CEU eTD Collection Tracing the Subversive Femininities in the Socialist Yugoslavia: AnAnalysis Socialist Tracing inthe Subversive Femininities the In partial fulfillmentArts in forMaster Gender the Studies. degreeof of f aai ai' otyadPromne f the1970s of andPerformances Poetry Ladik's Katalin of Supervisor: Professor Jasmina Luki Department of Gender Studies Gender of Department Central European University Budapest, Hungary Submitted to Vera Balind 2011 By ý CEU eTD Collection policies, Iexamine what was considered as “subversive” in the socialist Yugoslaviathe 1970s. of art and gender regarding discourse socialist official and Ladik with conducted interviews press, that recognized her as subversive. Comparing contemporary reactions published in theYugoslav claim that Ladik’sproduction within thiswork timeframe asthe an feminist example art of work. In order to support my in theart her analyze 1970s 1980s, the and of years first the till 1960s late the from ranging timeframe was feminist, I emphasizelimit my analysis to herpoetry, early performances and several late performances within the the importanceart works produced mainly in the 1970s in theSocialist FederalofYugoslavia Republicthe of (SFRY). I context her 1942, and in (Serbia) in NoviSad born artist a Hungarian Ladik, Katalin isabout thesis This Abstract i CEU eTD Collection materials available for me. interview andAradi Schreiner for helping mewith proofreadingJózsef andmakingof lot a Haan on theirI would advices like to thankand tosuggestions. my supervisors, Professor Also, JasminaI thank Luki Ladik Katalin for finding time for an Acknowledgments ii ý and Professor Francisca de CEU eTD Collection BIBLIOGRAPHY ...... 75 APPENDIX...... 65 CONCLUSION...... 63 4. RECEPTION...... 47 3. UNDER A MAGNIFYING GLASS: CONTENT ANALYSIS ...... 34 2. SUBVERSIVE FORM: HYBRIDITY IN LADIK’S POETRY AND PERFORMANCES...... 19 1. THE SOCIAL CONTEXT OF YUGOSLAV SELF-GOVERNING SOCIALISM...... 10 INTRODUCTION...... 1 I 4.3 4.4 4.2 4.1 3.2 3.1 2.3 2.4 2.2 2.1 1.2 S 1.1 T T NTERJÚ OCIALIST HE ROLE OF THE CRITIC OF THE HE ROLE RACING 2.3.1 Language...... 27 A T B F L É E L L H B “Y EMINIST APPROACH TO APPROACHEMINIST HE CONTEXT OF CRITICISM IN CRITICISM OF HE CONTEXT ATE PERFORMANCES ATE PERFORMANCES ADIK CRITURE FEMININE IN FEMININE CRITURE ARLY PERFORMANCES ODY AS A MEDIUM EING A WOMAN ARTISTIN THE YBRIDITY SUBVERSION YBRIDITY AS POSSIBLE A SITE OF “ UGOSLAV SELF STRIPER L “ ’ ADIK THE FEMININE INSCRIPTIONS FEMININE THE F S EXPERIMENTAL POETRY S EXPERIMENTAL EDERAL ” K OR ANARTIST ATALINNAL R - MANAGEMENT SOCIALISM MANAGEMENT EPUBLIC OF EPUBLIC ...... 56 ...... 2 ...... 42 ...... 30 L ...... 25 L ADIK (I ADIK ? NTERVIEW WITH A NALYSIS OF RESPONSES TO RESPONSES NALYSIS OF ’ Y ’ S POETRY V 1970 S WORKS UGOSLAVIA OJVODINA OJVODINA OF THE ...... 22 ” S INTOCULTURE TABLE OF CONTENTS : L ...... 34 ADIK : THE ARTICLE OF L ...... 10 ‘ ’ WITH A HUMAN FACE A HUMAN WITH ADIK S EXPERIENCE S ...... 19 iii 1970 K : G ATALIN RISELDA S L ...... 47 ADIK V ESNA )...... 65 ...... 14 ' S PERFORMANCES S P OLLOCK K ’”: ESI POLITICAL PROPAGANDA OF û ...... 59 ’ S ARCHEOLOGICAL ARCHEOLOGICAL S APPROACH ...... 50 ...5 CEU eTD Collection 2 poetry better. 1 Griselda Pollock. Griselda the feministdefinition art from of Mary Kelly, a feminist artist, as described by feminist art critic women in socialistYugoslavia. context of society. Furthermore, Iwill show that hybridity as such enabled her to negotiate the position of from poetry tovisual arts, and disrupt the existing cultural and in art norms Yugoslav socialist production becamesubversion a space of through which she was able toswitch between genres, she used were hybrids, but that her whole opus can be deemedillustrate that hybrid forms are subversive. as that not Isuggest only particulara experimental genres hybrid. As such, Ladik’s art inseparably intertwined and complemented each other. were that disciplines art and art of forms different of a mixture was hybrid, timeframe Selected genres best support my claim that Ladik’s experimental art production from this 1980s. the of years first the till 1960s late the from ranging timeframe the within performances experimented with,limit I myanalysis her poetry,to andseveralearly performances late my MA thesis doesof not allow enough space for an extensiveall analysisthe genres Ladik of worked as an actress and belongedHungarian to a circle writers of in Novi Sad. Since the scope conceptual art, arte povera, mail art, experimental music, performance art, etc. Prior to this, she experimenting with differentYugoslavia art forms such as: experimentaland her feminist art works produced (SFRY).mainly in the 1970s in theSocialist Federal Republic of poetry (visual,The 1970sphonic, concrete), were Introduction an important decade in her carrier, when she started Mary Kelly presented her ideas in a paper entitled “Sexual Politics” at the conference called “Art and Sexual I expand the timeframe into the 1980s in the caseher of poetry in order to illustrate the feminist character herof I will analyze Ladik’s art production as an example of feminist art work. I draw my Drawing on the postcolonial‘hybridity’ theory of developed by Homi Bhabha, I will 1942, in in NoviSad(Serbia) born artist aHungarian Ladik, Katalin isabout thesis This 2 Kelly argued that the most important aspect that allows us to call art a work of 1 1 CEU eTD Collection the author’s intention. A writer is “never more than theinstance writing” and imposing him/her the Author.” postructuralist debates around the authorship initiated by Roland Barthes in his essay “Death of about it, and “reveal it” to a wider population. socialist Yugoslav art system in the 1970s. within position her determined that factor was asignificant sex her because awoman, being of socialistthe context Yugoslavia.of However, Ido take into account Ladik’s individual experience articles published in theYugoslav press during the 1970s, asanLadik’s illustration of effect in exists.” argues that without the readers, who recognize the work, “the work in aprofound sense never shifts the importance from the author to the reader/critic. does not describeas such? herself When is such a move legitimate? An answer to these questions Consequently, the question posing itselfis: can we regard the art work as feminist when an artist 7 6 5 4 and From the Feminine 3 Imagining desire Politics” in London in 1977. For the complete text of the paper see Mary Kelly, “Art and Sexual Politics,” in critic the of role The mediated in the works art.of social difference,” of forms and notthe author’s intention orthe artists’ gender experience feminist is its effect on“existingpower andregimes ideological of meaning, sexual and other Full text is available online at: http://www.deathoftheauthor.com/ Ibid. Pollock, “Inscriptions in the Feminine,” 82. Griselda Pollock, “Inscriptions in the Feminine,” in “Interjú Ladik Katalinnal,” Appendix, 73. (Interview with Ladik Katalin) 5 ti motn oba nmn htLdknvrdcae esl asafeminist. herself declared never Ladik that in mind to bear is important It According to Pollock, a reader/critic is equallyart important works. as authors of She A work of art needs theorists, Awork of interpreters, whose task is to produce the knowledge The importance of the interpreter, importanceThe the reader, of or of as described by Pollock, echoes the (Cambridge, Mass.: MIT Press, 1996), 2-10. 7 According to Barthesthe text meaning is notsingular, of and it is notexhausted in , ed. M. Catherine de Zegher, (Cambridge, Mass. And London: MIT Press, 1996), 72. 3 Similarly, I focus thereactionson to Ladik’s work, based on the nieteVsbe nElpia rvreo 20 of Traverse Elliptical an Visible: the Inside 6 2 (accessed: May 5, 2011). th Century Art: In, Of, 4 CEU eTD Collection f –feminist interestsof and contexts” supports her notion that every text can beseen as feminist the text and its abilityof tobe“continuously re-read, rewritten, its capacity to slip into –and out position associates it with the subversive strategy of undermining the patriarchy. the undermining of subversivestrategy the with it associates position one. woman artist) does not guarantee that the text produced by her will automatically bea feminist simplethe author “carry-over” into of the text, or in other words, being a woman writer (or a determines thethe textposition (orart) asthe of feminist. work of In her opinion, there is no proclaimed by Barthes.and multiple According readings to her,of one textneither as a consequencethe ‘ansex implicated reading’ (Pearce). of the of theauthor symbolic northattheories lead anumber to creationabout of readers, of ‘deaththat such as ‘a resistant reader’ (Felski) or of a ofreader the author,’circles as ‘the death ofthe author’ shifted the focus to the reader and his/her relation to the text, 13 Bodies on the Politics of 12 (London: Arnold, 1997), 1-33. Pearce, “The Ghostly Romance: TowardsImplicated a Theoryof Reading,” in 11 10 feminists should concentrate on questioning the gender norms. writers, female essentializing of instead that, assumed and important, that wasnot authors postructuralists,and such Toril as Kamouf Moi, argued that distinction between male and female the authorthe sex wasof particularly significant, while thefeminists, who sided with the 9 8 debate betweentook a form of Nancy Miller and Peggy Kamouf. metaphorically dies, and a reader is born. The reader gives the meaning to the written text. on the text is limiting. Therefore, argues Barthes, once the text is finished,the thetext author of Rita Felski, “Authors,” in Ibid. Ibid., 16. Elisabeth Grosz, “Sexual Signatures: Feminism after thethe Author”, Death of in For more on a resistant Ibid. reader see: Rita Felski, “Readers,” in ibid., 23-56.; on ‘an implicated reading’ see: Lynne 12 As Grosz argues any text can be read from the feminist point of view if the reader’s As outlined by Rita Felski, Barthes’ influence on the feminist thinking in the early 1980s early the in thinking the feminist on influence Barthes’ Felski, by Rita outlined As Elisabeth Grosz, feminist literary critic, emphasized the possibility of multiple readers multiple of possibility the emphasized critic, literary feminist Grosz, Elisabeth (New York and London: Routledge, 1995), 12-14. Literature After Feminism 11 (Chicago: The UniversityChicago Press, of 2003), 59. 3 10 In the postruscturalist feminist thepostruscturalist In 9 As Felski argues, for Miller for argues, AsFelski eiimadtePltc f Reading Feminism of and thePolitics Space, Time and Perversion: Essays Perversion: and Time Space, 13 Theopenness 8 CEU eTD Collection confrontation” or “differently conceived archeologyother ofmoments in the historiesfemininity”). of direct associations approach.”she It madeis my designation withbased on her word choicethe (“excavation,” archeology “deciphering an ancient15 culture”) (“I and more want to do a little14 archeology into the moment offeminism’s relates to my research. following chapter I will outline the main characteristicsthis approach andof explain how it between Yugoslav feminists and Ladik’s art works. chapter, I worksexamine within theestablished timeframe emphasizing their subversive character. In the final thesocial response context, I will mirrored toits working mechanism.turn I will position Ladik within thather system. After outlining tothe analysis works of formalAccordingly, Iwill showin that Yugoslav art system was not separatedaspect from the stateYugoslavia politics, and it and the contentorder of selectedandto illustrate problematize Ladik’s art the should be read close as feminist in relation tothe that social context. relationties betweenwas in a dialogue with the culturalYugoslavia the milieu1970s, of of and accordingly, her work the Yugoslavcontemporary reactions published in theYugoslav press. It is important to keep inmind that she artemphasizethe context theimportance thatof recognized her assystem subversive, based onthe and I feminist, was 1970s the Ladik’s in that work my claim support to order In Yugoslav culture. in the regime’sprovoked the patriarchal morality in Yugoslav socialistpolitics. context and negotiated women’s position emphasizesthe reader/interpreter. the role of As I will show, Ladik’s work in the1970s its dependingcontext, of or how and by whom it is used to cause acertain effect. Pollock Ibid., 23. in her essay “Inscriptions in the Feminine” did not explicitly call her approach “the archeological In my analysis I apply the archeological approach archeological the apply I my analysis In In my thesis I will first briefly outline gender and art policies of SFRY in the 1970s, SFRY in in the of policies art and gender outline briefly will first I my thesis In I approach Ladik’s work fromthe the postrstructuralist position of feminist thinking that 4 15 proposed by Griselda Pollock. Inthe 14 CEU eTD Collection works in relation to the curatorial. Feminist arthistorians should, argues Pollock, regard a work Her method, that Icall “the archeological approach,” entails a reverse approach to women’s art Pollock, are fragmentary and incomplete. aforementioned confident interpretations. Consequently, canons constructed in that way, argues public discoursesbased on the curatorialfemininity.” idealized “an producing thus femininities,” of constructions ideological interpretation, that presumesthe a clear definitionthe femininity, of andfeminine entraps the feminine in “current theare circle of becomestied a singular to ideal a promotedspecific in the cultural context, and as such, a basis for are, feel, as [and]experience women.” Pollock suggests, that ininterpretations, a number of art historians claim to know what “women women’s Regarding means, as this art classification. logicof tothe according in groups art orworks of names artists’ accordingly, placed and meant, simply categories these what precisely the curatorialproponents of method approachedart with the a workspremise of that they knew Following thehistorical periodization, and relaying onalready existing categories in art history, works into groups according to various aspects such as: technique, genre, historical period, etc. their and artists of periodization and was classification effect Its art. works of the cataloguing today. twentieth century, and it is still applied in museums, galleries, and in art teaching history of criticism.” According to her, the curatorialanalyzing method art worksof was prevalent in the 19 18 17 16 archeological Pollock’s Griselda culture: into inscriptions” approach feminine “the Tracing Ibid., 71. Ibid. Ibid., 75. Ibid., 71. 16 Pollock argues that the curatorial approach was based on the idea of preserving and preserving of idea the on was based approach curatorial the that Pollock argues Griselda Pollock defined her approach in opposition to“the curatorial model of On the other hand, Pollock suggestswomen’sanalysis feminist of method of art works. 17 19 Suchapproach is problematic for Pollock, since it 5 18 Therefore, CEU eTD Collection 23 22 21 20 nationalities.” and ethnicities, sexualities, forces that produce particularparticular menand races,women classes,as members of According to Mary Hawkesworth:reconstruct, expose,to how categories and differencereveal arecreated. the processes of “[intersectionality]aims but granted, for take categories not as itdoes analysis, insofar intersectional feminist the of capture[s] the intricate interplay ofsocial relation to its contemporary social structures. Therefore, Pollock’s approach calls for contextualization that puts individual’sart in work of time. their with a dialogue in are and context, cultural a particular to belong that ideas and a givenmechanism of cultural/social system, because artists operate with the terms, stereotypes other words, throughart, workswe are able of to trace and interpret the logic and the working art work bears the discoursesthe traces of that wereits a comingbackdrop ofinto existence. In practice has its point ofreference signs.” circulated socially and in inflected individually a histories, social particularand subject, from which it derived,never unified, homogeneous. In fact, subjectivitybut isa complex “intersectionas between such,individual an “individual subject”. “individual and producedcategories. women’sthe analysis of art, reconstruct work the ways of cultural system in question worked the curatorial approach, feminist art historians using the archeological method should, through work artof belongs to. Instead ofworking Accordingly,with the feminist pre-given researcher should not assume to know anything about the culture given and pre-determined deciphered. to be needs that artifact archeological as an artist by female done art categories, of as in Mary Hawkesworth, “Intersectionality,” Ibid. Ibid., 81.in Ibid., 74. A work of art, accordingA work of to this approach, is not a stableproduct and unifiedof Pollock’s approach toart works may be perceived asbelonging to a broader framework 21 Onthe contrary, drawing on Julia Kristeva, Pollock suggests that subject is Feminist From Inquiry: Political Conviction toMethodological Innovation 23 As such,an intersectional the proponents of analysis 6 22 Accordingly, an artistic an Accordingly, (New 20 CEU eTD Collection minority in Yugoslavia. complicated in thecase when the artist was awoman belonging to the Hungarian ethnical position howwas that and in NoviSad, artists/writers of circles intraditionalist (writer) “artist” of notion prevalent was the what infer Iwill system, Yugoslav the socialist about own insights contemporary YugoslavFurthermore, Iwill analyze thereactions Ladik’sjournals. worked provoked, based on articles published in Through 2011. and 2009 1982, in 1981, her with conducted use interviews will I performances, juxtaposing the responses to Ladik’s traditionalwork art history did or does,how Yugoslav of artsystem functioned within the 1970s. her worked,its andfocus because on gender differences of it gives more differentiated picture, than archeological approach, offers insights into waysYugoslav mechanism of socialist art system system in the1970s. Therefore, theexaminationLadik’s of art production, according to the gender,intersection nationality, of class and the working Yugoslav mechanisms of socialist art for their artistic quality,traditional art history. Namely, Ladik’s works, within this framework, butbecome significant not only as objects/processeswithin the broader that framework came about ofintersectionality, as products marginalizationof that mainstream complicated accounts omit.”alters the way works challenge the ofdominantknowledge approaches” art production of and reveal “processesare of perceived in Theory Successful,” 25 24 Brunswick, New Jersey and London: Rutgers University Press, 2006), 209. on those categories. “thinking Davis,by Kathy encourages out 26 difference.” hierarchies of sustain and produce that practices the social and identities of mutualconstitution “the explore Kathy Davis, Ibid. “Intersectionality as Buzzword: A Sociology of Science Perspective on What Makes a Feminist Hawkesworth, “Intersectionality,” 209-210. In order to describe Yugoslav art system, beside analysis of Ladik’s selected poems and Ladik’s poems selected of analysis beside system, Yugoslav art describe to order In Similarly,Ladik’s theanalysis of works, according to Pollock’s approach that I locate Feminist Theory 25 Thus, according to Hawkesworth, feminist intersectional analysis “can 24 Intersectional analysis represents a useful tool, because, as pointed 9, issue(2008): 1 75. across 7 26 the categories,” instead of building differences building of instead categories,” the CEU eTD Collection acknowledge multiple theexistence femininities. of I donot exclude the possibility that there Pollock’s method in my analysis, and regard Ladik’s works as the feminine inscriptions, I thehomogeneous “real” category feminine of (a subversive feminine). However, when Iapply phallogocentrismthe patriarchal of system, it seems that she ended up creating another category that, according to her, appears as a consequence the curatorial of approach and it. definitionAlthough of Pollock tried to break with the homogenizationthe feminine of masculine a ismerely disruptive isnot that feminine the that and “real”feminine, is the system necessarily subversive, and “in conflict with a phallocentric system.” Pollock, the feminine cannot bearticulated in a language as such, and when it appears in it, it is the langue, whichof marks the appearancethe “actual” feminine.of Therefore, according to the feminine is not a rupture since it is not representing the feminine at all, or through disruption language is possible either through masculinewhat definition is it to be a of woman, a case when Since there are no appropriate signifiers to express its difference, feminine signification in 28 27 discourse.” of outside to use as a resource against a dominant inside, there is noelsewhere beyond the spaces inscriptions.’ Pollockthe feminine in the language itcauses a therupture, language, disruption of or the ‘feminine urges for realizationand that as such cannot contain the feminine. Therefore, anytime women artists try to articulatethat the languageinscriptions in the culture is based on herassumption that the languagecannot system is phallogocentric be escaped.refers to as looking for the ‘feminine inscriptions’“[T]here in a given culture. Tracing feminine is no the disruptions in thesystem throughproducts analysisthatsystem originated of in interaction with it, but also forlocating caused by the feminine art works. This process is what Pollock Ibid., 74. Pollock, “Inscription in the Feminine,” 71. It seems that Pollock suggests that only the feminine that disrupts the phallocentric According to Pollock, the archeological approach does not serve only to deconstruct the 27 Insuch alanguage thefemininethe dominant is theother masculine of order. 8 28 CEU eTD Collection 32 Andrés Müllner (eds.), 1962-2010 Schuller, “On Katalinfenomeni granica Ladik’s Performances,” in Miško Šuvakovi performance: maprianje identita,” in Miško Šuvakovi u XX veku i problemi rodnih identitie,” in Šuvakovi 31 4). chapter Yugoslavia, that correspond to the term “new30 artistic practice” used by Serbian art historian Ješa Denegri (see fn.3, Dragomir Ugren and Miško Šuvakovi Kontradikcije i hibridnosti umetnosti XX veka u Vojvodini,”Šuvakovi Miško 603-608.; in 2008), Vojvodine, umetnosti savremene Muzej the feminist attitude towards. opens an opportunity to examine the connections between awomanart practices artistof and emerged in Yugoslavia. art history still did narrow mynot scope to the 1970s. Thosewere the years yetwhen feminist literary criticism and feminist exist in Yugoslavia.offers an outlineLadik’s of entire art production However, from the late 1960s to her most recent work, in I the late 1970s the “neofeminism” Šuvakovi intend to analyze her art work produced during the 1970s as a whole. poezija,” in often associated with her feminist productionDedi (as in case of groups she belonged to, or agenre she had been using, for example performance art that is most art way, worksa segmented onaparticular her in examining focusing and of Instead approach. Miško Šuvakovi analyzed Ladik’s work within experimental art production 29 in general.Serbian Anumber art historians of (Luki production in the 1970s, and a different approach to artworks not widely used by art historians were other femininitiesexamples of that were not subversive in Yugoslavia during the 1970s. Italk about “neofeminism” in more detail in chapter four. Nikola Dedi Under the term ‘experimental art practice,’ I understand a set of practices beginning with the late 1960s in Kristian Luki ý Different from Pollock’s archeological approach offers tools for Ladik’sanalysis of subversive art , (Novi Sad: Muzej savremene umetnosti Vojvodine, 2008), 609-618.; Nikola Dedi (Novi Sad: Muzej savrmene umetnosti Vojvodine, 2010), 253-261. (originally published in Pál Deréky and ý published as a catalogue of Ladik’s retrospective exhibition in 2010 (Novi Sad), which Sad), 2010 (Novi in exhibition Ladik’s retrospective of as acatalogue published Evropski konteksti umetnosti XX veka u Vojvodini , ed. Dragomir Ugren (Novi Sad: Muzej savremene likovne umetnosti, 2002), 144-145. Gabriella ý ý ý , “Performans,” in ý , “Video u Vojvodini,” in , (Novi Sad: Muzej savremene umetnosti Vojvodine, 2008), 721-727.; Miško Šuvakovi , (Novi Sad: Muzej savremene umetnosti Vojvodine, 2008), 707-715; Nikola Dedi Né-ma? Tanulmányok a magyar neoavantgárd köréb 32 h oe f aWoman of The Power Placing Ladik’s works in the relation to Yugoslav feminism in the 1970s Evropski konteksti umetnosti XX veka u Vojvodini ý , (Novi Sad: Muzej savremene umetnosti Vojvodine, 2008), 250-252. Centralnoevropski aspektiCentralnoevropski vojvo Evropski konteksti umetnosti XX veka u Vojvodini Evropski konteksti umetnosti XX veka u Vojvodini , a publication written by Serbian art historian Miško 9 , ed. Dragomir Ugren and Miško Šuvakovi Evropski konteksti umetnosti XX veka u Vojvodini ý ý , , Dedi h oe f aWoman: Katalin Ladik Retrospective The Power of ŋ Ā l anskihavangardi 1920-2000. Grani (Budapest: Ráció Kiadó, 2004), 134-145.) 