| Abstract | Diplomski rad autorice Marije Bebić pod nazivom Okus boli serija je radova povezana istom, u naslovu rada spomenutom tematikom. Rad je instalacija sastavljena od više fragmenata od kojih svaki funkcionira sam za sebe, ali u međusobnom odnosu čine iznimno snažno vezanu cjelinu. Autorica u prvom redu polazi od sebe u nastojanju da prodre u dubine vlastitih negativnih iskustava i da pritom analizira tragove koje je to iskustvo utkalo u njezino biće, odlučuje se za jednu vrlo kompleksnu priču čiji se sadržaj ispisuje u ovom tekstu. Tijekom procesa realizacije diplomskog rada naglašeno je autoričino potpuno učešće duha i tijela. Evidentna je borba autorice i djela te su postali vidljivi i inače nevidljivi slojevi autoričinih subjektivnih doživljaja tako da djelo na koncu kao da prožimaju ekstremna stanja, izvjesno nasilje, patnja i bol. Unatoč dosta ekspresivnoj, gotovo sirovoj i zazornoj estetici, u djelu se ipak iščitava ženstvenost, mekoća, nježnost i krhkost. U diplomskom radu Okus boli razvidno je da se autorica bavi socijalnom tematikom vezanom za žensko pitanje, zapravo feminističkim temama, pa je stoga razumljivo da se autorica referira na feminističke teoretičarke kao što su Julija Kristeva, Luce Irigaray i Judith Butler, te na psihoanalitičke teorije Jacquesa Lacana i feminističku kritiku koja se bavi Lacanovim stavovima o ulozi žene i ženskom identitetu, posebno u okviru umjetnosti. Autorica također citatima iz knjige Žene koje trče s vukovima psihoanalitičarke Clarisse Pinkole Estés potkrepljuje svoja razmišljanja kojima se vodila u procesu stvaranja svoga djela Okus boli. Artefakti koji sačinjavaju to djelo su: ● Objekt: rozi kušin/jastuk oblika kruga promjera 202 cm i visine 90 cm predstavlja žensku bradavicu ● Instalacija u prostoru: trakama izvezeni iskazi (u službi etiketiranja žene) na posebno izvedenoj podlozi (trake i podloga su pripremljeni bojanjem stare posteljine, a podloga je naknadno oblikovana pomoću smjese od drvofixa, gipsa, vode i pijeska) ● Pet skulptura: različite poze ženskog tijela sačinjene od kaširanog papira i žice, a koji su izvedeni iz pet gipsanih kalupa ● Objekt koji predstavlja ženski spolni organ: rad je veličine okvira dimenzija 205 × 210 cm, a sastavljen je od četiri trodimenzionalna oblika koji imaju mogućnost montiranja, dok je dio odabrane, odbačene tkanine zalijepljen direktno na platno. Autorica snima kamerom cijeli proces stvaranja ovoga djela te mu time daje karakter performansa. Ovim diplomskim radom ona nastoji ženskim pismom u vidu performansa iznijeti još jedanput na vidjelo društveni problem statusa žene u društvu kojim se već desetljećima bave kako pojedinci tako i određene društvene skupine, kako bi naglasili ženin marginalizirani društveni položaj, te opetovano senzibilizirali javnost u pogledu ove teme. |
| Abstract (english) | Marija Bebić's graduation thesis titled The Taste of Pain is a series of works connected to the same topic mentioned in the title of the thesis. The work is an installation composed of several fragments, each of which works on its own. However, in relation to each other they form an extremely strongly connected whole. The author draws from herself in an effort to penetrate the depths of her own negative experiences and to analyze the traces that this experience has woven into her being. She decides to tell a very complex story, the content of which is written in this text. During the process of realization of the thesis, the author's full participation of mind and body was emphasized. The struggle between the author and the work is evident. Layers of the author's subjective experiences, which are otherwise invisible, have become visible, so that in the end, the work seems to be permeated by extreme conditions, certain kind of violence, suffering and pain. Despite the rather expressive, almost raw and ostentatious aesthetics, femininity, softness, tenderness and fragility can still be read in the work. In her graduation thesis The Taste of Pain, it is clear that the author deals with social issues related to women's issues, actually feminist issues, so it is understandable that the author refers to feminist theorists such as Julija Kristeva, Luce Irigaray and Judith Butler, and to the psychoanalytic theories of Jacques Lacan and feminist criticism that deals with Lacan's views on the role of women and female identity, especially in the context of art. The author also uses quotes from the book Women Who Run with the Wolves by psychoanalyst Clarissa Pinkola Estés to support her thoughts in the process of creating her work The Taste of Pain. The artifacts that make up the work are: • Object: a pink cushion/pillow in the shape of a circle with a diameter of 202 cm and a height of 90 cm represents a woman's nipple; • Spatial installation: tape-embroidered statements (serving to “label” women) on a specially prepared substrate (the strips and the substrate were prepared by dyeing old bedding, and the substrate was subsequently shaped using a mixture of wood fix glue, plaster, water and sand); • Five sculptures: different poses of the female body made of laminated paper and wire, made from five plaster molds; • An object representing the female genital organ: the frame of the work is 205 × 210 cm in size, comprising four three-dimensional shapes that can be mounted, while part of the selected, discarded fabrici s glued directly to the canvas. The author records the entire process of creating this piece with a camera, thus giving it the character of a performance. In this work, she tries to use ¨women's writing¨ in the form of a performance to once again bring to light the social problem of the status of women in society, which has been dealt with by both individuals and certain social groups for decades, in order to emphasize women's marginalized social position, and to repeatedly sensitize the public regarding this topic. |
