Arte & CulturaPrimo Piano

Eliza Bennett tra ago e filo: cucirsi le ferite non è mai stato facile

Serena PalmeseMaggio 14, 2020
2.026 7.910 13 minuti letti

Cosa può esserci di più personale del proprio corpo?

Eliza Bennett, artista londinese, lo utilizza come strumento di denuncia.

Si serve del suo corpo come di una tela e lo racconta con una serie fotografica e un video. Ricamandosi cicatrici e calli sulle linee naturali dei palmi vuole essere testimonianza di un lavoro pesante, sottopagato o addirittura non retribuito.

Non è un rito voodoo e nemmeno una fustigazione ai tempi dell’antica Roma.

A Woman’s Work Is Never Done è un’opera, un misto tra body art e artigianato, che vuole sottolineare lo sforzo delle donne in ambito lavorativo. Quella di Eliza però non è certo una protesta femminista, la sua è una denuncia sociale che coinvolge anche gli uomini che sono condannati a lavori difficili.

Ma se ancora si guarda l’arte con disagio e ribrezzo, proviamo a fare un passo indietro attraverso le parole della nostra Eliza.

Ho letto un commento di una mamma che si lamentava di aver visto le tue mani su una rivista di lana francese e che il suo bambino spaventato ha cominciato ad avere incubi. “Abbiamo ricevuto le immagini senza preavviso e questa non è certamente arte!” diceva. Ecco, io penso che l’arte per ottenere delle reazioni debba arrivare in modo impetuoso e senza preavviso, forte come una doccia fredda. Solo così potremmo ritornare svegli e dare un senso a tutto quello che ci accade intorno. Ci sono ancora troppi occhi chiusi, e se questo è l’unico modo per aprirli… io preferisco gli incubi.

I read about a mom who complained she had seen your hands on a French wool magazine, and her frightened baby who started having nightmares. “We received the images without notice and this is certainly not art!” she said. Well, I think that the art made to get reactions must arrive impetuously and without warning, as a cold shower. Only this way could we make sense of everything happening around us. There are still too many closed eyes, and if that’s the only way to open them, therefore I prefer nightmares.

«Le tue parole mi ricordano lo stupore e la perplessità di quando da bambina ho rovistato attraverso la collezione di dischi in vinile di mio padre.

Anche per me è stato così. Vedere alcune opere d’arte sulle copertine mi ha provocato non pochi incubi, ma continuavo a tornare tra quei vinili per guardarle di nuovo.

Sembra che un’attrazione per il misterioso sia sempre esistita… mi chiedo, forse anche suo figlio è tornato per un’altra sbirciatina?

Sebbene sia d’accordo con te sul fatto che ci siano ancora troppi occhi chiusi, non ho intenzione di provocare. Nella mia pratica cerco di interrogarmi sulle mie esperienze e il mio rapporto con le cose, intendendo per questi sia oggetti materiali, sia elementi più sfuggenti, come l’ecologia e le relazioni. C’è spesso una sorta di resistenza in gioco, che incoraggia anche un approccio sensibile alle cose.

Da quando ho completato i miei master in Belle Arti un paio di anni fa, sono diventata più consapevole. Al momento della creazione di A Woman’s Work is Never Done, non avevo idea di cosa fosse un pubblico. È stata un’opera nata dalla frustrazione, dalla disperazione e dall’amore.

È stata sicuramente il culmine della mia esperienza di crescere con un padre estremamente malato, osservando la tensione che la sua cura ha causato a mia madre e i miei sentimenti per le mie esperienze di lavoro come sarta e assistente di cura.

Your comments bring to mind my own bewildered fascination, when as a child I rummaged through my father’s vinyl record collection. Seeing some of the artwork on the covers also gave me nightmares, but I kept returning to look again. It seems an attraction to the uncanny has always been there… I wonder if her child also went back for another peep?

Whilst I agree with you that there are still too many eyes closed, I do not set out with provocation in mind. In my practice I try to interrogate my own experiences and my relation to things. To me these encompass both material objects, and more elusive, elements, such as ecology and relationships. There is often a kind of resistance at play, which also encourages a sensitiveapproach. Since completing my masters in fine art a couple of years ago, I’ve become more critically aware. At the time of creating A Woman’s Work is Never Done, I had no sense of an audience. It was a work borne out of frustration, despair and love.

The culmination of my experience of growing up with an extremely ill father, observing the strain that caring for him placed on my mother, and my own feelings about my experiences working as both a seamstress and a care assistant.»

Perché per Women’s work is never done utilizzi proprio le mani?

