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Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1. Identitet kao mesto razlike/ 134 5.1.2. Identitet kao izvoĎenje/ 138 5.1.3. Sporna privilegija falusa i lezbejski identitet/ 150 5.1.4. Strategije maskiranja / mimikrije/ 154 5.2.Karnalno telo i iskustvo kiborga/ 160 5.2.1. Ţensko iskustvo i politika kiborga/ 162 5.2.2. Kiborg ontologija/ 165 5.2.3. Kiborg identitet/ 167 5.2.4. Karnalno telo/ 169 6. Zaključna razmatranja: Redefinisanje nadrealističkog koncepta subjektiviteta u savremenim umetničkim praksama/ 176 6.1. Ţenski subjektivitet/ 179 6.2.Ţenski poredak slika/ 186 6.3.Značenje fantazije za feminističku teoriju/ 192 7. Prilozi/ 195 8. Bibliografija i vebografija/ 210 9. Biografski podaci / 220 3 Apstrakt Ovaj rad posmatra genezu ţenske subjektivnosti u vizuelnoj umetnosti XX veka, kroz razvoj nadrealizma kao subverzivnog umetničkog pokreta. Feminizacija umetnosti izvršena kroz nadrealističku praksu dovela je do značajnih preokreta u reprezentaciji i percepciji tela, u ikonografiji fotografije i filma kao medija organizovanih oko patrijarhalnog narativa o ţeni kao Drugom. Demistifikacija i dekonstrukcija društveno artikulisane fantazije i erotizacije ţenskog tela, sprovedene kroz subverzivne umetničke prakse u nadrealističkoj mehaničkoj slici, dovele su do promene u strukturi gledanja i izlaganja tela, kao i narcističke identifikacije nastale iz objektog odnosa Ja naspram Drugi. Ove pozicije zamenjene su pre svega paradigmatskim odnosom umetnosti nadrealizma prema nesvesnom, koja za dominantnu crtu svoje poetike bira tematizaciju i problematizaciju prostora druge scene, ali i specifičnim autorskim praksama koje su na različite načine dovele do zamene opozitnih pozicija subjekta/objekta i muškog/ţenskog u tradicionalnom reprezentacijskom opusu tela unutar vizuelnih umetnosti. Na putu ka otkrivanju transcendentnog objekta ţelje i ideala totalnog, celovitog subjekta, nadrealistički umetnici otkrivaju do tada nevidljivi diskurzivni potencijal ţenskog tela, potom tematizovan i razraĎivan kroz feminističku i poststrukturalističku teorijsku praksu, koje u ţenskom, kao heterogeno strukturisanom modelu, pronalaze alternativne sisteme proizvodnje značenja i uspostavljanja relativističkog odnosa izmeĎu društvene kategorije subjekta i njegove unutrašnje stvarnosti. Psihoanalitički diskurs iz koga nastaje nadrealistička mehanička slika koja se bavi pitanjima ţenskog tela, proširuje se i dograĎuje kroz različite teorijske i umetničke discipline, tokom čitavog XX veka, pronalazeći svoje mesto i u savremenom diskursu tela i subjektiviteta koji insistira na njegovoj performativnoj funkciji i heterogenezi. Strategije i konteksti u kojima se ţensko telo pojavljuje i reinterpretira u savremenoj fotografskoj i filmskoj umetnosti, ponavljajući prepoznatljive obrasce nadrealizma, ukazuje na višeznačnost nadrealističke mehaničke slike, koja postavlja zahtev za novim teorijskim čitanjima i tumačenjima. Tek interdisciplinarnim teorijskim pristupom otkriva se mogućnost reprezentacije ţenskog subjekta i feminizacije vizuelne umetnosti, unutar suštinskih promena sprovedenih kroz strategije nadrealističke fotografije i filma. Ključne reči: ţensko telo, nadrealizam, reprezentacija, percepcija, fetišizacija, dekonstrukcija, dijalektika tela, performativnost, subverzija, feministički subjekt, heterogeneza, feminizacija umetnosti. 4 Abstract This paper studies the genesis of female subjectivity in the visual arts of the 20th century through development of Surrealism as a subversive art movement. Feminization of art that occurred in surreal practices has lead to significant breakthroughs in representation and perception of the body and in iconography of film and photography as the media organized around patriarchal narratives of the woman as the Other. Demystification and deconstruction of a socially articulate fantasy and erotification of the female body, carried out through subversive art practices in surreal mechanical imagery, have caused a change in the structure of how the body was observed and displayed as well as in the narcissist identification rising from the object-based relation of I opposite the Other. These positions have changed primarily by the paradigm which the surreal art applied to the unconscious – a dominant problem of its poetics treating the space of the other scene – and also author-specific practices which have in different ways led to changing the positioning of subject/object and male/female in regard to the traditional representation of the body in visual arts. On the road to discovering a transcendental object of desire and an ideal of a single wholesome subject, the surrealist artists have discovered a yet unseen discursive potential of the female body which was then thematically processed and developed into feminist and post-structuralist theoretical practices, which have found alternative ways in the female as a heterogeneously structured model to generate meaning and establish a relativistic correlation between the subject's