女人是游牧民,女人是艺术家。从罗西·布雷多蒂的女权主义观点看皮帕·巴卡和西尔维娅·莫罗的巡回新娘

Anna Dzierżyc-Horniak
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安娜Dzierżyc-HorniakThe女人是游牧民,女人是艺术家。《罗莎·布雷多蒂的女权主义视角》中皮帕·巴卡和西尔维娅·莫罗的作品《旅行中的新娘》本文试图从罗西·布雷多蒂的游牧主体性的视角来审视“旅行中的新娘”这一艺术项目。在Giuseppina Pasqualino di Marineo (Pippa Bacca)去世的新背景下,该项目引起了各种各样的评论,同时成为后续艺术和社会努力的参考点。本文分析了“新娘”作为女性艺术家所采取的策略,她们所使用的文化符号和原型,同时作为一种平衡,提出了雅克·德里达所谓的“亚伯拉罕”传统框架下对无条件好客的信仰,以及关于女性在公共空间中的存在的问题。因此,这个项目似乎是一种艺术表演,它要求包括具体的、具体化的女性经验成为文化和政治的主题。它的真正价值在于获得的经验;在艺术家与路上遇到的人的交流中;打破艺术和日常生活之间的界限。这是一种相当另类的艺术模式,因此是对罗西·布雷多蒂女权主义要求的回答。
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A WOMAN IS A NOMADE, A WOMAN IS AN ARTIST. A LOOK AT THE BRIDES ON TOUR BY PIPPA BACCA AND SILVIA MORO IN THE FEMINIST VIEW OF ROSI BRAIDOTTI
Anna Dzierżyc-Horniak The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa Braidotti The text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in uncon- ditioned hospitality in the frames of what Jacques Derrida called “Abra- ham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which de- mands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist de- mands of Rosi Braidotti.
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