some of the selected works 1 Monegros, by Cristina Núñez. F
2 The source I / 12 of April, by Anna Marín. F
3 Autorretrat, by Joaquima Casas. F
4 The Kapnomància action by Denys Blacker, in a photograph by Joan Casellas (Arxiu Aire). F
A dive through some thirty works by thirty-two artists from nine museums, including the Empordà and the Girona Art Museum, to try to clarify how the female self is represented. Ambitious proposal that raises Ways to say me. Self-portrait and women in the Network of Art Museums of Catalonia, a virtual tour of the country’s main public art collections curated by gender studies specialist Cristina Masanés. The project, in which the National Museum of Art of Catalonia and the Museum of Contemporary Art of Barcelona, among others, take part, delves into the idea of the self, a modern concept that was not formulated until seventeenth century and has evolved in parallel with art and society.
He traces a virtual journey through self-portraits painted by women, very few of whom paint themselves painting, and goes from the first paintings, from the late nineteenth century, with canonical portraits where the gaze captures all the attention of those who see it in the bodies that exude political ideas and even those that speak from absence; all in all, to build an image of its own where the artist is recognized.
Divided into different sections, the online itinerary starts with the anatomies, from the portraits of artists such as a watercolor by the Girona native Joaquima Casas, painted next to a window in a self-portrait of maturity, in fragmented bodies. , with the hands, feet, breasts, heart or lungs of artists such as Ana Sánchez or Ester Fabregat.
The biographical self, in which one’s own image functions as a life story, also appears. This is the case of the return of the artist Fina Miralles to actions in nature, with an immersion in the birth of the Caula, the youth that the Empordà Cristina Núñez portrays in a series of photographs in the Monegros that could well be the prelude to the fashion of selfies or the bond with the mother and the moment of birth of Anna Marín, evoked in a photographic diptych presented in her hometown, Figueres, in 2003.
A self-portrait of Lluïsa Vidal in the studio, while painting, opens the section on Reverberations of the self, images in which the authors explain themselves showing the activities with which they recognize themselves, such as the personal library of Neus Buira or the work in the garden of Lara Almarcegui.
And the introspection of those who understand the body as a political platform, such as the allegations about the invisibility of women in the field of art by the Guerrilla Girls, the denied pleasure invoked by Ana Laura Aláez or the investigation into the idea of citizenship as a political subject and the homeland of Núria Güell. The artist from Vidreres asked the Spanish state to withdraw his nationality in a process that lasted a year and a half, until the Ministry of Justice denied him the right to be stateless alleging that non-nationality it is not achieved of its own volition but is a punishment imposed by the state.
The route that Massanés proposes on the website of the Network of Art Museums of Catalonia closes with the idea of the absent body, with works in which the representation goes beyond the human physical presence to make it disappear or dialogue with other elements. , as does the British Denys Blacker.
Installed in the Empordà for more than three decades, the British has participated in action art events around the world, often posing the dress as an organic extension of the body itself, even if it means the disappearance . The piece chosen, Kapnomància, is an image taken by Joan Casellas about the action he carried out at the Empordà festival La Muga Caula in 2013, covering himself with a monastic hood that extends to the clouds.