Dekonstruktion von Zweigeschlechtlichkeit - anita.a.mörth

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And the Venice biennale is a good example because as I said it is the most important [?] and then
what you can expect, what is going to be the approach of those female curators? What language,
what vocabulary are they going to use, that will mark their standpoint. What would you say, what
would you expect? What would you like them to do?
A: you mean compared to male ..?
AB: compared to whatever, compared to the past. What has been done so far. What would you
expect from them? From these 2 female curators
A: Hard to say, I dont think there are female positions, because its not said that only because they
are women that they do something different than before.
AB: Ok. You know what they did? They did something which I find totally simplistic. I don't mind this,
but I think it is again one dimensional. One of them did a feministic show and the second one did a
very private show. So the first one did a show which starts from 'Guerrilla Girls', so you enter arsenale
and you see posters of 'Guerrilla Girksl' with collages of Marcelo Mastroiani riding a woman and then
the next work is a huge chandelier out of tampons and then the third work is a work of female artist,
a young one, born in Bangladesh living in London and showing a work where one young lady is
pushing china glasses [towards the edge of a table] and its very fragile and of course in the end it
falls down and breaks. It is a very beautiful a very kind of banal. It is very banal. And then it
continues with a [?] presentation of body but mainly executed by female artists or sort of crossgender
or something like that, like [?] and then you have more athmospheric things and then you have for
instance a beautifully charmingly done installation sound installation done by Louise Burgeois, the
oldest, the most sort of respected and precious for the feministic discourse still a life contemporary
female artist who was so underrated by masculine curator world, because only at the age of 75 she
got her first retrospective in America. You know, so there is this beautiful sound installation where she
is singing the old lady singing lullabys. So things like this. I found it very banal and I found it very
obvious. You understand approach of the first female curators. And then the question is: is it ok? Do
we really need this? Was this discourse so much absent to the whole history of fifty-one biennales? So
it has to be manifested now? Is it the reflection of the current state of feministic studies, gender
studies and so on, that we need this huge chandelier out of tampons as a kind of voice of dominated
female right now at the threshold of the new millennium? Or we can use more sophisticated language,
you know, where we don't really have this illustration, because that's an illustration. And all this [?]
using more symbolic language of what our desires, our mentality is about.
And the second curator did a show which was like 'O show you my favourite art' it was like very
autobiographical. It's also very - if you continue using this simplistic language - a very kind of female
position. To write a biography, an autobiography to reflect your life. Because now I invite the artist I
have been inspired, and I loved through the whole life and career of mine. So this intimacy and
private is being combined with the public and the theoretical. This is the construction of those two
major shows at the Venice biennale done by those two female curators. And the conclusions: I think it
is too banal, too obvious, too simplistic, to use this event like this for those two very predictable
topics, executed by female curators. As if there was no chance for them to get rid of this, to do
something out of this what actually you are concerned with. This binary opposition, this manifestation
of my identity which at the point of departure is of course identity shaped by my gender, which I
represent. This is why I am disappointed, because I expected that those two intellectual female
curators are capable of doing something which goes beyond this very basic identity mark. Namely
Rosa Martinez and Maria de Corral being women.
A: In fact they are reconstructing it again, aren't they.
AB: They are reconstructing it again and they are strengthening the stereotype. This is why I am
disappointed, because this was a strong chance to mark a very strong female voice. And it has not
been used. The chance is lost.
A: So in fact this biennale has been disappointing?
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