In order to compose “Autoritratto”, Carla Lonzi recorded conversations directly, availing herself of the then new technology of the tape recorder. Carla Lonzi by Carla Subrizi Carla Lonzi’s book Autoritratto (Self-portrait) was published by De Donato. A polyphonic self-portrait. The life and work of Carla Lonzi (–) is inseparable from the cultural, political, and social history of Italy in the decades.

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Skip to main content. Log In Sign Up. Carla Lonzi, Art Critic and Feminist.

Giovanna Zapperi Intoductory remarks to the conference Carla Lonzi: Art Critic and Feminist, organised by the Travelling Feminism research group http: Carla Lonzi, an emblematic figure in Italian feminism, was an innovative art critic in the s.

Her Self-portrait, published in and now translated into French for the first time, is a book-montage made from conversations recorded with 14 artists where Lonzi deconstructs art criticism and invents a style of writing based on subjectivity, exchange and non-linearity. This conference aims to explore the diverging trajectory of Carla Lonzi, who abandoned art for feminism, in order to investigate the relations between art and feminism from a minority perspective that is little known outside Italy.

Between historicization and actualization, we will explore the potentialities of Lonzi s path toward a feminist revision of the history of her epoch and its topicality for a feminism of the future. InItalian art critic Carla Lonzi published Self-portrait Autoritrattoa book based on the principle of montage consisting of a series of conversations tape- recorded with fourteen artists all male except Carla Accardi between and The book is also a farewell: Lonzi, who died in at the age of 51, became one of the founding figures of Italian feminism, and the author of a number of provocative texts and manifestos; in she also published her monumental journal under the title Taci, anzi parla: A feminist s diaryand later, Vai pure.

Dialogo con Pietro Consagra, a four-day conversation with sculptor Pietro Consagra, her life-long partner, which ended their relationship. These texts are not only among Italian feminism s most important documents, they also represent feminist experiments with writing, creativity and knowledge production in which Lonzi reinvents a number of traditionally minor forms of expression: Very quickly, Carla Lonzi came to occupy a central position in Italian feminism, which, paradoxically, is also one of the reasons why Autoritratto was so quickly forgotten.

Despite the fact that the book is, among other things, an extraordinary source for the study of Italian art of the s, it never became a canonical text. On the contrary, it must have seemed incompatible with official art historical narratives, as well as with the kind of cultural packaging through which Italian art was promoted in the s and 80s.

Barely mentioned in art critical and art historical discourse, Lonzi s radical undoing of the traditional forms of art writing went unnoticed, or was simply considered as a sort of prologue to her subsequent feminist engagement. Self-portrait is based on the montage of a series of conversations that Lonzi recorded, transcribed and assembled. Each conversation is first fragmented, then recomposed as a non-linear ensemble, where Lonzi ceases to ask questions or discuss the artist s works, but where she speaks for herself, in her own voice.

She thus constructs the fiction of an uninterrupted conversation in which her role is essentially participatory. Once the original continuity of the conversations is destroyed, Lonzi composes a text in which she and the artists, converse, so to speak, with each other. The majority of these images are personal or travel snapshots only a small number reproduce artworks.

Lonzi quite literally undoes both the practices and poetics of art writing hegemonic in her time: Lonzi, who had worked as an art critic for over a decade, had registered her frustration with conventional art writing as early aswhen she published a polemical article entitled The critic s loneliness La solitudine del criticoin response to what she perceived as the dominant form of art criticism based on detachment, paternalism, and authority.

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During the s, Lonzi became increasingly committed to artists rather than their products, and felt increasingly alienated in her role as a critic. Participation became a way for her to surpass the role of passive observer, the spectator inevitably located outside, a position which she ambivalently identifies with both the critic and the woman. Accordingly, Autoritratto emerges as a search for an authorial female voice in opposition to the prevalent practices of art writing.

Moreover, the assemblage-like construction of the book tape-recording, transcription, and montage enacts a complex process of becoming a subject within the male dominated art world of s Italy. In her book, Lonzi rejects the critic s authority, coherence and unity by dispersing her own voice within a non-linear, dialogic, and collective narrative. Within these terms, the book also resonates with her feminist writings, in which issues of subjectivity and self-representation are crucial, as well as participating in the broader framework of feminist revisions of art history.

BEING TOGETHER, APART

How should we understand Lonzi s perception of the radical discontinuity between art criticism and feminist activism? Rivolta Femminile caroa launched by Lonzi, an art critic and Accardi, an artist, on the basis of their refusal to position themselves exclusively and professionally within the art world.

Lonzi s feminism builds on the radical refusal of the prevailing concept of creativity, in particular, the notion that art itself could be an emancipatory practice for women. Rivolta Femminile considered it illusory to conceive of art as a liberating force for women insofar as patriarchy had already colonized creativity, such that cultural creation was always an already a patriarchal product.