A volte la difficoltà nel reggere un lavoro sta anche nell’aspetto psicologico… o anche nei piedi, perché no? Quanto ha influito la tua carriera da fashion designer sul gesto del “ricamare”?

Why do you exactly use your hands for Women’s work is never done?

Sometimes the difficulty in running a job is also in the psychological aspect… How much has your career as a fashion designer influenced the gesture of “embroidering”?

«Sono una persona molto “tattile” e le mie opere sono collegate da questo senso di tangibilità. Ricordo la prima volta che ho applicato la tecnica alla mia mano sotto un tavolo durante una lezione di economia a scuola. Fui totalmente sorpresa dallo scoprire che avrei potuto passare un ago sotto gli strati superiori della pelle senza alcuno dolore, solo un lieve disagio. Ricordo che la reazione di disgusto dell’insegnante fu sproporzionata nei miei confronti, perché ero l’unica ragazza distratta del gruppo. Non ci si aspettava questo dalle ragazze, ricordo di essermi indignata molto.

 Ma come accade per molti capricci dell’infanzia, non ci avevo più pensato fino a quando non ho riflettuto sulle mie esperienze durante i diversi anni di lavoro come sarta e assistente. Fare questi lavori di “basso livello” ha lasciato in me un segno profondo.

L’idea è nata durante un periodo più intenso di resoconti dei media sui fallimenti dei singoli lavoratori nel settore dell’assistenza, mentre è stata prestata poca attenzione ai danni causati all’interno del sistema stesso.

Ho deciso di applicare il procedimento alla mia mano e farla apparire “callosa”, per sottolineare il lavoro fatto da un “lavoratore manuale” a bassa retribuzione. Il lavoro illustra anche l’aspetto psicologico prendendo l’attività femminile, storicamente idealizzata del ricamo, e sovvertendola, per rendere visibile lo sforzo emotivo invisibile richiesto dalle attività di assistente di cura e rammendo.

La mia “carriera” nel settore della moda è stata di breve durata. Dopo aver raggiunto la laurea, sono entrata con cautela nel settore, una reputazione negativa lo precede e per buoni motivi. Dopo essermi fatta le ossa in alcuni ruoli, capii che non potevo davvero mantenere il livello di passione richiesto a causa delle scadenze incessanti, il tutto al servizio di un’industria che dettava superficialmente le tendenze. Allo stesso tempo, la malattia di mio padre stava avanzando e stavo davvero lottando per trovare la volontà di impegnarmi in qualcosa che sembrava così superfluo. È stato in questo periodo che ho lavorato per un po’ nell’assistenza sociale.

Nel corso degli anni la mia pratica si è evoluta in modo tale che ora mi concentro quasi esclusivamente sulla mia produzione artistica. Al suo interno conservo aspetti degli elementi che mi hanno spinto al design della moda e le mie esperienze di lavoro come assistente di cura, focalizzandomi tra l’altro sulla pelle per un’esplorazione dell’essere (riconoscendo il fatto che l’abbigliamento costituisce una pelle protettiva e comunicativa).

I’m a very tactile person, and my works are linked by this sense of tangibility. I first recall applying the technique to my hand under a table during a home economics class in school. I was totally amazed to find that I could pass a needle under the top layers of skin without any pain, only a mild discomfort. I recall the teacher’s reaction of disgust being disproportionate toward me, as the only girl in the small distracted group. This was not to be expected of girls, I remember being indignant about that.

As with many childhood whims I hadn’t thought any more about it until reflecting on my experiences over a period of several years of employment as both a Seamstress and care-worker. Working in these ‘low status’ jobs made a deep impression. The idea for the series arose during a heightened period of media reporting on individual worker failings within the care sector, whilst very little media attention was given to the inherent failings of the system itself. I decided to apply the process to my hand to make it appear calloused and work worn like that of a manual laborer, as a means of processing and expressing the complex feelings that arose at the time.

Alongside representation of the effects of hard work arising from employment in low paid ‘ancillary’ (hand work) roles. The series also illustrates the psychological aspect, by taking the historically idealised feminine activity of embroidery, and subverting it, to make visible the unseen emotional effort that the activities of caring and mending require.

My ‘career’ within the fashion industry, was very short lived. After completing my BA, I entered the industry warily, a negative reputation precedes it, and for good reason. After cutting my teeth in a few roles, I decided that I really couldn’t maintain the level of passion required to meet the incessant deadlines, all in the service of an industry superficially dictating trends. At the same time my father’s illness was advancing and I was really struggling to find the will to engage in something that felt so superfluous, it was around this time I entered a period of working in social care. Over the years my practice has evolved so that I now focus almost solely on my artistic output. Within it I retain aspects of the elements that drew me to fashion design, and my experiences of working in care, by focusing among other things, on the skin for an exploration into ‘being’ and acknowledging how clothing forms a protective and communicative skin.»