30 and, therefore, applied curatorial ý and Šuvakovi ý , “Umetnost XX veka u Vojvodini: u veka XX , “Umetnost ý , Šuvakovi , ed. Dragomir Ugren andMiško, ed.Dragomir , ed. Dragomir Ugren and , Ugren ed. Dragomir , ed. Dragomir Ugren and Ugren Dragomir , ed. ý , “Umetnost Vojvodine ý ý and Schuller), ) 29 classified and classified ý ý , (Novi Sad: ÿ , “Vizulena ni fenomeni, ý , “Ženski , ed. 31 I CEU eTD Collection 34 (Cambridge, Mass. and London: MIT Press, 2003), 175. citizens could freely travelthe country, in and out of both tocountries belonging to the so called streamed freely into the country, which became an culturalopened space exchange. of Yugoslav and cultural influences from the Westmagazines, in the form of exhibitions, movies, music, etc. internationalYugoslavia of importance of in thefollowing years. Yugoslavia opened its borders, regarding the longthe term stateposition in ofthe world politics, because they led to anincrease significance great of were moves Tito’s strategic (1961). Movement Non-Aligned of creation opened only to theWest, but to thesocalled “Third World” countries as well,which ledto and strategic relations with USA and Western European countries. However, Yugoslavia was not had to look for other allies, and he turned to the West. He started building diplomatic, economic gardes, Neo-avant-gardes, andPost-avant-gardes inYugoslavia, 1918-1991 “Socialist Modernism?” Radical Views on the Yugoslav Art Scene, 1950-1970,” in Yugoslavia wanted to promote about its regime to the world through its art system. Ješa Denegri, “Inside33 or Outside 1948. in USSSR the with relations the face’” Yugoslavia of human a ‘with Republic socialism Federal Socialist self-management “Yugoslav 1.1 everydaypractices of life differed from the officialYugoslav discourses of socialist regime. women’s position in the socialistYugoslavia, regime of but toshow on Ladik’s example that the of analysis in-depth an out carry to is not aim My 1982. and in 2011,2009 her with conducted domains (art, gender politics) with Ladik’s lived experience mediated through theinterviews Yugoslaviathe 1970s, of by comparing the official socialist discourse regarding aforementioned socialism self-governing ofYugoslav 1. Thesocialcontext Lidija Merenik, I borrow this expression from Ješa Denegri, Serbian art historian, who used it as a description of an image Yugoslav president JosipBroz Tito refused Informbiro the resolution andsevered of In this chapter Iwill illustrate the ambivalence within theart and gender politics in Ideološki modeli: srpsko slikarstvo 1945-1968 slikarstvo srpsko modeli: Ideološki 34 The consequence of such Theconsequence a political of move was that Tito 10 (Beograd: Beopolis, 2001), 12. , ed. Miško Šuvakovi 33 Impossible Histories: Historical Avant- Historical Histories: Impossible : political propaganda of propaganda political : ý and Dubravka đ uri ý CEU eTD Collection art. Ibid., 171 encompassed a number wassmallerof not a homogeneous, unified spaceart that erasedscenes the national specificities that thein terms a art production. of rather interactedInstead, it homogenizing with eachWhen thespeaking Yugoslav of other art in this sectionmy thesis, of way. within I give arather simplified picturetheHowever, and use thebroadersocialist term in space Yugoslaviait ofYugoslavis important consisted39 toofsix noterepublics. 173. Modernism,” that Art“Yugoslav traditions Unitedwithinart space,” the republics as StatesslightlySkopje;designated “A differedSelectionDutch of by fromPaintings,” ofDenegri, each America,”38 other.in 1953, also in Belgrade, Zagreb and Skopje; “Contemporaryexhibited Art theof in Belgrade in 1956, and others. Denegri, “Inside and Outside “Socialist deemed as an important political move by the Yugoslav regime. Merenik, in 1952. Therefore, under new-found circumstances, re-entering thecontemporary streams of European art was 37 36 London: New York University Press, 1995), 59-60. increasingly became they and Yugoslav regime, to interest particular of were institutions cultural they also strengthened the relations between Yugoslavia and thecountries in question. Hence, Yugoslavia, and Yugoslav artists visiting international exhibitions had political significance, since cultural exchanges that implied artists from the Western Europe and the USA coming to 35 Youth, Venice Biennial, etc., promoted Yugoslavthe scenetoWest. art of Paris at Biennial example for participated that Yugoslavscene art of Also, representatives acquainted with the up-to-datethe Westernart forms of European countries and the USA. Yugoslavcapitals republicsof the 1950s,at thebeginning Yugoslavof artists were able toget USSR. connections with the Western countries in the years after Yugoslav regime turned away from pointed out, Yugoslavits self-governingwhat image of socialist regime Yugoslaviaregime sent tothe world. As Denegri estimated that the culture was a art market inuseful the liberalcountries capitalism.” of political toolpressures prevalent in thereal countries socialism inof and theadvantages the and thedemands buildingof consequence produced an art system that “functioned outside both the rigid ideological described Yugoslav politics as “swinging on thefence between the East and West,” which as a Eastern Bloc, and toNATO the countries Pact. of As pointed out by Denegri, participants Some of thethat exhibitions represented were: Yugoslavia “Contemporary came from French different Art,” republics,held in 1952 sincein Belgrade, the Zagreb, Ljubljana and The consequenceTito’s of brake with the Soviet Union in art was a definite rejectionthe socialist of realism style Denegri, “Inside or Outside “Socialist Modernism?”,” 172. Vida Penezi 37 Ultimately,Yugoslavia,the importance with thegrowthof of it became very important Throughtouring the internationalseries of exhibitions and biennials organized in the ý , “Women in Yugoslavia,” in Postcommunism and the Body Politics 11 36 35 Ješa Denegri, a Serbian art historian, Ideološki modeli Ideološki , ed. Ellen E. Berry (New York and , 48-50. 39 Therefore, organized 38 CEU eTD Collection neo-avant-garde artistsneo-avant-garde artists. The socialist system granted them exhibitiondid spaces, and as long as these not criticize the state politics, they had their freedom to work and 44 Eastern Europe, 1945-1989 associated with themainstream artists. (Tribina mladih) in Novi Sad, but theyStudent Culturalwere Centre (Studentski kulturni centaralso -SKC) in Belgrade or Youth Tribuneinvited to exhibitas such institutions, student in of spaces museums, marginal and inalternative notonly exhibited artists garde a places usually “brotherhood and unity”. politicalthe without regime the criticize openly not could artists Yugoslav art. Yugoslav in liberalism consequences,unique inthe region. However, bothnationalism and politics were settingthe the limits of wasindeed art alternative Yugoslav regarding situation the historian, aPolish art Piotrowski, and thepoliticalmovement pressure. forcedillegality into because of the samedescribes an art practice that is parallel to another one, while “underground” entails an art applieddifferences between political the contextstwo countries of as well, since theword “alternative” to the critique of the ideal of Yugoslav 43 42 ellenálláskulturális formái a magyar neoavantgárdban 41 40 socialist realism. mainstream the opposed who artists, Hungarian describe used to that he whichwas aconcept “underground,” of instead noted, an adequateYugoslav description of neo-avant-garde art practices would be “alternative” Havasréti József critic Warsawliterary the aHungarian Pact. As of were members that region to, they were not banned by the Yugoslav socialist regime, contrary to other countries in the dependent on the state’s ideological and financial support. Ibid. Piotr Piotrowski, Ibid. “Mapping theHavasréti, József “Bevezetés: Neo-avant-garde, Az “underground” és az “alternatív” értelmezései,” in Ibid., 174. c. 1970,” in Another uniquenessYugoslav socialistof the 1970s system art was of that neo-avant- Regarding the experimental art practices in Yugoslavia, towhich Ladik’s work belonged (London: Reaktion Books, 2009), 303. 43 44 (Budapest: Typotex, 2006), 29. Therefore, the Yugoslav socialist system endorsed the 41 His distinction between the two indicates terms the 12 In the Shadow ofYalta: Art and the Avant-garde in 40 42 According to Piotr Alternatív regiszterek: A regiszterek: Alternatív CEU eTD Collection Universität Graz and Udruženje za društvenu istoriju, 2002), 220. emancipation through their participation inpaid employment, according to Brunnbauer “much and that it resembled “uniformity” more that “genuine equality.” with theman.” Šuvar in1980 said: “Our ideal is that women should be societythe architect on an equal of basis socioeconomic freedom and security.the famous One Croatian of the politicians time Stipe of Yugoslav socialists was toenhance thewomen, education and enable/ensure of their included in other domainsmeant as well, such“inclusion as state’s economy, ofindustry, women culture, in politicsetc. on equal footing with men,” but women were also 46 and 20 in Europe,” Southeast 49 48 47 1999), 89. YugoslavStates Successor Yugoslavian socialist platform promoted equality between the sexes. female sexuality as an excess. traditional, patriarchal morality framed Ladik’s experiments with the body and opened display of toward Ladikwas conservative morality prevalent the1970s. inNovi Sad Proponents of of with this issue in detail, I will show that the reason for the negative attitude of the officials 45 1982. in her with conducted interview in the openly politics, her art work negatively affected her private life. Shespoke about these contradictions the socialist art system and Ladik, as an experimental artist, belonged to this sphere. exhibit there. Hence, Yugoslav regime provided the room for theexperimental practices within Sabrina P. Ramet, “In Tito’s Time,”in Ulf Brunnbauer, “From Equality without Democracy to Democracy without Equality? Women in Transition and Equality? without to Democracy Democracy without “FromEquality Brunnbauer, Ulf Šuvar quoted in Ramet. Ibid. Ibid., 90. Dragiša Draškovi th Century Although communistthe Southregimes Easternof Europe imagined women’s Regarding gender politics during what Sabrina P. Ramet calls “the Tito era” (1943-1980) However, although Ladik never made open political statements against theYugoslav , ed. Miroslav Jovanovi 48 Ulf Brunnbauer suggests Ulfthat this equality was infact imposed from the regime ý , “Katalin Ladik: Muškim šovinistima izmišljam novi krik,” , ed. Sabrina P. Ramet (University Park, Pennsylvania: The Pennsylvania State University Press, Gender Relations in South Eastern Europe: Historical Perspectives on Womanhood and Manhood in 19 ý and Slobodan Naumovi Gender Politics in the Western Balkans: WomenWestern Balkans: YugoslaviaPolitics inthe in and Society Gender the and 13 45 In the following subchapter, where I deal ý (Belgrade and Graz: Institut für Geschichte der 49 Omladinske 46 According toRamet this , March 27, 1982, 14. 47 The aim of th CEU eTD Collection f actualreality. of that somewomen’s aspects of equality wereYugoslav rather a part of socialist propaganda, than but an instrument for wider political goals, as defined by the party.” “objectschange” than the agentssince their of emancipation seemed not to be “an end in itself, equality promoted by the socialist regime. reality,” the livedthe timewomen did experiences notcorrespond of of to proclaimed gender 55 54 53 52 51 50 about the Youth Tribune, the alternative student institution in Novi Sad around which neo-avant- writers was ruled by patriarchal notions. she remembers thatworkingmen, in termshours of and satisfyingthe the employer. environment work,she and theexpectations they had tomeet as employees were,belonged according to her, same as for to, experience Noviposition, Ladik agreed that, indeed, women in the socialist YugoslaviaSad, had theopportunityLadik’s to and1970s: itsthe in circle artist of Hungarianwoman a Being 1.2 politics (party, delegate system, councils). in positions leading in underrepresented and sales) care, health (culture, jobs particular around opened door workingfor day, they still had tofinish domestic work as well. Also,carrier although Yugoslav socialism had time.advancement, This meant that women carriedWomen could work and be economically independentthethem hadfamilies but most of at the statisticssameburden of‘double day,’ the progress under of communism remained ambiguousor and volatile,in oreven contradictory.”othershowed words after their that women were still concentrated Ibid, 71. “Interview with Ladik Katalin,” Appendix, 65. Ibid., 222. Brunnbauer, “From Equality without Democracy to Democracy without Equality?,” Ramet,221. “In Tito’s Time,” 97. Ibid., 221. Looking back on the 1970s from the perspective2011, regarding of women’s economic 55 52 In Nenad Milosevi Nenad In 51 Therefore, as the author argues, women were more As Brunnbauer suggest this meant that “social that meant this suggest AsBrunnbauer 14 54 However, regarding the art scene, ý ’s documentary filmed in 2009 in filmed ’sdocumentary 53 In other words, this meant 50 CEU eTD Collection show. In 1982 Ladikworking there, but on the other, very conservative, likeHungarian theexample writers of will noted: “I one hand very opened to experimentaldo practices, the as inYouth the case of not Tribune and artists hate my city. In Novi Sad very important things are especially in the case if that poet wasthat poet a woman. especiallyin thecase if (szent és érínthetetlen).a poet should be. According to Ladik (2011), they imagined a poet as “sacred and untouchable” Consequently,since Ladik belonged to their circle, they expected her toconform to their norms regarding what a poet couldwriters not allow who himselflived supportivein to Novitake Sad.off his Their clothes, viewstowards on art were her governed experiments, by patriarchal notions, real andproblems occurred within a group of Hungarian chauvinist ruled.” chauvinist Novi Sad.scene of 61 60 likovne umetnosti, 2002), 144. 1970s. the during Sad Novi of scene art the older generation and active around Youth Tribune, were the only women who worked on the “E”), Judita Šalgo, literary critic and Bogdanka Poznanovi 2000.: Grani Beside Ladik, AnaRakovi circle.the art Membersgroup Bosch+Bosch,of which she joined in 1973, were also all men. men. that besideheritconsisted entirely of 56 importantinformation source forof her. the 1970sgarde gravitated, artists of Ladik acknowledged that this writers’ circle represented an 59 (Beograd: Salon muzeja savremene umetnosti, 1981). Sad: Svetovi,58 1996), 43.57 For moreCenter_kuda.org, 2009. information about the group see Szombathy Bálint, “Interview with Ladik Katalin,” Appendix, 68. Draškovi Nenad Milosevi Miško Šuvakovi The group existed from the1969 Some writers of were: untilTolnai Ottó, Végel 1976.László, Váradi Tibor,Ješa Brasnyó István, GionDenegri, Nándor, etc. Ibid. “Bosch+Bosch,” in Ladik noted already in 1982, that Novi Sad was a place where “his majesty themale majesty “his where place was Sad a Novi 1982, that in already noted Ladik ý ÿ , “Katalin Ladik,” 14. ni fenomeni, fenomeni granica ý , “Ženski performans: Mapiranje identiteta,” in ý , The Youth Tribune 60 Whilealternative members of artgroups were usually more opened and ý ebro important conceptual called group art ( , amember of , (exhibition catalogue) ed. Dragomir Ugren (Novi Sad: Muzej savremene , documentary, Novi Sad: IFC Kino Klub Novi Sad and New Media 59 56 Thus, women artists were rare on the experimental art Regarding the genderthe aspect group, of she noted 57 Ladik was nottheonly woman artist just in this 15 61 Novi Sad was therefore, in artistic sense, on sense, inartistic was therefore, NoviSad Centralnoevropski aspekti vojvo ý , a veryinfluential artist belonging to Sedamdesete: teme sprskeumetnosti teme Sedamdesete: 7 godina grupe Bosch+Bosch grupe 7 godina Ā anskih avangardi 1920- Ǫ (reversed (Novi 58 CEU eTD Collection experimental poetry in Europe and America. According to her, the reason for such anattitude of festivals of Yugoslavianumerous on of asarepresentative support thefinancial did,nor artists the lowest payment in herhome theater. She never gotan apartment from the Party as other Although she had been actress for over 20 years, in the interview Ladik complained that she had revealed adifferent attitude toward her as anartist in relation totheother writers/actors. 1982, in by Ladik described as Sad, Novi Vojvodine)in književnika Vojvodina’s (Drušvo Writers theThe treatment official of institutions, such as her theatre and troupe, or the Alliance of situation Imean theliving conditions she had toendure asher small a consequence salary. of caused a scandal in her hometown in Hungarianthe circle writers.of naked pictures, whenhernaked picturesappeared in Yugoslavia. scandalous and unacceptable, although men, at the same time enacted naked performances in in herpoems, but an openedfemale display sexuality of in herperformances that was seen as expected from women to do. expectationswoman towardsto be accepted in Yugoslavwomen art were,world ofthe 1970sargues in a same wayLadik, as men were. Socialdifferent and certain things were just not 67 66 65 64 63 62 by “double standards/morality.” provoke them further. traditionalists that judged her naked performances negatively, gave herimpetus to work and environmenthappening, it is only necessary bein theright street [sokaku].” irritated Ladik, but as she stated in the same interview (1982) exactly the Draškovi Ibid., 68. Ibid., 65. “Interview with Ladik Katalin,” Appendix, 68. Ibid. Draškovi Ladik’s art work affected her social situation, and therefore her private life. Under social Under private life. her therefore and situation, social her affected work Ladik’sart From today’s perspective (2011), Ladik thinks that the art scene ofNovi Sad was ruled ý ý , “Katalin Ladik,” 14. , “Katalin Ladik,” 14. 66 Furthermore, despite the fact that popular magazines in Yugoslavia freely published 63 65 For example, it was not so much the usage of obscene language obscene of usage so muchthe was not it For example, 64 This, as suggested by her, meant that it was impossible for a 16 Start in the beginning of the 1970s,it the of beginning the in 62 The conservatism of the conservatism The of 67 CEU eTD Collection private life proved. However,socialistsystem, her art production was still deemed disturbing, as the consequences to her Ladik stated thatmonitored art practices.her Also, although Ladik diddiverse notopenly challenge theYugoslav politics of art production regime socialist fact, in but liberties and freedoms certain enabled and proclaimed seemingly enabled her to “run other. one hand, and the regime’s “surveillance and critique” onthese liberties in practice, onthe liberties (to travel,of toproduce art outside the mainstream socialist modernism, etc.) on the kinds particular of promotion the in visible system socialist Yugoslav the in was aduality there within its ‘liberal’information and systems entertainment.” of was conducted indirectly,‘public “as response’ a of form and a socialtransgression critique of state had a strictcensorship, politics of in the self-managingthe 1970s socialism the of control of real-socialism, argues Šuvakovi place (Atelje 212) were under some form ofthe state control. htso Ladik werephotos publishedof ( the ambiguitiesthe Yugoslavone of of cultural system. Namely, both the magazine where naked same reasons. same Yugoslavia (Savez komunista Jugoslavije) in1975 forimmorality, and almost gotfired for the 72 71 artist. asan than down” strips experimental art degraded her as an artist, and she was remembered rather as “a woman who 70 69 68 in published pictures nude her and 1970s her superiors washer nude a consequence performances of enacted at thethe beginning of Ibid. Ibid. Šuvakovi “Interview with Ladik Katalin,” Appendix, 68. Ibid. 72 In other words, the cultural system of Yugoslavia in the 1970s was ambivalent. It Accoding to Šuvakovi ý , h oe f a WomanThe Power of 69 , 85. ý , Ladik’s exclusionCommunists from the Leauge points of to the 68 Also, Ladik gotexpelledCommunists from the Leauge of of Start ý , that is before the brake with the USSR in 1948 when the ) and the institutions where her naked performances took Start 17 . According to her, naked performances and 71 70 Therefore, Šuvakovi Asopposedto theearlier years ý argues that CEU eTD Collection subversive, based onHomi Bhabha’s postcolonialhybridity. theory of In the next chapter I will describe the hybridimportance forms asof empowering and various art of genres and forms, Ladik’s art diverse art production can be deemed as a hybrid. pointed against her and disrupt the same fromnorms another art domain. As such – as a mixture performance art, happenings, experimental music, etc.) allowed Ladik to escape the attacks 73 etc.performance art, writers were judging her, she started workingexperimental in thedomain music, of or away” from theaccusation coming from proponents within oneart discipline. For example when Draškovi ý , “Katalin Ladik,” 14. 73 Switching betweenart (experimental different forms of poetry, 18 CEU eTD Collection rupture occurred asthecolonial mechanismthe consequence authority of of based on, what he 75 Delhi, May 1817,” in 74 other (colonized object) and therefore, it became split, ambivalent. would enclose the colonial identity as homogeneous, “true” and whole. line that would demarcate the conqueror from the fromconquered, the selfother. As such, it colonial subject.representation Theprocess isof dependentdifference,” on“a sign of a clear colonized other. “Colonial presence” is, according to him, marked by its need to represent the the colonized,stabilizingterritory of with thegoalpower their of position in relation of tothe subversion possible of site a as Hybridity 2.1 identities. language use inperformances and late performances.Ladik’s With illustratingthe intention of the theimportance of earlyexplaining Bhabha’s theory,performances, and precede chronologically examining Ladik’s poetry, early owned I draw onan Gloriainherenthybridity ofart Anzaldua’s genres Ladik worked with, contingent on the postcolonialsubversiveinhybridity theory formulated of order by Homi Bhabha. I emphasizeconcept the to show that precisely of hybridbordercharacter form as such, potentiality of theseher late performances the 1970s,enacted inof the in second order toillustratehalf the feminist works. I suggest experimental poetry from the late 1960s,that the early 1970s performances from and of the first half that was Ladik’s empowering. art production2. Subversive form: hybridity in Ladik’s poetry andperformances in I thisstart decade the was a chapterhybrid, with Ibid., 109-110. Homi K. Bhabha, “Signs Taken for Wonders: Questions of Ambivalence and Authority Under a Tree Under Outside Authority and Ambivalence of Taken Wonders: for “Signs Questions Bhabha, K. Homi However, he illustrates that the colonial representation could not absolutely exclude the Homi Bhabha’shybridity theory explainsof how colonizers produced a discourse on the Ladik’s early of aspect formal the analysis of the on chapter,Iwillfocus In this h oaino CultureThe Location of (London and New York: Routledge, 1994), 111. 19 75 Bhabha explains how the 74 CEU eTD Collection uolvscaitatsse fte17sa neapeo n uhsrcue n f the Oneof such structure. one of an example 1970s the as of system art Yugoslav socialist that hybridization is possible within otherrepresentation systems of as well. Iwill examine the hybrid.“ its doubling, and self the of splitscreen the itisalways itself; apprehends theself where mirror produced, required hybridization. “[C]olonial specularity, doubly inscribed, does not produce a within the same framework. the same time. at difference the and sameness the byinducing authority its disrupted and colonizer’s presence” according to Bhabha, split between these two subjects. meaningThe produced in the language was, therefore, neither transparent or mimetic but, the discourse/sentence“I” of did notequate withthe speaking the“real colonialI” of subject. the repetition produced the disjuncture: the colonialthe proposition, subject ofthegrammatical ambivalencebeing “ of camouflage, resemblance. such system wasof not mimezisenunciation, –the subjectan exact replica of of but mimicry – reflects its source,authority. the origin of Using Lacanian terms, Bhabha shows that the product enunciation” (colonizer, colonial subject) entirely, so that the colonial discourse accurately 82 81 80 79 (London and New York: Routledge, 1994), 86. 78 1994), 36-37. 77 76 “ termed Bhabha, “Signs Taken for Wonders,” 114. Ibid., 87. Bhabha,Mimicry and“Of Man,” 88. to Theory,” 36. Commitment “The Bhabha, Discourse,” in Colonial of Ambivalence The Man: and Mimicry “Of K Bhabha, Homi Homi K. Bhabha, “The Commitment to Theory,” in toTheory,” Commitment “The K. Bhabha, Homi Ibid., 110. I suggest that not only the colonialrepresentation system of produces hybridization, but rnltdit h ooilstig iei icus rdcd“ ata iino the of vision “a partial produced discourse mimetic setting, colonial the into Translated Colonial mimicry is, according to him, dangerous becauseit carried in itselfthe h ue f recognition of rules the 82 80 Such discourse allowedboth thethe existence English of and the Anglicized almost the same, but not quite 77 81 .” Infact, Bhabha argues that the colonialexercise authority of 76 The purpose of the system The purpose wasof to mirror the “subject of 20 h oaino Culture The Location of .” 