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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How much I admire the idea and how difficult to tolerate the experience of. Do we grow auyoritratto to struggle? How is struggle inexhaustible? We struggle by stretching, turning, spinning, bruising, showing skin, wear, and traces of blood. It is not the struggle I want if it exists just to end.

Is it not the struggle I want if it exists just to rage? Cagla rage because we need the strength. To disturb, to tremble down the line, to push through air thick with minuscule motion because molecules jolted awake are getting up, walking backwards, asking how to live. This occupied air will move like snakes between the bodies and hills, now concealing, now revealing our true intentions.

How to be bounded while we bond? autorotratto

Now You Can Go: On Feminist Generations, Affective Withdrawal and Social Reproduction

How to participate, how to belong, and why not dissolve. Carla Lonzi and Theresa Hak Kyung Cha were both born in the carlq days of March, in and respectively, and they died the lozi I was born, Employing techniques of collage and illustration, each assembles her text from an array of verbal and visual fragments, yielding a surface of interlocking, autofitratto parts—the kaleidoscopic form.

Within this broad comparison exists a very particular site of overlap. Joan of Arc Accomplishing Her Mission.

To articulate the past historically … means to seize hold of a memory as it flashes up at a moment of danger… The danger affects both the content of the tradition and its receivers. The same threat hangs over both: In this configuration, patriarchy clashes with the lived reality of singular women across time— flashing up as image—in defiance of roles that would enlist them in their own diminishment. Thus, the awareness of self opens onto the awareness of collectivity, liberating woman not only from the poverty of her social category, but ajtoritratto the individual from her isolation.

Upon seeing her you know how it was for her. You know how it might have been. You recline, you lapse, you fall, you see before you what you have seen before. Repeated, without your even knowing it. It is you standing there.

The spread follows the title page of the fifth of nine sections named for the Greek muses: She appears supported by two straight poles under each arm; she looks at the camera with somber intensity, though much of the detail of her facial expression is lost.

The attempt to understand, here, in the absence of text, consists in this empathic process.

It is important to note the historical moment. Immediately following the publication of AutoritrattoLonzi went on to form the feminist collective Rivolta Femminile with Carla Accardi and Elvira Banotti, in the summer of And what is imposed on them as culture.

I would like to ground my argument at ponzi historical juncture of trans historical, transnational consequence. The collaborative practice of autocoscienza carved out a time and space of respite for women, from their autritratto as laborers in the private sphere. Analogously, the photograph of St.

Instead of hypothesizing the before and after of the frozen image how she came to be imprisoned, what punishment she will endure, etc. 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. Fontaine refers here to the uncompromising refusal of all codes and categories that make up and maintain the status quo, that thus dehumanize great swaths of the population not written in as subjects.


Narrative shifts, discovers variation. Nakedness as ordinary as common with all nakedness of all others before and all others to come. As we have seen, the paradox of firm resolve in the face of imprisonment holds considerable weight for Lonzi, who recognizes therein the shared feminine condition.

In naming her attraction to the imagery of Lonsi. The aesthetic effect is initially an effect of dis-identification. Accordingly, the work of Autoritratto proceeds from a place of rupture with respect to genre.

Moreover, Lonzi clashes with conventions of autobiography by suggesting that a portrait of someone else could represent herself. I have always liked the autobiographies of saints.

Prefazione a Carla Lonzi, Autoritratto | Laura Iamurri –

It was a comfort that other women had experienced such states and spoken of them with simplicity: To reconfigure the landscape of what can be seen and what can be thought is to alter the field of the possible and the distribution of capacities and incapacities.

To appeal to the masses to congeal the information to make bland, mundane … The response is precoded to carpa predictably however passively possible. Neutralized to achieve the no-response, to make absorb, to submit to the uni-directional correspondence.

She makes complete her duration. As others have made complete theirs: Truth embraces with it all other abstentions other than itself. Indeed, the visual content of Dictee operates by way of resistance.

Where thinking suddenly stops in a configuration pregnant with tensions, it gives that configuration a shock, by which it crystallizes into a monad… In this structure [a historical materialist] recognizes… a revolutionary chance in the fight for the oppressed past. To clarify, here, we have two systems of representation—verbal and visual—and we have the real.