Cucirsi la pelle con ago e filo è sicuramente un modo per sottolineare ulteriormente una sofferenza. Una sofferenza personale, dovuta a qualche tipo di inadeguatezza e di mancata approvazione sociale come non essere considerata all’altezza o non essere considerata brava e capace. Pensi che possa applicarsi anche ad un’affermazione di genere? E quindi sentirsi una donna non tutelata nei suoi diritti fondamentali?

Sewing your skin with needle and thread is certainly a way to further underline a pain. It’s a personal suffering, due to some type of inadequacy and lack of social approval such as not being considered up to par or not being considered good and capable.

Do you think this can also be applied to statement about gender and, therefore, to feel a woman not protected in her fundamental rights?

«L’opera si riferisce consapevolmente alla storia del ricamo come aspetto chiave della costruzione di una femminilità rispettabile e del suo ruolo nella sottomissione del corpo femminile. Tuttavia, la lotta per l’uguaglianza e la dignità continua a manifestarsi nella vita quotidiana di molti, ed è una preoccupazione rivisitata dagli artisti di tutto il mondo.

A mio avviso, le opere d’arte più coinvolgenti comunicano da una posizione individuale, ma affrontano le preoccupazioni oltre se stesse.

Sono una donna, ma non vedo necessariamente il genere quando vedo la vulnerabilità e la vulnerabilità non si esprime sempre nei modi in cui siamo abituati ad aspettarci.

Sono stata incredibilmente umiliata dalla maggior parte del pubblico per aver illuminato aspetti del lavoro di cui non ero a conoscenza in precedenza. L’opera di cui parliamo per me riguarda principalmente il valore umano. Dopotutto, ci sono molti uomini impiegati nella assistenza di cura, nella ristorazione e nelle pulizie, tutti lavori tradizionalmente considerati come “lavori da donne”. Tale valore (essenziale) è spesso trascurato e scarsamente compensato. Con questa serie fotografica il mio obiettivo era rappresentarlo. Naturalmente, le immagini sono aperte all’interpretazione e questa fluidità è una parte importante di ciò che mi attira verso le forme visive di comunicazione.

Ho messo in dubbio molte volte la scelta del titolo, per averlo portato fuori strada, ma ho sperato che potesse provocare un dialogo sulla nostra tendenza ad attribuire i generi a ruoli e attività particolari, e di conseguenza valutarli poco.

The series consciously relates to the history of embroidery as a key aspect of the construction of respectable femininity and its role in the subjugation of the female body. However, the struggle for equality and dignity continues to make itself apparent in the daily lives of many, and is a concern visited by artists globally. In my opinion, the most engaging works of art communicate from an individual position, but address concerns beyond themselves. I am female, but I do not necessarily see gender when I see vulnerability, and vulnerability does not always express itself in the ways we are accustomed to expect. I’ve been incredibly humbled by the wider public response and the rigor of individual peer reviews for illuminating aspects of the work of which I had not previously been aware.

For me the series is primarily about human value. After all, there are many men employed in caring, catering and cleaning, all jobs traditionally considered to be ‘women’s work’. Such essential work is often overlooked and poorly compensated. With this series it was my aim to represent it. Of course, images are open to interpretation and this fluidity is a big part of what draws me to visual forms of communication. I have questioned many times my choice of title for leading it somewhat astray, but I hoped it would provoke a dialogue about our tendency to ascribe genders to particular roles and activities, and value them more or less as a result.»

Ti è stato mai detto di fare un lavoro leggero e facile, o peggio di non fare un lavoro importante, visto che per molti fare l’artista non è un lavoro? Nell’opinione comune è consueto dire “con l’arte non si vive”, tu ci credi?

Have you ever been told to do an easy work, or to not to do an important work, since to be an artist is not considered a job for many people? In common opinion, it is customary to say “you can’t live with art”; can you believe it?

«I premi artistici sono straordinari, ma gran parte di ciò che viene raggiunto e guadagnato non è quantificabile. Qualche tempo fa sono giunta alla conclusione che se avessi voluto creare un’arte autentica, cosa che secondo me significava non avere motivo di profitto, avrei avuto bisogno di trovare altri modi per integrare la mia vita. Quindi ho dei lavori su cui posso contare per andare avanti, mi facilita anche la coscienza dell'”autoindulgenza” nel perseguire la mia pratica artistica, perché queste opinioni comuni che menzioni risuonano anche dentro la mia testa, un ovattato suono sicuro, ma che persiste. Sono cresciuta con un’etica morale del lavoro e non importa quanto apprezzi l’importanza dell’arte per me stessa e la società, provo un disagio nell’articolarla a persone che lavorano per tenere insieme le cose, i lavoratori chiave di cui sentiamo così tanto parlare attualmente, e verso cui siamo così indebitati.