78 Exactly this ‘almost the same’-ness through same’-ness the ‘almost this Exactly 79 (London and New York: Routledge, New and (London h oaino Culture The Location of CEU eTD Collection meaning in this space have nofixity or unity, which means that they can be translated and re- all cultural statements and systemsare actually constructed. enunciation,”“Third Space of a space that “destroysrepresentation,” this mirror of and where possibleproduces a interventionspace of within the dominant discourse Bhabha refers to as the the symmetry andself/other, duality inside/outside” of in colonial setting reverse “the 88 87 86 85 84 83 colonizer. they induced Yugoslav art system to revealas repressive itself and monitoring. because splitting, 1970s, causedthe Ladik’s the works hybrid of system Yugoslav art of context enunciationthe subjectsplitting of alienating of the colonizer’s identity from its essence. In the power “as something other than whatrecognition its rules of assert”. in colonial terms/setting, turned the gaze ofthe ahybrid. disciplined therefore, quite,” and not but toward the colonizeronly experimental, but also feminist, or in Bhabha’s terms “almost the same [as experimentalrevealing art], its art was accepted as the socialista legitimate part of art system. However, Ladik's works were not previous chapter, unless neo-avant-garde artists were criticizing thestate politics, experimental in the asIillustrated that, assert structure representational this to applied recognition” of “rules their art production. As such, Yugoslav system art endorsed experimental art practices. Bhabha’s liberal and non repressive, in contrast to the other socialistthe region regimes that censoredof as world outside tothe itself inYugoslavia itrepresented system wasthat art of characteristic Bhabha, “The Commitment to to Theory,” 37. Commitment “The Bhabha, Ibid., 116. Ibid., 114. Ibid. Ibid., 117-118. Ibid., 112. Hybridity, according to Bhabha, undermines and questions the authoritythe of Bhabha argues that hybridity posed a danger, threat since thehybrid existence object,of 84 Itis a position that enablesthe cultural negotiation authority, of formal poeso disavowal.” of process 86 A hybrid is “uncontainable because it breaks down it breaks because is“uncontainable Ahybrid 21 88 He argues that symbols and symbols that Heargues 83 It caused the rupture, the caused It 87 85 As such, a hybrid with theability to CEU eTD Collection poetry (text, visual art, music) came instinctively, later on, she consciously started nurturing and nurturing started instinctively,she consciously on, music) came later visualart, (text, poetry initial impetus for transgressingthe borders andbetween blurring of different art forms in her that the visualher poems component had an of equal importance as their content. Although the into a performance. Also, theher layout book differed of from the traditional ones in asense easilytransformable out, asshepointed waslater, that as dialogues, aform written were poems verse, etc. she says that her early poetry comprised the possibilitybeing sung.the of Some of will use in herlatter works. published with thevinyl disc. Itcontainedall the inceptionthe elements and of art she forms locate the possibilities these forms opened for feminist artists. and therefore, subversiveand her usethe oflanguage in the case early ofaspect performances. My aim is to illustrateof her the hybrid,experimental poetry, enunciation,”early where meanings established by the dominant system are negotiated.and late performances,the same time empowering, since the hybrid position produces the “Third Space of and working. isat It of mechanisms its and exposes system representational dominant the challenges 1970s. Therefore, as suggested by Bhabha, hybrid position is potentially subversive, because it negotiate the position/meaningwhat a woman artistof wasYugoslavia in thecontext of in the the enunciation,”“Third Space of the space Ladik’s hybrid works produced, enabled her to Yugoslav art system,the idealized insteadit that Yugoslavia of image of promoted, but the 90 89 poetry experimental Ladik’s 2.2 appropriated in different contexts. “Interview with Ladik Katalin,” Appendix, 72. Ibid. In the following part ofthe chapter I will analyze the formal aspect of Ladik’s works, Thus, Ladik's hybrid art works not only revealed the actual working themechanism of Ladik recalls that her first book of poems ( 90 For example, beside the traditional elements such as rhyme, rhythm, 89 22 aldo theSilverBicycle Ballad of , 1969) was already CEU eTD Collection excluded the heterogeneitymeaning.possibility of of Consequently, thoseart “could works of artthat understood works in of a way that presupposed a direct signifier-signified relation, mg ftemd f interpretationthe mode imageof or of philosophical inquiry.” interpretation”“object of (an art work) “is on an ontological level compatible with the self- signifier and the signified. the and signifier unity was,of argues Benjamin, based theon thepresumption direct relationship of between the that a sign does not represent a homogenousthe signifier unity of and the signified. notionThe Benjamin named “the crisis of modernity.” ideas. of a bearer the poem and its nature as an object in contrast with the transcendental the qualitiespoetry as of 96 aPhilosophy Difference ofof 95 94 93 Associated University Presses, 2001), 15. itspredominance “iconic dimension”. of between the traditional and visual poetry is in self-awareness” the “degreethe of of designed for viewing because “visual recognition precedes verbal comprehension”, the difference communication with the reader. Although Bohn argues that all poems are to a certain extent the signifier,use of it takes the visualthe textcomposition as another of medium of hybrid since, unlike traditional poetry that focuses mainly onconveying the meaning through the 92 91 gaze”. her or his arrests but reader’s intellect according to Willard Bohn, meant for viewing and reading. Not only that it is appealing “to the Ladik’s early poems indevelopingthem eachseparately. of the domain of visual poetry. This is an experimental form that is, Ibid., 63. Andrew E. Benjamin, “Betraying Ibid., 21 Faces: Lucian Ibid. Freud’s Self-Portraits,” in William Bohn,a Sign,” “The Crisis of in Ibid. As illustrated by Bohn, visual poetry emerged as a consequence of what Andrew E. Making visual elements at least equally,not more, important if than verbal ones, places (London and London: Routledge, 1991), 62. 1991), Routledge, and London: (London 95 Applied accordingart, to the works to him, of this meant that the 91 Modern Visual Poetry 93 This experimental emphasizes form the materiality of 94 The crisis occurred as a symptom of realization of a symptom as crisis occurred The 92 23 In that sense visual poetry can be deemed as a (Newark: UniversityDelavare of Press and London: 96 In other words, Benjamin argues Art, Mimesis, and the Avant-garde: Aspects Avant-garde: the Mimesis, and Art, CEU eTD Collection link between the signifierbirth visualof and poetry, the its signifiedexistence was dependant in on it.order immediately.It was However, necessary although the aforementionedto split wastofavor not theinterrupt immediate impetus for the the thedirect visualthe contained initial some aspect of signifier-signified split, but its appearance was notcaused by it over the linguistability toconvey meaning emphasized in traditional poetry. According to Bohn, visual poetry that a word, as a material sign, also contained a visible component beside its linguistic aspect – an Bohn calls the “transformationthe linguistic of sign into a visual sign.” The words carried the meaning intended by a poet, and something beyond it at the same time. where disjunction occurred betweenproposition thesubject enunciation. andthe of subject of the signified (the content), but became split, as colonial in themechanism representation of beyond that one. In other words,meaning the poet intended to coveythe with them, but thepotentialitythe meanings thatsignifier of existed (the word) wasbrought about the uncertainty: not the signifier, the words,an no longer identicalcarried only the supposed mirror imagerealizationthe multiplepossibility of meanings of of (interpretations), as opposed to one meaning, the wordcontent and presuming of a direct connection between the signifier and the signified, itself,” to make it contradict itself. between the signifier and the signified. relationship the of straightforwardness deemed the disturbed consequently traditions previous 101 100 99 98 97 unity is impossible, and refused tofollow the traditional literary models. only frame the intent.”singularity of Bohn, “The Crisisa Sign,” of 21. Ibid., 64. Ibid. Ibid., 22. Ibid. The signifier-signifiedThe splitwas in poetryfollowed by another step that involved what Therefore, within theframeworktraditional poetry,of focusing predominantly on the The crisis,The according to Benjamin, came about when avant-garde artists realized that such 100 97 99 As he put it “they managed to turn the sign against 24 101 98 For Bohnrejection of This meant realization meant This CEU eTD Collection 107 early performances. performer (reciter), his/her voice and the text. the signifier and the signified/referent, but more importantly, betweenthe the body of 106 105 104 103 102 poetry of the performances late Early 2.3 1960s and performances come to what Šuvakovi textual one, she was able totransgressthese eachdisciplines of separately, and from pure poetry the beside aspect sound and avisual had poems her herpoetry. Because of aspect formal the marks the spot where Ladik’s body, as women’s body becomes important, and gets connected to the literary texts. of poems are essentially hybrids, since they combine visualthe elements arts withof the temporality signifier orsignified andreferent.” relation “between the signifier and the referent is stronger than that between signified and carried the signifier-signified disjuncture a bit further. According to her, as argued by Bohn, the one that is, according to Bohn, the case with the visual poetry. visual poems aspire to resemble “the conditionpainting or sculpture”. of art, of form a temporal isessentially literature although that, aparadox contains visual poetry the not thingthe in idea question of somuch as the thing itself.” Ibid. Šuvakovi Ibid. Ibid. Ibid., 22. Ibid., 21. Ladik’s early performances present a transitional form between her early experimental Šuvakovi Also, asBohnillustrated drawingAnna Whiteside’s on argument, thevisualpoetry ý , h oe f a WomanThe Power of ý pointed out that experimental writing radicalized the relation not only between ý calls “performances with verbal or phonic scores” , 105. 103 Thismeans that “[i]n these works, thevisual design depicts 25 106 per se This radicalization is significant, because it because is significant, radicalization This from the late 1970s. Early and later 102 104 Bohn suggests that assuch, that suggests Bohn 105 107 Therefore, visual Therefore, and I refer to as CEU eTD Collection instruments - a bagpipe and drums, and her own voice. visual elements, such as drawings, texts and letters. As a background sound she was using musical her poemsreciting in Hungarianparts of combining dance-like theatrical performance with the her poems sheone ofperformed fortitle of that broadcast. The short excerpt shows her (Counterpoint). filmed by Novi Sad Television (RTV 1)in 1970 for the show called “Ellenpont” poetry. body acts for the first time, to thelate performances as more independenta form from the illustrates a gradual progress from the poetry, through early performances, where she involved the body and interactions/society. her endurancewas to infree the (2011), interview the it her described she as Ladik, for language in freedom and poetry faceexperimental body andof thetest contemporarywhetherexamples she of, was what remembersable thatcritique. shealready to her poemscalledachieve pushed the borders the of purelyliterary textualtheher poems dimension exactly of through these sound the components.genres, She Her“daring” becausesame they wereart freedom workandtextual elements, audio elements played an important“savage” role. Ladik managed to break inoutalso from the social (vad) genres. Thework with its own concept, plot,logical etc. step elements from the literature,after differs from solely enacting the poetry. It is an independent art 109 108 her voice. On the other hand, performance on her poetry, and were in fact enactedher poemsrecitals that engaged of both her body and performances differ from each other insofar as her early performances were heavily dependent “Ellenpont,” 4minute footage, Novi Sad: RTV 1, 1970. Courtesythe artist. of “Interview with Ladik Katalin,” Appendix, 69. One ofthe rare video documents ofLadik’s early experiments is a four minute footage Within early performances, unlike visual poetry that combined poetry with the visual and 109 She subsequently named the excerpt “Ólomöntes,” (Lead-molding) after the 108 Her early performances were thesethe examples first ofexperiments with per se per 26 is a separate art form that, although draws on draws although that, form art isaseparate CEU eTD Collection granica fenomeni, fenomeni granica“, in 111 consulting, 2001), 111. army. Hungarian and –NDH) Država Hrvatska its territory were of divided, among others, by the IndependentCroatia State (Nezavisna of iSlovenaca). Hrvata later it a newfoundbecame Serbs, a partState of Croatsof and Slovenes Croats (Kraljevina Srba, proclaimed Vojvodina’sthe integration of territorySerbia, tothe Kingdom and one of month of Yugoslaviaof (1929-1941). Dimitrije Boarov, 110 1945, when Vojvodina Socialistbecame a part Federalof Yugoslavia. Republic of uBa Slovena iostalih Bunjevaca Srba, skupština (VelikaBaranja narodna Ba of Slovenes other and Serbs, Bunjevci of Assembly National Big the 1918 able to understand the Hungarianposition minority of within Yugoslavia in the1970s. the specificityVojvodinaits history and of nations in termsof that inhabited its territory, to be Language 2.3.1 suchimportance actions, of I will apply Gloria Anzaldua’sborderland concept identities.of Serbian andfront Croatian of audience that did notunderstand her. Inorder to explain the in Hungarian in wasreciting She language. use of was her Ladik’s performances early of form using various props, commonly instruments, and costumes. However, more interesting than the hervoice fromthecassette tapewithlive them,combined or played recital, footageof of parts her poems and her voiceof performance. During performances Ladik either recited poems, or was that they were not long (about 15-30 minutes). Also, they were heavily depended on the texts Šuvakovi The State of Serbs, The State of Croats and Slovenes existed from 1918 to 1929, when it changed its name into the Kingdom , ed. Ugren Dragomir (Novi Sad: Muzej savremene likovne umetnosti, 2002), 8. Therefore, theearly common enactments, trait of such as “Ólomöntes” or “Vabljenje” Before World War IVojvodinaAustro-Hungarian was apart of Empire. In November Before I turn toAnzaldua and Ladik’slanguage, it useis of necessary tobriefly outline ý Miško, Šimi 110 During World War IIVojvodina was occupied by the Axis powers. Parts ÿLý Darko, „Centralnoevropski aspekti vojvo aspekti Darko, „Centralnoevropski Centralnoevropski aspekti vojvo Centralnoevropski Politi ÿ ka istorija Vojvodine u trideset itripriloga 27 111 It was liberated by the Yugoslav Partisans in YugoslavPartisans by the Itwasliberated Ā anskih avangardi 1920-2000. avangardi 1920-2000. Grani anskih Ā anskih avangardi 1920-2000. Grani 1920-2000. avangardi anskih ÿ koj, Banatu i Baranji) koj, Banatu , (Novi Sad: Europanon Sad: , (Novi ÿ ni fenomeni, fenomeni ni fenomeni, ÿ ka, Banat and ka, Banat ÿ ni CEU eTD Collection 2011). http://www.vojvodina.gov.rs/index.php?option=com_content&task=view&id=100&Itemid=68 112 Spanishrace, mixture colonizers of and Mexican Indians, who inhabit the border between Serbians and Hungarians living in theHungary, Gloria Anzaldua wrote about Chicanos, a hybrid Hungarians living in theHungary and the Yugoslav population. in contact with the Hungarians living in Hungary, and as such, they became a bridge between the group that existed alongside Serbian majority. Furthermore, Hungarians in Vojvodina remained still, Hungarians inNovi Sad remained a small, rather marginalized and homogeneous ethnic interactions between Hungarians and Serbians, orother cultural centers in Yugoslavia existed, Hungarian minority around the Forum Publisher in Novi Sad. Although connections and policysmaller encouraged minority forming of groups within thedominant ethnicity, like the media, newspapers, etc. on theirnationalities that madeYugoslav up themajority of population,own namely, the rights to education,languages. However,was ‘the brotherhoodin and unity.’ practice, According to this policy minorities had equal rights with the in most ofthe casesYugoslaviathe 1970s, of it isthe important to bear in mind that Yugoslavianthe ideal of socialism (Forum Kiadó)their intellectuals,of towhom Ladik belonged to, was grouped around the Hungarian publisher in Novi Sad. When weare more than 26 nations, and 6 examineofficial languages in use in the educational system. thewasseveral amixture nations of already in theAustro-Hungarian Empire, and even todayposition there nations gradually turned into minorities in relationof to agrowing Serbian population. VojvodinaethnicalGermans represented population,the majority while of afterthese thewar two members of minoritiesnations living on Vojvodina’s teritory. For example, before Worldin War IHungarians and the Those languages are: languages Those Serbian,Hungarian, Slovak, Croatian, Romanian and Ukrainian(Rusin). Aforementioned political events caused ethnic migrations and shifts in the ratio of Similarly toa “bridge” role that Hungarian minority in Vojvodina played between In Vojvodina during the 1970s thebiggest minority population was Hungarian. Thecircle 28 (accessed: May 5, 112 CEU eTD Collection 116 Mestiza 115 Books, 1987), 59. 114 but belongedbilingual, Hungarian-Serbian poet whose work was not marginalizedequally and limited to Vojvodina, into Vojvodina,Serbian writers.and expectationsand according to which Hungarian should be spoken in Novi Sad or, more broadlySerbian inWith to Yugoslav Belgrade,art scene/culture as Hungarian fromVojvodina.submitting Instead to the norms of her early shethe Serbian and of Croatian audienceinverted suggests that Ladik wanted to emphasize thatperformances she belonged thisabout theconnection betweenlogic the language and the cultural belonging. Using Hungarian in front andin Hungarian,madeAnzaldua’swith assertion reverberate (Srpskohrvatski), Serbo-Croatian speak to it was expected herself visible Ladik as a illegitimate.” accommodate the English speakers rather than having them accommodate me, my tongue will be have tospeak English or Spanish when Iwould rather speak Spanglish, and solong as Ihave to am free to write bilingually and toswitch codes without having always to translate, while Istill Therefore, the languagebelonging becomes the sign to both cultures of simultaneously. “Until I potential to heal the split between the cultures and transcend dualities between these nations. argues claimingthat instead of either the Spanish or English heritage, Chicano language has the language, a fusion of Spanishpotential and to bothEnglish split andthat unify corresponds the cultures to separatedtheir hybrid by the border.identity, In the caseAnzaldua ofChicano México,” in 113 belonging to a Accordingcertain to her, the language is aninseparableone’s part of identity because it makes visible ethnicLadik’sthe context of work is Anzaldua’sidentity. emphasis onthethe language.importance of Mexico andUSA. Anzaldúa, “How to tame a wild tongue,” 59. Anzaldúa “La conciencia de la mestiza: Towards a New Consciousness,” in Anzaldúa, “How to Tame a Wild Tongue,” in For more detailed explanation of Chicanos’ origin see: Gloria Anzaldúa, “The Homeland, Aztlàn.El otro Aztlàn.El Homeland, “The Anzaldúa, Gloria see: origin Chicanos’ of explanation detailed Formore (San Francisco: Aunt Lute Books, 1987), 80. Ladik’s early performances enacted in Hungarian language in Belgrade or Zagreb, where Borderlands/La Frontera: TheNewMestiza Frontera: Borderlands/La 116 113 The aspect of Anzaldua’s theory about hybrid identities that is relevant in is relevant that identities hybrid about Anzaldua’s theory of aspect The 114 Borderlands/La Frontera:The NewMestiza Borderlands/La As such, according to Anzaldua, a language has the has alanguage to Anzaldua, according Assuch, (San Francisco: Aunt Lute Books, 1987), 1-13. 29 Borderlands/La Frontera: NewThe (San Francisco: Aunt Lute 115 CEU eTD Collection 120 119 Artpool-Balassi Kiadó-Tartóshullám, 2000), 13-14. fogalomtörténeti, történeti és elméleti áttekintése” in áttekintése” elméleti és történeti fogalomtörténeti, 118 117 performance art and traditional art genres was that traditional genres were bound to particular Dawson, was its open, experimental form. According to her, formal difference between intermedia genres was the active and insistentbody as a use mediumof and material. According to Schröder, an important distinction/difference between performance and other mixed nature. their indicating forms, art all experimental encompassed that term umbrella theatre, dance, music, visual arts, architecture, etc. Johann Lothar Schröder described it, performance waselements acombination coming of from performances Late 2.4 performance art. of create the space norms that for belong negotiation to thedominant of discourse onthe example particularly important to female artists. My aim is to support Bhabha’s claim that hybrid works the performanceproduction in the 1970s, herlate performances. First, I will outline the main characteristicsart of in general,In the lastthe chapter sequence Iwill of turn toLadik’sfinalthe analysis aspect of of art and then turn to workedlocating as a mediator joining those cultures and nations. theChicanos,in the case marginalization insteadof of and differencesimportant produced in a given culture, it suggested asAnzaldua because, tool, afeminist became done in away had used Ladik language aspects thatclaimed her belonging to both cultures,were Serbian and Hungarian, at the same time. As such, a Ibid., 16-18. Ibid. Johann Lothar Schröder, “Bevezetés: A performance, valamint más rokon kifejezések Anzaldúa és kifejezési “La concienciaformál de la mestiza: Towards a New Consciousness,” 79-81. Particularly significantperformance art for aspect of women artists, as suggested by Sally Performance art is a hybrid form thatthe 1960s. occurred in theof second As half 30 A performance-m 118 As such, it belonged to “intermedia,” an 117 ť vészet , ed. Sz ŋ ke Annamária (Budapest: 120 119 CEU eTD Collection 123 122 Critical Strategies 121 to the “real” masculine art that mirrored deep, universal truths. and profoundnessthought. of racialized trope;” accordingly,women’s the category of art work implied works that lacked depth Woman,” as“classedand Pollocka “singularabstraction that described in were unified writers literature insofar as it corresponded toa womanthe time. trope “Lady of painters” and woman century confinedthe twentieth century.of the fist half According to her, bourgeoisthe nineteenth culture of womenmind Pollock’s women’s explanation of position in inart starting from the nineteenth, and during a domestic, “feminine”regardingmaterials the use and of the thecontent art work. of spheretraditional genres, performance art did not operate with previously determined limitations and endorsedformulas/prescriptions that determined the technique, thematerials, etc. As opposed to women’s art and remained undetected. Female abstract painters created in fear that a slightest inscription of space for women equality with male artists, as long asmodernity”.a “paradoxany Theabstract of modernism, sign as she illustrated,“femininity” supposedlyof opened the in their art work creative, intellectual individuals, giving for the upprice on of their sexuality. This is what she calls abstractexample modernism of (1930-50) that women got a possibility toenter the art world as the on However, Pollock asserts irrelevant. artist the of background social sex and considered scene asmore than “womenmere or“lady artists” painters.” artmovements Modernist purity and intellectual character during this period. became a sign of its weakness.women’s work somehow bore a recognizable, unavoidableits creator gender on it,of sign of Inscription of female gender and sexuality in art polluted its Ibid. Pollock, “Inscription in the Feminine,” 67. Sally Dawson, “Women’s Movements: Feminist Censorship and Performance Art,” in Dawson, “Women’sPerformance and Sally Censorship Movements: Feminist The importance ofits characteristics for female authors becomes evident ifwe bear in Pollock continues that modernism seemingly offered women a possibility toenter art , ed. Katy Deepwell (Manchester and New York: Manchester University Press, 1995), 115. 