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"Standbeelden zijn weer helemaal terug in de belangstelling. Vooral als we denken aan de heftige reacties tegen koloniale beelden en de nieuwe stroom aan herdenkingsmonumenten. Standbeelden waren al duizenden jaren in gebruik voor de openbare zichtbaarheid, lang voordat de moderne media werden uitgevonden. Met voorbeelden uit vier eeuwen en vier continenten geeft dit boek voor het eerst in het Nederlands taalgebied een portret van het proces van komen en gaan van de beelden op straten en pleinen. De vraag "welk beeld is hier op zijn plaats?" is gemakkelijk te beantwoorden zolang de kunst de spreekbuis is van politiek en geloof. Dat verandert als de kunst opkomt voor de vrijheid van meningsuiting. Maar wat gebeurt er als die wordt getoetst aan de nieuwe verhoudingen van de diverse samenleving? Kan buitenkunst echt voor iedereen zijn?"

Sculpture --- outdoor sculpture --- public art --- monuments --- commemorating [function] --- decolonization

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Art --- histories [literary works] --- dance [performing arts genre] --- philosophy --- performance art --- political art --- narrative art --- theater arts --- decolonization

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Art --- histories [literary works] --- paintings [visual works] --- drawings [visual works] --- assemblages [sculpture] --- installations [visual works] --- racial discrimination --- colonization --- violence --- texts [documents] --- narrative art --- decolonization --- Lin, Candice

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Art --- installations [visual works] --- performance art --- fiber art --- oceans [marine bodies of water] --- climate change --- underwater areas --- decolonization --- Piña, Amanda --- Studio Fortuna [Vienna]

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The radical feminist practice of the Italian art historian, art critic, poet, and feminist Carla Lonzi (1931–1982) and its potential relationship to both historical and contemporary art practices offers the contextual framework for the publication Deculturalize. Lonzi’s recurring demand for deculturizzazione, echoed in the book’s title, is based on her proclamation that women’s inclusion in society must be understood as a constant colonization. Their ensuing “impotence, lack of history, lack of culture” and “insignificance” can thus only be abolished through the establishment of an “unexpected” (female) subjectivation. Rather than continuing to be the object of historical-social power dynamics, women must become the subject of their own life practices through their continuous withdrawal from (patriarchal) norms. The book’s authors explore if and to what degree Lonzi’s radical feminist approach is based on art terms and concepts, or historical or contemporary art practices. The motivation was the exhibition Doing Deculturalization, presented at Museion, Bolzano, in 2019, and the related desire to address the (historically ambivalent) relationship between (Italian) female art and the formation of feminist theory. Essays by Sabeth Buchmann, Laura Iamurri, Marco Scotini and Elvira Vannini, and Giovanna Zapperi focus on this by analyzing works by women artists whose practices are related to Lonzi’s deculturizzazione concept. The contributions by artists Claire Fontaine, Ariane Müller, Margherita Morgantin (in conversation with Lia Cigarini) and Suzanne Santoro (in conversation with Ilse Lafer) present specific reflections on Lonzi’s feminist legacy, which is always related to the individual artist’s own artistic-feminist practice. Juxtaposed with these are philosophical and analytical concepts developed by Marc Rölli and Annarosa Buttarelli, who reconstruct Lonzi’s theory of deculturizzazione based on its historical reference points and update it for the present.

Art --- art [fine art] --- museology --- avant-garde --- feminism --- gender issues --- patriarchies --- Italy --- vrouw in de kunst --- toxic masculinity --- feminisme --- Multiculturalism in art --- Art, Modern --- Identité de genre --- Féminisme --- Lonzi, Carla --- Multiculturalism in art - Exhibitions --- Art, Modern - 21st century - Exhibitions --- art [discipline] --- Feminist art --- Gender --- Migration --- Book --- Catalogue --- Decolonization