Is Polish Burqa Possible? Image of Woman in Poland between Politics and Contemporaneous Art
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DOI:
https://doi.org/10.13138/2039-2362/2944Abstract
Analyzing the current political scenario, it is good to mind the ‘distribution of the sensible’ as phrased by Jacques Ranciére, which refers to a regime and delimitates spaces and times, of the visible and the invisible, of speech and noise;and to think about possible re-distribution, which has emancipating character that can contribute to more democratic politics and aesthetics. In contemporary times of visual culture, it is important to mind especially strong, symbolic images constructed for political stakes and distributed in the public sphere to understand what they do and how, in order to disarm and transform them. Focusing on two faces of backlash observed in contemporary Europe, one anti-Muslim and the other anti-women, we propose the interdisciplinary analysis of two artworks by Polish female artists: The Polish Burqa by Karolina Mełnicka (2013) and Mokosh by Katarzyna Górewicz (phot. Jacek Gajak, 2017), which imply discourses on women in tradition in different ways that might be considered as dialectic and symbolic in Ranciére’s terms. One is decomposing the politically oppressive use of traditional symbols, and the other is proposing a reference to tradition in an empowering way.
Analizzando l’attuale scenario politico, è bene ricordare la ‘distribuzione del sensibile’ come l’ha formulata Jacques Ranciére, che fa riferimento a un regime e delimita spazi e tempi, del visibile e dell’invisibile, della parola e del rumore, e allo stesso tempo pensare a una possibile ridistribuzione, che ha un carattere emancipativo il quale può contribuire a politiche ed estetiche più democratiche. Nell’epoca contemporanea, dominata dalla ‘visual culture’, è importante pensare a immagini simboliche particolarmente forti, costruite per la posta in gioco politica e distribuite nella sfera pubblica, per capire cosa fanno e come, al fine di disarmarle e trasformarle. Concentrandomi sulle due facce del contraccolpo osservate nell’Europa contemporanea, una anti-musulmana e l’altra anti-donne, propongo l’analisi interdisciplinare di due opere di artiste polacche: The Polish Burqa di Karolina Mełnicka (2013) e Mokosh di Katarzyna Górewicz (foto Jacek Gajak, 2017), che implicano discorsi sulla donna nella tradizione in modi diversi che potrebbero essere considerati dialettici e simbolici nei termini di Ranciére. Uno sta scomponendo l’uso politicamente oppressivo dei simboli tradizionali e l’altro propone un riferimento alla tradizione in maniera emancipante.
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