122 As such, women’s art was deemed less valuable in comparison valuable Assuch,women’s less wasdeemed art 31 121 123 Therefore, a premise that New Feminist Art Criticism: CEU eTD Collection there are hybrid art forms that are not necessarily feminist, for example visual poetry. In fact, as Infact, visual poetry. example for feminist, are notnecessarily that forms art hybrid are there is not enough to define the feminist art practices solely as subversive,is why Ichose to examine her poetry, early performances and late performances simultaneously. hybrid art consequentlythe context itforms, seems to concentrateout of solely ononegenre she worked in. That since experimentalsingle work. However, thewhole trajectory from poetry toperformancesart illustrates that her work in performancescharacter enabled herof to move across disciplinesgeneral and combine them into a wasarrived to, starting from her poetry,very and continuing through early performances. Intermedia compact and intertwineddiscourse. duringproduce a space for negotiation and re-appropriation terms determined by the dominant of the 1970s,hybrid forms that Bhabha’s assertion confirms femininity. performance on Assuch, discourse and representing women’s experience, and for negotiating that experience with the dominant subjectivity feminine autonomous where points of was one artists by women used as amaterial body could enter the art system. Furthermore, performance art was a medium for York: Routledge, 2001), 76. by Helen practice.” Potkin, intoart was performance a way female selfto “insertthe opportunity to claim equal position as artists alongside their male colleagues. Also, as pointed out psyche.” heterosexual masculine of “fantasies that there was no room for “autonomous feminine subjectivity” in modernist art system ruled by 126 125 124 asartists. credentials their lead toloosing work might art their on gender Helen Potkin, Ibid. “Performance Ibid., 69. art,” in As analysis of formal aspect of experimentalformal As analysisaspect of genres of Ladik used in the1970s illustrated, it instinctivelyshe form wasasubversive art art performance Ladik’sIn production art Therefore, performance art with its hybrid and opened form promised women an actual Feminist Visual Culture 125 32 , ed. Fiona Carson and Claire Pajaczkowska (New 124 Pollock concluded Pollock 126 Female CEU eTD Collection late performances from the 1970s. and poems selected examining addressed, Ladik issues and topics feminist to will turn I chapter addressed in orderart to beregardedwork feminist. of Another significantthe art work aspectthat of has to be to considerwork ofart.a work Therefore, of subversiveart definition,how tofeminist since createa theywere directed against traditionalnorms/recipes the of art form is an important, is itsbut not byBohnsuggested regarding visual poetry, neo-avant-garde art practices werea content. subversivesufficient per condition Thus, for the in the following 33 CEU eTD Collection 128 Martin’s Press, 1991), 144. 129 Catherine Clémont (Minneapolis and London: UniversityMinnesota of Press, 1993), 96. 127 “’words diverge’ and ‘meanings begin toflow’.” female writer should go“beyondthe let (masculine) herselfthe codes of symbolic” where challenge thelogic and objectivephallogocentrism. meaning of poetry Ladik’s in feminine Écriture 3.1 poetry, of Iwill theory usetheliterary Ladik’s of character feminist works. the art To illustrate feminist when interpreting account and performances,subversive. Thus, in this chapter I turn to the contentseveral analysis selected of Ladik’s poems in orderwere, regarding their formal aspect, directed against the traditional art norms, and therefore, to illustrateas such, based that solely bothon the formalmeaning analysis andof3. Under amagnifying theglass: content analysis works,form since should the avant-garde be taken works ofinto art system. The results are texts with numerous possibilitiesmeanings, renderingof one fixed freeingmechanisms the unconscious of into the language as ameans to subvert the existing away from the syntax and breakthe logic.the line of mastery,”in their positiononeself of but a way to“shoot through and smash thewalls,” run appropriating their [male] instruments, their concepts,wishing their placesor of for oneself timeframe of inquiry to the 1980s. the to inquiry of timeframe Cixous. demonstrating For the purposeLadik’s theof nature of poetry better, I will expand the Hélène Cixous, “Sorties: Our and Out: Attacks/Ways out/Forrays,” in Cixous quoted in: Sellers, “Towards an Susan Sellers, Susan “Towards an Susan Sellers argues that As I illustrated in theprevious chapter, it is not sufficient todescribe a feminist art work écriture feminine , according to Hélène Cixous, subversive women’s writing has to écriture écriture feminine ,” Language Feminist andSexual Difference: Writing inFrance écriture feminine écriture ,”143. 34 129 Thus, this strategy somewhat resembles the resembles somewhat strategy Thus, this , introduced by the French feminist Hélène 128 Byusing the same language tools a The Newly Born Woman 127 “It is not a question of , Hélène Cixous and (New York: St. CEU eTD Collection power of one gender, and as such, in building what Slapšak calls “bisexual world,” Ladik has no world,” has Ladik “bisexual calls Slapšak what inbuilding assuch, and gender, one of power pola uživanja). Therefore, as suggested by Slapšak, bisexuality in Ladik’s poetry cancels out the sparrow’s nest (vrap writings. literary in Ladik’s According to Svetlana Slapšak bisexuality presents the necessary desire condition and pleasure of 132 Lazi 131 130 poetry. In a poem called “Follow me into the mythology” Ladik writes: disjunction. It can be found in a bisexuality ofa female subject,the system. a motive detectable in Ladik’sBhabha calls “negative transparency”, a disturbing hybrid that unsettles the authority/power of masculine. the only represents/mirrors is, it a way discourse in that as acolonial issplit, that asasystem alanguage of understanding women wantswriters to exclude the colonizedfeminine in writing. In that sense language resembles the colonialrepresentation system of that otherto but is embracenot able to omit it entirely.meaning impossible. Cixous’the suggestion different to meanings in language similarly indicates an Svetlana Slapšak, Ladik:“Katalin Osvajanje opscenosti,” All the translationsthe poems of into English are mine. Serbian translationthe extract ofis taken from: Radmila Ibid. ý , “Mesto žudenje: Katalin Ladik,” I self-torture,am a fruit of self-love.] that is of sincere Therefore lying. being: two-gendered a [I am Ja sam plod samo-mu Dvopolno sam bi However,the French literary theoryoffeminists offers a resolvingpossibility this of suppresses system a phallogocentric as language the that suggests also description This ÿ 130 ije gnezdo), caterpillar (gusenica), etc. illustratepleasure” “two poles (dva of ý e: lažljivo. Dakle iskreno 132 ÿ enja, to jest samo-ljubavi. According to her, motives in Ladik’s poems such as plum (šljiva), Profemina Écriture feminine Écriture , No. 5-6 (1996): 138. (1996): No. , 5-6 35 Profemina 131 , according to this scheme, resembles what , No. 5-6 (1996): 142. CEU eTD Collection 139 138 137 136 135 compared to Bhabha’s theory, it can present the solution for the unificationthe split subject.of Also, approach. theoretical of toliterature, applied and, sexuality both of wholeness the mean 134 133 correspond to the codes ofof masculine the self’s to beown heard needs in thelanguage. (feminine)negationand of self. According to Cixous,simultaneously as pointed out by Sellers, it means valuation by Sellers,allowing indicates that feminine writing embraces the otherness. This does not mean the the “not-said,” the elements thatbody,” a female openness doto “the other bisexuality.”not Cixous described as “the multiplicationdesire’sthe effects of of inscriptionthe on every part of not limit her female sexuality toher biological sex. Assuch, her poetryiswhat an example of Similarly toCixous’ “other bisexuality”, Ladik created an erotic universe inher poetry that did that the other bisexuality embracesanddoes not“annihilate differences” between thesexes. woman isambiguity.” bisexualliterary critic, Cixous argues that women writers “are far morewilling toembrace sexual for Cixous.need to draw from traditional erotic motives. sexes.” own “erotic universe,” orin other words “the locationboththe presence withinofof oneself sexual differences between sexes, and “the other bisexuality” that includessubjects’ creation of “bisexualitya complete as afantasybeing” of that entails androgynous union that annihilates the Sellers, “Towards an Ibid. Ibid., 85. Ibid., 84-85. Cixous, “Sorties,” 85. Rita Feski, “Authors,” in Ibid. 136 It is important to note here that Ladik’sbisexuality explanation echoes of what Cixous Cixous’ “other bisexuality” translated into theliterary theory of Bisexuality is important term in Cixous’ theory as well. According to Rita Felski, feminist The important difference between the first and the second type ofthe bisexuality is 134 Therefore, for Cixous bisexuality is closely linked to femininity, or more precisely, more femininity, or to linked is closely bisexuality Cixous for Therefore, écriture écriture feminine Literature After Feminism After Literature ,” 144-145. 135 Hwvr h itnuse w ye f bisexuality: of two types However, distinguished she (Chicago: UniversityChicago ofPress, 2003), 74. 133 36 138 139 In that sense bisexuality can écriture féminine écriture , as argued 137 CEU eTD Collection demolition and denies anythe existence order. Ladik of makes unexpected spaceconnections of dismantle literary forms dismantling”“dangerousof game of(opasna igrathe razgradjivanja). According to her, Ladik’spast poems creating a “new toLadik’sas a Ladik’s refers writing Šalgo poetry. of subversive the character identified order ofthings” - one that reaffirms the Feminist Essays on Women’s on Feminist Essays Art razgra art works, a feeling that was, in her opinion, founded in androgyny. sexual differences was searchingconstrained, inhibitedthe society. by the of norms Therefore, her resolutionfor, for resolving the and bringing back theandrogynydescription indicates of that, accordingchild-like to her, each gender separately is notfree but feeling offreedom in her androgyne is neitheras achild that suggests Ladik Thus, accordingly. behaving start to and wasa girl she that realize male nor female, but a and only then she wassexless forced to perform her gender role. Puberty was a point when she had to unity of both.her parents and her immediate environment changed their behavior and expectations toward her, emphasize orpay much attention to children’s sexuality until their puberty. Only at theteen age incredibly free. According to Ladik, in the 1950s when she grew up, parents in general did not 142 141 140 we read the critique of Ladik’s poetry by Judita Šalgo,more traditional Platonic and Gnostic explanations androgyny. of published echoe wholeness female-male of understandings similar historian, art American an Lippard, in childhood. androgyne in her poetry asof ana child-like evocation of wholeness she felt in herearly androgyny, where an androgyne is perceived as a rather asexual being. Ladik described the motive acomplete being,” “bisexualitytermed and istherefore asafantasy closer of to bisexuality as Lippard, “The Pains and Ibid. Pleasures Rebirth:of “Interview Europeanwith Ladik Katalin,” Appendix, 72. and American Women’s Body Art,” in Ā ivanja – Beleška uz poeziju Ladik Katalin”, 1969), it is evident that Šalgo recognized and recognized Šalgo that it isevident 1969), Katalin”, Ladik poeziju uz ivanja –Beleška Returning to the feminine writing as subversive, as a precondition for 140 During that time, as she recalls, she did not know what her gender was and she felt (Dutton and New York: A Dutton Paperback, 1976), 128. 37 141 As pointed out by Lucy 142 Furthermore, Ladik’s Furthermore, Polja écriture féminine écriture (“Opasne igre From Center: the , if CEU eTD Collection using the body and eroticism in her poetry: 145 marking further links tothe theory of undermined. and write bringing up unconscious drives into writing, the phallocentric system can be phallocentric the domainstep out system, of of Cixous women suggestsbegin that to if speak feminine sexuality ontothe surface. Although the“femininewriting” practice cannot of escape, Following this logic, delving intothe the depthssuppressed of and unconscious can bring the has always been measured in masculine terms. This led to its suppression into the unconscious. it since dangerous and impure considered was sexuality female that argues article, written latter 144 Ladik’s poetry that enablethe language. Although Šalgo does not denominate them as such, she identifies the qualities of its reading as describe Ladik’ssurreal. poetry, echo Cixous’bringingthe unconscious strategythe elements of of into Radmila Lazi“stratificationlanguage,” of “crippled thoughts that enclose in unified nonsense,” she used to 143 chant. and expressions from their original meanings, giving them a new one, similar tothe ritual constructions that are unified in nonsense. Šalgo suggests that this process liberates the words and time in her texts. In that sense, argues Šalgo, her thoughts seem “crippled,” building Cixous, “Sorties,” 92. Lazi Judita Šalgo, “Opasne igrerazgra 143 ý , “Mesto žudnje,” 138. pesnik, ali pukotina idalje raste. Uzalud je skriva, pocepa joj suknju od hlorofila i sun po Kada repica primeti Repica ima pukotinuda ima pukotinu, sakrije se u travi. Pojede puno trave i kad od toga re Šalgo stresses other important elements in Ladik’s -the poetry eroticism and the carnal - I find that the expressions such as “the unexpected connectionsspace and time,”of ÿ nu da joj naviru kao koprivnja 145 Ā ivanja– Beleška poezijuuz Ladik Katalin,” ÿ a, ispiše po svom telu duga écriture féminine écriture 38 . Following extract illustrate the way of ý on the other hand, in a much Polja ÿ ku pesmu. Tako repica postaje , No. 128 (1969): 2. ÿ eva svetlost 144 ÿ i CEU eTD Collection 148 147 šta nedostaje nervoznim vrapcima, arethekey issues forher.write itself desire, what she wants and pleasures her, as well as where does 146 Zna ve gusenica pod slapom toplih mazi samu sebe. U drugoj Poluotvorenih usta, u ruci joj ogledalo, Sedi na sme Following poem is another this:example of erotic”. becoming their of “complexity sexuality,the female about writing – body” the importance of writing poetry has for her with sexual pleasure linking the body and the text. Cixous stresses the In this text a beet (repica) can stand as a metaphor for Ladik` spoetry. She compares the joy that Ibid., 94. Cixous, “Sorites,” 82. Serbian traslationthe poem of is taken from: „Katalin Ladik: Portret savremenice“ ý own poetry other beets called – masturbation.] names the slimy grass herof pleasure Anima and Animus.ofchlorophyll That insipid, tasteless and pleasure sunlight in her butpenetrates a crack continuously grows. It (a herbeet) tries body.to hides the crack in Thatvain, sinceto it isrushtears herhowlike dress hives a beet from it,finally writes a long poemfeeds overWhen theitsa beet body.notices crack that That it has a iscrack, andhow hidesa beet in a grass.becomes Eats a lota grass poet,of and when wordscrack[A beet has a start Anima i Animus. Taj bljutavi užitak u spostvenoj poeziji, druge repice nazvaše – masturbacija. prodre joj u telo. Tako repica napokon nahrani pukotinu, a ljigavu travu svoje naslade nazove Ā em panju jouissance (pleasure, enjoyment) in women` s writing. How woman feels about her ÿ ipki. 147 The way of braking way The submission the chains of is of “writing 39 jouissance Profemina happen and how does it , No.5-6 (1996): 127. 146 148 CEU eTD Collection 152 151 and “spoken word exploding”. simultaneously retaining her femininity. the rareLadik female was authors oneof who managed to step into poetry male world of happen, right now, in language”. woman am going to blow up theLaw: apossible and inescapable explosion from now on; let it body. Lazi toward the attitude washer avant-garde Yugoslavian of members other According to Radmila Lazi between misses.] thethighs sparrow’s nest sparrows, nervous what Knows already a caterpillar under thewarm rifflelace. of (hand) In theother herself. caresses With mouthopened, half holding a mirror in her hand, [Sits on a brown stump 150 longer; they bite and confront their oppressors. Another poem called “Brown floor” illustrate writes about do not do confinementwhat is expected to silence from them. in Ladik’s They do notpoetry want emergeto be oppressed in ironizing any the female position. Women she 149 me vrap Ibid., 95. Cixous, “Sorties,” 94. Lazi Serbian traslationthe poem of is taken from: „Katalin Ladik: Portret savremenice“ Ā butinama. ÿ ijem gnezdu ijem ý , “Mesto žudnje,” 136. Other characteristicssubversive of feminine writing Cixous speaks about are the anger 149 ý , the characteristic of Ladik` s work that differentiated her from 151 152 According to her, a woman needs to speak, toburst. “Now, I- I believe that this explosion of suppressed anger and female and anger suppressed of explosion thatthis Ibelieve 150 40 Profemina , No.5-6 (1996): 127. ý argues that argues CEU eTD Collection 154 expressed her sexuality in poetry according to her own individual, subjective experience. patriarchal norms and morals that defined a feminine sexuality in a certain way, but that she female sexuality on her own terms. This meansher communicated and demonstrated thatwho author, afemale she of example asan did serves poetry not accept to submit herselfto the Ladik’s norms. patriarchal the against acting way of important is language subversivethe in they have overcomethe a fearmasculine. of which implies hidden teeth according to her, marks the detraumatizationwomen’s of experience: instrument for unmasking theactual power relations between the sexes.biting, The picture of a subversiveas serves language uncensored that argues Slapšak Svetlana well. as language againstpatriarchy. the taboos of Obscenity can be seenbursting, as a mark explodingof in the obscene language, according to Radmila Lazi The brown floor, the quilt, the oven are all metaphors for female work and the woman. The 153 cuntbites.] One angry In a quilt, in the oven, in the drawer, There is. There is. Is there a good, warm cunt for sale? Brown door – who is knocking? I scrubbed it, walked on it, foamedbeating. of Brown floor – who painted it? floor [Brown well: this Slapšak, “Katalin “Katalin Slapšak, Ladik,” 143. Serbian translationthe extract of is taken from: Lazi In the followingthe chapter, part of I turn to Ladik’s late performances in order to Applying the literary theory of écriture féminine écriture 154 ý ý , “Mesto žudnje,” 139. 41 , functions as a means for the irony and a tool Ja sam ga ribala, gazila, zapenjena od batina. Po jedna besna pi U perini, u furuni, u fioci, Ima.Ima. Ima li dobre, tople pi Mrka vrata – ko to kuca? ofarbao? – ko ga patos Mrki patos Braon on Ladik’s poetry, Iillustrated that being ÿ ka ujeda. ÿ ke na prodaju? 153 CEU eTD Collection 158 112. Criticism: Critical Strategies, ed. Katy Deepwell (Manchester and New York: Manchester University Press,157 1995), 156 (Budapest: Artpool-Balassi Kiadó-Tartóshullám, 2000), 94-97. in and art society that emerged in her performances with relevant/suitable feminist arttheories. selectedcharacter Ladik’s of performances, Iwill compare the issues regarding women’s position Ladik responded to, and the ways she problematized them. In order to illustrate feminist 1970s the of Yugoslavia socialist in the women’s the present body around discourses particular examine them. Accordingly, throughLadik’s theanalysis of performances, I want todetect the same logic, researchers can learn about the socialthe art workscontext whenof they cultural context is to look, see and describe a given culture in his/her own way. system. determined by the “collective knowledge,”ideas and beliefs a set of that perpetuate certain value in agiven culture in a particular moment in time. performance art practices,of it became possible for researchers to trace the discourses operating the social innorms connection/relation with female and male bodies. Also, through the analysis “Bevezetés a testnyelvekhez: a body art és a performance (1979),” in 155 fact/reality”. Accordingly, Glusberg defined body as a biological “culturallymanifestation conditioned of dealing solely with the body but, more importantly, with the discourses around the body. performances Late 3.2 her body as a medium, in this specific genre. illustrate how she negotiated women’s position in Yugoslav socialistthe 1970s, system of using Ibid. Sally Ibid. Dawson, “Women’s Movements: Feminism, Censorship and Performance Art,” in New Feminist Art This characteristics made performance significant for interventions of male performers too.Glusberg, Jorge performers male of interventions for significant performance made characteristics This 157 Sally Dawson, English performance artist, asserts that artists’ work within the culture is culture the workwithin artists’ that asserts artist, performance English Sally Dawson, As pointed out by Jorge Glusberg, German art historian, performance art was not Speaking from the position of an artist, she suggests that artists’ task inaspecific task artists’ that shesuggests anartist, of position the from Speaking 156 This means that engaging with the body enabled performance artists to question to artists performance body enabled the with engaging that means This 42 A performance-m ť vészet , ed. Sz , ed. 158 Also, inverting ŋ ke Annamária 155 CEU eTD Collection Femininity in the Visual Arts and Media 161 160 2007), 29. fantasy. bodies in art were, as Helen Potkin emphasized quoting Lisa Tickner, colonized by the male 159 possibility for womenart by women, as an experimentalartists genre without overwhelming history attached to it, opened a to reclaim fantasy”their and froma its “rawstatus material of for the men.” bodies and “to insert [their] female self into art personal identity, perceived solely as the body. as fetishized objectsarguesart (from thatwomenrenaissance in to history of the twentiethof century) were portrayed men’s gaze, as “a Griseldamask Pollock, Sue Thornham, a feminist theoretician the media representationof ofwomen, of beauty” strippedworkthe of on Drawing gaze. male of aspassive asobjects women and inart positioned of their individuality and Also, Ladik hired a photographer, who madethe photosevent of and the audience watching her. perforated the paper structurepeep in holes, shapes of to be able to see what Ladik did inside. the daringaudience member made of a first hole in the paper, followed by the others, who soon could only hear her and smell the food she was cooking. At first they waited, and after a while,with objects such as a a chair, a table, a cooker, radio, pans, etc. Outside the structure, the audience space secluded/private this furnished Ladik structure. the inside was doing she what and her see structure covered with paper, so that the audience, when entered the room, would not be able to 1979. Inside the exhibition space,the for performance,the purpose Ladik of built acircular feminists art historians. by issues theorized feminist relevant were raised Ladik questions the that Iwillshow Therefore, Lisa Tickner, “The Body Politic: Female Sexuality and Women Artists since 1970,” Potkin, in “Performance Art,” 76. Sue Thornham, “Fixing into Images” in Images” into “Fixing Thornham, Sue 160 In “The Screaming Hole” Ladik tackled the subject-object, active-passive binary that Ladik’s performance “The Screaming Hole” was enacted for the first time in Novi Sad in Women’s task, according to Tickner was to“reclaim [their bodies] from masculine , ed. Rosemary Betterton (New York: Pandora Press, 1987), 239. Women, Feminism Media and 43 159 As such, women were objectified and their 161 (Edinburgh: Edinburgh University Press, University Edinburgh (Edinburgh: In Potkin’s opinion, performance Looking on Images of CEU eTD Collection herself from being herselfsolely(male) gaze, an object intomanipulatingof subject that negotiated the she conveyed to theaudience.her feminine Therefore,body transformed Ladik by means of 167 166 stereotype that Berger summarized in asentence: “ women turned themselves into asight, and unconsciously supported a the production of in agiven culture,and therefore, it accompanied women intheireveryday life. imposed on her by the culture. This image represented a definingnorm what a woman should be surveyor within herself, defined by Berger as male, and the surveyed, an image of femininity, 165 164 163 162 to constantly survey themselves. how men will treat them. Thatis why women were, in his opinion, from their childhood taught appearance. their about anxious them made that watched, being women’s long centuries awareness of of symbol a became camera toLippard, such, As according artist. saw the audience howthe to mirror regarding women performers who filmed the performances, anotherthe camera purposewas of although herobject body of thewas gaze, camera’sexposed lens,the photographer, and the eye of Ladik transformed her position from being anto a subject to deliberate/intentionalthe choice positionto makethe photographsaudience watchingof her. Through the looks of anof activethe audience. femaleliterarymeaning. level of artist, Also, who returnedasactive during the performance, and as such defiedLippard thefemale stereotype passivity of onthe basic, the gaze, suggestedfemale, and challenges the patriarchal gaze,” which means that women performers were visibly practice.” Ibid., 47. Ibid., 46-47. John Berger, Lippard, “The Pains and PleasuresRebirth,” of 129. Ibid. Potkin,”Performance Art,” 76. However, in Ladik’s case, sheas was a theone womanshapingherself that the image of In the case of Ladik’s performance her active position was marked by her 162 According to Potkin the “moving subject resists the assumption of the passive the of assumption the resists subject “moving Potkin to the According aso Seeing Ways of 164 According to John Berger women’s appearance was crucial in determining (London: British Broadcasting Corporation and Penguin Books, 1972), 46. 