tag:blogger.com,1999:blog-3136746238945417702024-02-20T07:51:08.811+02:00Washing Up LadiesGender discrimination today is subtle but pervasive, and stems from unconscious ways of thinking that have been socialized into all of us, men and women alike.
Our purpose is to bring public attention to still unresolved gender issues, highlighting reminders of ongoing and Cypriot (domestic) women’s issues: 1. With self-sarcasm, lightness and humor + sincere humbleness.
2. With uninhibitedly female pre-occupations taking the role of subtle commentator.Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-313674623894541770.post-39847276777680618372011-03-26T10:03:00.000+02:002011-03-26T10:03:16.176+02:00Interview with Varvara Georgiadou on http://www.sigmalive.com/lifestyle/showbiz/302006Η Λία Λαπίθη και η Μαριάννα Καφαρίδου βάζουν στο πλυντήριο τις διακρίσεις ανάμεσα στα δυο φύλα- γιατί ναι, ακόμη υπάρχουν- ξεπλένουν τα στερεότυπα και παρουσιάζουν μέσα από την τέχνη τους μία πεντακάθαρη εικόνα της κοινωνίας! <br />
<br />
Πόσο ευαίσθητες είναι οι γυναίκες, και ποια είναι τα μυστικά μια καλής μπουγάδας που μπορεί να ξεπλύνει μέχρι… και τις διακρίσεις; Οι εικαστικοί Λία Λαπίθη και Μαριάννα Καφαρίδου, βάζουν τη σωστή δόση στο πλυντήριο, χιούμορ αντί γι' απορρυπαντικό και «απλώνουν» στην αίθουσα τελετών του Πανεπιστημίου Κύπρου την πιο ενδιαφέρουσα μπουγάδα με έναν και μοναδικό σκοπό. <br />
<br />
Washing Up Ladies… <br />
<br />
ΠΛΥΣΗ ΕΓΚΕΦΑΛΟΥ: Ξεκινήσαμε το 2006 ως μία εικαστική πλατφόρμα για γυναίκες που έχουν κάτι να πουν για το θέμα της διάκρισης των δύο φύλων. Πιστεύουμε ότι μία από τις πιο σημαντικές ανάγκες του ανθρώπου είναι αυτή της επικοινωνίας. Το Washing Up Ladies έχει διπλή έννοια. Μια κυριολεκτική και μια μεταφορική που υποδηλώνει την πλύση εγκεφάλου που γίνεται σε όλους μας, προκειμένου οι γυναίκες να αποδέχονται το στάτους κβο, ενώ οι άνδρες να συνεχίζουν να παίζουν τους ίδιους ρόλους.<br />
<br />
ΟΔΗΓΙΕΣ ΠΛΥΣΗΣ: Η κοινωνία μας θα μπορούσε να είναι πολύ πιο μπροστά, εάν και οι γυναίκες εκμεταλλεύονταν τις ικανότητές τους περισσότερο από ό,τι τώρα. Δεν στοχεύουν ψηλά.<br />
<br />
ΕΥΑΙΣΘΗΤΑ: Οι άνδρες αντιμετωπίζουν τη γυναίκα σαν σε Wet t-shirt competition. Δυστυχώς οι περισσότερές μας λαμβάνουν μέρος σε αυτό το διαγωνισμό. <br />
<br />
ΜΕΤΑΞΩΤΑ: Η γυναίκα στο χώρο εργασίας… Το μετάξι αν δεν έχει και λίγο συνθετικό, τσαλακώνεται εύκολα και μετά άντε να το σιδερώνεις.<br />
<br />
ΒΑΜΒΑΚΕΡΑ: Η γυναίκα έχει τους ίδιους ρόλους με αυτούς του άνδρα, αλλά τους αναλαμβάνει όλους, ενώ ο άνδρας -γενικά ομιλούντες- όχι. Τα βαμβακερά πλένονται σε ψηλές θερμοκρασίες και καταναλώνουν περισσότερη ενέργεια.<br />
<br />
ΜΑΛΛΙΝΑ: Τα μάλλινα φοριούνται μόνο τρεις μήνες το χρόνο σε αντίθεση με τη γυναίκα, η οποία έχει ρόλο και «φοριέται» σε κάθε εποχή. Γενικά τα μάλλινα είναι ευαίσθητα και πλένονται σε κρύο νερό, κατά προτίμηση στο χέρι. <br />
<br />
ΣΥΝΘΕΤΙΚΑ: Η γυναίκα ως σύντροφος… Προσπαθούμε να αποφεύγουμε τα θέματα των σχέσεων στο Washing Up Ladies, γιατί δεν υπάρχουν πρότυπα ζευγάρια, αλλά ζευγάρια που βρίσκουν τον τρόπο ΤΟΥΣ να συνυπάρχουν. Εκείνο που θέλουμε να καυτηριάσουμε, είναι τις διακρίσεις και την περιθωριοποίηση των γυναικών σε κοινωνικό και επαγγελματικό επίπεδο. <br />
<br />
ΧΡΩΜΑΤΙΣΤΑ: Η τέχνη έχει ρόλο στην κατάργηση των διακρίσεων. Η ιστορία μέχρι τώρα έχει καταγράψει σχεδόν αποκλειστικά μόνο άνδρες. Οι γυναίκες είναι σαν να μην υπήρξαν. Μάλιστα πολλές από αυτές έπρεπε να χρησιμοποιούν ανδρικά ψευδώνυμα, για να γίνουν αποδεκτές. Το σήμερα δεν έχει γίνει ακόμα ιστορία, άρα δεν θα μπορέσουμε να ξέρουμε παρά μόνο σε δυο τρεις γενεές. Γι' αυτό και η ύπαρξή μας ως πλατφόρμα. <br />
<br />
WASHING UP LADIES: Κατά τη διάρκεια της έκθεσης θα διανέμεται δωρεάν κατάλογος και στα εγκαίνια θα δίνονται δωρεάν μικρά αναμνηστικά δώρα. Δεν είναι εμπορική έκθεση, γι' αυτό και χρηματοδοτείται από το Πανεπιστήμιο Κύπρου και την UNESCO. Τα έργα που θα παρουσιαστούν είναι καινούργια και αναδρομικά και σε διάφορες μορφές (βίντεο, εγκαταστάσεις, φωτογραφίες, αφίσες κ.λπ.). Το θέμα είναι ανεξάντλητο, γι' αυτό και δεν θα τελειώσει ποτέ, εφόσον θα υπάρχουν ανισότητες στην κοινωνία μας και εφόσον θα υπάρχουν εικαστικοί που να θέλουν να χρησιμοποιήσουν την πλατφόρμα αυτή. Δείτε το blog μας www.washing-up-ladies.blogspot.comWashing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-25489046045873311942010-10-01T11:53:00.011+03:002010-10-01T19:12:35.116+03:00Εγκαίνια έκθεσης έργων τέχνης Washing Up Ladies 15.09.2010, University of Cyprus, Φωτογραφείες από τις Υπηρεσίες Τηλεδιάσκεψης και Πολυμέσων<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyr6G5bpGjkMlvfHgQnpBbmRaOFnH1OgwDrV7GmHssB9mjJpC5kVdBRLCCZeNoE-B55D08tBV9hhDBcE76DKXRFn5hVAO4H-ItkhUOyKB8xQt7Rou1OekquCKnlm-bOtI5jGtujPljdE4/s1600/DSC_4799.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyr6G5bpGjkMlvfHgQnpBbmRaOFnH1OgwDrV7GmHssB9mjJpC5kVdBRLCCZeNoE-B55D08tBV9hhDBcE76DKXRFn5hVAO4H-ItkhUOyKB8xQt7Rou1OekquCKnlm-bOtI5jGtujPljdE4/s200/DSC_4799.JPG" width="132" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1E8Tbi39GcdEx6fyeDughzs2LzGJjKGxhpw3uTS10SzkSYMuWq4RbRv1F77Old2KTjjzEpe74CCylG8aeNIBAHr_emwtjnb-jVCCB2ju4K54yBlv-rjO7qmRs9vVeoXsyDj3gZtjXZI/s1600/DSC_4795.JPG" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1E8Tbi39GcdEx6fyeDughzs2LzGJjKGxhpw3uTS10SzkSYMuWq4RbRv1F77Old2KTjjzEpe74CCylG8aeNIBAHr_emwtjnb-jVCCB2ju4K54yBlv-rjO7qmRs9vVeoXsyDj3gZtjXZI/s200/DSC_4795.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIYx4QwMxWBuv0EeZUZj-SpvYWnwljJbMPLR99yXFZgIViKC50ryjeQifBCN_eXm-lTgVA4iI7_LNBofthr9TnotpRWmfqDQoilLCruA4qN1ttzk5ur5xiBxnW6cJECOv8foXRX-u8e3Q/s1600/DSC_4796.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIYx4QwMxWBuv0EeZUZj-SpvYWnwljJbMPLR99yXFZgIViKC50ryjeQifBCN_eXm-lTgVA4iI7_LNBofthr9TnotpRWmfqDQoilLCruA4qN1ttzk5ur5xiBxnW6cJECOv8foXRX-u8e3Q/s200/DSC_4796.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJSqhY57_IEvBP0klZERdFTMTfWp73XHas3jeJIQu6aWvvwSD8dWxAxEHFciGv-HdrQHKIAGg-LAlSBAX-kyqygXTa3Mtcy4r4LrXO7hoxIjXHwBny4LePlRGJBlmFkTGEmbkMFP19Ya8/s1600/DSC_4791.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJSqhY57_IEvBP0klZERdFTMTfWp73XHas3jeJIQu6aWvvwSD8dWxAxEHFciGv-HdrQHKIAGg-LAlSBAX-kyqygXTa3Mtcy4r4LrXO7hoxIjXHwBny4LePlRGJBlmFkTGEmbkMFP19Ya8/s200/DSC_4791.JPG" width="200" /></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4KdYZr3UgEX5NG45lWsMwoy1xFU-cximQNZiku0So8HJtYcQy4nLDp8s6zLEzIA_LP7zgpIC71mvsDg3pFt8OKFeJ7wSshtNvU18lMTDhyxF0hd9o_DA4Gx3zIR1RmszDCuRJupgyZJo/s1600/DSC_4793.