques que habiliten una transgressi\u00f3 d\u2019aquests sentits establerts a la societat.<\/p>\n<p><div id=\"attachment_62389\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG2-595x312.jpg\"><img aria-describedby=\"caption-attachment-62389\" decoding=\"async\" class=\"wp-image-62389 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG2.jpg\" alt=\"Dos mujeres \" width=\"1000\" height=\"525\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG2.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG2-595x312.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG2-768x403.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/a><p id=\"caption-attachment-62389\" class=\"wp-caption-text\">Effy Beth. (2012). Effy ofrece sexo oral [Fotograf\u00eda]. A <a href=\"https:\/\/effyofrece.blogspot.com\/2012\/09\/effy-ofrece-sexo-oral.html\" target=\"_blank\" rel=\"noopener\">https:\/\/effyofrece.blogspot.com\/2012\/09\/effy-ofrece-sexo-oral.html<\/a><\/p><\/div><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>A \u201cEffry ofrece sexo oral\u201d (Effry ofereix sexe oral), va presentar una experi\u00e8ncia que transcendia la mera representaci\u00f3 i expectativa, transformant-se en una interacci\u00f3 visceral i profunda que desafiava els l\u00edmits del cos i la intimitat del p\u00fablic present.<\/p>\n<p>La performance consistia a entrar en un espai on se li entregava a cada individu del p\u00fablic un val que podia ser canviat per \u201csexe oral\u201d. Aix\u00ed doncs, es tractava d\u2019una participaci\u00f3 totalment volunt\u00e0ria i consensuada. Aquells que decidien utilitzar el val eren dirigits a un lloc reservat i curosament preparat, en el que hi havia una cadira i uns auriculars. Cada participant s\u2019asseia a la cadira i es col\u00b7locava els dispositius d\u2019audici\u00f3, mentre que Effy s\u2019apropava i es posava de genolls als seus peus en un gest carregat de simbolisme. En la seva boca tenia un petit reproductor, i al mateix temps que simulava practicar-li una fel\u00b7laci\u00f3 al participant sense interrompre en cap moment el contacte visual, a l\u2019\u00e0udio que el participant escoltava durant tota l\u2019experi\u00e8ncia, se sentien relats esfere\u00efdors en primera persona de diferents v\u00edctimes d\u2019ab\u00fas i viol\u00e8ncia sexual. D\u2019aquesta forma, en una situaci\u00f3 en la qual aparentment nom\u00e9s hi cabia el plaer, Effy va col\u00b7locar un reclam: el lloc d\u2019un mer objecte sexual \u00e9s tamb\u00e9 un lloc d\u2019opressi\u00f3 i vulneraci\u00f3. La intenci\u00f3 de la performance era mostrar com el plaer brindat per una dona a la qual se l\u2019ubica com objecte \u00e9s inseparable dels patiments resultants de l\u2019opressi\u00f3 del g\u00e8nere. <strong>En una obra que posa en evid\u00e8ncia l\u2019opressi\u00f3 i la viol\u00e8ncia, especialment en la sexualitat de les dones, la voluntarietat de la participaci\u00f3 ressalta de forma ir\u00f2nica, ja que no es presenta com una esp\u00e8cie d\u2019\u201celecci\u00f3\u201d dins d\u2019un sistema socialment condicionat. <\/strong>Aix\u00ed \u00e9s que Effy ressalta una realitat en la qual l\u2019erotisme, moltes vegades concebut com a una categoria alliberadora, est\u00e0 \u00edntimament lligat als patrons de viol\u00e8ncia de g\u00e8nere, on la met\u00e0fora es fa m\u00e9s evident en la dificultat de separar el plaer del patiment.<\/p>\n<p>La segona performance d\u2019Effy sobre la qual m\u2019interessa detenir-me presenta una difer\u00e8ncia en relaci\u00f3 a la primera: es va realitzar a l\u2019espai p\u00fablic, de forma que era dif\u00edcil que els espectadors no participessin, almenys des de l\u2019observaci\u00f3. <strong>Aix\u00f2 fa que els l\u00edmits entre el privat i el p\u00fablic es desdibuixin, mostrant com l\u2019art d\u2019Effy Beth no nom\u00e9s es limita a l\u2019espai \u00edntim, sin\u00f3 que es desborda<\/strong> <strong>cap a l\u2019esfera p\u00fablica,<\/strong> <strong>on les persones no poden evitar ser interpel\u00b7lades per l\u2019acte. A m\u00e9s a m\u00e9s, en un context en qu\u00e8 la seva pr\u00e0ctica art\u00edstica s\u2019entrella\u00e7a profundament amb el seu activisme, l\u2019acte no pot veure\u2019s de forma separada de la seva identitat i vida personal. En conseq\u00fc\u00e8ncia, aquesta performance, a difer\u00e8ncia de l\u2019anterior, manca un t\u00edtol clar, ja que no es tracta simplement d\u2019una obra art\u00edstica, sin\u00f3 d\u2019una intervenci\u00f3 pol\u00edtica que desestabilitza el concepte d\u2019\u201cart\u201d en transcendir les fronteres entre el personal, el pol\u00edtic, i l\u2019art\u00edstic. <\/strong><\/p>\n<p>La performance en q\u00fcesti\u00f3 es tractava d\u2019una adaptaci\u00f3 trans de l\u2019artista austr\u00edaca Valie Export, titulada \u201cGenital Panic\u201d. En aquella, Export es mostrava asseguda a una cadira, sostenint una metralladora a les seves mans, mentre que el seu pantal\u00f3 estava obert a l\u2019engonal, de forma que la seva vulva quedava exposada a la mirada del p\u00fablic. La versi\u00f3 d\u2019Effy, en lloc de mostrar genitals \u201cfemenins\u201d, va mostrar els seus genitals de dona trans, i en lloc d\u2019una arma, portava unes tisores grans de jardiner. <strong>Tot i que aquest gest introdueix una difer\u00e8ncia fonamental ja que els tipus de viol\u00e8ncia s\u00f3n representats de manera diferent: mentre que a l\u2019obra de Valie Export l\u2019arma es presentava com una eina de protecci\u00f3, suggerint qu<\/strong>e <strong>la viol\u00e8ncia es pot utilitzar com a defensa, en el cas d\u2019Effy, les tisores es presentaven com a una amena\u00e7a, una acci\u00f3 d\u2019automutilaci\u00f3. Canviant la ret\u00f2rica de la viol\u00e8ncia, enfocant-la no cap a la defensa, sin\u00f3 mostrant l\u2019amena\u00e7ador de no desfer-se del que es considera \u201cinnecessari\u201d o \u201cno conforme\u201d amb les expectatives socials de feminitat. L\u2019acte de portar-les no \u00e9s nom\u00e9s un gest simb\u00f2lic de poder, sin\u00f3 una declaraci\u00f3 en contra de les normes que imposen les expectatives sobre el cos trans. Les tisores representen la possibilitat d\u2019una transformaci\u00f3 sense retorn, i al seu torn una forma de resistir la viol\u00e8ncia estructural mitjan\u00e7ant la redefinici\u00f3 de la pr\u00f2pia identitat. <\/strong><\/p>\n<p><a href=\"http:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG3-295x400.jpg\"><img decoding=\"async\" class=\"wp-image-62393 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG3.jpg\" alt=\"Mujer sentada con las piernas abiertas\" width=\"1000\" height=\"1355\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG3.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG3-295x400.jpg 295w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/11\/IMG3-768x1041.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/a><\/p>\n<p>Export, Valie. Aktionshose: Genital Panik (1969), fotografia de Peter Hassmann. The Museum of Modern Art, New York. \u00a9 2024 VALIE EXPORT \/ Artists Rights Society (ARS), New York \/ VBK, Austria.<\/p>\n<p>No \u00e9s casualitat que aquesta performance es dugu\u00e9s a terme el mateix any que es va sancionar la Llei Nacional d\u2019Identitat de G\u00e8nere 26.743, la qual va ser un pas important per al col\u00b7lectiu tavesti-trans, ja que va permetre contribuir a la despatologitzaci\u00f3 de les identitats dissidents i a promoure drets per aquests col\u00b7lectius.<\/p>\n<p>\u00c9s crucial subratllar que el llegat d\u2019Effy Beth no es limita a la perfomance en si; la seva influ\u00e8ncia s\u2019expandeix cap a una nova forma d\u2019enteniment i acci\u00f3 cr\u00edtica a l\u2019art i a la vida quotidiana. La met\u00e0fora va ser un recurs fonamental en la seva expressi\u00f3 art\u00edstica i social, en ser una eina poderosa que provoca una commoci\u00f3 dels sentits establerts que, en moltes ocasions, poden haver-se quedat atrapats en narratives convencionals. Effy Beth, artista de performances argentina-israeliana, va ser conscient d\u2019aquestes capacitats i les va aplicar d\u2019una forma provocadora i visceral amb l\u2019objectiu d\u2019interpel\u00b7lar els sentits establerts al voltant del lloc de les feminitats en un sistema patriarcal. Al llarg de la seva traject\u00f2ria, Effy va utilitzar la met\u00e0fora no tan sols com a una eina est\u00e8tica, sin\u00f3 tamb\u00e9 com a un mitj\u00e0 efectiu per incitar reflexions cr\u00edtiques i profundes sobre temes fonamentals com la viol\u00e8ncia, la misog\u00ednia i les complexes relacions de poder que influeixen la societat contempor\u00e0nia.<\/p>\n<p>&nbsp;<\/p>\n<p>[Imatge destacada: <strong>Nora Lezano, <em>Effy Beth<\/em> per a <em>Revista Anfibia<\/em>. en <\/strong><a href=\"https:\/\/www.revistaanfibia.com\" target=\"_blank\" rel=\"noopener\"><strong>https:\/\/www.revistaanfibia.com<\/strong><\/a><strong>]<\/strong><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_62515_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_62515_1();\">[<a id=\"footnote_reference_container_collapse_button_62515_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_62515_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_62515_1('footnote_plugin_tooltip_62515_1_1');\"><a id=\"footnote_plugin_reference_62515_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> Lakoff, G., &amp; Johnson, M. (1980). <em>Metaphors we live by<\/em>. University of Chicago Press. <\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_62515_1() { jQuery('#footnote_references_container_62515_1').show(); jQuery('#footnote_reference_container_collapse_button_62515_1').text('\u2212'); } function footnote_collapse_reference_container_62515_1() { jQuery('#footnote_references_container_62515_1').hide(); jQuery('#footnote_reference_container_collapse_button_62515_1').text('+'); } function footnote_expand_collapse_reference_container_62515_1() { if (jQuery('#footnote_references_container_62515_1').is(':hidden')) { footnote_expand_reference_container_62515_1(); } else { footnote_collapse_reference_container_62515_1(); } } function footnote_moveToReference_62515_1(p_str_TargetID) { footnote_expand_reference_container_62515_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, 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a&#8230;<\/p>\n","protected":false},"author":2894,"featured_media":62400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6995],"tags":[],"coauthors":[7002],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Effy Beth<\/title>\n<meta name=\"description\" content=\"La influencia de Effy Beth se expande hacia una nueva forma de entendimiento y acci\u00f3n cr\u00edtica en el arte y en la vida cotidiana.\" \/>\n<meta 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