163 165 Consequently, argues Berger, woman’swas split intoself 44 men act and women appear women .” 167 166 Asaresult, CEU eTD Collection 170 169 168 impulses.” voyeuristic audience’s the Ladik made a traditionalcovering gesture herof intimate body parts in shame. happen. She stayed Althoughthe the audienceperformancein expected of Ladik to strip down completely,the this did not black pants Eventually,andthe underwear she took off too and stood “naked”the audience. inpullover. front of However,shaved her armpits, at the over end the ofblackpanties her pullover, she“striptease” wore over andblack her pantsface, and holesusing inblack the paper structure and she performed “Poemim,” pullover. untilrazorblade she remained only in bra and and shaving cream.show she wore severalclothes layers that she graduallyof took off, after the audience made peep the whole performanceof for the “Blackshave-poem” was that from thethe entirebeginning of “inverted striptease.” called what she of wasexample it an and 1979), 1978; Budapest, (Zagreb severaltimes poem” enacted separately. Iwill focus ontheanalysis the latter one. Ladik performed “Blackshave- also Ladik that “Blaskhave-Poem,” and “Poemim” entitled performances shorter two included with her performance, tried to modify and negotiate such women position in ofher culture. body. Ladik, feminine the to attached historically appearance, women as of stereotypes cultural naked body. Another important aspect was that Ladik managed to avoid –what Lippard called exhibitionist, that she was an artist able tocommunicate a meaning without having to show her that, judging from herearly performances when she used explicit nudity, considered her an development events.of Her anti-striptease can be read froman theturned object positionherself subject,to as ofaposition who controls of a the message to the part theof audience the seductress.audiencesee hernaked, to andonce She shattered more the expectations of Expression is taken from Lippard. Lippard, “The Pains and PleasuresRebirth,” of 125. Ladik Katalin, “The Screaming Hole: Illustrated descriptionthe performance.” of Courtesythe artist. “Interview of with Ladik Katalin,” Appendix, 73. Ladik’s decisionher clothes nottotake isthe offanother “manipulation example of of “The Screaming Hole” is interesting work from yet anotherview, point of because it 168 Ladik incorporated it in “The Screaming Hole,” and the relevant aspect 170 She refused to do the obvious and play the role ofthe 45 169 Beforeher underwear,taking off Ladik CEU eTD Collection the reactions caused by Ladik’s works based on contemporary newspaper articles. that environment. That is why, in thelast chapter, I criticismturn to the context and of map out cannot be interpretedis not complete withoutas taking into account the feminist,response it caused in its social context, and unlesscontent. Nevertheless, it Iclaim artfrom the the that, present workthe analysis of perspective of caused disruption,As I illustrated and in this chapter, was a feminist art workdeemed has to be subversive in termsits provocativeofform and in alternative femininity that subverted the patriarchal norms. performances, Ladik successfully negotiated women’sa positionpassive of object, and offered an 172 171 confirming that position with unjustifiedthe female exposure body. of artists moved ona fine line between parodying the women’s object position in the society, and women in thesociety. used their own bodies as amaterial for art works, in order toexpose the objectification of who artists forwomen traps/dangers the of her, one was, to that according “self-exploitation,” Ibid. Ibid.,124-125. 171 For Lippard the way women’s bodies were used in the art by female 46 172 However, in these two CEU eTD Collection umetnikove li chapter with addressing the situation regarding art criticism in Novithe 1970s. Sad of influenced the interpretationLadik’s of works in Yugoslavia during the 1970s. I begin the Sad, inNovi practices art experimental of theoreticians and criticism feminist both of lack the radikalni umetni were not necessarily art objects any longer, but processes like i.e., performances. Ješa Denegri,relation “Sedamdesete: to traditionalthe Yugoslav art, “artistic”In Yugoslavia context. emphasizingJeša Denegri174 was thatthe firstAccording they artévekben historianwere not to anti-art,apply toit to describehim, and “practices” the theemerging term experimental because referred practicesthe art worksin to experimental practices of the 1970s as “new” in “Beszélgetés Szombathy Bálinttal, 2009. december 17.,” in 173 art apprehended who critics the and artists the – traditionalists and practices art experimental Vojvodina. Without competent critics in Vojvodina there was no oneto mediate between the criticism in Vojvodina was lagging behind in comparison to Belgrade or Zagreb. the foundersBosch+Boschone of of group Ladik joined in 1973, pointed to the fact that the alternative scene.Szombathycould art the experimental account Bálint, for tendenciesof 1970s the avant-gardeof Vojvodina in activity criticism inof Novi Sad.context The There 4.1 was no critical language or conceptual apparatus that Vesna Kesi journalist Ladik’s feminist the work by of assessment affirmative include to able be to years, and analysis inorder to illustrate that certain approaches to Ladik’s work had not changed in ten on the articles published in Yugoslav press between 1970 and 1982. Iexpand the timeframe of 4. Reception of the first artists who tried to write about the “new artistic practice” “New artistic practice” was a term coined by the French art critic Catherine Millet in the late 1960s early 1970s. One of the arthistorians One of in Belgrade, who followed the experimental art practices was Ješa Denegri. Balind Vera, (MA thesis, Eötvös Loránd Tudományegyetem, 2010), 110. It is necessary to stress that there were no adequate art critique that would neo- parallel that critique art were noadequate there that stress to is necessary It In the final chapter, IturnLadik’s toreception examination of of performances based ý ÿ nosti,” in . Iemphasize the theimportance conceptual of apparatus and explore the ways how ÿ ki stavovi, redukcije materijalnog objekta, novi mediji, mentalni i analiti Sedamdesete: teme sprske temesprske umetnosti Sedamdesete: (Novi Sad: Svetovi, 1996), 22-24. 47 A szerb – magyar avantgárd m avantgárd –magyar A szerb ť vészek kapcsolata ahetvenes kapcsolata vészek ÿ 174 ki postupci, ponašanja in the 1970s in 1970s the in 173 He was one CEU eTD Collection 179 Nova umjetni Retrospektiva information about the conceptual art groups in the Novi Sad see: MiškoŠuvakovi see: Sad Novi the in groups art conceptual the about information 178 Tribune 177 Gra 176 2008), 711-712. XX veka u Vojvodini, neo-avant-garde both in the region and abroad. In his opinion this caused Tribune to loose its around events following in pace its 1974lost after Youth that Tribune different avery produced History department at Univeristy ofNovi Sad. Kristian Luki According to Kristian Luki(Tolnai Ottó), two journals published in the Tribune, were replaced with more loyal subjects. regime’somladine), attitudetowards Novi Sad’s changed. scenegradually alternative art of New Arts”criticized Yugoslav socialist regime and Vojvodina’s local authority in an exhibition titled “Repast artistic groups, whose base was in theTribune called FEBRUARY (FEBRUAR), in 1971 openly 175 political consequences. The editors-in-chiefof exhibition was evaluated in contemporary newspapers as scandalous and shocking, and had progressive art institutionlocal university, formed as a practicespart of played the most important role in promoting at theYugoslavof socialist the 1970 regime. Youthof Inthetime first Tribune half (Tribina mladih), an in Novi Sad.to work and exhibit openly (not ‘underground’) as long as they did not challenge the legitimacy their art. artists faced the audience that was incapable tocomprehend and appreciate the importance of Consequently, neo-avant-garde art. works of regarding value and system notions conventional inYugoslavia. universities atart taught frames traditional within Milosevi The authorities’ attitude changed especially towards Vujica Rešin-Tuci English translation of the title is taken from the documentary about the Youth Tribune. Milosevi On more about the programs in Youth Tribune see: Gordana Gordana in Youthsee: Tribune programs the about more On Kristian Luki Ā a za monografiju Kulturnog centra Novog Sada . However, experimental art practices were tolerated by the regime and artists were allowed ý (Novi Sad: Galerija savremene likovne umetnosti, 1995); Radoj ÿ ka praksa 1966-1978 , The Youth The Tribune ý , Serbian art historian, emphasized that Novi Sad did not have, and still does not have its Art 177 ed. Dragomir Ugren and Miško Šuvakovi (Zakuska novih umetnosti) organized in Belgrade’s Youth Center (Dom Center Youth Belgrade’s in organized umetnosti) novih (Zakuska . ., ed. Susovski Marjan (Zagreb: Galerija suvremene umjetnosti, 1978), 36-47. ý , Serbian art critic who dealt with the video art in Vojvodina, this (Novi Sad: Kulturni centar Novoga Sada, 2004). 48 Polja 176 ý ý , “Video u Vojvodini,“ in (Novi Sad: Muzej savremene umetnosti Vojvodine, However,the one of after members of đ (Vujica Rešin-Tuci ilas, Nedeljko Mamula, Nedeljko ilas, 175 ÿLý ý and Miroslav Mandi These traditionalists shared a shared traditionalists These Mirko, “Aktivnost grupe Kôd,” in ý Evropski konteksti umetnosti konteksti Evropski , ý Tribina mladih 1954-1977: ) and Grupa Kôd,Grupa ( Új Symposion ý . On more ý , Ǫ The Youth The , ( 178 Ǫ The -Kôd. 179 CEU eTD Collection Two Different Contexts” (MA Thesis, Central European University, 2007), 23. magazines such as 185 184 években hetvenes 183 182 This is important because Vesna Kesi 181 late 1970s feminist texts appeared in the popular journals, such as the Croatian tabloid time in Serbia either. However, with thethe appearance “neofeminism” of in Yugoslavia in the experimental works were missing in Novi Sad, but there was no feminist literary criticism at the doing whateverof she wanted inart the withdomain no formal of or topical constraints. they had to finance their experimental work themselves. Ladik believed thisensured her freedom “commissioned” thethe workneo-avant-garde of artists,the as inmainstream the case of artists, of people, who belongedof to similargroups in Novi Sad and Yugoslavia. circle small very by a only Vojvodina in wasfollowed minority Hungarian of work experimental competent critics who would write about it in Hungarianlanguage. According to her, 1970s as “marginal” art production because, as a new art practice in Vojvodina, it lacked a it. institution and, therefore, lackedthe the entireoverview art sceneof and her own position in their works. Furthermore, Ladik emphasized that she wasany official not a member of art at that time. She worked with a certainpeople, group i.e.,of Bosch+Bosch, and was familiar with 1970s from today’s perspective (2011), Ladik pointed that she was notfullyher awareposition of political and art system in Yugoslavia that was unable to recognize excess as aart. work of 180 Šuvakovi position andimportance regarding alternativepractices. art 182 According to Zsófia Lóránd, Yugoslav regime allowed “neofeminists” to publish in the popular and mainstream and popular the in to publish “neofeminists” allowed regime Yugoslav Lóránd, Zsófia to According Ibid. “Interview with Ladik Katalin,” Appendix, 70 Šuvakovi Luki Vera Balind, “Beszélgetés Ladik Katalinnal, 2009. november 22.,”in november 2009. Katalinnal, Ladik “Beszélgetés VeraBalind, However, in an earlier interview (2009), Ladik labeled what she had been doing during the ý , “Video Vojvodini,”u 711. Therefore, not only that the critics that would besensitive for importance of Answering the question where would she locateon the Yugoslavherself the art scene of ý , aforementioned exhibition in Belgrade in 1971 revealed boththe conservatism of ý , (MA thesis, Eötvös Loránd Tudományegyetem, 2010), 102. Grupa Kôd,( Danas , Ǫ Žena , ( Ǫ , -Kôd. Retrospektiva Pitanja , Start , etc. Zsófia Lóránd, “Feminism as Counterdiscourse in Yugoslavia in ý , one of the Yugoslav, one of feminist journalists, published an , 14. 49 A szerb – magyar avantgárd m –magyar A szerb 180 Furthermore, as suggested by 183 Since no one ť vészek kapcsolataa 184 181 Start . 185 CEU eTD Collection article from 1981. from article concentrate on the critique written by male authors and then move on to ananalysisKesi of appeared in Yugoslavian press in the 1970s and in the the 1980s.beginning of First, I lack of an adequate critiquethe 1970s. Inorder to illustrate how were her performances accepted in public, bearingat in mind that time, I will map out some of the different reactions that 187 poems. and Judita Bálintworks SzombathyŠalgo, of and Slavko Matkovi alreadywriting/publishing theoretical texts regarding the emerging genres and practices. Such were the mentionedin engaged themselves artists often writings. and Most Ladik’s performances of aspects feminist as a contemporarycritic who would be able orwilling to appreciate her experimental work in Novi Sad, let alone prevalent misogynic comments.literary Therefore, during the 1970s there was almost nocompetent critican important turning point in the attitude toward Ladik’s performances in comparison to writing about Ladik’s 186 same time reconstructing what were the characteristics art according of to the traditionalists. in art. I start with describingthe experimental practices, while theother side stood for thethe defenders traditional of values favorable reactionscomments represented the more progressive strain in Yugoslav culture that was opened toward and proceed commented withher workperformances in the 1970 and the other in the 1980, severelythe criticized her. The positive negativeLadik's to ones,three authors from 1970, whom responses Ichose to mention, praised her,at and two,which one of of the Analysis artist? an or “striper” A 4.2 1981. in Ladik about article Vesna Kesi See previous chapter. 187 Still, various newspapers in Yugoslavia published texts informing about Ladik’s about works in informing texts Yugoslavia published in variousnewspapers Still, The reception of Ladik’s receptionThe of performances based on thenewspaper articles was twofold: ý , “Katalin Ladik: Ja sam javna žena,“ 186 Herarticle, that I examine in thisthe chapter,last part of marked Start 50 , February 28, 1981, 72-74. ý , whoboth belonged to Bosch+Bosch group, ý ’s CEU eTD Collection 191 2010), 91. aWoman: KatalinPower of Ladik, Retrospective 1962-2010 190 Katalin Ladik, Retrospective 1962-2010 tone. Ladik’s performance in Atelje 212, Mati after theywere translated to Serbian and Croatian. reason for this was that she was Hungarian and that herpoems reached the wider audience only he suggested that it were naked performances that brought her fame. Inhis explanation another hobby was acting. According to him, although no one could deny Ladik’sthe quality of poetry, background information about Ladik’s life and work. He presented her as a poetess, whose announced its reprise soon. her audience.frontboth of Authors articles suggested of that the event was verysuccessful, and the writerand reader. directly and openly face her audience, bridging the gap that, in author’s opinion, existed between “provocative.” author The emphasized that Ladik was thefirst poetin Serbia who chose to spectacle.” “exceptional and original asavery Ladik’sjudged performance that preceded the event, writing how all of the tickets were sold out days before her act. He 189 Atelje 212,”and lateron. ofhttp://www.atelje212.rs/pozoriste/istorija/“History and a place where number experimentalof a non-traditional guest performances neo-avant-garde from all over theater. the188 world From took 1967 place it was during a home theone of the 1970sof most significant festivals BITEF, the text publishedof in attitude toward her show. authorThe of garde theater,two short articles about Ladik’s performanceAtelje in the basement 212, of several days after Ladik’s enactment there. Both authors had a very positive P. Mati “Katalin u podrumu,” Ateljethe 212, mostone important of alternative theaters in Central Europe was founded in 1956 in Belgrade, as D.G., “Žestoki aplauzi uhladnom podrumu,” Parallel to positive evaluationsher work existed of anothercritique strain with of avery P. Mati In February 1970 Belgrade daily newspapers ý , “Naga pesnikinja,” ý , the writer of the text published in Ve ÿ ernje novosti ernje 190 Adam i Eva i Adam Thus, he acknowledged her intention to reveal herself completely in completely herself reveal to intention her acknowledged he Thus, Politika ekspres (Novi Sad: The MuseumContemporary of Art Vojvodina, 2010), 91. , February 23, 1970; reprint in: Miško Šuvakovi , June 10, 1970, 12. Also in: Šuvakovi ý ’s article was also written in avery positive and affirming Ve Politika ekspres Politika on the same day, called her show “brave” and ÿ erenje novosti (Novi Sad: The Museum of Contemporary Art Vojvodina, Art Contemporary of Museum The (Novi Sad: 51 191 , Febrary 23, 1970; reprint in: Miško Šuvakovi Similarly totwo authors who wrote about Ve informed the readers about great interest Adam i Eva ÿ ernje novosti ernje ý , and . (accessed: May 5, 2011). h oe f a WomanThe Power of in June 1970, gave more Politika ekspres 189 ý Similarly, the author Similarly, the , 188 The Power ofa Woman: Belgrade’s avant- , 92. published ý , The CEU eTD Collection 198 197 196 195 194 193 a Woman Power of an art work?” is also [prilog] article this maybe knows “Who asking: article whole the of tone mocking rather moment when Ladik,her performance, at onepoint revealed of her naked breasts. the it, called he as “catharsis” the performance, of culmination the defined Grasi Furthermore, anelderly composer, averagethe presence of agewould crosstwenty not three years. minutes, Grasi proceededwas from1980. with assessment of the audience. He commented that, if not for a that they “participated thein art.” the creation of art. Furthermore, Grasi ironically expressed his doubt whetherthe audience members realizedof be read between the lines: these “quasi” artists claimed that anyone and everything could be an art. of as aform environment natural and urban immediate care any more about formal artistic education, but considered any intervention in their not did artists, suchasLadik, that described Grasi art. modern inthe occurred that in paradigms “séance” (seansa), in other words, was it art at all. article, hecould not decide whether the show he encountered was happening, performance or a sniggered or commented, alsonakedness. Grasi’s description, accordingcarried to which seven people left during the act, while others a value judgment:intention to imply that the interestperformance was tothe audience of solelyLadik’s because of as he defined at the author’sbeginning statementof his about the age average and the “catharsis” read together, reveal the author’s 192 cynical and ironic ring to it. One example, an article from Ibid. Ibid. Ibid. Ibid. Ibid. Ibid. Z. Grasi, “Hepening: Krici i kokodakanja,” Ilustrovana politika, December 2, 1980, 33. Also in: Šuvakovi Grasi’s text shed a light on several issues problematic not only for him as an author, but Towardshis article the end the ofauthor engaged with explaining about yet another shift 198 , 100. 192 After a very thoroughLadik’s description of performance, broken down onto 52 195 197 His conclusion added a final touch to a Ilustrovana politika Ilustrovana 196 Therefore, unsettling thought can writtenbyZ. Grasi, 194 The ý , The 193 CEU eTD Collection Yugoslavian Hungarian” and actresshalf recited her poetry nakedthe audience. in front of dancers in the western night clubs” emerged in 1967, and Novi Sad as a city, where a pretty “half Novi Sad as the first citypractices. At the very beginning, Bressan made an interestingin comparison/connection Eastern between art Europetoward experimental scene art mainstream of representatives the of attitude the in therefore, where “bunnies” (ze changed in the dominant attitude towards Ladik’s work over the course of ten years, and, 200 199 Vjesnik all. at involving “screams,” “clucks,” and “unjustified” naked female use body of can be regarded as art naked body. Grasi’s article posed a question whether a performance enacted in asmoky room readera gets veryyounga picture audience, of presumably male, wishing only tolook at Ladik’s performances? Why there were not any prominent critics in theaudience? From his description a experimental practices. representativeyes,“real” and art, how if did of itaffectart as the it wasnotion ofbefore similar referred toalternative, the position of neo-avant-garde artist: a doubt whether s/he was a audience? Whata wasnaked the meaning act? of Another question that can beread in his article for an explanation ofsuch a choice – was it problematizedtothe body, the use of draw namely, naked femaleyoung body by awoman artist, and was seeingmen’s attention and valueworld system and art Yugoslavthe mainstream lure of asarepresentative be.Grasi, should them into work art what of notions traditional shared dominant, the worldand art mainstream values of whether Ladik’sitopposed since about doubts work wasanart, critics’ and artists’ reflected critique His critics. and artists Yugoslav contemporary including audience, a broader for also Ibid. Aldo Bressan, “Poezija i striptiz: Pjesnikinja koja recitira gola,” , writtenand conducted by Aldo Bressan. Another telling example is an interview with Ladik published ten years earlier (1970) in (1970) earlier years ten published Ladik with interview is an example telling Another Lastly, Grasi’s article raised the questionthe audience. of Who went to watch these 53 199 Thearticle shows that nothing essentially Vjesnik , December 8, 1970, 10. ÿ ice), “waitresses dressed as 200 CEU eTD Collection 203 202 201 opinion on this matter clearly. his illustrates performance her and audience the Bressan’s describing article of asection of title went there only tosee her body. “Did notunderstand a poetry –do understand undressing,” a he noted that Ladik provided translationthe poems in of Serbian, his conclusion was that people Hungarian, a languagethe audience majority of present that day did not understand. Although naked. Bressan supportedpublicity”? Throughout the whole interview Bressan maintained a highly provocative tone. after.this Was it claimLadik’s strategyBressan was bothered with the meaning, significancethe nakedness, of as Grasi bywill be ten years to provoke,pointing was remarkit to draw that the he attentionwouldto understandthe not understandon why Ladik had toherself, undress and she wasbe naked a ifpoetess. He even made a herfact poemsa “wish perfectly forthat a well withoutshe her recitingwasone as a possibility themperforming naked. likely that Bressan was leaning rather towards the second option than even apprehending the first in pretended to beawriter. Ladik was a poet who wanted to draw attention her byclothes, taking off ora stripper that His analogy suggests the answer toaquestion he posed later on in the text, namely, whether masculinity, authenticity and intellectual pursuit, while “low,” or popular culture, was affiliated AndreasNamely, his words modernistbore remnants division of on“high” Huyssen,and “low” art. According to mainstream practices, Bressan’s article echoed broader cultural issues in Yugoslaviathe 1970s. of German literary critic, in modernism “high” art was associated with Ibid. Ibid. Ibid. Similarly toGrasi, hesuggested that the audience in the full room came only to see Ladik Bressan seemeddeeply disturbed by Ladik’s nakedness during therecital and hecould On closer examination, just as Grasi’s words stood for a representation of the 201 Judging from the tone and his attitude regarding Ladik, it is more 203 54 202 CEU eTD Collection performances, was not that interesting to the media. during the 209 1970s that208 would focus on why was Ladik’s work scandalous and Abramovi Yugoslavia, such as Marina Abramovi magazines, etc., made her visible incomparison to other contemporary women artists in shows, films, TV in popular participation her culture, popular in Ladik’s activities culture. means that Ladik, according to Šuvakovi interventionimportance of into the mediated popularsocial and massfield of culture.” asserts, was thefirst artistthis who stepped“isolation” out of and “acknowledged the avant-garde groups followed the events related to experimental practices. Ladik, as Šuvakovi marginalized fromthe wider audience, and usually only theartists, who belonged to the neo- still Yugoslavia were in practices experimental existence, its allowed Yugoslav regime although different experimental nature art of in comparison to the popular culture, and to the fact that, the However, suggests it art. “high” the with associated ideas and norms the against exactly is problematic if we take into account that the neo-avant-garde artists of the 1970s fought Yugoslav socialist modernism and neo-avant-garde belonged to the “high” art. 207 206 205 Postmodernism Culture, 204 poet? Ifshe is, what is the purpose ofundressing?” with themass production, femininity and consumerism. according toŠuvakovi other element beside the mind, words and a paper for conveying a meaning. and literary writing as purely intellectualculture was perceived as inferior. practice, a form of “high” art that did not need any A possibility for further research would entail adifferentiation between female body art practices in Ibid. Yugoslavia Šuvakovi Bressan, “Poezija i striptiz,” 10. Ibid., 50. Andreas Huyssen, “Mass Culture as Woman: Modernism’s Other,” in Another implication regarding distinction between “high” and “low” culture can be However, one characteristicpopular culture of was particularly important in Ladik’s case, ý , h oe f a WomanThe Power of (Bloomington and Indianapolis: Indiana University Press, 1986), 47. 