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4KdYZr3UgEX5NG45lWsMwoy1xFU-cximQNZiku0So8HJtYcQy4nLDp8s6zLEzIA_LP7zgpIC71mvsDg3pFt8OKFeJ7wSshtNvU18lMTDhyxF0hd9o_DA4Gx3zIR1RmszDCuRJupgyZJo/s200/DSC_4793.JPG" width="132" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix68FHAu9IQvqn3OyAFnaNY5Bk0n1xUH39p2hr0rOa7lBOSzLRH3yqaAD5aRZPp5ceEb5GeWIZg_pxBJbHYNojjp74kUBCL67UEmkhDwEcno_DHTmUfyiI6nStTqMfuA3mgJGlU2H2sX0/s1600/DSC_4792.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix68FHAu9IQvqn3OyAFnaNY5Bk0n1xUH39p2hr0rOa7lBOSzLRH3yqaAD5aRZPp5ceEb5GeWIZg_pxBJbHYNojjp74kUBCL67UEmkhDwEcno_DHTmUfyiI6nStTqMfuA3mgJGlU2H2sX0/s200/DSC_4792.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0SdgcervbMMBYtyxynfmRUtMb0VL0Q0LKfW18OBki53z4Myt9p1P-h7s1L1hS-PplIRroO6AGnKG57S59jU-dPRnmjMb0CvE_-jlJm31tG4cbeciJFrwlXNPHQcsXMw567VWwBtDzeuQ/s1600/DSC_4816.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0SdgcervbMMBYtyxynfmRUtMb0VL0Q0LKfW18OBki53z4Myt9p1P-h7s1L1hS-PplIRroO6AGnKG57S59jU-dPRnmjMb0CvE_-jlJm31tG4cbeciJFrwlXNPHQcsXMw567VWwBtDzeuQ/s200/DSC_4816.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsAfs27MwKp_nWs0lFEaSOTCE47Ts6-MWYy9DmF4S9FF9iC0-lKUnodtrDt3X0q0DUvHF9RADUdqEFKanEy3zH79b6VkOepKLZUFhI8OHhDUZc7xHn-QuENotFejxDunsOouB2pvt3Lg/s1600/DSC_4801.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsAfs27MwKp_nWs0lFEaSOTCE47Ts6-MWYy9DmF4S9FF9iC0-lKUnodtrDt3X0q0DUvHF9RADUdqEFKanEy3zH79b6VkOepKLZUFhI8OHhDUZc7xHn-QuENotFejxDunsOouB2pvt3Lg/s200/DSC_4801.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSENL3DqiXOvRQzX_nnf2dYIIpZl1RpemvvoZQDofJqNZf8PgO5bnHuFCkag8XfVnCml5nyqpskClo6VubcHPO71FrSTFsPcroHMLZXkyNXCfxf34lfWZgS1yWtdQ8PVs9NTF_gRIJkbw/s1600/DSC_4954.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSENL3DqiXOvRQzX_nnf2dYIIpZl1RpemvvoZQDofJqNZf8PgO5bnHuFCkag8XfVnCml5nyqpskClo6VubcHPO71FrSTFsPcroHMLZXkyNXCfxf34lfWZgS1yWtdQ8PVs9NTF_gRIJkbw/s200/DSC_4954.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0KuNRYTVoiezsSkMNDnTMh2owUwSn1Y005ZcjRg73-Pxhy826YpWlHcZmEb1Ri5BqoA8oLO7K3dER8NQRMBPQu-Svr_n-snMJrrsAFJYv9woBk7FD8vXKuNb6zT1-kPaiA5mVn9rJcoY/s1600/DSC_4810.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0KuNRYTVoiezsSkMNDnTMh2owUwSn1Y005ZcjRg73-Pxhy826YpWlHcZmEb1Ri5BqoA8oLO7K3dER8NQRMBPQu-Svr_n-snMJrrsAFJYv9woBk7FD8vXKuNb6zT1-kPaiA5mVn9rJcoY/s200/DSC_4810.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNiMg88N5_R_PLBmvEyr1q2uXaIHdRXVy7f46CyPxL2bu6du8xhJ5P-mUfQSpV8K3FUxXuFM0xlmg8ra8q4KUORuoKa2ie8EIRZoqvl6RiJ-KEbnhA4TLpQUVT1NnIOq8A8nOIZ0AVw8/s1600/DSC_4992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNiMg88N5_R_PLBmvEyr1q2uXaIHdRXVy7f46CyPxL2bu6du8xhJ5P-mUfQSpV8K3FUxXuFM0xlmg8ra8q4KUORuoKa2ie8EIRZoqvl6RiJ-KEbnhA4TLpQUVT1NnIOq8A8nOIZ0AVw8/s200/DSC_4992.jpg" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjU5JR60WzuyPczINl74_vSNnW0U-2v_kOU3NkCT0s26M4PB9hGHheqMvf18YN24mo7IdCGfWh15seuZae2e-36AG41lEPfO94NOH4O8IscnEmXBM5U-mAOFMfv7TmhI9wUxEAvQz7mOs/s1600/DSC_4983.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjU5JR60WzuyPczINl74_vSNnW0U-2v_kOU3NkCT0s26M4PB9hGHheqMvf18YN24mo7IdCGfWh15seuZae2e-36AG41lEPfO94NOH4O8IscnEmXBM5U-mAOFMfv7TmhI9wUxEAvQz7mOs/s200/DSC_4983.JPG" width="128" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGQv_xwlkkOON6LlA5qXKq7IIbOBVn8tzPZRxXQCFdyiesXzEIvAdd4la7vN8bqKR9QlYuzpmJ-qCNLaofamt371MK8JpqGY-khn8baI_21tUvmspKZyuKP0MPJpJvhip6ogSR8mcF5M/s1600/DSC_4850.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGQv_xwlkkOON6LlA5qXKq7IIbOBVn8tzPZRxXQCFdyiesXzEIvAdd4la7vN8bqKR9QlYuzpmJ-qCNLaofamt371MK8JpqGY-khn8baI_21tUvmspKZyuKP0MPJpJvhip6ogSR8mcF5M/s200/DSC_4850.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFa_e8E9KRqS-FakcIvtLBgmovXA0ld5S3eE4GYMGw3z754_JQngPa-CUq4HbDj3irVOpEBUhi5nx-PnUEbYTeD4tdeOEEIEjpV1ovMN54YUzMhIhEseU4UUKIp1DoMUOmETtEhyjiIs/s1600/DSC_4900.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFa_e8E9KRqS-FakcIvtLBgmovXA0ld5S3eE4GYMGw3z754_JQngPa-CUq4HbDj3irVOpEBUhi5nx-PnUEbYTeD4tdeOEEIEjpV1ovMN54YUzMhIhEseU4UUKIp1DoMUOmETtEhyjiIs/s200/DSC_4900.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6SgPgeNCuP2QBF6XDOKp_Fo8rLwEIfr4Yb7A44chWllDR3YzqIs_LOxnmwMMM_M75UCqh4nnLuYB4qNoXzlS5vxFKcyAbnlKD4ebF8CYyY6O5LWJHwRyaTsKiRdtPTYtuZhljqtTfqM/s1600/DSC_4921.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6SgPgeNCuP2QBF6XDOKp_Fo8rLwEIfr4Yb7A44chWllDR3YzqIs_LOxnmwMMM_M75UCqh4nnLuYB4qNoXzlS5vxFKcyAbnlKD4ebF8CYyY6O5LWJHwRyaTsKiRdtPTYtuZhljqtTfqM/s200/DSC_4921.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXa4KSiW7z-dznSYH12_Fn99ctJM3iBMkVW7bL93K1mmpT9MPa4AlorWrAg9UmnhqhK2tYWT1EiMU4RHHOQPK5G2NbS4zOAc6feXS2P8TbsbQH1Xd7QWHM3uwRAMTnuMa1fNOXKUng2Mc/s1600/DSC_4920.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXa4KSiW7z-dznSYH12_Fn99ctJM3iBMkVW7bL93K1mmpT9MPa4AlorWrAg9UmnhqhK2tYWT1EiMU4RHHOQPK5G2NbS4zOAc6feXS2P8TbsbQH1Xd7QWHM3uwRAMTnuMa1fNOXKUng2Mc/s200/DSC_4920.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2YhYW8QVPpioMtAAGzKsCJdEWif3gAuvh179B24mD-yqoi86ELzSxKx4GwBBRZrxnM_A3dri1HrpWc2C9h-memAH0MDtiRG73X4R7FleTNOt2BZtcU6JXiAwrFMc5RsYis66uLpKSPoU/s1600/DSC_4927.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2YhYW8QVPpioMtAAGzKsCJdEWif3gAuvh179B24mD-yqoi86ELzSxKx4GwBBRZrxnM_A3dri1HrpWc2C9h-memAH0MDtiRG73X4R7FleTNOt2BZtcU6JXiAwrFMc5RsYis66uLpKSPoU/s200/DSC_4927.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BUD3UgiLnl9vcvxy1APO75WFAh1-tM9Rey7LFe4oC1VW995OuaMhjfGfXBeMi_Yc714KUh_rECH7bnj47gbwjPKS_GueGPseeCc1YmYBBMQVppk4PMlTyUziyxZjLahqIqAyEkOwFc4/s1600/DSC_4940.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BUD3UgiLnl9vcvxy1APO75WFAh1-tM9Rey7LFe4oC1VW995OuaMhjfGfXBeMi_Yc714KUh_rECH7bnj47gbwjPKS_GueGPseeCc1YmYBBMQVppk4PMlTyUziyxZjLahqIqAyEkOwFc4/s200/DSC_4940.JPG" width="200" /></a> </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd43QHiOJt19YeWYRmkF5UHBg6nWqnFFISjo5C-XMoYmSxF4oKV21LkqzUBbcVPJz8_jsLvttvkoZwtMuLRngXmfLDUFak9RQbwAjwlIVsT4kF5fGx5Cq-2rbmtf5JY40-2h0e5_X_mvc/s1600/DSC_4918.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd43QHiOJt19YeWYRmkF5UHBg6nWqnFFISjo5C-XMoYmSxF4oKV21LkqzUBbcVPJz8_jsLvttvkoZwtMuLRngXmfLDUFak9RQbwAjwlIVsT4kF5fGx5Cq-2rbmtf5JY40-2h0e5_X_mvc/s200/DSC_4918.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0hyphenhyphenVpJtvcUlX5h8jjogBzV-vR_PHdFGawgkxYpaGnZRl5zHCDfAKrkB5dbDeCALaLcoHNEeFIcKx3MdkW7xwf4y8Bp7WnwzblsvuqkjStcaOQqWy80utVLo0T0sSTEdYWdCQO3Mwi6I/s1600/DSC_4996.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0hyphenhyphenVpJtvcUlX5h8jjogBzV-vR_PHdFGawgkxYpaGnZRl5zHCDfAKrkB5dbDeCALaLcoHNEeFIcKx3MdkW7xwf4y8Bp7WnwzblsvuqkjStcaOQqWy80utVLo0T0sSTEdYWdCQO3Mwi6I/s200/DSC_4996.JPG" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiu9VYKXXRSuUUYIB0uSO-rnZOQMUIL_untpbMars512htOde1pvTmtj4RgAERY-UKObmzz0TlDgXnUhY0dxVTei1uP7Mank6i5bHe7-KYzXY6w3KyNTzWae2YAXnhtVk8KANUIQkIuM8/s1600/DSC_4958.