Diskursi o rodu u umetnosti: konstrukcija profesionalnog identiteta umetnica u oblasti novih medija u Vojvodini krajem 20. i početkom 21. veka

Abstract

Cilj istraživanja je konstrukcija profesionalnog identiteta vizuelnih umetnica koje stvaraju u Vojvodini krajem 20. i početkom 21. veka, analiza njihovog umetničkog rada i života, ukazivanje na mogućnosti njihovog povoljnijeg položaja. Hipoteza 1: Nedovoljna je valorizacija vizuelnih umetnica Vojvodine, naročito onih koje se bave novim tehnologijama. Hipoteza 2: Nevidljiv je njihov doprinos značaju za razvoj aktuelne umetničke prakse i u sistemu visokog obrazovanja. Hipoteza 3: Značaj umetničkog rada ovih vizuelnih umetnica ne prepoznaju masovni mediji, što još više doprinosi njihovoj nevidljivosti u javnosti. U istraživanju su primenjene analize: svedočenja (intervjui) umetnica; analize tekstova o umetnicama, analize umetničkih radova umetnica. Osnovni korpus istraživanja čine razgovori autorke sa umetnicama, ukupno 12 umetnica vezane za Vojvodinu, tekstovi o njima i njihovi umetnički radovi. Rezultati istraživanja su pokazali da je umetnicama profesionalni identitet najistaknutiji, ostalim pristupaju kao promenljivim kategorijama; da pridaju važnost prenošenju znanja i formiranju novih kadrova, te uvođenju ženskog identiteta u umetnost; ističu da im nedostaje finansijska sigurnost u profesiji, te da rešenje vide u udruživanju i izgradnji mreže saradnica (međugeneracijskih, umetničkih, interdisciplinarnih, lokalnih, regionalnih i internacionalnih). Zaključujem da je istraživanje ukazalo da su umetnice koje se bave novim medijima u Vojvodini delimično valorizovane. O njima je pisan veći broj tekstova, ali su oni rasutu po različitim izvorima, na mnogim jezicima i mestima (lokalno, regionalno, internacionalno). Politika institucija kulture im nije posvetila dovoljno pažnje kada su u pitanju monografske publikacije i retrospektivne izložbe, otkupi umetničkih radova i sl. Njihov doprinos nije dovoljno vidljiv u sistemu visokog obrazovanja, a značaj njihovog umetničkog rada ne prepoznaju dovoljno mas-mediji. Istraživanjem su prvi put umetnice koje se bave novim medijima u Vojvodini krajem 20. i početkom 21. veka okupljene u jednu celinu. Izneti podaci o njihovoj generacijskoj, medijskoj, umetničkoj i drugoj povezanosti predstavljaju samo početak budućih istraživanja u okviru istorije i teorije umetnosti. Za njih je izgrađivanje profesionalnog identiteta kao bogatstva različitosti najvažnije, ali je on uklopljen u mnogostruke ženske mreže i povezanosti jer je to jedan od načina njegovog razvoja i opstanka. Ukupni podaci o različitim aspektima identiteta umetnica novih medija mogu doprineti opštoj diskusiji o prirodi identiteta. Preporuka je da se uspostavi sistem čuvanja ne samo radova, već arhiviranja dokumentacije o umetnicama novih medija budući da su podaci rasuti po različitim izvorima i privatnim kolekcijama, slabo dostupni javnosti; da se u galerijama i muzejima koji nemaju posebno izdvojena sredstva za mlade umetnike/ce, za produkciju umetničkih radova i sl. uvede slična praksa; takođe nedovoljno kritičara i kritičarki koji prate nove medije predstavlja problem koji treba rešavati. Iz svega izloženog pokazali smo da je reč o umetničkim izrazima i umetničkim praksama koje osvajaju prostor i otuda je prvi važan rezultat analize u ovom radu to što su na jednom mestu pokazane različite prakse i to tako da se sučeljavaju ocene o njihovom radu sa svedočenjem samih umetnica o sopstvenim radovima i dilemama.

The aim of the research is the construction of the professional identity of female visual artists who are creating in Vojvodina in the late 20th and early 21st century, an analysis of their artistic work and life, pointing to the possibilities of their favorable position. Hypothesis 1: Valorization of female visual artists of Vojvodina is insufficient, especially those dealing with new technologies. Hypothesis 2: Their contribution for the development of current art practice and in the higher education system is invisible. Hypothesis 3: The importance of the artistic work of these female visual artists is not recognized by the mass media, which further contributes to their invisibility in the public. The research involved these analyzes: female artists testimonies (interviews); analysis of texts about female artists, analyzes of art works by female artists. The main research corpus is the interviews of the author with female artists, a total of 12 female artists related to Vojvodina, texts about them and their art works. The results of the research have shown that for the female artists the professional identity is the most prominent identity, to other identities they approach as to variable categories; they give importance to the transfer of knowledge, to the formation of new personnel and to the introduction of women's identity in art; emphasize that they lack financial confidence in the profession and that they see the solution in the merging and building of a network of collaborators (intergenerational, artistic, interdisciplinary, local, regional and international). I conclude that the research indicated that female artists dealing with new media in Vojvodina are partially valorized. A number of texts are written about them, but they are spread across different sources, in many languages and places (locally, regionally, internationally). The politics of the cultural institutions did not give them enough attention when it comes to monographic publications and retrospective exhibitions, the purchase of art works, etc. Their contribution is not sufficiently visible in the higher education system and the importance of their artistic work is not sufficiently recognized by mass media. This research is the first time that female artists who are engaged in new media art in Vojvodina in the late 20th and early 21st century have been integrated into one whole. The presented data on their generational, media, artistic and other connections are only the beginning of future research within the history and theory of art. For them, building the professional identity as the wealth of diversity is the most important, but it is integrated into multiple women's networks and connections because it is one of the ways of its development and survival. The overall data on different aspects of the identity of female new media artists can contribute to a general discussion of the nature of identity. It is recommended to establish a system for storing not only works, but also archiving documentation about female new media artists, since the data that is scattered across different sources and private collections is not readily available to the public; that in galleries and museums that do not have special funds allocated for young artists/female artists, for the production of works of art, etc., introduce similar practices; also insufficient critics and female critics who follow new media art is a problem that needs to be addressed. From all of the exhibited we have shown that it is about artistic expressions and artistic practices that conquer space and hence the first important result of the analysis in this paper is that different practices have been shown in one place, so that the evaluation of their work is confronted with the testimony of the female artists themselves about their own works and dilemmas.