1986), Press, University Indiana Indianapolis: and (Bloomington ý , namely, it reached awide that audience. Šuvakovi , 83. 205 Bressan’s dilemma summarized in his questions: “Is she a “Is questions: in his Bressan’s summarized dilemma ý , who also performed naked. ý , belonged to both neo-avant-garde and popular 55 206 therefore, revealedpoetry his vision of 204 Thus, as Huyssen suggests, popular suggests, Thus, asHuyssen After the Great Divide: Modernism, Mass Modernism, Divide: Great the After 209 ý ý considers that both that considers ’s, who also had naked 207 This statement This 208 This ý CEU eTD Collection 213 118.; in Feminine,” the from Flight Century Seventeenth the and Thought of Masculinization Cartesian Bordo, “The Susan topic see: Thomas Laqueur, 212 211 210 medium just aswords oravoice did. medium a as Body 4.3 based on several interviews conducted with her. naked body for Ladik.of Inthe following subchapter I will reconstruct her attitude toward body as a counterpoint to modernistart, it is notions useful of to examine what was the importance sincetraditional proponents valuesof did not know where to place experimental art. However, art. Emerging experimental forms in the 1970s posed a challenge to these traditional notions, general, as a purely intellectual pursuit with verywhat clear boundaries was to beregarded of as visible that in Yugoslaviathat stained the otherwisepoetry. pure state Accordingly, of his comment on Ladik’s work made in vulgarity,element asan theas asignof Ladik’s may function article nudity inBressan's Therefore, 1970s existed moralitya that implicatesa naked perception traditionalbody as something of filthy, unclean orimpure. to further linked work,can be her view of Bressan’s on in Ladik’sVulgarity assessment case,based on poetry,masses. of taste vulgar the with poetswas associated culture Felski,by Rita popular suggested and art in category associated with the “purity and the autonomy in art.” traced in Bressan’s article. Modernist“high” notion art entailedof an artist as a monolithic unity of body and unitymind. Ladik of stated that her poems mirrored her deepest wishes and thoughts, described thebody in importance a slightly of different manner: anaked body was a symbol of “Interview with Ladik Katalin,” Appendix, 70. Bressan’s article Felski, “Readers,” 31. echoes Huyssen, “Mass Culturebody-mind as Woman,” 55. distinction that was an object offeminist inquiry. For debates around this The Flight to Objectivity, Essays on Cartesianism and Culture Looking back from today’s perspective (2011) for Ladik body represented yet another Making Sex: Body and Gender from the Greeks to Freud to Greeks the from Gender and Sex: Body Making 213 However, in the interview with Bressan in 1970, she 56 (Albany: State University New York of Press, 1987), 97- (Harvard University (Harvard Press, 1992); 210 Onthe other hand, as 212 211 CEU eTD Collection garde in Easter Europe, 1945-1989 218 217 had never undressed myselfto show my body.”throughout the whole play she stayed naked and “as usual,again there is a stirredreason for my nakedness. negative I writer still living in Vojvodinacomments today. In this play she was once again naked on the scene, which from her Hungarian byTolnai famous her Otto, for especially written amonodrama Aspirin,” environment.“Bayer Referring to this play, sheexpressingmode of her art. stated that body unificationand the mindperformance. in a process of Itwas of the only true/harmonious her, naturally, in harmony with the shapes of her soul and she wanted to display it as a 216 215 214 body. their bodies.male Majority artists focused of on examining the physical thelimitations of different from women authors, who concentrated on displaying female sexuality through use of Piotr Piotrowski suggests,material, orthe as theframework medium for conveying that existed their messages within during courage to showmale the body as varying a thesource emotive of power.”same body decade. art However,of the 1970s fucked,as but because my sex and work werewas harmoniously experienced [so] I could have the feminist art a Lippard, by Lucy historian:as quoted nudity on take hadasimilar Ladik’sand contemporary, artist “I didn’t stand naked in front of 300 people because I wanted to be and were “a materializationsoul’s of nakedness.” body, was used as abasis forgaining broader, universal knowledge regarding “the general human (male) a particular sense that in toPiotrowski, according and, body human asuniversal, and Piotr Piotrowski, “The PoliticsIdentity: of Carolee Schneemann Male quoted and in: Lippard, Female “The Pains and BodyPleasuresRebirth,” Art,”of 126. in Dragiša Draškovi Ibid. Bressan, “Poezija i striptiz,” 10. 218 Male body, as used by the artists during this time, was defined as bothindividual’s body In 1982 her nudeness was still very topical, since she played in a theatrical play called An important difference is to be noted here. Male performers also used their bodies as ý , “Katalin Ladik – Muškim šovinistima izmišljam novi krik,” (London: Reaktion Books, 2009), 363. 215 57 216 214 Carolee Schneemann, a famous performance Physicalher body was shape according of to 217 In the Shadow Yalta: of Art and Avant- Omladinske , March 27, 1982, 14. CEU eTD Collection the gender normsmedium of herof own society struggle practicesfor and, on the other hand, at the same emancipation.time extremely conservative,she Ladik’s body became a lived Her performances in and were also, an open as experimentalchallenge artists was significantlyas dependent on the social reality they were livingshe in. for described it, a test of her own in aculture inwhich womenare consistently objectified?” women ‘use’ their own bodies in performance in a progressive way [and berecognized as such] essay dealing with the relation between the feminism, censorship and performance, namely, “can question emerging is the one Sally Potter asked, as quoted by feminist artist Sally Dawson sexuality,in her associated Ladik’s nude performance with dancers in night bars. The important female on views traditional and norms art mainstream within trapped whobeing author, 114. Criticism: Critical Strategies, ed. Katy Deepwell (Manchester and New York: Manchester University Press,222 1995), 221 220 219 social stereotypes.” interpretational frameworks in socialist countries. Therefore,such, male performances becamecareful objects examinations of conducted by the authorities. Central and Eastern Europe,female according to Piotrowski, “acquired political significance” and as “accepted morality,” conventions and “ideological indoctrination” in particularand regimes of maleimplications inCentral thecontexts and Easternof Europe. Artists’the limitations testing ofof nudityargues, had different theirperformances consequences. Maleperformances had political in termscondition.” of performance art moved in different Sally Dawson, “Women’s Movemens: Feminism, Censorship and Performance Art,” in New Feminist Art New in Art,” Dawson,“Women’s Performance and Sally Censorship Feminism, Movemens: Lippard, “The Pains and PleasuresRebirth,” of 124. Ibid. Ibid., 364. In theenvironmentNovi Sad that of was, ononehand, very opened to the experimental Lippard suggested that woman’s approach to her body was “necessarily complicated by complicated woman’s was“necessarily body that toher approach suggested Lippard This did not mean that these artists did not challenge the social norms, but, as Piotrowski 219 221 Her claim can be supported with the example of Bressan, aYugoslav male Bressan, of example the with be supported can claim Her 58 222 Apparently, thewomen situation of 220 CEU eTD Collection described Ladik as “intelligent, beautiful, excessive, talented and sexy woman.” 228 227 226 225 224 223 Kesi Vesna of article Ladik’sthe performanceworks: Ladik’s to in Belgrade.approach The authorFeminist 4.4 of the article, a feminist journalist Vesna Kesi lastthe chapter section of to one article written by a woman and a feminist, published in attention to, written by men, there were also articles written by women. Therefore, Idevote the transformation from object to a subject position. her own body and that,of according to her, marked an important psychological moment: a material pointed out by Lippard. Namely, as she argues a woman becomes active through the use performances affected her in a way that she became even more defiant. endurance. 1981. the woman’s own body,” “the opposite a of denial theof womanexactly to lead art in the body female asexposing that object arguing 1975), (in nudity female the against inasmuch as the object ofdesire is precisely as anactress. towards acarrier obstacle abiggest that presented shyness natural her also herpersonal fight, tosee whether she was capable towithstand the critique and also to fight qualities herof work that were overshadowedupset by the stigma the ofbeing a “nakedestablishment poetess.” It was and deliberately used it to provoke and to draw attention to other Vesna Kesi Ibid., 124. Francblin quoted in: Lippard, “The Pains and PleasuresRebirth,” of 123. Ibid. Ibid. “Interview with Ladik Katalin,” Appendix, 69. The text I am writing about is from 1981, one year after Grasi wrote his comment on my drew herself all, asLadik were that comments However, misogynic alongside Although Lippard broughtCatherine the example Francblin, of a woman critic who was 223 ý , “Katalin Ladik: Ja sam javna žena,” Inan interview (2011) Ladik said that negative comments that followed her 226 it is important to stress theusing other meaning the body as of a Start 59 (28.02.1981): 73. 227 ý 224 She realized that nudity 228 Since Kesi 225 Start ý was in ý , CEU eTD Collection f Feminist Art: of The American the 1970s, Movement History and of Impact women.” sweeping and permanent ways by introducing into it the heretofore suppressed perspective of the feminism ingoal the1970sof was toart itself, “change thenature to transform of culture in movement in the USA and the art in the 1970s from today’s perspective, pointed out that the art criticism appeared in the broaderthe contextsecond ofwave feminism. 232 231 230 Contexts” (MA Thesis, Central European University, 2007). feminism in the 1970s see: Zsófia Lóránd, “Feminism as Counterdiscourse in on Yugoslavia Yugoslav details For women: women’s more approach). (Comrad-ess new – pristup” question in Two –novi pitanje Different first conference associated with neofeminists was held in Belgrade in 1978, and its title was “Drug-ca žena: žensko229 mobilize women as it was the case in America. one.” movement in America in the1970s was that theYugoslav movement was “mostly an intellectual feminist the 1970s and late the of Yugoslav “neofeminism” between difference biggest feminist art criticism did not yet exist, as opposed to the USA. According to Zsófia Lóránd, and criticism literary feminist 1970s the of Yugoslavia in mentioned, Ialready As criticism. relationsthe USA, the context inbetween terms of of women’s art production and feminist poetry. or performances from the toneKesi of the article,works. As a feminist belongingemerging to a circle “neofeminist” of movement however,included assessments from two directors (Bódy, Gyula), who knew Ladik’sher neo-avant-garde art positiveLadik’saspects of art works. Rather, she gaveLadik’s an overview of diverse art production and assessmenta professional journalistand nota feminist art critic, she did not, and could notanalyze feminist did not account for Ladik’s Norma Broude and Mary D. Ibid. Garrard, “Introduction: Ibid., 22. Feminism and Art in the Twentieth Century,” in According to Zsófia Lóránd, “neofrminism” was a movement that emerged in Yugoslavia in the late 1970s. The ý 230 appreciated Ladik’s struggle for women’s emancipation in the art domain, which is evident This meant that the Yugoslav “neofeminism” was “ideologically diverse” and did not Norma BroudeNorma and Mary D. Garrard, who theorized therelations between the feminist At this point, it is interesting to make a comparison between the Yugoslav context and 232 IntheAmerican context the feminist movement had a significant influence on the 231 60 Different from Yugoslavia, inthe USA feminist , ed. Norma Broude and Mary D. Garrard (New 229 in Yugoslavia, The Power The CEU eTD Collection explicit nudity carried the possibilitybeing perceived of as reinforcing the stereotypes i.e., of with Wilke’s culture, the masculine performances transform to aimed that feminism radical the ambiguous.” work as“politically her described and Wilke criticized however, Lippard in Yugoslavia, did Katalin Ladik way as inasimilar body female the with the workUSA,Wilke howa art wascertain interpreted. experimented Intheways contextof of cultural stereotypes about women in her works. on an artistic level.” as as well on apersonal criticism to her [Wilke] “exposed assuch and Lippard, for ambiguous” politically times was“in woman, wasa pretty she that fact 1970s,giventhe the in performances regarding women and the ‘self-exploitation.’ The way Wilke displayed her naked body in her performances, in Lippard’s opinion, walked the fine line between thethe stereotypes critique of to criticize social stereotypes around women, and reinforced them instead. what she termed as ‘self-exploitation’.of ‘Self-exploitation’ for her meant that these artists failed 236 235 234 233 York: Harry N. Abrams, Inc., 1994), 10. feminist.” and flirt as artist, and woman beautiful as roles her of “confusing for Wilke criticized in the 1970s,performing displayed andopenly her sexuality, asLadik did. However, Lippard Ladik’s. resemble started Wilke also Wilke, performances Hannah whose about 1970s, wrote art during thesame period. For example, Luccy Lippard, the feministcritic artactive in the interesting to explore how feminist conceptual apparatus influenced women’s the reception of comparison to the USA, marginal. art production, while on the other hand in the Yugoslav context feminist movement was, in Ibid. Ibid., 126. Ibid., 124-125. Lippard, “The Pains and PleasuresRebirth,” of 126. Thus, it is evident that conceptual apparatus, or its lack in the case of Ladik, influenced Ladik, of case the its lack in or apparatus, conceptual that is evident it Thus, Given the fact that feminist art criticism already existed in the USA during the 1970s, itis 233 Lippard had a little sympathy for women artists, who in their works fell into thetrap 235 Therefore, it is clear that Lippard criticized Wilke for reinforcing certain reinforcing for Wilke criticized Lippard that is clear it Therefore, 61 236 Within the framework of 234 Therefore, Wilke’s CEU eTD Collection authors did not address Ladik’s particular artworks, and rather wrote descriptively about them. mocked as a form of ‘non-art’ or, in the case of Kesi case of or, inthe ‘non-art’ of form mocked asa approaches and concepts. Consequently, her nude performances were either criticized and criticism. context Inthat Ladik’s according was art existing, to interpreted the traditional apparatus to account for experimentalthe neo-avant-garde practices of artists, let alone feminist criticism. On theother hand, in Yugoslavia, inparticular in Novi Sad, there was no conceptual women as object, radical feminist were fighting against, as it happenedLippard’s in the case of 62 ý and similar affirmative assessments, affirmative similar and CEU eTD Collection 238 University Press, 2000), 5. 237 caused morality. This traditional/patriarchal of framework the within remained time same the at but practices, experimental the embraced it indeed and asprogressive, system its art represented system did notto the authors, did not correspond to “official discourses,” match entirelySimilarly tothe lived experience or “the everydaymen practices and women” of that, according the image promoted to the outside world. Yugoslav regime emphasized regardingthegender policies: Kligman Gail and Gal Susan that regimes socialist the of ischaracteristic system the within the systembetween the and proclaimed/promotedtheactual practice. image of Ambivalence relation to the official socialist propaganda regarding the art system, indicated ambivalence womenposition (artist)of in the socialist Yugoslaviathe 1970s. of Yugoslavfield ofsocialist culture. With herpoems and performances, Ladik negotiated the 1960s till theearly 1980s, were hybrid artthat forms opened a space for herintervention in the experimental poems, early and late performances,Conclusion within the framework ranging from the late Ibid. Susan Gal and Gail Kligman, “After Socialism,” in of schoolteachingof and agriculture – and the fundamental importance“natural difference.” of asthe –such feminization segregation labor-force divorce, theeffectsof of effects deleterious produced heated mass mediaeven countenancedand betweenregimes the andwomen, men equality supporting officially debates about issues such aswomen: women’s they wanted idealworkers asand well asproper mothers,toward their policies in goals regimes by wereoftencharacterized contradictory Indeed, socialist tokenroles, leaders the as well as obedient cadres. While The reactions to her works published in the contemporary press, when analyzed in In this thesis I argued that Ladik’s art works were feminist. I showed that her 63 The Politics of Gender After Socialism After Gender of The Politics 238 the reality of Yugoslav socialist art Yugoslav socialist of reality the (Princeton: Princeton (Princeton: 237 CEU eTD Collection be broadened from the former countriesYugoslavia of to a wider region. Similarly tothe suggestion regarding women’s performance art, thethe analysis focus of could the discourses around the body operating within thesocialist culturalYugoslavia. system of focusing only to women’s art it would further nuance the complex intersectionsgender and of of instead and differences sexual issue of the would address study The context. same in the Yugoslavia could alsoinclude the ways examination male of performers expressed their sexuality socialist countries in the region. example, Hungary orPoland that would parallelYugoslav context of art system with other the investigationthe scope of could grow further to include women artists from the region, for Yugoslav context, and to put aforementioned art centers in relation toeach other. Additionally, be tofurther differentiate among different strategies applied by female performersin the would suchcomparative research of A goal Ljubljana). Zagreb, Yugoslavia (Belgrade, of centers within the same timeframe, that would inquiry expand the fromNovi Sadfield to of other art the future research could bea comparativewomen’s analysis of performances in Yugoslavia, analysis based on conceptual apparatus that is available in thepresent. One feasible option for descriptive, as inJudita the case Šalgo of and Vesna Kesi response to her works was either negative, because it relied on traditional conceptual tools, or contemporary critics could notaccount for theLadik’s feminist aspects of works, and the her art work depended onrepresentativesthe traditional of morality. the conceptualthe conflict between Ladik’s experimental practices, involvingfemale sexuality,display of and the apparatus. As shown in chapters four and five, A future study that would complement the research on women’s performance in former for possibilities various opens production However, art Ladik’s complicated and diverse The analysis of the reception of Ladik’sthe analysis receptionThe of of works also revealed that the interpretation of 64 ý . CEU eTD Collection Ezzel együtt jár az is, hogy a férfiak frusztráltabbak lettek a n a lettek frusztráltabbak férfiak a hogy is, az jár együtt Ezzel Ez az a változás, amit érzek. így kezdígy nem függnek a férfi jövedelmét Iskolába jártak, hogy legyen diplomájuk függ és alárendelt olyanhagyományos munkahelyük, ahol el tudják tartani magukat, és iskolázottabbak, mint a férfiak. Azok an Azok a férfiak. mint iskolázottabbak, Európában, hanem már az arab világban is, ahol a n családot alapítani. Megjelent a szingli életmód, sokan vállalják ezt az életmódot nem csak fordult, de változott. A mai n Az emancipációvalváltozott a helyzet.lehetNem mondani,jobbravagyrosszabbra hogy magát vagy belefért ebbe a szerepbe, akkor ebben a kett és otthon, a hagyományos családanya szerepében. Hogyha ebben a szerepkörben megtalálta férjhez mehetett, családot alapíthatott. Elvállalta, hogy két m mikor an emancipáción változástAz a hozott vallási gyökerek voltak. probléma már a leveg an hullám, emancipációs években, és nem véletlen, a hogy hatvanas, hetvenes években jelentkezik az a bizonyos n vagy aképz Megbotránkozást keltett, ha n egy is.szinte egész ésMagyarországon Nem lehetett terültén érvényesülni. egyenrangúan magánéletben is. Volt, amit megtehetett a férfi, de nemtehetett meg a n múltban fel munka alkotói és viselkedés a Ha még a patriarchális nézetek és elvárások uralkodtak az élet minden területén, a a n A n a munkahelyén nemcsak hogy egyenrangú legyen a férfival, hanem többet mutasson fel a férfinál. elvárások akkor is komplexek voltak, és most is. Akkor is elvárták, most is elvárják a n nagyon sok n keressük aválaszt, hogymilyen volt n Hogy most mi feléisátmeneti egy id vezet ez átmenetiaz – szerbül létezikkifejezés egy átmeneti erre, a „tranzicija”, magyarul nem használjuk – a mostani különbségetid már érzek. Akármineknevezzük ezt atársadalmi berendezést, szocialista pedig vagy az egy lehet az egy ismerem, amit akkor megéltem. Mindegy, hogyaz szocialista vagy nem szocialista, nekem csak az L.K.: Én nem tudtam, hogy milyen n elvárások an volt n V.B.: Katalin) Ladik with (Interview Kérdez:Vera Bálind Katalinnal Ladik Interjú Appendix ŋ ŋ i munkaer nek akkor is és most is többet kellett bizonyítania, mertel Kíváncsi vagyok a70-es évek munkásságára, különösen azemlékeire, milyen hogy ŋ nek lenni a nek lenni szocialista Jugoszláviában. Emlékei szerintmik voltak atársadalmi ŋ dött. Most már a n ŋ még elfogadta a rákényszerített, vagyis alárendelt patriarchális szerepet, könnyebben szerepet, patriarchális alárendelt vagyis arákényszerített, elfogadta még ŋPť ŋ ŋ ŋ ŋ helyzete, nem sokat változott azóta, f ségem volt, mást nem ismertem. Utólag, évután, negyven valamilyen kis kkel szemben ebben azévtizedben? n Mit jelentett„normális” vel szemben. Ilyen szempontból az elvárások nem változtak. vészetben, férfi. mintegy Ezta kett ŋ szak épp úgy, mint akkor a szocializmusban haladtunk a kommunizmus felé. ŋ ben volt. Különösen ott vezetett ez konfliktushoz, ahol nagyon er ŋ k szexuális forradalma és a feminizmus is, mert ez atársadalmi ez is, mert és afeminizmus forradalma k szexuális ŋ k házasság nélkül is vállalnak gyereket és egyedül felnevelik ŋ ŋ ŋ ségi viszonyt, igyekeztek maguknak egzisztenciát teremteni. egzisztenciát maguknak igyekeztek viszonyt, ségi l. Megházasodtak, szültek maguknak egy gyereket és elváltak. Ez nem talál magának férjet, nem tud egyenrangú partnerként ŋ olyan alkotásokat hozott létre a filmben, az irodalomban, ŋ ŋ nek lenni más körülmények között, és csak azt az érzést nek lenni akkor és most, az én helyzetem, és azt hiszem ŋ k, akik a hetvenes években nem akarták vállalni ezt a ezt vállalni akarták nem években hetvenes k, akika ŋ ŋ ŋ szak, nem tudom. Ha most már kimondottan arra k életében, mégpedig kettéletében,mégpedig k l nézem a n a nézem l 65 ŋ leg ha a munkahelyi elvárásokat nézem. Az ŋ ŋ s megterhelésben élhette az életét. s mércét lehetett érzékelni a hetvenes ŋ k helyzetét, itt már látok változást. A változást. látok már itt helyzetét, k ŋ ť k képzettek, van diplomájuk, s szakban dolgozzon: a munkahelyén ŋ ítéletek voltak akkor is és most is, ŋ ŋ k iránt. Ez olyan, mint a mint olyan, Ez iránt. k ŋ . Ez voltígy Jugoszlávia s változást.Korábban,s ŋ nek lenni? ŋWŋ l, hogy ŋ ket. ŋ ŋ ŋ s t i CEU eTD Collection elfogadni. Én összeL.K.: Nekem személy szerint nem volt nehéz,tudtam hanem aférjnek, a társadalomnak volt nehéz ezt volna egyeztetni családanyaa ésafeleség szerepével?m család. Visszatekintve, mennyire voltösszeegyeztetni nehéz am barátja, illetve 1968-ban, amikoraz els választania kellettam V.B.: telnie. kellett is, a másiknak is. Talán nemis laknak együtt, de ez elfogadott életmód. De hát ehhez sok évnek el formában látom, hogy nem is házasodnak össze, ésbizonyos szabadsága megvan az egyik félnek házastársak továbbra is együtt tudtak dolgozni gyerek és a munka érdekében. Ma ezt olyan avolt ahol voltaházasságnak, változata emancipált egyfajta Ez maradjanak”. is„együtt továbbra Az voltétterembe. Ez is furcsa egy élet, mert akkor még volt,úgy hogyazok, az a akikvagy elváltak, kirándulni azok elváltak. megyünk többség. együtt a gyereket, nyaralni visszük együtt a volt férjemmel az, hogyelválunk, és mégis jóban vagyunk, és egyfajta Dealkotói kapcsolatbanlehet maradunk,hogy vagyelképzelni, hogy tudták nem Sokan voltakvolt. provokatív eléggé akkor életmódom én Az voltunk mind a ketten.már párok, családok, akik megoldották ezt, hogy válás után miatt kommunikáltunkélettársi össze, is házasodnak akik nem párokat, ismerek pl. Ma agyereket. neveltük együtt és eddig, mint viszonybanérezze azt, nincs hogy apja. Volt apja.