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiu9VYKXXRSuUUYIB0uSO-rnZOQMUIL_untpbMars512htOde1pvTmtj4RgAERY-UKObmzz0TlDgXnUhY0dxVTei1uP7Mank6i5bHe7-KYzXY6w3KyNTzWae2YAXnhtVk8KANUIQkIuM8/s320/DSC_4958.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTKCjXtmOua0Z6EC3eKxoQans8CKeo1X2j6cNbifcOSHXKycq0xT44gfi1GYMRe-5EgUr9FL6DP_JRROCZix8xMkKy1BNlh_oiZNVGCGwMW19R5KuBNhXhHRHurnpOKSf775egnVdPg/s1600/DSC_4916.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTKCjXtmOua0Z6EC3eKxoQans8CKeo1X2j6cNbifcOSHXKycq0xT44gfi1GYMRe-5EgUr9FL6DP_JRROCZix8xMkKy1BNlh_oiZNVGCGwMW19R5KuBNhXhHRHurnpOKSf775egnVdPg/s200/DSC_4916.JPG" width="200" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKcL3xKdwTT00TLK4jp2fz2SYUnSevIEICtegDOgSWaz60FKiXohAlGHp_fs275fWSKMwn0TXVykq8rcimnxfOLZE5VvthFBjeHAbjbwpEBD245A6GUsDpt-MeOfos8QTojMy7-JeiJs/s1600/DSC_4943.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKcL3xKdwTT00TLK4jp2fz2SYUnSevIEICtegDOgSWaz60FKiXohAlGHp_fs275fWSKMwn0TXVykq8rcimnxfOLZE5VvthFBjeHAbjbwpEBD245A6GUsDpt-MeOfos8QTojMy7-JeiJs/s200/DSC_4943.JPG" width="200" /></a> </div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-33183637443575857532010-09-20T21:01:00.000+03:002010-09-20T21:01:05.176+03:00Cover of 2010 edition of Washing-up Ladies publication<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlC498kbUfzBNCDBIzc0OstdSqf2FxLHED6w4eKU-Bnh6R99X2bHBPlPRGdjQ-wtJkkK9jfXZzGtz4yTPmHu7BAbVamPxvderecUXhqgl4yo97wyBzT0E-UbpnlHCuWWutBE9EI1rIDxE/s1600/WASHING-UP+LADIES-COVER.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlC498kbUfzBNCDBIzc0OstdSqf2FxLHED6w4eKU-Bnh6R99X2bHBPlPRGdjQ-wtJkkK9jfXZzGtz4yTPmHu7BAbVamPxvderecUXhqgl4yo97wyBzT0E-UbpnlHCuWWutBE9EI1rIDxE/s400/WASHING-UP+LADIES-COVER.jpg" width="271" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-49708504769949393542010-09-18T20:23:00.002+03:002010-10-01T18:40:27.186+03:00Opening at Cyprus University 15/9/2010<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56UACy1_a16JPxEw5mxIVmDfO9eR_McB2wuDaekAWvjetMxyu4KZiuuOxLEw1eoUhZXoXdkEbOhB-fHSNxHc5YbxVgr-9uRU9sMKCdWdPNT-aeY5Kd2xbbhPAo_05QUjVzv0f_xAcGgs/s1600/IMG_5242.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56UACy1_a16JPxEw5mxIVmDfO9eR_McB2wuDaekAWvjetMxyu4KZiuuOxLEw1eoUhZXoXdkEbOhB-fHSNxHc5YbxVgr-9uRU9sMKCdWdPNT-aeY5Kd2xbbhPAo_05QUjVzv0f_xAcGgs/s320/IMG_5242.JPG" width="320" /></a><br />
<div class="separator" style="clear: both; text-align: center;">Mary Koutselini with the Washing Up Ladies</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2sD7ZNaB5FzPkBxwwWByfgpGv9auaktEm7uNc1ImTX0UcViNZTMTvb42gPdb7MsortLuLklLZcEcYGy7zOL9IczK9QqVOpO-Gk0M9_N0vgMMJhY76VrNPhdKPfQvArhPrpP9TG7nTSY/s1600/IMG_5250.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2sD7ZNaB5FzPkBxwwWByfgpGv9auaktEm7uNc1ImTX0UcViNZTMTvb42gPdb7MsortLuLklLZcEcYGy7zOL9IczK9QqVOpO-Gk0M9_N0vgMMJhY76VrNPhdKPfQvArhPrpP9TG7nTSY/s320/IMG_5250.JPG" width="320" /></a><br />
<div class="separator" style="clear: both; text-align: center;">From Left: Katerin Nikita, Marianna Kafaridou, Andrea Constantinou, Elena Christodoulidou, Lia Lapithi, Marika Ioannou.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc871W2v9Zo0lZVYKHwVPTjkFcTZAZd47JDxVJ722aoV6Yahz9tcNlIHixoQgrrOoUzgDTGMGZF9N8PMM3qjo5X7V4lm0SYoTVXimAoJErlOPHwgdmi-BlaSmhoJblowDwvZgRpEHbgs8/s1600/IMG_5244.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc871W2v9Zo0lZVYKHwVPTjkFcTZAZd47JDxVJ722aoV6Yahz9tcNlIHixoQgrrOoUzgDTGMGZF9N8PMM3qjo5X7V4lm0SYoTVXimAoJErlOPHwgdmi-BlaSmhoJblowDwvZgRpEHbgs8/s400/IMG_5244.JPG" width="140" /></a></div><div class="separator" style="clear: both; text-align: center;">Eleni Nikita</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgr0jcfYbrg6VzZpq1nsl_TZveHH-jDY9Butod6oTQtDAd2Us0iPOgGCua4n6d4xF93IHg3cm4wfIk4myzrBt2DJFSHvwPH2j43DXhKikDL9MGEYr38ULUBg7SX9i6XZDJWEKfo5dJlc/s1600/IMG_5243.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgr0jcfYbrg6VzZpq1nsl_TZveHH-jDY9Butod6oTQtDAd2Us0iPOgGCua4n6d4xF93IHg3cm4wfIk4myzrBt2DJFSHvwPH2j43DXhKikDL9MGEYr38ULUBg7SX9i6XZDJWEKfo5dJlc/s200/IMG_5243.JPG" width="150" /></a><br />
<div class="separator" style="clear: both; text-align: center;">Daphni Nikita</div><br />
<div class="separator" style="clear: both; text-align: center;"></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-32421807380343787892010-09-05T20:31:00.001+03:002010-09-18T19:52:54.787+03:00Washing up ladies: Women being Artists being “Laundresses”, Andrea Constantinou Art Historian<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"><br />
<div style="text-align: justify;"><b><i><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Why now!1<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The upcoming (at the time this text was being written) exhibition of Lia Lapithi-</span><st1:personname w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Marianna Kafaridou</span></st1:personname><span class="Apple-style-span" style="font-weight: normal;">, also known as </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladie</span></span></i><span class="Apple-style-span" style="font-weight: normal;">s, came up among other things during a recent conversation with a young female academic. “Why now…?” she asked, expressing her reasonable – until otherwise proven – doubt regarding the artists’ intention to produce and present artworks considered to be feminist. By reading between the lines, or rather between the suspension points, the question rephrases itself into its full historical, political, social and artistic implications. Why now, almost a century since women’s suffrage was achieved, and half a century since the first generation of American and European feminist artists as well as the sexual liberation in the Western world? Why</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">at all? Especially since contemporary Cypriot women and artists have already harvested the fruits of the international feminist movement’s struggles for emancipation and freedom of artistic expression, without having actively or consciously participated in it,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">as noted by Eleni Nikita.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn1" name="_ftnref1" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[1]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Indeed, social structures in many domains of both private and public life which until recently were detrimental to us Cypriot women have been greatly revised, even remodeled, thanks to the personal sacrifices of a number of feminists throughout the world. As a legacy of international feminism women in today’s Cyprus are allowed – the term is used in both its legal and moral meaning – to vote and be voted for, attend any academic institution or field of their liking, pursue work in any profession they feel inclined to (that of an artist included), have premarital sexual relations, remain unwed if they choose to. The fact that feminist accomplishments are of broad range and grave importance, in conjunction with the ignorance of those of us who enjoy privileges that we have effortlessly inherited, can easily mislead Cypriot women to believe that no injustice is currently being done to them and that, consequently, the discourse on gender related issues need no longer exist; hence the “reasonable” question “Why now?”