Ars Adriatica, No. 14, 2024.
Prethodno priopćenje
https://doi.org/10.15291/ars.4646
Portrait Fragmentation and the Split Subject in the Artistic Research Project Superheroine by Nadija Mustapić
Katarina Rukavina
; Akademija primijenjenih umjetnosti Sveučilišta u Rijeci
Sažetak
This paper analyses the concept behind the audiovisual installation Superheroine (working title) by the Rijeka-based artist Nadija Mustapić, where she explores the position of women in the recent COVID-19 pandemic. Mustapić is interested in the new gender, class, and racial definitions of work in contemporary society that have been revealed or enhanced by the extraordinary situation caused by the pandemic (such as working from home) and the feminist response to the newly created and imposed stereotypes. The visual part of the installation is conceived as a large-format video projected in the exhibition venue. Using the techniques of overlapping, masking, and slicing videos of numerous (more than 100) women standing in front of the camera in full format, the artist has created a composite image of a (universal) female figure composed of many vertical strips. These strips are fragments of the video portraits of different women taken from the same angle. The paper aims at showing how this approach reflects the perspective of the artist and supports the concept behind the artwork. The analysis is based on selected aspects of art theory, including portrait fragmentation strategies, discursive analysis of the feminist perspective selected by the artist, and the psychoanalytical approach to the phenomenon of splitting and decentring of the postmodern subject.
Ključne riječi
decentring of the postmodern subject; feminist discourse; portrait fragmentation; installation Superheroine; Nadija Mustapić; polyperspectivism
Hrčak ID:
325255
URI
Datum izdavanja:
26.12.2024.
Posjeta: 0 *