{"id":8111,"date":"2013-08-27T02:00:00","date_gmt":"2013-08-27T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/08\/27\/classics-feminismes-a-photoespana\/"},"modified":"2013-08-27T02:00:00","modified_gmt":"2013-08-27T02:00:00","slug":"classics-feminismes-a-photoespana","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/classics-feminismes-a-photoespana\/","title":{"rendered":"Cl\u00e0ssics feminismes a Photoespa\u00f1a 2013"},"content":{"rendered":"

\"Alexis
\nL’avantguarda feminista dels anys 70<\/em>, una selecci\u00f3 d’obres de la col\u00b7lecci\u00f3 de fotografia feminista Sammlung Verbund, de Viena, es pot veure fins al dia 1 de setembre, dins el programa de Photoespa\u00f1a 2013.<\/p>\n

A la mostra hi ha obres de vint artistes de diferents geografies, totes produ\u00efdes a la d\u00e8cada dels setanta, moment d’auge de la segona onada de feminisme. Les artistes representades desenvolupen una mirada activista a mesura que exploren les possibilitats de representaci\u00f3 del cos i la identitat femenina fora del violent c\u00e0non imposat a la fotografia cl\u00e0ssica per la mirada masculina. L’esl\u00f2gan de Carol Hanisch All\u00f2 personal \u00e9s pol\u00edtic<\/em>, popularitzat arran de la seva protesta contra Miss America l\u2019any 1968, va saber reclamar la necessitat d’un canvi en la ret\u00f2rica i la gestualitat que normativitzen les identitats femenines. Enmig d’un escenari d’avantguarda en qu\u00e8 les masculinitats dels escultors minimal o la rigidesa kantiana dels artistes del conceptual eren la norma, les que es van anomenar feministes van incorporar les reivindicacions del moviment a les possibilitats de representaci\u00f3 que permet el mitj\u00e0 fotogr\u00e0fic, obrint les portes a l’aparici\u00f3 dels altres cossos.<\/p>\n

\u00c9s cert que les imatges a les que ens remeten moltes d’aquestes peces formen part ja del nostre imaginari, per\u00f2 \u00e9s precisament per aix\u00f2 que la mostra esdev\u00e9 necess\u00e0ria. I dic necess\u00e0ria perqu\u00e8 la tornada als cl\u00e0ssics ha de passar amb relativa regularitat a fi de tornar a mirar-se en ells i fer-los preguntes. En aquest cas, al costat dels retrats d’Ana Mendieta a la s\u00e8rie Untitled (Glass on Body Imprints)<\/em>, de 1972, tenim Selbst<\/em>, de 1975, obra de l’alemanya Annegret Soltau; en ambdues s\u2019hi for\u00e7a l’exploraci\u00f3 dels l\u00edmits del rostre. D’altra banda, Rita Meyers i Martha Rosler aborden la submissi\u00f3 del cos a la dissecci\u00f3 de la geometria en les seves obres Body Halves<\/em>, 1971, i Semiotics of the Kitchen<\/em>, del 1975, respectivament. Alexis Hunter i Esther Ferrer traslladen el centre d’atenci\u00f3 cap a l’ull, a fi de relativitzar el seu poder per definir a trav\u00e9s de l’objectiu. M\u00e9s cl\u00e0ssics, com Sherman, Woodman o Export. No obstant aix\u00f2 , les meves preferides: Inaugurazzione a la Galleria Tommaseo<\/em> de l\u2019any 1977, de Sanja Ivekovic i Approach to Fear (Voyeurism)<\/em> de 1973, d’Alexis Hunter. La primera, integrant del moviment croat La nova pl\u00e0stica<\/em>, proposa un tipus de relaci\u00f3 amb el p\u00fablic de la galeria basat en l’escolta dels batecs del co , que grava en cada trobada i col\u00b7loca l’endem\u00e0 al costat d’una imatge d’ella amb cada visitant. A la segona, la neozelandesa proposa un dels acostaments m\u00e9s pl\u00e0stics de la mostra, amb una s\u00e8rie de captures fotogr\u00e0fiques d’un particular striptease intervingudes amb pintures a m\u00e0. Totes i cadascuna d’elles constitueixen insercions de la saviesa corporal en l’\u00e0rid desert de l’objectivitat fotogr\u00e0fica, una aportaci\u00f3 que transcendeix els l\u00edmits del feminisme en sentit estricte i que, sens dubte, repercuteix en les diferents mirades no \u00f2ptiques que s’afermen durant l\u2019\u00faltim ter\u00e7 del segle XX.<\/p>\n

Una es pregunta quan n\u2019\u00e9s de pertinent avui una mostra aix\u00ed. M\u00e9s enll\u00e0 de si els problemes als quals aquestes artistes apunten estan o no resolts, el fet mateix que neixi el dubte \u00e9s potser signe del seu sentit, ja que refereix al debat mateix sobre la desintegraci\u00f3 del c\u00e0non en el medi. Amb sentit estrat\u00e8gic, potser, en altres sales del mateix edifici hi ha l’obra de Zbigniew Dlubak, Harry Calahan i Edward Weston. Totes, molt bones exposicions sobre cl\u00e0ssics de la fotografia, amb les que \u00e9s possible anar i tornar des de la norma a la desviaci\u00f3, successivament .<\/p>\n","protected":false},"excerpt":{"rendered":"

L’avantguarda feminista dels anys 70, una selecci\u00f3 d’obres de la col\u00b7lecci\u00f3 de fotografia feminista Sammlung Verbund, de Viena, es pot veure fins al dia 1 de setembre, dins el programa…<\/p>\n","protected":false},"author":1245,"featured_media":7915,"comment_status":"open","ping_status":"open","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":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nCl\u00e0ssics feminismes a Photoespa\u00f1a 2013 – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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