Drawing on the issues raised by the book, I would like to sketch a set of open questions or avenues to be developed in the future, as well as providing some directions to explore Lonzi s writings and activity from a feminist perspective. A first question concerns Self-portrait s non-linearity, which in many ways echoes themes that Lonzi would later develop in autoritraatto feminist writings.

One could say that the book is an alternative, fragmentary, and subjective history of Italian art in the s, a sort of history of and in the present.

The book rejects dominant modes of art writing, beginning with its refusal of the notion of a linear and homogeneous time that is able to unify artists, movements and historical facts. In addition, Self-portrait s non- linear narrative and temporality echoes Lonzi s perception of feminism as an interruption in the continuum of historical time which is also the continuum of woman s oppression.

In her text Let s spit on Hegel written inLonzi describes the feminist subject as representing the sudden emergence of an Unexpected Subject 1 Soggetto Imprevistoa subject that requires neither the past nor the future: There is no goal, only the present. We are the dark past of the world. We are accomplishing the present. A second question could be related to Lonzi s rejection of formalism that resulted in her rupture with art and embrace of feminism.

Edizioni, Milano,p. Of course, formalist models of art criticism were then dominant internationally, and Lonzi had developed her own version of it, in keeping with her training as Roberto Longhi s student, a prominent Italian art historian of the period. Although Self-portrait rejects the primacy of vision as the driving principle of writing on art, Lonzi does not reject notions of authenticity and truth in relation to art or artists, which she derived from her formalist vocabulary.

Furthermore, these ideas, which occupy a pivotal role in Autoritratto, return in Lonzi s feminist writings, especially in her elaboration of sexual difference and her notion of woman s authenticity as a liberating force. During her career darla an art critic, Lonzi never really championed women artists, with the notable exception of Carla Accardi who became her best friend in the early s.

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But autoditratto, Lonzi s separatist feminism led to a refusal of culture itself as a patriarchal construction. Autoritrattp call for a radical de-skilling3 or de-culturation as a means for feminist action resulted in an uncompromised, yet often contradictory rejection of patriarchal culture.

Consequently, she actively refused to support women artists throughout the s, accusing them of inauthenticity and of complicity with patriarchy, or worse, their having taken advantage of women s oppression4. The last point I would like to emphasize is that despite her detachment from the artistic arena, Lonzi s feminist writings are punctuated with reflections on art and sexual difference.

The most notable example of her continous interest in art is the short manifesto she wrote in signed Rivolta Femminile entitled On woman s absence from celebratory manifestations of male creativity Assenza della donna dai 3Idem, p. In this text, she develops her idea of woman as the passive spectator of the artwork, which certainly has to do with both Lonzi s role as a critic and with the type of abstract, non-figurative art that she advocated.

For Rivolta, spectatorship is equal to passivity and exclusion, and therefore corresponds to the role assigned to women. However, Lonzi s identification with the spectator is ambivalent because, for her, to be excluded from the creative process also meant to have a certain degree of power art criticism is poweras she writes in Also, contrary to the almost contemporary theorizations in the Anglo-Saxon context, Lonzi s texts never mention woman as the object of the look, she is rather the indispensable viewer who passively observes and thus legitimizes male creativity.

I believe this issue deserves further attention since it introduces different issues within the predominant discourses of feminist critique that emerged the art of the time. Griselda will question the invention of alternative modes of knowledge production within feminist creative practices which includes writingwhile Elisabeth will focus on the political significance of the rupture in the context of s feminism.

Dora Stiefelmaier will recount her own acquaintance with both Lonzi and Accardi in the late s and share important archival material about the disagreements that resulted in Accardi s break with Rivolta Femminile in Lucia Aspesi will go back to the s and show a short film made by experimental filmmaker Marinella Pirelli featuring Lonzi and Luciano Fabro; she will discuss the relation between Lonzi and Pirelli and the condition of women artists in s Italy, another largely unexplored subject.

Sabeth Buchmann s intervention was scheduled for this section and I really regret her absence today.

Prefazione a Carla Lonzi, Autoritratto | Laura Iamurri –

Beside wanting to focus on Lonzi s autortiratto of formalism, Sabeth projected to discuss this shift in relation to a biopolitical agenda of emancipatory identity politics of that time. Francesco Ventrella will focus on Lonzi s Autoritratto in the framework of a feminist-queer reading of the text, which will put her in dialogue with important Anglo-American feminist theorists; Chiara Fumai, who is part of a younger generation of feminist artists, will close the day by recounting her own involvement with Carla Lonzi s feminism in her performative practice.

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