Arts rewards are tremendous but much of what is achieved and gained is unquantifiable. I came to terms with the idea some time ago that if I wanted to create art authentically, which in my opinion meant without a profit motive in mind, then I would need to find other ways to supplement my living. So I do have jobs that I can count on to pay my way, it also eases my conscience about the ‘self indulgence’ of pursuing my art practice, because these common opinions that you mention are also a voice inside my own head, a muffled sound for sure, but it persists. I was raised with a moral work ethic and no matter how much I value the importance of art for myself and society, I feel a discomfort in articulating it to individuals working to keep things together, the key workers we are hearing so much about currently, and to which we are so indebted.»

A causa dell’emergenza Covid19 che ha coinvolto l’intera popolazione mondiale, tanti sono i lavoratori nel mondo dell’arte che si ritrovano completamente a pezzi senza un futuro certo.

Quale pensi possa essere l’atteggiamento migliore per affrontare una crisi così grande e senza eguali? Quali sono le parole che ti ripeti per tranquillizzarti?

Due to the Covid-19 emergency, that involved the entire world population, there are many artists who are completely devastated without a secure future.

Which do you think could be the best way to face such a big a crisis? Which are the words you continuously repeat in your mind to reassure yourself?

«‘Slightness becoming omnipresent’ (che la leggerezza diventi onnipresente). È una frase che mi ripeto spesso. Si riferisce al sentimento che spero di incapsulare nelle mie opere attuali, il momento in cui tutte le possibilità sono in bilico. In relazione al momento in cui stiamo vivendo, può essere un promemoria sul fatto che le piccole cose contano davvero; un gesto gentile, una considerazione rispettosa delle convinzioni altrui, l’apprezzare il calore sulla pelle. Gli artisti devono essere resilienti, la loro professione è precaria per natura. In un certo senso ora sembra che tutta la società stia vivendo l’insicurezza, sia un lavoratore autonomo che un lavoratore precario.

Non penso che questo tipo di esistenza quotidiana sia necessariamente negativa, sono diffidente nei confronti di un conforto troppo grande, specialmente quando si tratta dello sfruttamento e della riduzione delle libertà di un altro individuo. Mi piace la sfida del “fare e continuare a fare” e, in una nota positiva, penso che questa crisi attuale abbia dato a molte persone il tempo di riflettere su ciò che conta davvero e di apprendere abilità che fino ad ora non avevano tempo di praticare. Personalmente mi sono trasferita con mia mamma e insieme abbiamo scavato il prato per far posto alla nostra verdura. È qualcosa che volevo fare da molto tempo.

‘Slightness becoming omnipresent’ Is a phrase I return to over and over. It relates to the feeling I hope to encapsulate within my current works, the moment when all possibility hangs in the balance. In relation to the moment that we are living through, it can be a reminder that the little things really do matter; a kind gesture, respectful consideration of another’s beliefs, appreciation of warmth on one’s skin. Artists have to be resilient, their chosen profession is precarious by nature.

In one way it now appears as though all of society is living the insecurity, of a freelance or zero hours contract worker. I don’t think this kind of day to day existence is necessarily bad, I am wary of too greater comfort, especially when it comes as a result of exploitation and curtailing of another individual’s liberties. I enjoy the challenge of making-do, and on a positive note I think this current crisis has given many people the time to reflect on what really matters, and to learn skills which until now they hadn’t the time for. Personally I moved in with my mum, and together we’ve been digging up the lawn to make way for our own veg. It is something I have wanted to do for a long time.»

Serena Palmese

14/05/2020

Fonte immagine: https://www.collater.al/a-womans-work-is-never-done-mani-ricamate-eliza-bennett/

Vedi anche: “Le donne non si toccano neanche con un fiore”, ma quelle di Alfons Mucha sì!

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Serena PalmeseMaggio 14, 2020
2.026 7.910 13 minuti letti
Foto di Serena Palmese

Serena Palmese

Mi piacciono le persone, ma proprio tutte. Anche quelle cattive, anche quelle che non condividono le patatine. Cammino, cammino tanto, e osservo, osservo molto di più. Il mio nome è Serena, ho 24 anni e ho studiato all’Accademia di belle Arti di Napoli. Beati voi che sapete sempre chi siete. Beati voi che sapete sempre chi siete.
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