EDITORIAL, by Rachele Muzio 

MATERIA

• Art as experience and relationship. Space in Marisa Merz’s and Rachel Whiteread’s work
  by Maria Vinella  
• Marchandise. The making of the unconsumable
  by Lara Ge and Cloé Anturia
• For a life-breathing theatre
  by Barbara Della Polla
• Because men don’t cry
  by Fabrizia Di Stefano
• The International Museum of Women. A new space for women
  by Elizabeth L. Colton and Karen M. Offen 

POLIEDRA

• Body-graphies on stage
  by Nadia Setti
• Orlan: femina fabra
  by Silvana Pantalone, introduced by Michela Fusaschi
• Oggi è ogni giorno
   by Nadia Agustoni

SELECTA

• Reviews and schedules, by Masi, Buonauro, Di Martino, Giovannoni
• Abstracts
• Authors

EDITORIAL 
by Rachele Muzio  

MATERIA

Art as experience and relationship. Space in Marisa Merz’s and Rachel Whiteread’s work
by Maria Vinella   

The space of art – and for art – is also a space of one’s own; for Merz and Whiteread the aesthetic measure of space is to do with a physical and mental bodily dimension, with the existential relationships of that same body. Creating, searching, inventing, the places and spaces of/for their work, means interrogating and sometimes defining one’s own way to locate oneself in the world, undertaking an individual or collective autobiographical narration, in order to value a new conception of subjectivity. A space free from the domination of hierarchical thought, a fluid space open to inclusion, can reflect a woman’s sensibility.  

Marchandise. The making of the unconsumable
by Lara Ge and Cloé Anturia 

How can an academic conference be turned into an artistic happening, becoming an occasion for gender trouble and for new relationships which in turn trace new geo-graphies – against borders and barriers, against divisions separating bodies and ideas? This is the challenge undertaken by Lara Ge and Cloé Anturia with their body-in-translation.

For a life-breathing theatre
by Barbara Della Polla

Sconfinamenti (Transpassings) – a dramatic theatrical version of Fabrizia Ramondino’s Passaggio a Trieste (Passing through Trieste) – is a many voiced narration/diary/confession of women from a Mental Health Centre. Della Polla, actress, author and director, casted as interpreters of the play women whose situation and story closely resemble that of the protagonists of the book; here she retraces this experience, these women’s challenge and stubborn engagement, the bureaucratic difficulties but also the joys of common work, where “many madnesses met in a normal itinerary”.

Because men don’t cry
by Fabrizia Di Stefano

The author looks at several passages in a trans-sexual’s experience, articulating a logical temporal itinerary: from the first spontaneous revelations, through the moment of choice, to the “final moment” which indeed cannot be final at all. Analyzing the logical impasses of a condition closely related to the feminine dimension of the Lacanian pas-tout, a male-born trans-sexual – not truly generated – crosses the metaphysical experience of a lack in being. Thus the moment of recognition is forever delayed and never reached. The bitter perplexity which ensues must be faced drawing upon what is nevertheless always there: desire, vital core of this as of any authentic experience. The author interlaces her critical analysis with autobiographical personal reflections (in italics).

The International Museum of Women. A new space for women
by Elizabeth L. Colton and Karen M. Offen

The International Museum of Women (IMOW), www.imow.org, is a social change Museum born with the goal of empowering women as agents of positive social change and it is redefining what it means to be a museum in the 21st century. By using technology to go beyond the traditional concept of a museum building that houses art collections, specimens and artifacts, IMOW exists without walls and has pushed through the boundaries of time, space, culture, and language to create a space online that reaches a global audience twentyfour hours a day.

POLIEDRA

Body-graphies on stage
by Nadia Setti

Writing is huge action/operation transforming the difference between the sexes into the inscription of genders; writing makes gender, or rather genders – because one must envisage the metamorphosis of bodies into body-graphies, of figures into other figures. Afinished or a boundless process? The notion of gender implies the possibility of a boundless production of genders. But – at what point do the virtual and the possible fail in their cryptographical codification of the real? How does this doing and undoing of gender take place in literary and theatrical works? Starting from these premises, the author looks at some literary and performing texts.

Orlan: femina fabra
by Silvana Pantalone, introduced by Michela Fusaschi

The controversial French artist Orlan is here defined as a femina fabra in an interesting perspective of anthropological re-signification of her work. As the supervisor of Pantalone’s dissertation on Orlan, anthropologist Michela Fusaschi says, this article retraces the different stages in the artist’s development, showing how her work comes to address and perform an ongoing manipulation of bodily materials, in search of an identity which actually denies its links with its bodily container. Today is any day – Nadia Agustoni Reading DWF’s latest issue, on “The days of wrath. Women and figurations of violence”, the author composed this poem, in an ideal dialogue with the themes that issue addresses.

Oggi è ogni giorno
by Nadia Agustoni

SELECTA

Reviews and schedules 
by Masi, Buonauro, Di Martino, Giovannoni 

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