.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">This is in fact a naïve as much as dangerous illusion which constitutes an obstacle to the ongoing struggle for equality and gender empowerment, as a man – the irony of it! – Spurgeon Thompson observes: “While most women in </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> seem to be satisfied with their lives and their opportunities, it’s probably because they don’t see oppression the way, for example, the United Nations or most Western countries do. In other words, most women don’t know what they don’t have. Such widespread ignorance is what makes equality difficult to achieve.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn2" name="_ftnref2" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[2]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Statistics concur; in 21</span><sup><span class="Apple-style-span" style="font-weight: normal;">st</span></sup><span class="Apple-style-span" style="font-weight: normal;"> century Cyprus where the right to vote and be voted for applies equally for all, 97 percent of government and public officers are men; the overwhelming majority of the students enrolled in the University of Cyprus Department of Education Sciences are female, whereas only a mere 0.5 percent of executive and administrative positions in private companies and enterprises are held by women; most women are married, despite the fact that they often fall victim to domestic violence by their husbands (427 fathers and husbands out of a total of 639 perpetrators).</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn3" name="_ftnref3" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[3]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The historical circumstances which dictated the political feminism of the late 19</span><sup><span class="Apple-style-span" style="font-weight: normal;">th </span></sup><span class="Apple-style-span" style="font-weight: normal;">century were the blatant deprivation of civil rights, the brutal constriction of personal freedom and the total oppression of women by the male-dominated society. Today, these conspicuous practices against women have been replaced by implicit yet pervasively underlying gender discriminations; the Cypriot society remains captive to its own immaturity and unconsciousness, as traditional role models and stereotypes are lightheartedly taught, internalized and perpetuated by both women and men.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">At a time when forms of oppression against women continue to exist, although they have become extremely silent and subtle, the challenge for the contemporary feminist lies chiefly in eliminating the collective illusion according to which Cypriot women are fully emancipated and equal to men. And what means could be more suitable than the visual ones for embarrassingly exposing to public view the patriarchal mechanisms which are well hidden within the </span><i><span class="Apple-style-span" style="font-weight: normal;">bubble</span></i><span class="Apple-style-span" style="font-weight: normal;"> of Cypriot society? The works by </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;"> dissolve the doubts of even the most skeptical. The discourse on gender related issues</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">is opportune, productive and necessary </span><i><span class="Apple-style-span" style="font-weight: normal;">now</span></i><span class="Apple-style-span" style="font-weight: normal;"> and will continue to be so, as long as gender issues are still unresolved!<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">“Social Sanitationwomen” <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In September 2006 during the Urban Soul arts festival in </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">, Lapithi-Kafaridou, after years of individual artistic creation, re-introduced themselves to the art loving audience and society in general as </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;">. This newly invented artistic identity of the </span><i><span class="Apple-style-span" style="font-weight: normal;">laundress</span></i><span class="Apple-style-span" style="font-weight: normal;">, filled with caustic humor and self-sarcasm, constitutes the </span><i><span class="Apple-style-span" style="font-weight: normal;">alter ego</span></i><span class="Apple-style-span" style="font-weight: normal;"> of the artists as well as that of every Cypriot woman trapped on a personal and social level, according to Maria Hadjipavlou, on the verge between modernism and tradition;</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn4" name="_ftnref4" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[4]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> what woman, no matter how professionally successful or socially acknowledged, doesn’t return home to find a basket full of dirty laundry?<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">It also bears a deeper and darker reference to the forms of gender, race and class discrimination which are omnipresent in the Cypriot society. Margarita Zervidou reports that the number of immigrant domestic workers in our country has more than doubled over the last five years. She attributes it partly to the fact that notions of gender roles still dictate that the housework be done by women, while at the same time all the more Cypriot women enter into the labor market.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn5" name="_ftnref5" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[5]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> The term “immigrant domestic worker” may well be politically correct, but it is now more than ever stigmatized by the social exclusion of the </span><i><span class="Apple-style-span" style="font-weight: normal;">laundress</span></i><span class="Apple-style-span" style="font-weight: normal;"> label. Research in middleclass urban Cypriot women has shown that they don’t consider their domestic workers as being women, and furthermore they question their morality on the grounds that they left their families to work in a foreign country.