Ulteriori informazioni
Informationen zum Autor Basia Sliwinska is an art historian and theorist who works as a Research Fellow at the NOVA University Lisbon, Portugal. She is the Editor-in-Chief of the Open Access art history journal, Revista de História de Arte . Her work is situated within feminist art history, theory and practice, focusing on visual activism and artivism within transnational global frameworks. Basia is an Associate Research Fellow at the Valand Academy (University of Gothenburg, Sweden), and a Member of the Editorial Board of Third Text . She was a Visiting Professor at the Art Academy of Latvia (Riga) in 2022, and at the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland in 2021. Between 2018 and 2022 she was on the Research Team of the Arts and Humanities Research Council funded project VASDiV: Visual Activism and Sexual Diversity in Vietnam. In 2023, she joined the Humanities Research Centre at the Australian National University as 2023 Visiting Fellow. Zusammenfassung In his writing on the 'mirror stage', the psychoanalytic theorist Jacques Lacan describes the female body as lacking: a mere symptom of man, an object constructed by male desire. However, what happens if the woman in art follows Jean Baudrillard's advice to 'swallow the mirror', and is made real? What if the beautiful is inverted and becomes ugly; and the ugly becomes beautiful? These are the fundamental questions Basia Sliwinska poses in this important new enquiry into gender identity and the politics of vision in contemporary women's art. Through an innovative discussion of the metaphor of the mirror, or looking-glass, Sliwinska reveals how the post-1989 practices of woman artists from both sides of the former Iron Curtain - such as Marina Abramovic, Joanna Rajkowska, Lora Hristova, Jess Dobkin, Natalia LL, Sedzia Glowny and SZ-ZS - go beyond gender binaries and instead embrace otherness and difference. She makes a refreshing, radical intervention into art theory and cultural studies by offering concepts such as 'the mirror' and 'genderland' (inspired by Alice's 'Wonderland') as critical tools with which we can analyse and explain recent developments in women's art....
