26. oktober 2018

»Ima u tome nešto lepo« (Marković): O avtobiografiji, o telesu in bolečini, o seksualnem užitku, o biopolitiki, o dogodkovnosti pisave in še o čem

Slovenija
Predavanje

Dramatika Simone Semenič nastaja vseskozi skozi lastno (avtobiografsko) izjavljalno pozicijo, levi se skozi telo; vanjo se vpisuje položaj avtorice, ki je ženska, mati, umetnica z neurejenim zdravstvenim statusom, samozaposlena v kulturi, epileptičarka in kadilka. Zlasti to velja za trilogijo žrtve, (Jaz, žrtev.; drugič), ki preigrava razmerje med telesnim in patologijo političnega, med realnim in fikcijo ter med performativnim in dramskim. Zanimala nas bo dogodkovnost njenih tekstualnih leg, največkrat razpirajoča se skozi monodramsko samouprizarjanje biopolitike vsakdanjega življenja, pa tudi skozi instalacijo tekstov v prostoru, ki skušajo pisavi omogočiti drugačen način obstoja. Zasledovale_i bomo žmohtnost njene pisave, s katero izigrava slovenščino in ji daje živost. Pa tudi tisto brezrezervno žgečkljivost, ki se sprehaja po tabujih inhibirane seksualnosti in moško-ženskih relacijah ter nonšalantno razkriva proizvodnjo in avtonomijo “ženskega” seksualnega užitka.

Vstop prost.

Produkcija in organizacija: Mesto žensk

Umetnice in sodelujoče

Simona Semenič

Video

“There is something beautiful in this” (Marković): On Autobiography, Body and Pain, Sexual Pleasure, Biopolitics, the eventuality of writing and other things

Simona Semenič

Alja Lobnik

xx SIMONA SEMENIČ SEASON

Slovenia
Lecture

Simona Semenič’s dramatics is always created from a personal
(autobiographical) declarative position, it moults through the body; it
inscribes the position of the author who is a woman, a mother, an artist
with no health insurance, a freelancer in culture, an epileptic and a
smoker. This is especially true for her victim trilogy (I, Victim., the second time)
that plays with the relationship between the body and the pathology of
the political, between reality and fiction, between performative and
dramatic. We will dive into the eventuality of her textual positions
which often comes alive through the monodramatic self-staging of
everyday-life bio-politics but also through an installation of texts in
space that tries to enable her writing to exist in a different manner.
We will follow the juiciness of her writing that bends the rules of
Slovenian language and brings it to life. We will also tackle the
unreserved erotic play with the taboos of inhibited sexuality and
relationships between men and women, while it nonchalantly displays the
production and the autonomy of “female” sexual pleasure.