LET'S SPIT ON HEGEL AGAIN?

About

Going through specular dynamics, never superimposing, the project tries to focus on some kind of common attitude or approach, documenting empathic cohesion, crossing and bleeding, posing like a chance meeting, “an invitation addressed by the artists to each of us”.1

The works in the exhibition connect experiences to testimonies, and despite they come from very distant places have in common a way to look at reality, with an autonomous, self assured approach, immune from emotional compromises, radically independent. These signs and approaches meet on a unique battle field, keeping up with “a universe without of answers”.2

Three different poetics in dialogue with each other within a plurality of languages, gestures and images, presented as a critical placement and analysis of the surrounding world, as cultural and semiotic paradigm of their social and existential condition.

Not ephemeral allusions then, but statements from which emerges a forthright claim, both personal and political. The artists share the same impatience towards accredited languages, an almost ontological test on art as sense of being in the world. The primarily attitude is the appropriation, with ruthlessness and lightness, of all possible media practices, to build and disassemble their own language and "deconstruct the system, to be able to speak and act in another way"3

The works aims at interlacing a path of intangible connections, narrations and atmospheres, emotional temperatures to cross. We are in front of poetics proudly founded on the conquests of previous generations of feminists, able to pass over the critical dualism between militancy and emancipation, spaces of theory and spaces of practice, individual instances and collective claims. Their languages actively examine the multifaceted forms of power, in which the female body symbolizes a territory of conflict, strongly contested, between authority and desire. Their research on the female stereotype conveyed by the dominant culture uses irony and sharpness as a means of expression, to question the various forms of authority. They introduce an art that questions itself on its statutes, investigating the ways in which images are manipulated, distributed and interiorised.

The artists involved in the project activate alternative devices that attempt to experiment new grammars, other methods of relationship and of doubt, investigating the experience of art as "that moment of life when you don't ask guarantees anymore".4 They try to undermine the one-way vision, the fixed grid of the thought, proceeding instead on continued efforts, using the listening, the caring and the relationship as a tool to measure themselves with the Other.

The artists work on a dual-axis placement: the geopolitical and the historical-familiar one. In the intersection between personal and cultural touches is located the specificity of their production. We are in presence of an identitarian solicitation wanting to dismiss the Derridean phallus-logo-centric leadership of the individual in favor of a collective exposure of knowledge, to underlie the practice of their narration, that is a "let speak", to relate the possibility of meeting the "Other" who looks and is always invoked in a mutual appropriation and dispossession.

1-2-4 Carla Lonzi

3 Luce Irigaray

IMPORTANT NOTE: In this exhibition the percentage of female visitors must always be higher than men's, so please organize your visit at least two day prior in order to match this requirements at: info@likealittledisaster.com