In the context of contemporary feminist and queer movements, the use of the expression "body as a political manifesto" is frequent, especially in reference to the representation of female or nonconforming bodies in relation to the models of hetero-patriarchal and cisgender culture. However, the idea of the body as an instrument of political claim is not entirely new: significant examples of this thinking can already be found in the history of art, especially in the field of contemporary art. During the last century, in fact, the representation of the female body, which from classical art until the feminist revolutions of the 20th century had been subordinated to the male gaze, begins to be an instrument of identity self-assertion but also of vindication. The first transformations are already manifesting themselves in the early twentieth century, with Claude Cahun's being among the most powerful new voices. The aim of the following paper is not only to give space to this revolutionary figure but also to demonstrate how his production-particularly his photographic production-played a pioneering role in contemporary art, laying the groundwork for the conception of the body as a political and identity manifesto.
Nell’ambito dei movimenti femministi e queer contemporanei, è frequente l’uso dell’espressione "corpo come manifesto politico", soprattutto in riferimento alla rappresentazione di corpi femminili o non conformi rispetto ai modelli della cultura etero patriarcale e cisgender. Tuttavia, l'idea del corpo come strumento di rivendicazione politica non è del tutto nuova: esempi significativi di questa riflessione si trovano già nella storia dell’arte, in particolar modo nell’ambito dell'arte contemporanea. Durante il secolo scorso, infatti, la rappresentazione del corpo femminile, che, dall'arte classica fino alle rivoluzioni femministe del XX secolo era stata subordinata allo sguardo maschile, incomincia ad essere strumento di autoaffermazione identitaria ma anche di rivendicazione. Le prime trasformazioni si manifestano già nel primo Novecento, tra le nuove e più potenti voci che si manifestano vi è quella di Claude Cahun. L'obiettivo del seguente elaborato è non solo quello di dare spazio a questa figura rivoluzionaria ma anche dimostrare come la sua produzione – in particolare quella fotografica –abbia giocato un ruolo pionieristico nell'arte contemporanea, ponendo le basi per la concezione del corpo come manifesto politico e identitario.
Claude Cahun e il corpo come manifesto politico identitario
SCALA, SERENA
2023/2024
Abstract
In the context of contemporary feminist and queer movements, the use of the expression "body as a political manifesto" is frequent, especially in reference to the representation of female or nonconforming bodies in relation to the models of hetero-patriarchal and cisgender culture. However, the idea of the body as an instrument of political claim is not entirely new: significant examples of this thinking can already be found in the history of art, especially in the field of contemporary art. During the last century, in fact, the representation of the female body, which from classical art until the feminist revolutions of the 20th century had been subordinated to the male gaze, begins to be an instrument of identity self-assertion but also of vindication. The first transformations are already manifesting themselves in the early twentieth century, with Claude Cahun's being among the most powerful new voices. The aim of the following paper is not only to give space to this revolutionary figure but also to demonstrate how his production-particularly his photographic production-played a pioneering role in contemporary art, laying the groundwork for the conception of the body as a political and identity manifesto.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/78740