social category and its inner reality. The psychoanalytical discourse which has generated the surrealist mechanical images of female body has been expanded and developed in different theory and art disciplines throughout the 20th century, finding also its place in the contemporary discourse of the body and the subjectivity insisting on its performance functions and heterogenesis. The strategies and the contexts in which the female body appears and is reinterpreted in modern photography and film repeating the recognizable surrealist models, point to the complex meaning of the surrealist mechanical image which poses a challenge for new theoretical readings and interpretations. Only with interdisciplinary theoretical approach a possibility arises for representing of the female subject and for feminization of the visual art as part of essential changes implemented in strategies of surrealist film and photography. 5 Key words: female body, surrealism, representation, perception, fetishization, deconstruction, body dialectics, performativity, subversion, feminist subject, heterogenesis, feminization of art. 6 1. Uvod : Od nadrealističke poetike ka opštoj teoriji tela Doktorska disertacija “Ţensko telo u nadrealističkoj fotografiji i filmu” postavljena je kao slojevita, kritičko-teorijska elaboracija problema objektifikacije ţenskog tela, specifično fokusirana na fotografiju i film kao medije kojima je, kroz umetnost nadrealizma, sprovedena transformacija u tehnikama, načinima i diskurzivnim modelima izlaganja ţenskog tela u polju vizuelnih umetnosti i feminističke reprezentacije. Svoju doktorsku disertaciju zasnivam na tri velike grupe teorija: teorijske psihoanalize, feminističkih i poststrukturalističkih teorija, čiji su predmeti teorijsko- kritičkog razmatranja i interpretacije direktno ili indirektno vezani za poetiku i ideologiju nadrealizma, kao i društveno-politički kontekst izlaganja ţenskog tela u vizuelnim umetnostima. Razgranatost i umereţavanje različitih konteksta u kojima se ţensko telo pojavljivalo u nadrealističkoj fotografiji uslovilo je neophodnost interdisciplinarnog sagledavanja ove tematike, što je glavni razlog zbog koga sam baš ovu temu odabrala kao predmet istraţivanja svoje doktorske disertacije i zbog koga je ona postavljena šire nego što trajanje samog nadrealističkog pokreta zauzima u istorijskoj avangardi XX veka. Tema mog doktorskog rada jeste ţensko telo kao model kojim je umetnost nadrealizma izrazila i transformisala značenje nesvesnog kao druge scene u binarno konstruisanoj stvarnosti, podrivajući stereotipe i hijerarhiju patrijarhalne kulture u kojoj je mesto ţenskog okarakterisano i konstruisano kao Drugo u odnosu na maskulini, simbolički poredak. Ţensko telo podreĎeno konceptu polnosti, polne uloge i razlike, kroz nadrealističku fotografiju i film materijalizovano je na način koji prevazilazi diskurzivna odreĎenja i funkcije, uspostavljajući reprezentaciju kao performativnost. Nadrealistika kritika društvene proizvodnje identiteta i subjektiviteta koja se uspostavlja u odnosu prema telu, biće takoĎe
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    SADRŽAJ KLOPKA ZA USPOMENE Dimitrije Popović: Poetika raspadanja, 3 Stanko Andrić: Tranzicijski frazarij, 31 Antun Vujić: O memoarima, 55 NOVA PROZA Rade Jarak: Život je vrsta pogrešne magije, ulomak iz romana Emigranti, 60 Marina Krleža: Porno svijet današnjice, ulomak iz romana Žena robot, 70 ALAIN BADIOU Žarko Paić: Antiteologija novoga događaja: Alain Badiou i kontingencija politike, 75 Ed Pluth: Politika, 107 Bruno Bosteels: O subjektu dijalektike, 123 MOJ IZBOR Dubravka Đurić: Rod, trauma rata i drama identiteta u poeziji Vojke Smiljanić–Đikić, 139 Vojka Smiljanić–Đikić: Pjesme, 147 IN MEMORIAM — ARSEN DEDIĆ Zoran Predin: Osuđen na istinu, 170 GODIŠTE XIII Zagreb, listopad–prosinac 2015. Broj 10–12 rrepublika124.inddepublika124.indd 1 111.12.2015.1.12.2015. 111:39:251:39:25 KRITIKA Nikica Mihaljević: Plivajući (s)tečaj identiteta ili gušenje trivijalnosti (Miljenko Jergović: Rod), 172 Nikola Petković: Promišljanje identiteta (Vesna Biga: Bijela panika), 182 Nikola Petković: Kompaktna i uvjerljiva knjiga (Željka Horvat Čeč: Moramo postati konkretni), 185 Sonja Krivokapić: Predmeti koji pričaju (Bora Ćosić: Mirni dani u Rovinju), 188 rrepublika124.inddepublika124.indd 2 111.12.2015.1.12.2015. 111:39:371:39:37 Klopka za uspomene Dimitrije Popović Poetika raspadanja Izuzimajući slike čije sam reprodukcije gledao u monografijama, enciklopedi- 3 jama ili umjetničkim časopisima, poput Boschovih kompozicija bizarnih hi- bridnih bića, Grünewaldovog Iskušenja svetog Antuna, Goyinog Saturna koji proždire vlastitu djecu, Dalíjevo Predosjećanje građanskog rata... neposredan susret s »ljepotom ružnog« doživio sam u cetinjskoj Umjetničkoj galeriji. Među izloženim radovima crnogorskih slikara moju je pažnju posebno zaokupila sli- ka Miodraga Dada Đurića. Na toj kompoziciji naslovljenoj Pubertet, rađenoj u plavim tonovima, naslikan je prizor koji bi zbog svoje bizarne zanimljivosti zahtijevao posebnu elaboraciju.