ésválás A után ugyanúgy kommunikáltunk voltvannak, férjemmel,továbbraházasságból, gyerekük is megmaradt amely van ésmár ígynem élnek. m az alkotói Két háztartás, együttm két család, de a gyerek n a is Én volna még egy gyereket, amit nagyon sajnálok, hogy nem történt meg. tudtam volna gyereket eltartani.még egy Ha meglettek volna az anyagi körülmények, én szültem voltam, egyedül, elvált n elvált egyedül, voltam, Iŋ Akkor már volt annyi egyenjogúság, hogy el lehetett válni. Nagyon sok n Sokan úgyis mentek férjhez, hogy igen,szülök férjhez,Sokan gyereketésutána hogy mentek úgyis elvált egy n Korábban,a 70-es évekvégéig elképzelhetetlenházasságvolt, hogy nélkülszüljön a n felnevelik. Ez az a változás, amit érzek. szingli és életmódot, vagy nemszülnek élnek,vagy és egyedül szülnekgyereket és maguknak egy családjuk. S vanmár ésrendszerint fiatalok nagyon fiatalabbak, jóval jöhetnek, számításba partnerként nem találnak maguknak korban hozzájuk ill férfiak külföldre mentek dolgozni. Azok an Azok dolgozni. mentek külföldre férfiak egy kiesett egész következtében a háború években kilencvenes A Vajdaságban. vidékünkön a mi különösen férfikorosztály, és nagyon érz köztük. Egyszer n és aszabad kereslet iránti aférfiak nagy és olyan házasságra, a rá szorulnak nem és atársadalomban, agazdaságban játszanak szerepet domináns akik tényleg végzettségben alacsonyabb rangú férfit választani partnerül. Ugyanis, és a magasabb társadalmilag rangú mármint férfiak,rangú, alacsonyabb kénytelen akar, családot tényleg ha partnert, rangú Qŋ Az egyiknek mindig engednie kell. Mostmár otttartunk, hogyrendszerint a n tartunk, hogy mind nehezebben találnakhogy tartunk, értelmiségi egyazon szinten, aférfiegymásra, ésan tyúk – tojás, minél emancipáltabb a n leg ha sikerült neki megfelel van magasabb pozícióban. Mivel nem talál magának egyenrangú és még kevésbé magasabb Miško Šuvakovi ŋ t a n ŋ ť knek abba az els az abba knek en többa n ŋ knek megvan abiológiai koruk, hogy mikor szülhetnek. Sokan vállalják a ý által készített interjúban említette, hogy azéletében kétszer említette,hogy általkészítettinterjúban is ť ŋ vészet ésaprivát életközött, el ként egyetlen gyerekkel. Abból akisfizetésb Abból gyerekkel. egyetlen ként ŋ ŋ és az iskolázott n munkahelyet találni, el hogy tudja tartani a gyereket. Hát énis így ť ködött. Bár nagyon igyekeztem, és sikerrel, hogy a gyerek ne ŋ generációjába tartozom, akik vállalták azt, hogy kilépnek egy kilépnek hogy azt, vállalták akik tartozom, generációjába ŋ , annál frusztráltabb a férfi és viszont, és most már ott ŋ ŋ dik a hiányuk. Az egykori Jugoszlávia területér férje állította választás elé, hogy karrier vagy a vagy karrier választás elé, állította hogy férje ŋ ŋ 66 k, akik otthon maradtak, és akikr és maradtak, k, akikotthon férfit. Tehát több n ŋ ť . Mostanában nem szívesen n vészetet és a családot, és nem értettem, hogy ŋ ször 1962-ben,amikoraz akkori ŋ k kínálata, hogy válogathatnak hogy k kínálata, ŋ ť maradt, a férfiak, akik ködés, mivel m ŋ ŋ l, amit kaptam, nem kaptam, l, amit vállalta ezt az utat, ť ŋ ŋ vészi pályát,a ŋ a pénzkeres ként felnevelem. sülnek a férfiak, ŋ l énbeszélek, ť vészek ŋ ŋ , és l a ŋ ŋ . . CEU eTD Collection biológiai ciklus miatt id részmunkaid megadnának an megadnának társadalmi rendre vágynak, ahol atársadalom harmóniában élne an feministák is, csak atiltakozásukban mennek el a végletekig. A n an hogy segélykiáltás, tartó elnyomásnak. Csakhogy ez a lázadás szerintem nem teszi boldogabbá a n át azévszázadokon ez reakciója is, természetes de túlzásokba átcsap néha amely viselkedésben, vezetett. Bátor n Az évszázadok alatt felhalmozódott frusztrációellenálláshoz ésrobbanásszer kezd Qŋ a alatt represszió tartották elvárások társadalmi A tartozott. körökbe azavantgárd hogy ellenére, George Sandnak férfinéven kellett írnia, mert csak a férfi lehetett „komoly”, valódi író, annak éltek. Milyen ádáz kritika fogadta a m sorsukat. Gondoljuk végig például a Brontë n a meg határozták tragikusan drámaian, gyakran elvárások atársadalmi önmagamnak, mondanom ilyen pár. Ez emberi tulajdonság, és nem a hetvenes évek vagy aszocializmus folyománya. Poznanovi Pť az ilyen emberi tulajdonságot sema társadalom,az sem id munkámra, a karrieremre. Ilyen értelemben, az életemben amai napig semmi sem változott, mert mindent elvégeztem aháztartásban, versenyben áll velem. Ez egy ösztönös dolog. ott is megvolt ez az alkotói féltékenység. Megértette ugyan am házasságomban is, ott is ez van. Pedig m Szerintemvoltak a problémák. ez Tehát, volt.ezek ez márbaj akkor a utaznom, kellett el helyzet vagy alkottam, én zavarják. Ha ne akkor nem változott a mai napig sem. Ugyanezt éreztem a harmadik lennék. Pedig azels lennék. becsületem, a presztízsem a családban, hanem inkább mintha valami b volna el, ab foglalkozom, mosthogy énírok. Szinte titokban kellett írni, mintha szégyelltem volna,hanem hogynemcsak velük a munkára.saját munkámmalPersze,ezt vállalom. Amikor magányosan élek, és nincs férjem, akkor sokkalakkor több energiám van a is. is Ezott házasságomHárom volt.ismindig Amikor házasságban élek,rengeteg energiámbaa kerül,én de gyerek, alkotói energiámmalúgy valami mástde csinálok, azt volt, nem tudtákakkor elfogadni. szántam.minthanincs Ráadásul munkahelyem is volt, ott is helytálltam. Az rendben is azvolt. De, hogyaz valamiaz állandó b küzdelem, meg titkolózás, munkámra, azéletenergiámnak vagyis egy részét nemhogy rájuk, hanemam életfelfogású férfir életfelfogású az els és megcsinálom a mai napig is. Ez az, ami frusztrálja a férfiakat, féltékenyek a munkámra. Kivéve azt mondtam: vagy-vagy; én mindent megcsináltam, amit ezek a szerepek t bizonyos féltékenység ezegy érzem,hogy én úgy az élet energiámra, ambícióimra. én Mert nem családanya is vagyok, meg feleség is vagyok, meg pénzkeres er háztartást, mint minden hagyományos háziasszony, mindent csinálok, és, még amennyire az ha valaki valakit szeret, hát miért nem tudja elfogadni mind a két szerepet. Mai napig vezetek ŋ ket, még a férfi-n vészházaspárokat, akik gyönyör mb ŋ dött. ŋ ŋ férfit az életemben, ezek mind m Ez nagyjából a hetvenes évekig tartott, amíg an amíg évekig tartott, ahetvenes Ez nagyjából l futja, a m Bár ha történelmi távlatban nézem az írón ý . És ma is ismerek m isismerek ma . És ť ŋ n azvolt, hogyénmással is foglalkozom. Tehát nem az történt, hogyn s foglalkoztatását. Hogy a társadalom ne büntesse büntesse ne atársadalom Hogy s foglalkoztatását. ŋ ŋ i dac jelentkezik most irodalomban, m knek a szülési szabadságot, és támogatnák a szülés után visszatér után aszülés és támogatnák aszülési szabadságot, knek ŋ ŋ ŋ l van szó, akár m akár szó, l van ť i kapcsolatban, a sz férjem is m férjem vészettel is foglalkozom. Csak mások nem tudják ezt elfogadni, hogy ŋ ŋ k mégis csak harmóniában szeretnének élni a férfitársadalommal. Még a Még aférfitársadalommal. élni szeretnének csakharmóniában k mégis nként gyengélkednek. Ha ez természetes dolog volna, akkor a n ť ť vész volt, zeneszerz vész volt, vészeket, akik harmóniában élnek. Viszont nagyon ritka az ritka nagyon Viszont élnek. harmóniában akik vészeket, ť ŋ szimbiózisban éltek, mint például Bogdanka és Dejan semmit,csak a m ť ť veiket, pedig megfeleltek az elvárásoknak! Vagy például ť ť kebb családban is repressziónak voltak alávetve. vész a férjem, és mégis. Amásodik férjem is m vészr ť vészemberek voltak. Viszont, akár hagyományos ŋ 67 ŋ vérek sorsát. Er l, mindig fennállt a féltékenység am a féltékenység fennállt mindig l, Ŋ egész fiatal volt. Én dolgoztam, kerestem, ŋ k vagy az írófeleségek helyzetét, ellent kell ŋ ť . vészetének élt, ésmégis féltékeny volt a Ŋ ŋ ť ŋ , ha alkotott, akkor becsukta azajtót, becsukta akkor , haalkotott, vészetben, zenében, öltözködésben, is vagyok, meg m ŋ nemtudja megváltoztatni. Ismerek k emancipálódása nálunk elnem nálunk k emancipálódása ť vészi ambícióimat, de úgy érezte, ŋ ŋ s n ket azért, mert szülnek, vagy a vagy szülnek, mert ketazért, ŋ ŋ k voltak, akik magányosan k biológiai ciklusával, ahol ŋ k valójában egyolyan ť nös szenvedély rabja ŋ lem megköveteltek, ť ŋ vész is vagyok, és ket. Ez csak egy ť ť nt követtem ť vészetemre ŋ kisüléshez tt volna a ť ŋ vész, és ŋ k nem ť n vészi ŋ k CEU eTD Collection min férfit, vagy fel kellett emelni a szoknyát. Ennyi elég volt ahhoz, n hogy egy annyit, mint manapság, de dekoltázs azlehetett, vagy a nyilvánosság el férfival kell csókolóznia aszínpadon vagy afilmen. Mondjuk, akkoriban még más nem vetk esetleg van,hogy szerepe olyan gyakran hanem magát, mutogatja meztelenül nemcsak színészn állandó párkapcsolatuk, férjük sem lehetett,mert eleve lemin tartja magát. Olyan id Kŋ zsákmánya lehet. Ha ezt egyolyan n mondjuk: nyilvános ház. Nyilvános n Nyilvános ház. nyilvános mondjuk: isazt kuplerájról a Ugye, jelenti. ugyanazt iskörülbelül isésmagyarul „Javna szerbül žena” K.L.: Qŋ nyilvános nekünk, ez magát, a sorsunk én megértem Marija aztmondja:„Igen,Katalin, V.B.: rádiónál, aki nem engedett kidobni. pártból.a hivatkozva kizárjanak erkölcstelenségre hogy kellett összejátszania, -, A tisztogatás-hullámnak munkahelyemr akkoriban senki más nem csinált, én voltam az els önmaga válogatja és adja el voltam asok közül, akit levetk performerként mint n De énvoltam Jugoszláviában az els azírásaikban. szavakat használtak trágár akkor már aférfiírók probléma, volna lett nem trágárság érinthetetlen, aki nem engedheti meg magának, hogylevetk és szent író az kultúrában magyar a vajdaságihogy okozta, kedélyeket. az esetemben én az botrányt A költ Zágrábban, amikor meztelenül lovagolt végig Zágráb f el dekorációt. A hatvanas években a BITEF-en is rengeteg külföldi színház lépett fel meztelen sem voltak szégyenl voltak sem színészn hetvenes években anyaszült meztelenül mutatkoztak vagy ahappeningekben pl.Eva Rasszerb L.K.: A botrányt nem a meztelenség, még csak nem is a n amikorilletve a alkalmaztak, pártból, a bocsájtani? kizárták rádiótól iselakarták erkölcsi a mérce, munkahelyénamelyet csakavajdaságimagyar vagy kultúrában, az Önfotóikeltettekbotrányt sz V.B.: Ez az a kett elkövetkez vissza a munkahelyére. A munkainterjúk során megkérdezik a n Qŋ titkolnák sem a menstruációjukat, sem a szülést nem halasztgatnák. A TV-ben szülésre biztatják a ŋ sn ket, és hogy nem szégyen a terhesség, de a terhes n aterhes de a terhesség, szégyen nem hogy ket, és knek”. Mitknek”. jelentitta„nyilvános n adásokkal, pl. a La MaMa is. Kés aLaMaMa pl. adásokkal, ŋ ŋ ŋ i performanszaim, illetve provokatív tálalásuk a jugoszláv bulvársajtóban felkavarták a süljön. No de azt a férfi is hülye, aki elvesz egy ilyen n A jugoszláv médiában szabadon lehetett publikálni meztelen fényképeket, de csak de fényképeket, meztelen publikálni lehetett szabadon médiában jugoszláv A Egy 1981-es Start-interjúban Ön hivatkozik Marija Crnobori egy mondatára,ahol Önhivatkozik egy Crnobori Marija 1981-es Start-interjúban Egy megbecsült képvisel megbecsült Ez volt az igazán botránykelt ŋ ŋ t vett férfi elfeleségül. „normális” nem vesz színészn egy el egy Mert Dušan Makavejev filmjeiben. A szlovén OHO csoportban vagy Kugla Glumiste-ban ŋ ŋ két évben. A n s, álságos magatartás, amely ellen a n ŋ sek. Jancsó Miklós filmjeiben is gyakran látunk meztelen n meztelen látunk is gyakran filmjeiben Miklós Jancsó sek. ŋ ŋ álltam aközönség elé. Ez volt aprobléma. Hogy nem egyszínészn ket éltünk akkor amikor még a színészn ŋ ŋ ŋ ŋ l csak azért nem dobtak ki, mert volt egy karakán f ekkor vagy kénytelen eltitkolni, hogygyereket szeretne, vagy blöfföl. saját verseit, és ehhez a saját testét választja kifejezési eszközül. Ilyet je a szakmának, ez vigasztaló volt számomra, hogy még még hogy volt számomra, vigasztaló ez a szakmának, je ŋ ztetnek szerep egy-egy miatt, hanem egy autonóm, önálló n ŋ ŋ ŋ , de sok egyéb körülménynek, - többek között egy politikai ŋ ŋ ť az, akit a férfiak tárgyként kezelnek, és a férfitársadalom és kezelnek, tárgyként aférfiak az,akit mondja, mint Marija Crnobori, aki mit drámai tragikus bb Vlasta Delimar-nak voltak botrányos performanszai voltak botrányos Delimar-nak Vlasta bb , aki nem színészn kebb környezetében. Mivoltazasajátos Miért? ŋ ” kifejezés? 68 ŋ ŋ . k fellázadtak. ŋ ŋ terén. De ez jóval azután volt, hogyaz én t elbocsájtják, és szülés után nem veszik nem után ésszülés t elbocsájtják, ŋ i meztelenség váltotta ki. Férfiak már a ŋ ŋ ŋ ként, hanem írón zzön, f t, hiszen nem csak az övé, hanem ŋ sítette magát az a férj,aki egy ŋ k nem nagyon szülhettek, és ŋWŋ ŋ leg hogyha n ŋ l, hogy akar-e szülni az tt meg kellett ölelni egy ŋ nyilvános n ŋ ŋ ként, és önálló szerkeszt ŋ ŋ ŋ i testet mint i testet az illet t, hiszen az ŋ isannak ŋ ŋ ŋ ŋ ŋ ztek m a , aki nek . A ŋ CEU eTD Collection ráfigyelni. adom el rituálét asámáni ha varázslóra, népi egy pedig vagy sámánra egy hasonlítsak ne Miért voltak. hívni a figyelmet,és nem csupán exhibicionizmus, habár az is benne volt benne. Persze,de hogymagamra akartam az igazi igenishogy van érték abban, amit csinálok. Nagyon hittem abban, az,hogy értékre. amit csinálok értékes, L.K.: Hatottak rám, még Ezdacosabb lettem, és be akartam bizonyítaniegy magamnak is, meg nekikgesztus is, volt. A performanszaimtevékenységét? alkotói jelleg azilyen Mennyire befolyásolták figyelmet. így autentikusak vetktekintette szerz mutatta. Emiattmutatta. „meztelen költ V.B.: csak gátlásos. Azért voltam gátlásos, merta társadalom azzá tett. Wŋ el megszabadulni tudok gesztussal radikális valami csak hogy éreztem, Úgy vagyok. szemérmes leküzdömhogy a színészi pályám legnagyobb akadályát, azt testileg hogy nagyon, nagyon éreztem, a hogy testközelség mennyire zavar, mennyire gátlásos vagyok t önmagam ellen is, és a kett tennem. És ez tényleg bátorság,nagy szinte fanatizmus volt nálam, hogyén ezt megcsináltam. Ez ilyen lenni. Számítottam areakcióra, de hogy ilyen nagy reakció lesz, arra nem. De hát meg kellett inkább megmarad hagyományos írón n tipikus egy Maradok beledöglök. mindenestül,„modernnek lenni mindenestül”. Ki akartam próbálnimármint magam, hogytényleg modern vagyok-e kipróbáljam magam, hogy aztényleg képes vagyok-e teljes egészben,alkotói ahogy Rimbaud mondta hogy hanem alapon, színészi is, nemcsak személyemet saját a isfelszabadítsam, testem értelemben. felszabadultságnagy mutatkozott. természetes következménye Ennek az igény a az volt, hogy Hogy tudom-etehát kezdtem megszabadulni a két dimenziótól, és kitörtem a versb vállalniverseket írtam. A hangköltészettel sikerült kilépnem a verseknek a két dimenziójából.magam A hangban a társadalomban is ugyanolyanmindenestül bátor legyek, mint a verseimben, mert akkoriban még csak a ezekben mind benne voltam. Most már csak a testi és a társadalmivagy levetk mindenféle irodalmi formát kipróbáltam. Az összes izmusokat, a merész, a bátor, a vad formákat, mélyvízbe. Vagy belehalok, vagy nem, körülbelül ilyen elhatározás volt ez. szemérmességet volt nagyon nehéz leküzdenem. Pedig már igazán színészn az volt a problémám, hogytestileg nagyon szemérmes, nagyon szégyenl a szemérmesség levetk nemcsak az érzelmeiket osztják meg hanematestüketegymással, is. Ezszakmai követelmény. És munkahelyén, mint otthon. A munkahely is egy család. Csak az akülönbség, hogyott a színészek Tudjuk, hogy reggelt együtt dolgoznak milyen élet a színházi élet. Egyébként az ember bárhol is dolgozik, többet van a rendez hálószobába vele. Ilyen értelemben minden színészn szerepek, hogy el kell játszani, hogyszerelmes egy férfiba vagy sejtetni kell, hogyesetleg elmegy a más is nézheti a melleit. Tehát lehet egy n Tehát egy lehet amelleit. is nézheti más le. Valahogy úgy voltam vele, mint amikor valaki nem tud úszni, és akkor beleugrik a beleugrik akkor és úszni, tud nem valaki amikor vele, mint voltam úgy le. Valahogy Költ ŋ ŋ kétségbe vonta a m a vonta kétségbe vel, szinte mint családjával kell élnie egytársulattal a színházi munkában. Hónapokig ŋ ? Volt benne felt ŋ Verseimben már úgy éreztem, felszabadulthogy vagyok, vagy leszek, hiszen akkor már Arról nem is beszélve, színészn egy hogy i estjein, performanszain többször is levette a ruháját, illetve egy-egy testrészét illetve többször islevetteegy-egy aruháját, i estjein,performanszain ŋ zést, olyan taktikának, amellyel Ön állítólag magára akarta vonnia magáraakarta zést, amellyelállítólag olyan Ön taktikának, ŋ zése is nagyon fontos. Ezt tanítják a színiskolában, az akadémián. Nekem ŋ l estig ugyanazon a színdarabon, akkor az embernek azcsaládja. akkor azembernek a színdarabon, ugyanazon l estig ť ŋ nési szándék is, hogy rám figyeljenek, és éreztem,úgy van mire s erkölcs elleni gesztus volt. Mert én nem voltam kett ť vészi értéket a munkájában és puszta exhibicionizusnak és puszta munkájában a értéket vészi ŋQŋ ŋ i író, aki meghátrál, amikor látja, hogy nagyon bántják, és bántják, nagyon hogy látja, amikor aki meghátrál, i író, ŋ nek” (gola poetesa) nevezték elasajtóban. Néhány nek, aki hétvégeken csendesen írogat. Én nem akartam ŋ drámai színészn drámai 69 ŋ ŋ nyilvános n nek hónapokig, hetekig kell dolgoznia egy ť megjegyzések éscikkekazakkori megjegyzések ŋ vagy tragika akkor is vannak olyan isvannak akkor tragika vagy ŋ . ŋ l. Már a vers formájában is ŋ zés hiányzott. Az, hogy ŋ ŋ le. Elhatároztam hát, s voltam. Pont ezt a ŋ akartam lenni és ŋ s erkölcs ť , CEU eTD Collection helyek. Ez utólag derült ki. derült utólag Ez helyek. adott nekem valamilyen rangot. De, akkor énazt még nem tudtam, hogy ezek olyan Ez fontoshelyekre. legavantgárdabb azakkori is hívtak meg. Magyarországra hívtak kultúrintézmények nem tudtam bemérni. Az jelentette számomra az a akkorrangot, hogy legjelent ezt Énmagam kihova tartozik. hogy tudták, bizonyára Ott Belgrádba. Szlovéniába, Zágrábba, foglalkoztak, pl. szlovéniaiak és a horvátok. Engem különböz akikkelnéhány embertismertem, fesztiválon találkoztam esetlegmivelegy-egy ésláttam, hogy is.csak másoknál Én és intuitív, volt nálam, tevékenység annyira Ez spontán mással. magát össze mindenki, aki hogy csináltaakkor dolgozott és nemméricskélte adolgát a vetettehelyzetét, nem érték, hogy hol helyezkedemérték, hogy el,kés igazán. Nagyjából tudtam, hogy Jugoszláviában kik foglalkoztak hasonló dolgokkal. A rangsor, az rálátásom, hiszen nem voltam intézményben, nem láthattam felülr L.K.: Én azt akkor nemtudtam megállapítani, hol hogy helyezkedem el. Nem is volt rá mainstream költ Hol helyezkedettmunkássága a elazÖn m illetve másm V.B.: valósítsa. Kés foglalkozott, de nagyon kevés n munkáimban. Voltak más m Voltak más munkáimban. leveg férfiak írták. A n A n szemben. társadalommal és a még gondoltam.így Fiatal voltam, és ez forradalom volt, személyes forradalmam önmagammal –akkor reagáljatok Tessék, erre a verseimben. megmutattam azt a lelkemet, dolog, fontosabb lehet benneteket bosszantani, akkor elérem, felfigyeljetekhogy a költészetemre is. Haezzel atestemmel. a nyilvánosságot provokáltam tudatosan én inkább, és figyeltek a testemre performanszaimban megtalálja a spiritualitást. A hetvenes évekre jellemz örök téma van: a test és a spiritualitás. A néz fontosságú téma, épp úgy, mint a szabadság. A m lényeges minden korban és minden alkotó számára, akármivel foglalkozik. Ez alapvet reagált, arra volt érzékeny. visszatekintve, a testen kívül több más örök témám is van, de az akkori kor f testr a csak nem írok, szöveg. is a Másról vagy hang, a akárcsak amiveldolgozom, nyersanyag, csupán dialógus. Nem igaz, hogya verseimben és performanszaimban a test van el test már másról is szól. Atest mindig nagyon fontos éppen úgy, ahogy a társadalommal folytatott tényez fontos háztartása hormon szexualitása, – azember életét azember meghatározza évesen embernek fontos a test, nemcsak a n L.K.: A test egyanyag volt számomra. Én abban a biológiai életkorban voltam, amikor az mit jelentett a saját teste? szerepe jutott atestnek. Meséljen atest fontosságáról am V.B.: ŋ ŋ A 60-asévek végén 70-esévek elején elkezdettfoglalkozni akísérletiköltészettel, l. Érdekes, aközvélemény hogy miértéppen errereagál leginkább. Azéletm Performanszokon kívül aköltészetbenPerformanszokon kívül ésatöbbi vizuálismunkáiban kitüntetett ben. Mások politikai platformokon fogalmazták meg ezt az ellenállást, én pedig a pedig én az ellenállást, ezt meg fogalmazták platformokon politikai Mások ben. ŋ k. Tehát nagyon jelent Nyelvnyújtogatás volt ez: igen, meg merem mutatni a testem, hiszen, ami sokkal Mások is írtak a testr ŋ bb, azaz a 80-as, 90-es években fiatalabb írón ť vészeti formákkal mint happening, mail art, performansz, body art, stb. art, body performansz, minthappening, mailvészeti art, formákkal ŋ ŋ k általában megért k és m ť vészekhez képest? ť ŋ vészn s a test bizonyos életkorokban. Kés ŋ ŋ nek volt bátorsága, ezthogy a személyes forradalmat meg is l. Rengeteg m ŋ ŋ k megértették ezt. A kritikát, amire maga utal, általában a általában utal, maga amire kritikát, A ezt. k megértették ŋ ŋ ŋ k is, pl. Olja Ivanjicki, aki abban az id az abban aki Ivanjicki, k is, Olja pl. nek, hanem a férfinak is. Atest abban az életkorban, 20-30 en írtak. Pontosan tudták, hogyez tiltakozás benne volt a bb jött, amikor elhelyezték valahova engem.Azthiszem, ŋ ponttól függ. Aki jobban odafigyel, verseimben és 70 ť ť vészet a szabadságról szól ésaz egyénr szólt róla abban akorban. A test nagyon ť vészeti szcénában Jugoszláviában a ŋ k már bátrabban írnak. ŋ ť kultúrintézmények meghívtak vészetében. Az Ön számára ŋ ŋ l, hogy mások mit csinálnak bb is, de másképp. Akkor a ŋ , hogyabban az id ŋ térben. Nem. Testem ŋ ŋ leg a test témára ben festészettel ben ť ŋ vemre ŋ l. Két ŋ sebb ben ŋ CEU eTD Collection közösségi lény. Azért érzem, a hogy mai korban másképp vagyunk szerencsétlennek, mint véve alapjában Azember sem. vágyat iránti a közösség és acsalád sem, aszexualitást sem, természetszeretet – nem hiszem, hogy ezeket ki lehet irtani az emberb változnak. szerintem ezekolyan alapvet versekben és a performanszokban az archaikus gyökereket, az archetípusokatkeltem életre, mert egy gesztus egy s vagy érzés egy sikoly számomra A és a verseimben. a hangköltészetemben performanszaimban, maga a tartalom. Ilyen tartalom nálam asikoly, sokrét nálam amelynek tartalom Ilyen atartalom. maga sírás mind helyethangzást, kapnak hangom, elmondjakhogy ahogyana valamit,verseimben, hanem hogy felidézzem az ének-beszédet, az igazi az archaikus mert ezek azember ember éltkifejezési a hangjával. eszközei, A hangutánzó s szavak, vagy a nevetés, a V.B.: performanszaimban is. Visszatér performanszaimban állapotok közül az álom, afájdalom, az öröm,a kacagás nemcsak verseimben fordul el fa, a levél. A tárgyakjátszanak azalkotásaimban. Mint már említettem test is csupánközül: nyersanyag egy számomra, mint a az olló, a kés, a szék, az ajtó, az ablak. Szimbólum valamennyi. Az Pť Elfogadtak n L.K.: Teljesen patriarchális viszony uralkodott ezekben a vajdasági csoportokban. Ez érz megérthetetlen érdekel. Aszél, avíz, az mégis, alkot, er jelenségek, amittermészet a atermészeti a természet V.B.: nagyon inspirálnak és hatnak rám, mint gyöngyszem, ami köré én építem fel a világomat. a valódi meséi, népek A világa. a és mesék folklór abalkáni a sámán, hindu, a kultúra, merítek, engem nagyon inspirálnak. Ebbe beletartozik az ázsiai,távol a keleti hagyomány és ebben alégkörben, mint m ember által készített tárgyaknak. Fontos számomra a számomra Fontos tárgyaknak. általkészített ember Performanszaimban, mint a meztelenségnekL.K.: A természetnek, mint ihlet és a testnek. A tárgyaknak is nagy szerepükMeséljena természetben készültek. atermészetr van, az anyagokattermészetes kellékeket, alkalmazottmagában mint illetve azaperformanszok gyökér, amely engemkimutathatók. Még a legmodernebb verseimben isinspirál, kimutatható valamiféle mindig hagyomány is. vagygyökerek A hagyományok keleti távol a balkáni, hanem amagyar, Nemcsak akkor is,költészetemet. a is meghatározta nagyon hahagyomány A aszabadság. nagyobb egészen Ott jelentenek. más jön kiL.K.: Performanszaimban bel mindig fontos volt a rituálé, a szertartás. A verseim már más dimenziót fontos volt a rituálé, amunkáiban? folklór ésa szertartás Mennyirea Tutanhamon rekonstruálják halottiszertartását. hogy voltEz arra, kísérlet írók köréhez. Akölt V.B.: vészet az 1972-ben Janez Kocijanci A A 70-es években a Bosch+Bosch csoport tagja volt,A 70-esévekben tagja valamint avajdasági aBosch+Boschcsoport tartozott Vabljenje Vegyük például Edvard Munch festményét, a Sikolyt. Így gondolkozom én is. A Ŋ ŋ ť ŋ sid rített, olykor túls területük volt. ként, azt mondták a hangköltészet azzal minden rendben van, de a vizuális ŋ kt vagy az vagy ŋ l a mai napig hasonlóan érzünk és gondolkodunk. Szabadságvágy, ŋ k ésm Ego-Alterego ť ŋ ť vész- és költ ť elemei az természetnek, amelyekéletnek, ésazemberi nem rített kifejezése. ý ŋ vészek zöme férfivolt.