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn6" name="_ftnref6" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[6]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">At </span><st1:place w:st="on"><st1:placename w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Eleftheria</span></st1:placename><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Square</span></st1:placetype><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Park</span></st1:placetype></st1:place><span class="Apple-style-span" style="font-weight: normal;">, </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;"> presented their video entitled </span><i><span class="Apple-style-span" style="font-weight: normal;">Hurting the Washing Machine</span></i><span class="Apple-style-span" style="font-weight: normal;">. In the video, although they appear fiercely hitting a washing machine with pickaxes at an undetermined outdoor residential site, the image is framed in such a way that their faces are cut off. The fact that these </span><i><span class="Apple-style-span" style="font-weight: normal;">personae</span></i><span class="Apple-style-span" style="font-weight: normal;"> created by the artists are deprived of specific space and visage enables the detachment between creator and creation/interpreter and character, thus prompting the spectator to perceive them</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">as symbols; symbols of women’s femininity and sensuality through the long flowing</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">hair and well-shaped legs, but also symbols of female emancipation through the pair</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of jeans, boots and pickaxes, wavering between how others wish us to be and how</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">we wish ourselves to be.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The act of destroying the washing machine is defined not only by the way in which</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">it is executed, but also by the way in which it is described by the artists: </span><i><span class="Apple-style-span" style="font-weight: normal;">hurting</span></i><span class="Apple-style-span" style="font-weight: normal;">,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">as if they were causing it pain. The all but accidental choice of the word fosters a certain sentimentalism which seems inappropriate for an electrical appliance. In the 1950’s,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">a resident of the newly founded, at the time, British urban town of </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Harlow</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;"> described</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">how strongly she felt… about her refrigerator: “I felt sick with the excitement of it.</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">I had a refrigerator coming! And there it was – splendid in its packaging and ice-blue inside. It looked beautiful.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn7" name="_ftnref7" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[7]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In the postwar spirit of general optimism which emanated from the rapid economic growth of Western countries as well as the galloping technological breakthroughs, domestic electrical appliances were supposedly able to liberate the urban woman from domestic manual labor, and offer her aesthetic pleasure, even emotional excitement. A woman’s appliances defined her whole existence in and out of the household; they categorized her socioeconomically, and were a measure of her personal happiness and success as a wife, housekeeper and mother; in other words, they were her greatest oppressors and at the same time an integral part of who she was.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In the video, the womblike drum and the “ovarian” tubes of the washing machine</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">become visible, as the women ravage it with their bare hands exposing its guts. The affinity between the morphology of the device and the female physiology is revealed, alluding to the organic-mechanic hybrid duality of Donna Haraway’s feminist </span><i><span class="Apple-style-span" style="font-weight: normal;">cyborg</span></i><span class="Apple-style-span" style="font-weight: normal;">.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn8" name="_ftnref8" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[8]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Consequently, by literally “injuring” the washing machine the women metaphorically </span><i><span class="Apple-style-span" style="font-weight: normal;">hurt</span></i><span class="Apple-style-span" style="font-weight: normal;"> themselves; they dismantle the part of their being which is integrated to the friend and oppressor that is the washing machine, and enter into the post-</span><i><span class="Apple-style-span" style="font-weight: normal;">cyborg</span></i><span class="Apple-style-span" style="font-weight: normal;"> era in an attempt to redefine their self.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The remains of the washing machine-self, neo-archaeological remnants of the old world and precursors of the upcoming new order, were also taken to </span><st1:place w:st="on"><st1:placename w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Eleftheria</span></st1:placename><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Square</span></st1:placetype><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Park</span></st1:placetype></st1:place><span class="Apple-style-span" style="font-weight: normal;">. There, the artists invited women and men to imitate the digital heroines of the video and </span><i><span class="Apple-style-span" style="font-weight: normal;">hurt</span></i><span class="Apple-style-span" style="font-weight: normal;"> the washing machine with a pickaxe, in a much needed act of self-destruction as well as self-redemption. After all, as Mary Koutselini comments, men end up encaging themselves in the violent, aggressive, superiority complex-bound male stereotype, which they experience as oppressively as women.