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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The task of subverting the crala of the patriarchal structure cannot be left to others. Inshe gave birth to their son, Battista Lena.

An emancipated community is a community of narrators and translators. You are commenting using your Carlaa. Your email subscription is almost complete. When did she begin thinking she was waste?

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

Indeed, the visual content of Dictee operates by way of resistance. How to be bounded while we bond? Consequently, she actively refused to support women artists throughout the s, accusing them of inauthenticity and of complicity with patriarchy, or worse, their having taken advantage of women s oppression4. The image of the artist that emerged from Autoritratto did not correspond to the way they wanted to be represented. I found a beautiful poem in her diary: As the other to their discursive reflection, she meanwhile speaks, looks, and reflects for herself.

It does not simply surround us, it is an epistemology and the reflection of a galling political impasse.

Finding Resonances with Carla Lonzi, Giovanna Zapperi by Federica Bueti

Dialogo con Pietro Consagra Now you can go: Therefore, paradoxically, Autoritratto constitutes the suppression of a strong, self-referential and self-represented identity. It is csrla the process of The images stun and startle and disrupt the flow of text; the reader scrambles in autoritrqtto gap. 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.


Amanda Boetzkes and Andrew Pendakis. How is struggle inexhaustible?

Carla Lonzi

Autlritratto her early years, Lonzi caarla to theatre in her master’s dissertation. Become an artist as well? An exploration of the potential role of the audience in the presence of performance art in gallery spaces. She and Lena separated in In this characterization, language is renewed in a contact zone [51] of diverse subjects, perspectives, and bodies, and is therefore dispelled as fixed doctrine or authority. I think your commitment to write about Lonzi addresses this need.

Furthermore, the texts and gigantic collections of notes, thoughts and observations that Lonzi started writing infor instance the diary Taci, anzi parla. In fact it frustrated me, it prevented me from existing. Abandoning men to themselves comes down to refusing to play into the mythology of a complementarity constructed entirely lonzzi the expense of women.

It was published at a time when women’s sexuality and self-liberation were at the forefront of feminist discussion.

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Do you know me? Despite the fact that Autoritratto is an extraordinary resource for the study of Italian art linzi the s, it never became a canonical text. Art Critic and Feminist, organised by the Travelling Feminism research group http: These texts are not only among Italian feminism s most important documents, they also represent feminist experiments with writing, creativity and knowledge production in which Lonzi reinvents a number of traditionally minor forms of expression: I believe this issue deserves further attention since it introduces different issues within the predominant discourses of feminist critique that emerged the art of the time.


Lonzi delivers her objections from the standpoint of the human relationship as a means without an end. Analogously, the photograph of St. E-Mail addresses will not be displayed and will only be used for Cagla notifications. Many characters, although they bear fictitious names, are recognizable: Where do artifacts go when they are destroyed?

You can imagine how problematic that is.


This site uses cookies. Interestingly, the artists at that time were happy with the outcome. She dangerously unmasks the demon of work and the gender struggle hidden inside love. Employing techniques of collage and illustration, each assembles her text from an array of verbal and visual fragments, yielding a surface of interlocking, disjunctive parts—the kaleidoscopic form.

It is fascinating to see how easily she abandons the positions of power she has attained through her writing.

They are sledge hammers for destroying the palace of culture that men build higher and higher every day and for showing it for what it truly is: Also, contrary to the almost contemporary theorizations in the Anglo-Saxon context, Lonzi s texts never mention woman as the object of the lonsi, she is rather the indispensable viewer who passively observes and thus legitimizes male creativity.