Growing Up Wild: The Ruined Body

Zhuoran Zhang

doi:10.61424/ijah.v4i2.901

Authors

Zhuoran Zhang University of Debrecen, Hungary

DOI:

https://doi.org/10.61424/ijah.v4i2.901

Keywords:

Experimental film, feminist art, bodily theory, philosophy, film studies

Abstract

Nowadays, we take a more critical view of feminist art practices, with Abramovic's Rhythm 0 (1974) and Yoko Ono's Cut Piece (1964) as special cases. The body as a dispositif is subjectively deconstructed as ‘ruins’, developing a fetishistic approach to the sublime aura of ruins. The female body's very identity as dispositifal in becoming a ruin - the manipulation of primitive hegemony, the decay of neoliberalism, the entrenchment of the social class system - is greatly ignored, and all that is left in the final text of artistic practice is the nebulous and even mythic symbols that transcend the will of the core female identity. It is a way of looking at the female body based on the aesthetic quality and transcendent value of the vulnerability of the female subject, thus distorting the truly brutal reality behind female existence. So I think the important task for women artists at the moment is how to recover a sense of intersubjectivity that allows for the recognition of flexibility and universality, creating a new kind of alliance in a way that is inclusive and not exclusionary and vulnerable.

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