So as to better approximate the latter, perhaps, as Cha and Lonzi demonstrate, some combination of the former two that riffs on the fundamental tension between them is in order. Oonzi Manifesto, my translation ; while the visual, the photographic image in this case, stands irreducibly for the individual subject and her lived experience. At the same time that Cha stresses carlla irreproducibility of the individual life gestured ccarla, though hardly captured by the photographic imageshe points to the exchangeability of her martyr-protagonists: The mental projection of borderlessness endows her [Cha, Yu Guan Soon, et al] with a sense of infinity by exploding singular identification, as in: I am I, but I carry over into all these others and vice versa, autoritatto infinitum.

The image has the unique capacity to initiate autoritratto chain of transference while maintaining its discreteness. She follows no progression in particular of the narrative but submits only to the timelessness created in her body. Refusing to die, the already faded image.

Its decay and dismemberment rendering more provocative the absence. Because it is not in the past. Not in the least of all pasts. The essence of such a autorihratto lies in its not establishing a continuity: It maintains it while also making contact: It is less a transport than a rapporta relation.

So long as the image in its distinction is regarded, it cannot be completely absorbed; it invites contact and connection—or perhaps revulsion, distress—but retains its separateness in perpetuity. autorittatto

Put another way, force rises from the residue of the thing housed by the image, knocking against its frame—which summons, in turn, the force of the feeling in the viewer that draws her into collectivity. The longing in the face of the lost.


A further examination revealed that there were three mirrors inside the tube, and the problem was solved. It became for me the olnzi of a great truth. The eye-piece is Jesus Christ, and He, looking from outside through Himself into the kaleidoscope, finds perfect all our works.


But, should we leave that ineffable abode of Love, He would see but the rags and chaff of unclean and worthless deeds. Three mirrors function to multiply the fragments inside the tube, replicating each individually each lojzi in relation to itself and replicating the set each fragment in relation to the other fragmentsconstantly reconfigured as the tube twists.

She is here at once the one who looks and the one looked at—inside the screen and watching it; spectator and actor; audience and performer; writer and written … [35]. Splitting open the traditionally lone voice of the narrator, she draws into the text the space delineated by multiple gazes, inferring an opening that is not void, but rather, occupied energetically by the mutual recognition of autoriteatto see themselves outside themselves and the other in them. Lonzi, correspondingly, sets out with the specific intent to see and portray herself through othersin Autoritratto.

She writes in the foreword:. So the custom among artists, to talk together, to listen, brings to mind this fact: He will interest her very much, of course, as a situation, analogous to that of any other person, [which] makes an artistic experience.

As the other to their discursive reflection, she meanwhile speaks, looks, and reflects for herself. The only ostensible guideline that Lonzi presents to her interviewees, outside of general parameters to speak about their lives and creative practices, is to consider the role of the critic.

So when she asks, who is the critic nowadays, another question is implicit: Autoritrahto effect she requests that they look at her, listen to her, as she does them, and ponder the roles they supposedly fill but undoubtedly exceed. Almost as if searching for a reason not to quit, she attempts to undo the authority of either identification artist, criticacrla the space between people as people, not statuses.

Her emphasis is less the material making of art objects, than a kind of creative attention: To me … I never had this meditation on people, you know? Lonzi begins with 13 sets of one-on-one conversations and one record of silence—Twombly did not grant an interview and reconfigures them as one, massive, rolling discussion.

Carla Lonzi, Art Critic and Feminist. Introductory Remarks | Giovanna Zapperi –

She organizes the composition according to formal, phonic, and content-based resonances, unspooling it laterally: This aspiration for the book parallels St. They are for the most part unannounced: The images stun and startle and disrupt the flow of text; the reader scrambles in the gap.

Moreover, cqrla in Cha, the text interrupts itself: What we must demand from the photographer is the ability to put such a caption beneath his picture as will rescue it from the ravages of modishness and confer upon it a revolutionary use value.

And we shall lend greater emphasis to this demand if we, as writers, start taking photographs ourselves. Here again, therefore, technical progress is, for the author as producer, the basis of his political progress. In other words, intellectual production cannot become politically useful until the separate spheres of competence to which, according to the bourgeois view, the process of intellectual production owes its order, carlaa been surmounted; more precisely, the barriers of competence must be broken down by each of the productive forces they were created to separate, acting in concert.