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn9" name="_ftnref9" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[9]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The 2.000 </span><i><span class="Apple-style-span" style="font-weight: normal;">Role Playing Washing Machines</span></i><span class="Apple-style-span" style="font-weight: normal;">, bearing the inscription for </span><i><span class="Apple-style-span" style="font-weight: normal;">boys only </span></i><span class="Apple-style-span" style="font-weight: normal;">and filled with detergent powder, are addressed to the big </span><i><span class="Apple-style-span" style="font-weight: normal;">boys</span></i><span class="Apple-style-span" style="font-weight: normal;"> encaged in their own game of power. Made out of carton and in dimensions far smaller than those of the prototype, these mass produced works demystify the washing machine transforming it from medium of male dominance to child’s play. The seemingly innocent toy washing machine fools</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">the men into pretending that they are </span><i><span class="Apple-style-span" style="font-weight: normal;">laundresses</span></i><span class="Apple-style-span" style="font-weight: normal;">; the tables are turned and men are now the ones who need to be emancipated, if they want to survive in a “woman’s world”.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The five </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels</span></i><span class="Apple-style-span" style="font-weight: normal;"> also presented for the first time at Urban Soul 2006, are a fusion of graphic design and language, and are among the most multi-semantic works by </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;">. By enlarging the small and humble – features that may derogatorily be attributed to women as well – textile labels on clothes, by readjusting their material and by altering the graphic and verbal semiotics of their content, the artists trigger an endless discourse on the traditional roles and stereotypes related to gender, race and class (urban in particular). The subliminal messages delivered to the spectator camouflaged under washing instructions on the three-meter high banners, criticize attitudes and behaviors deeply internalized by everyone, forcing us to face a dark side to ourselves that we didn’t know existed. More than banners, the </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels</span></i><span class="Apple-style-span" style="font-weight: normal;"> are manifestos of feminist revolution and social disillusionment.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In 1969, American Mierle Laderman Ukeles wrote the </span><i><span class="Apple-style-span" style="font-weight: normal;">Manifesto for Maintenance Art</span></i><span class="Apple-style-span" style="font-weight: normal;">, naming herself </span><i><span class="Apple-style-span" style="font-weight: normal;">maintenance artist</span></i><span class="Apple-style-span" style="font-weight: normal;">. The manifesto also included a proposition for an exhibition entitled </span><i><span class="Apple-style-span" style="font-weight: normal;">Care</span></i><span class="Apple-style-span" style="font-weight: normal;"> that would take place in 1973. In this series of performances,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">the artist executed all maintenance/cleaning duties in museums during working hours and in the presence of visitors.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn10" name="_ftnref10" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[10]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Six years later she would realize a titanic video-performance: “On July 24, 1979, I started shaking hands with the first of all </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">New York City</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">’s 8.500 sanitationmen </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;">, the housekeepers of the whole City </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;">. I called the performance “Touch Sanitation” </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;">. To each man I said, “Thank you for keeping </span><st1:state w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">New York</span></st1:place></st1:state><span class="Apple-style-span" style="font-weight: normal;"> alive.” </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;">Over the next 11 months, through all 4 seasons, I followed in their footsteps, modeling my performance art-time on the sanman’s 8 hour work shifts </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;">.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn11" name="_ftnref11" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[11]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ukeles and Lapithi-Kafaridou correspondingly reinvented themselves as </span><i><span class="Apple-style-span" style="font-weight: normal;">maintenance artist</span></i><span class="Apple-style-span" style="font-weight: normal;"> and </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;">. The difference, however, between them lies mainly in the fact that the first not only accepts the traditional role of woman as housekeeper, but also glorifies it by exalting the “female” domestic duties to art; the latter, on the other hand, by turning the washing machine into a toy or by pulverizing it they ridicule and denounce any form, vehicle, symbol or role model of female subordination, especially that of the housekeeper. Nevertheless, they both draw their subject matter, materials and media from the labor and technical equipment of the household, while their works are embedded with connotations of class, along with gender related issues.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">More importantly, though, what places Ukeles and </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;"> together in the same socio-feminist visual tradition is the fact that their art aims at the sanitization of society, the reformation of its internal structures and the upgrading of the roles which people, regardless of gender or class, play in it. In this sense, all three women are not very different from </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">New York City</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">’s sanitationmen; they are, in fact, </span><i><span class="Apple-style-span" style="font-weight: normal;">social sanitationwomen</span></i><span class="Apple-style-span" style="font-weight: normal;">.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">“Feminist Issues Still Not at Front Line”: Serious Statement or a Joke?