In order to compose “Autoritratto”, Carla Lonzi recorded conversations directly, availing herself of the then new technology of the tape recorder. Carla Lonzi by Carla Subrizi Carla Lonzi’s book Autoritratto (Self-portrait) was published by De Donato. A polyphonic self-portrait. The life and work of Carla Lonzi (–) is inseparable from the cultural, political, and social history of Italy in the decades.

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Lonzi s feminism builds on the radical refusal of the prevailing concept of creativity, in particular, the notion that art itself could be an emancipatory practice for women. Lonzi was the author of some of Italian Feminism’s most important documents.

Now You Can Go: Within this broad comparison exists a lozi particular site of overlap. They look for love and a relationship with a male partner, but this relationship will only take place in a way that reinforces the partner, helps him to face the world from a stronger position.

Carla Lonzi – Wikipedia

Through her visionary and multi-faceted consciousness which does not cease when confronted with all that may seem unnatural, absurd and at times almost bordering on cruel folly, Fumai attempts to interpret historical characters carlq shifts her own identity to autorirratto characters, as if playing in front aktoritratto a mirror not with her own reflection autoritratyo with other stories and experiences belonging to the past.

The essence of such a crossing lies in its not establishing a continuity: Some of Lonzi’s most notable works in the field of art criticism include “Autorittrato” and “Writings on Art”. The contradictory amalgam of consonance and difference stirred by the image of St. A feminist s diaryand later, Vai pure. The society without qualities is one in which a systemic pressure on cultural and democratic institutions results in a whittling down of civil liberties.


Beginning in the s, Lonzi took a feminist stance against art. The diary is a personal reflection on the type of relationships explored through the autocoscienza groups.

Skip to content Posted on July 12, February 21, by blindfieldcollective Posted in Uncategorized. Back to the figs, Plath saw what hung within reach, and preferred to die.


Follow any comments here with the RSS feed for this post. She wanted to give up theoretical writing.

Fill in your details below or click an icon to log in: To coincide with our Now You Can Go event series, a programme considering feminist thinking, art and activism, Dimitra Gkitsa has written this piece exploring the history of Italian feminism and how its legacy can inform activism in the present. This is a story about counterinsurgency as well as community organizing. Lonzi, correspondingly, sets out with the specific intent to see and portray herself through llonziin Autoritratto.

Autoeitratto is a story about getting to know people as an occupying force, and getting to know people as neighbors.

We Are All Clitoridian Women: Notes on Carla Lonzi’s Legacy

Was the Russian avant-garde a collaborator, a coproducer of the October Revolution? You recline, you lapse, you fall, you see before you what you have seen before. In what ways it becomes a political impasse?

The image has the unique capacity to initiate the chain of transference while maintaining its discreteness. This practice cannot happen in solitude. Her withdrawal did not only cagla the art world.

He will interest her very much, of course, as a situation, analogous to that of any other person, [which] makes an artistic experience.


This aspiration for the book parallels St. For Lonzi, being a clitoridian woman has not only sexual connotations, but existential and political ones as well. We can begin wherever because I wish only… Pino Pascali: So oonzi she asks, who is the critic nowadays, another question is implicit: Skip to main content. Her thinking can therefore be regarded as a weapon that spares nothing—including its own author—and whose unsettling power still remains intact and contagious today.

It maintains it while also making contact: The human material that appears through this process of subtraction is frightening and dangerous, something that capitalism, the social order, and patriarchal politics try to hide and erase. This in turn signals a profound existential and intellectual transformation of a middle class woman, who persevered toward an increasingly radical critique of culture as theoretical practice separate from life, and who finally fought for her own emancipated status as a woman.

Between historicization and actualization, we will explore the potentialities of Lonzi s path toward a feminist revision of the history of her epoch and its topicality for a feminism of the future.

Almost as if searching for a reason not to quit, she attempts to undo the authority of either identification artist, criticlinzi the space between people as people, not statuses. Her critique extended itself beyond magazines; it happened in her diary, her conversations with Pietro Consagra collected in the book Vai Pure [ Now You Can Go].

Carla Lonzi, Art Critic and Feminist.

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