Programska knjižnica 9. Lošinjskih dana bioetike - Hrvatsko ...

NINA ĐIKIĆ
Filozofski fakultet, Univerzitet u Sarajevu, Bosna i Hercegovina /
Faculty of Philosophy, University of Sarajevo, Bosnia and Herzegovina
ANESTEZIRANO TIJELO
KAO MEDIJ UMJETNIČKOG OBLIKOVANJA
S obzirom na polazište da je bioetika, prije svega, određena pluriperspektivizmom
u njezinom metodološkom pristupu problemima, pokušat ću
u ovom izlaganju, na temelju analize rada francuske umjetnice Orlan, uputiti
na mogućnost rasvjetljavanja bioetičkih problema kroz diskurs carnal arta.
Moje je izlaganje fokusirano na kritički pristup strukturi moći patrijarhalnog
društva, te njegovih normi i ideala koji se uvijek iznova legitimiraju i
učvršćuju znanošću i biomedicinskim praksama. Orlanina strategija dekonstrukcije
postojećih ideala jest autoportretiranje kroz kiruršku transformaciju
vlastitog tijela, koja ima za cilj slobodnu umjetničku kreaciju fluidnog
identiteta koji nadilazi binarnu strukturu patrijarhalnog koncepta ideala »lijepog«.
Pored navedenog, osvrnut ću se ukratko i na koncept seciranja tijela
kao pučke zabave u okviru renesansnih anatomskih teatara, carnal art kao
topos javne debate te multiplicitet identiteta kao njegov krajnji cilj.
THE ANAESTHETIZED BODY
AS A MEDIUM OF ARTISTIC MOLDING
Considering the standpoint that bioethics is primarily determined by
pluriperspectivism in its methodological approach, in this presentation I will
try to demonstrate the potential for explicating bioethical issues through the
discourse of carnal art by analyzing the work of the French artist Orlan.
The focus of my presentation is placed upon a critical approach to the power
structures of patriarchal society, its norms and ideals which are repeatedly
legitimized and reinforced by science and biomedical practices. Orlan uses a
strategy of deconstructing existing ideals through self-portraits, by utilizing
surgical transformation of her own body, the goal of which is a free artistic
creation of a fluid identity that overcomes the binary structures of the patriarchal
concepts of the ideal of “the beautiful”. Aside from the above-mentioned,
I will briefly look into the concept of body dissection as a means of populist
entertainment in the Renaissance anatomy theatres, carnal art as a common
place of public debate and the multiplicity of identity as its ultimate goal.
154