<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">’ debut at Urban Soul Festival 2006 was followed by their participation in the institution’s following year edition, during which they presented an installation at </span><st1:street w:st="on"><st1:address w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Eleftheria Square</span></st1:address></st1:street><span class="Apple-style-span" style="font-weight: normal;">. In continuation to the precedent established by </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels</span></i><span class="Apple-style-span" style="font-weight: normal;">, a banner of large dimensions serves as background and conceptual context of the installation.</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Its size and shape are reminiscent of advertising bill boards, whereas the arrangement of its content and the added captions allude to comic books – in both (advertising and comics) women are often depicted in a degrading, sexist, even violent way. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In the photograph printed onto the banner Lapithi-Kafaridou appear, but are once again skillfully living the parts of two new </span><i><span class="Apple-style-span" style="font-weight: normal;">personae</span></i><span class="Apple-style-span" style="font-weight: normal;"> that are indicative of men’s monolithic</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">and stereotyped notion of women: those of the dumb blonde and the less dumb brunette. Wearing colorful floral clothes to match their tent, they are seated on stools playing backgammon (traditional male game), against an absurd scenery between camping</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">and a sit-out, in front of the barricade at Ledra street which was still blocked at the time. The paradox atmosphere of the image is heightened by the soldier who is looking at them</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">in perplexity and suspicion inside from his watch box.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">A surrealistic dialogue takes place between the women, capable of provoking laughter</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">or at least a smile:<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Blonde gazing into space<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– I thought the showers were behind this paravan.</span></span></i><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn12" name="_ftnref12" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[12]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Brunette detachedly, drinking coffee <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– No, dear, the </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> Problem is still not settled.</span></span></i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">All this seen through the lens of an overstated pink subtitle: </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminist issues still not at front line.<o:p></o:p></span></i></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The banner is complemented by the natural presence of the tent in the photograph. Feminine and graceful in the rich colors of its floral design, it is not in the least reminiscent of the conventional khaki (like the soldier’s uniform) tent which is the </span><i><span class="Apple-style-span" style="font-weight: normal;">par excellence</span></i><span class="Apple-style-span" style="font-weight: normal;"> accessory of “real” men and a symbol of endurance and survival in the wild or at times of war. The girlish decorative motif of the tent stresses the Freudian female qualities of its form (the tent surrounds and protects its tenants, as the womb does with the embryo).<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In this case, the “childbearing” tent carries a video entitled </span><i><span class="Apple-style-span" style="font-weight: normal;">The To Do List</span></i><span class="Apple-style-span" style="font-weight: normal;">, in which a female hand appears to be writing an endless list of things </span><i><span class="Apple-style-span" style="font-weight: normal;">to do </span></i><span class="Apple-style-span" style="font-weight: normal;">on a notepad. The glossy white surface against which the hand moves is probably the counter of a kitchen, the “woman’s natural habitat”. The spectator automatically imagines that the list is comprised of “women’s” chores, assumption which is confirmed by the list’s actual content. Important and unimportant, serious and frivolous, subversive and traditional “female” obligations feature on the list, all with the same detached casualness that unveils the grotesque paranoia of the contemporary urban woman’s life: </span><i><span class="Apple-style-span" style="font-weight: normal;">iron clothes, drive son to judo, make hairdresser appointment, call lawyer for divorce, go to antiwar demonstration. <o:p></o:p></span></i></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Involvement in politics, even everyday political discussions are considered to be strictly male fields of action. Women supposedly are not interested in this kind of matters or aren’t intelligent enough to understand them. Nevertheless, numerous international feminist artists have associated their name and creation with political-military causes. Among the most famous is Nancy Spero, whose 1966-70</span><i><span class="Apple-style-span" style="font-weight: normal;"> War Series</span></i><span class="Apple-style-span" style="font-weight: normal;"> of inks and gouaches is until this day emblematic of the outcry of American citizens and the international public opinion against the Vietnam War and the </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">USA</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> nuclear weapons program. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Equally noteworthy is the participation of feminist non-artists in political protests and activist demonstrations. On May 6</span><sup><span class="Apple-style-span" style="font-weight: normal;">th</span></sup><span class="Apple-style-span" style="font-weight: normal;"> 1987, a group of six American students, calling themselves “Pele”, walked across fifty kilometers of desert, so as to reach one of the many American nuclear testing sites in the state of </span><st1:state w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nevada</span></st1:place></st1:state><span class="Apple-style-span" style="font-weight: normal;">. After twelve consecutive hours of hiking, they arrived at their destination and lay on the ground in front of a bus full of nuclear site workers, holding colorful balloons and antinuclear banners. They managed</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">to delay any nuclear activity for twenty minutes, before being arrested by the security forces on charges of trespassing.