Spajalica > Copula

Art interventions in public space, MMSU Rijeka

Selma Selman – Autoportret / Selfportrait

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19. 7. / 18,30 h / Korzo 24 > SELMA SELMAN (BIH / USA) – Autoportret / Self-Portrait / Photo by: Tanja Kanazir

Performansom Autoportret Selme Selman, Spajalica u sam centar luke različitosti, prenosi fragment života koji se odvija isključivo na njezinim marginama. Mlada žena, Romkinja u cvjetnoj haljini i srebrnim cipelama, na najfrekventnijem mjestu u gradu, gradskom Korzu, rastavlja perilicu rublja ne bi li je u konačnici sjekirom razbila u komade. Značenje čina mijenja se ovisno o ključu kojim prolaznik raspolaže – dok u centru simboličkog djelovanja vidi ženu, čin poprima formu otpora prema dominantnom diskursu patrijarhalne raspodijele poslova. Kada ugleda Romkinju, forma prelazi u reprezentaciju obiteljskog načina privređivanja – rastavljanja perilice u željezo.  Iako aludira na stereotipne reprezentacije romskog načina privrede, ovaj je čin ujedno i naracija njezine intimne priče. Poigravanjem tradicionalnim načinima ispovijedi, Selma u centar izvedbe autoportreta postavlja vlastito kulturno naslijeđe, kao i predrasude koje ga prate. Odabirom centralne ulice grada za mjesto izvedbe, zrcalo istovremeno okreće sebi i gradu, rekreirajući scene umjetnosti preživljavanja njegove socijalno ugrožene margine prepuštene vlastitim, kreativnim strategijama opstanka.

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In the performance of Selma Selman, called Self-portrait, Spajalica takes a fragment of life from the city margins and brings it right to the center of this port of diversity. A young woman, of Roma origin, wearing a floral dress and silver shoes, is dismantling a washing machine in the most frequented place in the city, to finally break it down into pieces using an axe. The meaning of this act lies in the spectator’s point of entry – if we see a woman, this symbolic act assumes a form of resistance to the dominant discourse of patriarchic labor division. And if we see a Roma woman, it implies a stereotype depiction of the Roma ways of earning money, but it also tells an intimate story of this young woman. By performing her self-portrait, Selma is challenging the traditional ways of storytelling, placing her own cultural background and all the prejudices that go along with it in the center of her act. Choosing the city’s main street as her stage, she turns the mirror towards herself and the city at the same time, recreating the scenes from the art of living – art of the city’s disadvantaged margins which are left with their own, creative strategies of survival.

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