Congresos de GKA, [GKA ARTS 2020] Congreso Internacional de Artes y Culturas

Tamaño de la fuente: 
Visual Pleasure rearranged. Carrolee Schneemann's 'Fuses' as female resistance in avant-garde.
Iwona Maria Koscielecka

Última modificación: 2020-08-25

Resumen


In some sense I made a gift of my body to other women,

giving our bodies back to ourselves

Carolee Schneemann

 

For decades interest in frank sexual imagery put them at odds with the Western art world and Western feminist movement. Now receiving belated embrace from both it enters European/ American galleries and critical art theory.

The presentation will follow avant-garde film FUSES and some performative works of American experimental artist Carolee Schneemann (1939-2019), known for her interests in explicit body representations, sexuality and feminine/masculine visual pleasure constructions. Her first avant-garde film FUSES (1964-1967) recording sexual intercourse from the feminine perspective became a scandal and one of the biggest provocations in art in the 1960s and the following decades. Thanks to this movie (according to Schneemann's statement) Laura Mulvey wrote her famous essay Visual Pleasure and Narrative Cinema. The presentation will follow Schneemann’s works that were fiercely critiqued, especially after screening FUSES. Until 1970s only avant-garde men-artists were „allowed” to screen sexuality so she was expelled from Fluxus movements for doing it.She did not stop her artistic exploration of sexuality and further art works and writings connected to the body and feminine taboo iconography of vagina were done. Schneemann’s work being influenced overtly by Wilhelm Reich and The Sexual Revolution resisted as well the political correctness of feminism in 1970s which was finding psychoanalysis as misogynist ideology.

 

 

 

 


Palabras clave


visual pleasure, the female gaze, avant-garde resistance, psychoanalysis