Önnekmilyen voltak tapasztalatai -tyal el motívumom a nevetés is. Tehát nem csak azért használom a anevetés használom is. Tehátazért motívumom nemcsak ŋ nek sokkal nagyobb szerepe van a költészetemben és ŋ ŋ si elemek kezdett adta a adta cím ŋQŋ ť 71 nek? munkája két olyan performansz, melyekben kétolyan performansz, munkája R.O.M.E.T. ŋ l, mintinspirációrólazalkotásaiban. homo faber homo ŋ l fogva a mai napig jelent cím , a ŋ ť le. Mindig a régi kultúrákból homo ludens homo performanszt Újvidéken. performanszt ŋ ŋ i. Engemazismeretlen, a l. Mint ahogy a szerelmet ť jelentése vana jelentése is.Legfontosabb ŋ t gyakran ez ŋ s szerepet ŋ ŋ si mesék , hanem ŋ dött. ŋ si CEU eTD Collection megjelentek az elvárások irántam, hogymiképpen kell viselkednem. Elvesztettem a gyermekkori pubertás korban derült ki, hogy én lány vagyok. Akkor kezdett megváltozni körülöttem a világ, és játszottunk. Háború volt és a szül éltünk, nevettünk, játszottunk, mindent csináltunk. Nem is voltak játékaink, aporban, a sárban lányhogy vagyok vagy fiú. Mentünk, csavarogtunk az utcákon, fiúk, lányok együtt. Az utcán volt. Gyerekként nem angyal: tudtam,tökéletesnek vagy egy éreztem androgyn magam, mintegy n hogy az, átok L.K.: Mivel gyerekkoromban teljesen szabad voltam, ahogyn vagy a mitikus elemek. V.B.: Ezt az állapotot próbáltam visszahozni, ezt a szabadságot, amit én a gyermekkoromban éreztem. muzsikálni: a testével, a kezével, az ajkával, az ujjaival, f ujjaival, az ajkával, az kezével, a atestével, muzsikálni: el lehetett hangokat csikorogó kukoricaszárból készítettem heged Például folytattam. akivel párbeszédet aperformanszban, partnerem hanem volt, aláfestés a népi hangszerek, aversek hogy rituális jellegét kihangsúlyozzam. Ahangszer nemzenei évek végén, 1968-69körül és a hetvenes években már gyakran használtam. Azért voltak fontosak meg a performanszaimban, meg a köcsögduda. A b A köcsögduda. mega aperformanszaimban, meg Akkor nemvolt még hangszerem, énekbeszédszer el felvételt az „Ólomöntés” cím performanszokra szánt hanganyag. Avajdasági televízió 1970-ben készített egy négy perces olvasásra szánt verseket írtam, akkor ahhoz is megtaláltam a megfelel pedig Amikor kötet. inspirálta mesék egy lett abból és a stílusra, erre ráálltam akkor nyúltam kés kés tördelték éneklésre valók. A verseimvizuális megformálása is formabontó volt, mert nem hagyományosan el amelyek olyanok, és vannak valók, csakazolvasásra versek, melyek Vannak olyan alkalmasak. voltak eléneklésre megszólaltatásra, Mert eléneklem. megszólaltatom, valamikor kötetemben ösztönösen írtam olyan verseket, amelyekben már benne volt, hogy ezeket majd forgatókönyv lehet forgatókönyv rituálé, a hang,Ballada az ezüstbicikir mert olyanvagy verseket 1962 körül, írtam, már amelyeketaz akkori verseimbenénekelni kellett, ott volt bennea zene, van a rituálé.a performansz Els L.K.: Azt hiszem, ez ösztönös is említette,a fónikusköltészettelÖn hogy a két dimenzióból… kitört lehetettV.B.: nálam. Mindez a hatvanasnemcsak mi n évek elejénA régiek a családban voltak boldogtalanok. Most magányosankezd vagyunk boldogtalanok, és határozták meg. Ma másképpen boldogtalanok az emberek: magányosan vagyunkérdekek anyagi boldogtalanok.az Apárválasztást volna. szeretett akivel azzal, nem többnyire bár élt, családban úgy élni, ahogy szerettek volna, de akkor mégsem volt annyi magányos ember, mert mindenki azel ŋ részleteket. A verset a hatvanas években írtam, és már 1965-t ŋ ŋ ŋ bb tudatosan fejlesztettem mindegyik m bb lényegesnek mutatkozott. Am mutatkozott. lényegesnek bb tt, mert nem tudunk családban, közösségben élni, ahogy szeretnénk. A régiek sem tudtak Mikor és hogyan született az ötlet, hogy átlépje azegyes m Mikor átlépje és hogyan születettazötlet,hogy Számos motívumismétl ŋ A hangkölteményeimet otthon, házi magnóval vettem föl, és ezekb ket. Már az els ŋ k, hanem aférfiak is. ŋ vagyok, mert akkor tiltottak meg sok mindent, ami kisgyerekként még szabad amikisgyerekként mindent, sok meg tiltottak akkor mert vagyok, ŋ sége, a dramatikusság, hiszen a verseimben párbeszédek is vannak. Az els isvannak. párbeszédek verseimben a hiszen adramatikusság, sége, ŋ l-ben benne van minden elem, amit a mai napig használok. Benne van a ŋ kötetemet hanglemez kísérte. Tehát megvolt benne mindaz, ami ť a performanszomból, amelyben azonos cím ŋ ŋ csalni. A gyerek önfeledt és szabad, mindennel tudjátszani, mindennel szabad, és önfeledt Agyerek csalni. dik a verseiben és a vizuális munkáiban, pl.azandrogyn vizuális munkáiban, és a a verseibendik ŋ knek nem volt idejük velünk tör ť t, olyat,amilyet szoktak, gyerekek ésazzalnyikorogó, ť vészeti formák összemosása spontánul jött nálam, de nálam, jött spontánul összemosása formák vészeti ť vészeti irányzatot. Amikor amese, folklór témához 72 ť en adtamel ŋ rdudát kés rdudát ť szállal, levéllel, fés levéllel, szállal, ŋ ttem, kezdtem érezni, hogymilyen ŋ ŋ averset. El ŋ bb szereztem meg, a hatvanas meg, szereztem bb l szerepelt arepertoáromban. ŋ ŋ formát. ť dni. Sokkal kés vészeti formák határát? vészeti formák ť ŋ vel, bugyborékolással. vel, verseskötetemben, a ť ŋ versemb ször adob jelent ŋ ŋ dött, 1960 bb, csak a ŋ ŋ l lett a ŋ l adtam adásra, ŋ CEU eTD Collection V.B.: Csupán asaját helyemet akartam kiharcolni, nem férfiak ellen indítani háborút. között, különösen nyugaton, nagyon sokszor éreztem azt, hogy férfiellenes programjukfeministák a míg van. ellen, aférfiak soha voltam Nem magamnak. ki vívtam emancipációt személyes környezetemmel vettem fel a harcot, csoportonnem egy belül vagy mozgalomban. Egyfajta represszió ellen. engem meghívtak, reprezentatív hogy mintegy személyiséget, aki eszközeivel a maga harcol a nekik, jól jött és számon tartottak, engem Jugoszláviában Belgrádba. kongresszusokra feminista lekötött, fizikailag,így id amunkahely családés a hagyományos engem Egyrészt civil csoportosulásba. vagy társadalmi annyira harcias, mint L.K.: Ismertem a feministákat, desoha nem tartottam magam feministának. Énnemvagyok afeministák tevékenységétIsmerte-e Jugoszláviában, illetve nyugaton? V.B.: közönség, amikor engem nézett. Ha én kiállítanám ezeket a fotókat, ez is egy provokáció lenne. kör alakú, kis intim szférámban, és másodszor, amit én majd utólag látok, hogy milyen volt a fotódokumentáció, mivel kett így engem is, ahogyan a leskel lyukakon keresztül, amiket a papírfalon lyuggattak ki. Mert Mert üveglapra, az arcom torzulása a lyukakon keresztül bámészkodók és leskel már a másság sajnos nem el valaki más, felkeltette az emberek érdekl L.K.: Ez az egzotikum létezett, de nem is egzotikumnak nevezném, hanem másságnak. Az, hogy a betét ilyen másik A el mozdulattal, hogy a szégyenkezven álltam fekete garbóban és fekete nadrágban -talpig felöltözve, és a hagyományos borotválkozás végeztével levetettem a fehér csipke ésmelltartót, bugyit és mint akit „meglestek”, bugyival, akkor elkezdtem az arcomat és hónaljamat borotvahabbal és zsilettel leborotválni. A amely fekete nadrág és fekete csukott garbó volt kívül fehér melltartóval és fehér csipkés egyenként levetettem magamról ruhadarabjaimat, és amikor már alegutolsó réteg ruhához értem, performanszomat, többek között a származása t abalkáni Jugoszláviában egzotikusnakés fordítva, Magyarországon számított, hogy L.K.: A V.B.: voltam. n Nem lehessek. ember teljes újra egész, hogy valahogy, valami módon, visszahozni akartam szabadságot az elveszett Ezt szabadságomat. ŋ adtam Zágrábban és Budapesten is. Kérem, röviden írjale a ŋ Ugyancsak a Az interjúban utalt afeminizmusra, különösen ahatvanas, hetvenes években. k ugyanúgy rányomták az arcukat a lyukra, miként én az üveglapra. Kukucskáltak, lestek a lestek Kukucskáltak, az üveglapra. én miként a lyukra, azarcukat rányomták k ugyanúgy Sikoltozó lyuk Meghívtak, mert végülis ugyanazt csináltam, mint Felfogadtam fényképezze fotóst,hogy meglesnek, aközönséget, és egy ahogy persze ť nt egzotikusnak. ŋ Start performanszavoyeurségr ŋ elszégyelli és eltakarja nemi szervét. Ezt az anti-sztriptízt többek között k, de aplatformjukat tökéletesen értettem. Soha nem tartoztam ilyen ŋ vel sem bírtam semmilyen csoportba beletartozni. Néha meghívtak -interjúban (1981) beszélt arról, hogy a magyar származása a magyar hogy (1981)beszélt arról, -interjúban ŋ ny, hanem nagyon nagy hátrány, mert az emberek kizárják azt, aki Poemim Sikoltozó lyuk Sikoltozó ŋGŋ ŋ]ŋ k látnak a lyukakon keresztül. Nagyon fontos volt a Blackshave-Poem dött meg az esemény: egyszer, amit aközönség lát bent a cím ŋ ť dését, legalább isakkor ezszerencséshelyzet volt. Ma ŋ performanszom volt. Amikor rányomtam az arcát az vagy férfi, hanem azalény, hanem férfi, vagy akigyermekkoromban és a 73 ŋ -ot, amely lényegében anti-sztriptízegy volt: l szólt, amelybe belevettem több, rövidebb Blackshave-Poem ŋ k. Csak én a közvetlen performanszait. ŋGŋ k lelkét tükrözte. CEU eTD Collection (Budapest, 26. 04. 2011) 26. (Budapest, Magyarországon. mentezegészenígy anyolcvanas évekig. kezdve Attól fokozatosan kezdték közölni a verseimet szörny nyugati kultúra az igazi m a performanszaimra. Elrettenta performanszaimra. is. számára magyarság romániai a Szintúgy szabadságba. a a világba, jelentett ablakot publikáltunk, ahol folyóirat, újvidéki az Számukra imponáló. az volt a szabadság ez voltam, is példaképük számukra. Nekik – itt az avantgárd körre gondolok, akik engem befogadtak, szerettek, és magyarországiak A inspirált. alkotásra amely stb. környezetemmel, a szerb, horvát, számára éltem szimbiózisban a szabadság volt, amit a m magyar. Jól illeszkedtem bele a több-nemzetiség másmilyen. Régebben a másság érdekességnek számított, és Jugoszláviában szinte el szinte Jugoszláviában és számított, érdekességnek amásság Régebben másmilyen. ť verseket ír és elfajul. Nem illik bele a elismert hivatalos magyar irodalmi kánonokba. És kánonokba. irodalmi magyar hivatalos a elismert illik bele Nem elfajul. ír és verseket A hivatalos magyar kultúrpolitika éppen ellenkez éppen kultúrpolitika magyar A hivatalos ť vészetet: így jár az, aki nyugati irodalmat veszi példaképül, hogylám ŋ példaként hoztakfeltorzítja hogyan el az hogy egyetemeken, a 74 ť ť kultúrába, olyan értelemben jól, hogy veimb ŋ ŋ en, negatívan reagált az írásaimra és az írásaimra reagált negatívan en, l kiéreztek, és ez lehetett érdekes a Új Symposion ŋ ny volta ny CEU eTD Collection Broude, Norma and Mary D. Garrard. “Introduction: Feminism and Art in the Twentieth Bressan, Aldo. “Poezija i striptiz: Pjesnikinja koja recitira gola.” Bordo, Susan. “The Cartesian Masculinization Thought and the Seventeenth of Century Flight Bohn, William. “The Crisis of a Sign.” In Boarov, Dimitrije. ______. “Signs Ambivalence Taken andAuthority Wonders: Undera for of Questions Colonial Discourse.” andMan:TheAmbivalence In Mimicry of ______.“Of Bhabha, Homi K. “The Commitment to Theory.” In Berger, John. Benjamin, Andrew E. “Betraying Faces: Lucian Freud’s Self-Portraits.” In Bálint, Szombathy. Balind, Vera, “A szerb – magyar avantgárd m ______.“La concienciadela mestiza: Towards aNewConsciousness.” In ______. “How toTame aWild Tongue.” In Anzaldúa, Gloria. “The Homeland, Aztlàn.El otro México.” In Abrams, Inc., 1994. Inc., Abrams, Impact Century,” in Albany: State UniversityNew York of Press, 1987. from the Feminine.” In 2001. Press, Delaware 2001. 1994. Tree Outside Delhi, May 1817.” In Culture Location of 1994. Routledge, 1972. vn-ad:Apcso aPiooh f Difference Avant-garde: a Philosophy Aspects of of Eötvös Loránd Tudományegyetem, 2010. Tudományegyetem, Loránd Eötvös Frontera: The New Mestiza 64. San Francisco: Aunt Lute Books, 1987. Mestiza , edited by Norma Broude and Mary D. BroudeandMary , editedby Norma 10-29.Garrard, NewYork: N. Harry , 1-13. San Francisco: Aunt Lute Books, 1987. aso Seeing Ways of Politi 7 godina grupe Bosch+Bosch h oe f FeministThe Power the Art: 1970s,The of American History andMovement of ÿ ka istorija Vojvodine utrideset i tri priloga , 85-92. London: Routledge, 1994. . London: British Broadcasting Corporation and Penguin Books, , 76-91. San Francisco: Aunt Lute Books, 1987. The Flight toObjectivity, Essays on Cartesianism and Culture BIBLIOGRAPHY . Beograd: Salon muzeja savremene umetnosti, 1981. h oaino Culture The Location of Modern Visual Poetry Visual Modern ť vészek kapcsolata a hetvenes években.” MA thesis, 75 , 61-74. London: Routledge, 1991. Routledge, London: , 61-74. Borderlands/La Frontera: Mestiza Borderlands/La TheNew h oaino Culture The Location of . Novi Sad: Europanon consulting, Vjesnik Borderlands/La Frontera: The New The Frontera: Borderlands/La , 15-30. Newark: University of University Newark: , 15-30. , 102-122. London: Routledge, London: , 102-122. , December 8, 1970: 10. 8, , December Art, Mimesis, and the , 19-39. London: Borderlands/La , 97-118. , 53- The CEU eTD Collection Gal, Susan and Gail Kligman. “After Socialism.” In ______. “Authors.” In Felski, Rita. “Readers.” In Draškovi đ D.G., “Žestoki aplauzi u hladnom podrumu,” ______. “InsideorOutside‘Socialist Modernism?’,”Radical Yugoslav the on Views Art Denegri, Ješa. “Bosch+Bosch.” In Ješa.“Bosch+Bosch.” Denegri, ______. “Sedamdesete:radikalni umetni Dedi Dawson, Sally. “Women’s Movements: Feminism, Censorship and Performance Art.” In Davis, Kathy. “Intersectionality as Buzzword:Science PerspectiveA Sociology of onWhat Cixous, Hélène. “Sorties: Our and Out: Attacks/Ways out/Forrays.” In Brunnbauer, Ulf. “From Equality without Democracy to Democracy without Equality? Women Equality? without Democracy to Democracy without Equality Ulf.“From Brunnbauer, ilas, Gordana and Nedeljko Mamula, Nedeljko and ilas, Gordana ý , Nikola. “Performans.” In “Performans.” , Nikola. Princeton: Princeton University Press, 2000. Press, 2003. Chicago Press, 2003. Chicago 27, 1982: 14. 27, 1982: centra Novog Sada Novog centra Museum of ContemporaryMuseum Art Vojvodina, of 2010). Cambridge, Mass.: MIT Press, 2003. MIT Press, Mass.: Cambridge, Šuvakovi avant-gardes in Yugoslavia, 1918-1991 in Yugoslavia, avant-gardes In 1950-1970.” Scene, sprske umetnosti 2008. mediji, mentalni i analiti 1996. Ugren and Miško Šuvakovi Minnesota Press, 1993. Minnesota edited by Hélène Cixous and Catherine Clémon, 63-131. Minneapolis: University of Manchester University Press, 1995. Strategies Critical Criticism: Art Feminist Makes a Feminist Theory Successful,” Universität Graz and Udruženje za društvenu istoriju, 2002. and Slobodan Naumovi Perspectives on Womanhood and Manhood in19 Womanhood andManhood on Perspectives In Europe.” Southeast in Transition and ý , Dragiša. “Katalin Ladik: Muškim šovinistima izmišljam novi krik.” novi izmišljam šovinistima Muškim Ladik: “Katalin , Dragiša. ý , h oe f a Woman: KatalinThe Power of Ladik, Retrospective 1962-2010 , 5-31. Novi Sad: Svetovi, 1996. Svetovi, Sad: Novi , 5-31. . Novi Sad: Kulturni centar Novoga Sada, 2004. Literature After Feminism After Literature Impossible Histories: Historical Avant-gardes, andPost- Neo-avant-gardes, Historical Impossible Histories: ÿ ý ki postupci, ponašanja umetnikove li Literature After Feminism , 219-244. Belgrade and Graz: Institut für Geschichte der Evropski konteksti umetnosti XX veka u Vojvodini ý , 609-618. Novi Sad: Muzej savremene umetnosti Vojvodine, Sedamdesete: teme sprske umetnosti teme sprske Sedamdesete: Tribina mladih 1954-1977: Gra 1954-1977: mladih Tribina , ed. Miško Šuvakovi Miško , ed. Feminist Theory Politika ekspres 76 , ed.KatyDeepwell, 111-118. Manchester: Gender Relations in South Eastern Europe: Historical Europe: Eastern in South Relations Gender ÿ th ki stavovi, redukcije objekta,novi materijalnog , 23-56. Chicago: The University ofChicago and20 h oiiso Gender After SocialismThe Politics of th , 57-94. Chicago: The University of Century , Febrary 23, 1970. (Reprint in Miško 9, issue 1 (2008): 67-85. 1(2008): 9,issue ý and Dubravka Dubravka and , edited by Miroslav Jovanovi , 43-55. Novi Sad: Svetovi, Sad: Novi , 43-55. ÿ nosti.” In Ā a za monografiju Kulturnog a zamonografiju The Newly Born Woman Born Newly The , 91. Novi Sad: The Omladinske đ Sedamdesete: teme , ed. Dragomir uri ý , 170-209. , March , 3-14. New ý , CEU eTD Collection ______. “Vizulena poezija.” In ______. “Umetnost Vojvodine uXXveku rodnihidentitie.” i problemi In Luki Lóránd, Zsófia. “Feminism as Counterdiscourse in Yugoslavia in Two Different Contexts.” MA Lazi Thomas. Laqueur, Kesi Kelly, Mary. “Art andSexual Politics.” In Huyssen, Andreas. “Mass Culture as Woman: Culture Modernism’s “Mass Andreas. Other.”Huyssen, In Hawkesworth, Mary. “Intersectionality.” In Havasréti, József. “Bevezetés:Grosz, Elisabeth. “Sexual Signatures:Az Feminism afterthe the Author.” Death “underground”of In és az “alternatív” értelmezései.” In “Katalin u podrumu.” “Katalin Grasi, Z. “Hepening: Krici kokodakanja.”i Glusberg, Jorge. “Bevezetés a testnyelvekhez: (1979).” ésaperformance a bodyart In ý ý ý , Radmila. “Mesto žudenje: Katalin Ladik.” Katalin žudenje: “Mesto , Radmila. , Vesna. “Katalin Ladik: Jajavna žena.” sam Ladik: , Vesna. “Katalin , Kristian. “Video u Vojvodini.” In “Video , Kristian. 727. Novi Sad: Muzej savremene umetnosti Vojvodine, 2008. umetnosti savremene Muzej Sad: 727. Novi konteksti umetnosti XX veka u Vojvodini Vojvodine, 2008. Dragomir Ugren and Miško Šuvakovi Thesis, Central European University, 2007. European Central Thesis, 1992. Novi Sad:Contemporary The Museum Art of Vojvodina, 2010). Miško Šuvakovi Miško 1996. Contemporary Art Vojvodina, 2010). 1962-2010 Retrospective Ladik, aWoman:Katalin of Modernism, Mass Culture, Postmodernism Innovation 2006. neoavantgárdban amagyar formái ellenállás Akulturális regiszterek: and Perversion: Essays Bodies on the Politics of Sad:Contemporary TheMuseum Art Vojvodina, of 2010). University Press, 1986. Press, University Miško Šuvakovi Miško Kiadó-Tartóshullám, 2000. Kiadó-Tartóshullám, performance-m , 207-248. New Brunswick: Rutgers University Press, 2006. Making Sex: Body and Gender from the Greeks to Freud ť vészet Ve ý ý , , ÿ The Power of a Woman: Katalin Ladik, Retrospective 1962-2010 Retrospective aWoman: Ladik, Katalin of Power The , edited by Sz , edited ernje novosti The Power of a Woman: Katalin Ladik, Retrospective 1962-2010 Retrospective Ladik, aWoman: Katalin of Power The , February 23, 1970. (Reprint in Miško Šuvakovi Miško in (Reprint 1970. 23, , February ŋ Evropski konteksti umetnosti XX veka u Vojvodini Feminist Inquiry: From Political Conviction to Methodological Evropski konteksti umetnosti XX veka u Vojvodini Imagining desire Imagining ke Annamária, 90-114. Budapest: Artpool-Balassi Budapest: 90-114. ke Annamária, Ilustrovana politika Ilustrovana , ed. Dragomir Ugren and Miško Šuvakovi ý , 44-62. , 707-715. Novi Sad: Muzej savremene umetnosti 77 Profemina , 9-24. New York: Routledge, 1995. York: New Routledge, , 9-24. Start Bloomington and Indianapolis: Indiana , February 28, 1981: 72-74. (Reprint in (Reprint 72-74. 1981: 28, , February 5-6 (1996): 136-139. (1996): 5-6 , 2-10. Cambridge, Mass.: MITPress, , 91. Novi Sad: The Museum of , December 2, 1980. (Reprint in (Reprint 2, 1980. December , , 11-34. Budapest:Typotex, . Harvard University Press, After the Great Divide: ý , 100. Novi , 100. Space, Time , The Power Alternatív Evropski , 96-98. ý , 721- , ed. , ed. A CEU eTD Collection Schröder, Johann Lothar. “Bevezetés: A performance, valamint más rokon kifejezések és rokon kifejezések más valamint Aperformance, Johann “Bevezetés: Lothar. Schröder, Schuller, Gabriella “On Katalin Ladik’s Performances.” In Ladik’sPerformances.” Katalin “On Gabriella Schuller, Pollock, Griselda. “Inscriptions in the Feminine.” In Identity:Male andFemale Body Politics Art.” In ______.“The of c.1970.” In Neo-avant-garde, the “Mapping Piotr. Piotrowski, Šalgo, Judita. “Opasne igre razgra Ramet, Sabrina P. “In Tito’s Time.” In Potkin, Helen “Performance art.” In Penezi Pearce, Lynne. “The Ghostly Romance: TowardsImplicated Reading.”a of Theory In Mirko, Radoj Milosevi Merenik, Lidija. Merenik, Mati ý , P. pesnikinja.” “Naga ý , Vida “Women in Yugoslavia.” In Tartóshullám, 2000. Tartóshullám, 1962-2010, Pť In áttekintése.” elméleti és történeti fogalomtörténeti, formál kifejezési Berry, 57-77. New York:1995. YorkPress, New New University 57-77. Berry, Kiadó, 2004 (Reprint in Miško Šuvakovi neoavantgárd köréb 2009. Art and the Avant-garde in Eastern Europe, 1945-1989 Avant-garde in Eastern Europe, 1945-1989 Park, Pennsylvania: ThePennsylvania State University Press, 1999. Yugoslavia and theYugoslav Successor States Pajaczkowska, 75-88. New York: Routledge, 2001. Cambridge, Mass. And London: MIT Press, 1996. Femininethe andFrom Of, In, Art: Century n h oiiso Readingand the Politics of Marjan, 36-47. Zagreb: Galerija suvremene umjetnosti, 1978. kuda.org, 2009. kuda.org, Contemporary Art Vojvodina, 2010). 1962-2010 Retrospective Ladik, aWoman: Katalin of Power Vojvodine, 2008. Dragomir Ugren and Miško Šuvakovi ý , vészet Nenad. ÿLý , edited bySz , edited . “Aktivnost Kôd.” In grupe Ideološki modeli: srpsko slikarstvo 1945-1968 The Youth Tribune 253-261. Novi Sad: Muzej savrmene umetnosti Vojvodine, 2010). ŋ l , edited by Adam i Eva , 1-33. London: Arnold, 1997. ŋ Ā ke Annamária, 13-34. Budapest: Artpool-Balassi Kiadó- Artpool-Balassi Budapest: 13-34. ke Annamária, ivanja – Beleška uz poeziju Ladik Katalin.” . Novi Sad: KlubIFC Kino Novi Sad andNewMediaCenter Pál Deréky and Andrés Müllner, 134-145. Budapest: Ráció Budapest: 134-145. Müllner, Andrés and Pál Deréky Feminist Visual Culture FeministVisual Gender Politics in the Western Balkans: Women and Society in , June 10, 1970, 12. (Reprint in Miško Šuvakovi in Miško (Reprint 12. 1970, 10, , June Postcommunism and the Body Politics Body and the Postcommunism ý , 241-314. London: Reaktion Books, 2009. , 603-608. Novi Sad: Muzej savremene umetnosti 78 Nova umjetni Nova , editedby SabrinaP. Ramet,89-105.University ý , h oe f a Woman: KatalinThe Power of Ladik Retrospective , edited by M. Catherine de Zegher, 67-87. Zegher, de Catherine by M. , edited Inside the Visible: an Elliptical Traverse 20 of . Belgrade: Beopolis, 2001. ÿ , 341-390. London: Reaktion Books, , edited by Fiona Carson and Claire ka praksa 1966-1978 ka praksa , 92. Novi Sad: The Museum of nteSao f Yalta:In the Shadow Art and of the Né-ma? Tanulmányoka magyar Né-ma? In the Shadow Yalta: of , edited byEllen E. Polja , ed. Susovski , ed. 128 (1969): 2. 128(1969): A performance- Feminism ý , The th CEU eTD Collection “Roland Barthes – the Author”The Death of http://www.deathoftheauthor.com/ Thornham, Sue. “Fixing into Images.” In Tickner, Lisa “The Body Politic: Female Sexuality and Women Artists since 1970.” In Šuvakovi ______. ______. “Umetnost XXveka u Vojvodini: Kontradikcije XX umetnosti i hibridnosti ______. “Ženski performance: maprianjeidentita.” In ______. “Ženskiperformance: Šuvakovi Slapšak, Svetlana. “Katalin Ladik: Osvajanje opscenosti.” Osvajanje Ladik: “Katalin Svetlana. Slapšak, http://www.vojvodina.gov.rs/index.php?option=com_content&task=view&id=100&Itemid=68 Sellers, Susan “Towards an Edinburgh University Press, 2007. New York: Pandora Press, 1987. Images Femininityof in the Visual Arts and Media 2002. umetnosti, likovne savremene 1920-2000. Grani 1920-2000. Grani Museum of ContemporaryMuseum Art Vojvodina, of 2010. and Miško Šuvakovi veka u Vojvodini.” In 2002. umetnosti, likovne savremene Muzej Sad: Novi 144-145. Ugren, umetnosti, 1995. umetnosti, vojvo France ý ý Miško, Šimi , Miško. , Ā anskih avangardi 1920-2000. Grani 1920-2000. avangardi anskih , 131-161. New York: St. Martin’s York: St. New 1991. Press, , 131-161. ÿ ni fenomeni, fenomeni granica.” In The Power of a Woman: Katalin Ladik, Retrospective 1962-2010 Retrospective aWoman: Ladik, Katalin of Power The Grupa Kôd, ( ÿLý ÿ Darko, “Centralnoevropski aspekti vojvo aspekti Darko, “Centralnoevropski ni fenomeni, fenomeni granica fenomeni fenomeni, ni ý écriture feminine. , 250-252. Novi Sad: Muzej savremene umetnosti Vojvodine, 2008. Evropski konteksti umetnosti XX veka u Vojvodini Ǫ , ( Ǫ -Kôd. Retrospektiva ” In ÿ 79 ni fenomeni, fenomeni granica fenomeni fenomeni, ni Women, Feminism andMedia Language and Sexual Difference: Feminist Writing in Feminist Difference: Sexual and Language , ed. Ugren Dragomir, 8-13. Dragomir, Novi Sad: Muzej , ed.Ugren Centralnoevropski aspekti vojvo aspekti Centralnoevropski , edited by Rosemary Betterton, 235-253. Betterton, by Rosemary , edited . Novi Sad: Galerija savremene likovne savremene Galerija Sad: . Novi Profemina 5-6 (1996):140-143. 5-6 Ā anskih avangardi 1920-2000. avangardi anskih Centralnoevropski aspekti Centralnoevropski , editedbyDragomir , ed. Dragomir Ugren , 23-54.Edinburgh: . Novi Sad: The Ā anskih avangardi anskih Looking on