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn13" name="_ftnref13" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[13]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">On a local level, the first demonstration against the Turkish invasion and occupation</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> was organized by women. On April 20</span><sup><span class="Apple-style-span" style="font-weight: normal;">th </span></sup><span class="Apple-style-span" style="font-weight: normal;">1975, hardly a year since the 1974 events, Cypriot women along with Melina Merkouri and women members of Parliament from Britain, Israel, the United States and other countries marched from Derinia to occupied Famagusta, realizing one of the most massive and overwhelming antiwar protests</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of contemporary Cypriot history. The attempt was repeated on March 19</span><sup><span class="Apple-style-span" style="font-weight: normal;">th</span></sup><span class="Apple-style-span" style="font-weight: normal;"> 1989, when women from all over the unoccupied part of </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> were headed towards various points</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of the ceasefire line. On July 24</span><sup><span class="Apple-style-span" style="font-weight: normal;">th</span></sup><span class="Apple-style-span" style="font-weight: normal;"> of the same year, Turkish soldiers beat up with sticks</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">and trampled over unarmed women protesters at the barricade of Ayios Kassianos</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"><br />
</span> </span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">in Nicosia, seriously injuring them, while they didn’t hesitate to throw down the mountain slope many of the hundreds of women who had dared a historical first entry into Cyprus occupied territory by taking over the chapel of Profitis Elias at Limbia.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn14" name="_ftnref14" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[14]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In spite of women’s initiatives and active involvement in the struggle against the violation of basic human rights as a consequence of the Turkish invasion and ongoing occupation in Cyprus, approximately 60 percent of Greek-Cypriot women feel that the Cyprus Problem<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">is delaying or even obstructing the promotion of gender related issues.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn15" name="_ftnref15" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[15]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> This may be </span><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">attributed, in one hand, to the fact that the Cyprus Problem has long been monopolizing the political interest as a top priority national affair, and, on the other hand, to the fact that the country’s official strategy on the matter has been almost exclusively developed</span></span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">by men. </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">At the core of the installation </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminist issues still not at front line </span></i><span class="Apple-style-span" style="font-weight: normal;">lies the Cypriot woman’s false dilemma between the efforts to resolve the Cyprus Problem and those to promote equality and gender empowerment. In reality, however, “gender issues and the Cyprus Problem are interwoven, and always have been. Women in both communities were affected significantly by the migrations, displacements, war, resulting rapes, abuse, and inter-communal conflicts that arose as a result of political divisions.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn16" name="_ftnref16" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[16]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> By becoming aware of the historical circumstances that have formulated her present political and social environment, a woman achieves self-knowledge, she recognizes, that is, her own internalized mechanisms which are the ones keeping her attached to traditional social roles and distorted notions of womanhood.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The work ridicules and condemns women’s passive acceptance of the stereotype of the politically and socially ignorant, carefree and altogether light female existence. Furthermore, it encourages us to be “activists”, to assume responsibility for our choices and at the same time place ourselves at the </span><i><span class="Apple-style-span" style="font-weight: normal;">front line</span></i><span class="Apple-style-span" style="font-weight: normal;"> of politics, society and life, although not as obedient followers of male inspired visions, but as creative protagonists of change.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Gaze as Force… </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“- the floor is full of pink balloons -<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">and his shadow on the spot”<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Daphne Nikita, </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Dolls</span></i></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn17" name="_ftnref17" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[17]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Daphne Nikita detects a man’s shadow in the nauseatingly candy-pink room, where the video </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but...</span></i><span class="Apple-style-span" style="font-weight: normal;">, the very backbone of the most recent visual series by </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;">, occurs. Could it be that, to paraphrase the poet, it is not “his shadow on the spot”, but his gaze instead? The lustrous, as if they have just jumped off the page of a magazine,</span><i><span class="Apple-style-span" style="font-weight: normal;"> living dolls</span></i><span class="Apple-style-span" style="font-weight: normal;"> that the artistic duo is impersonating this time, are a contraption of men’s gaze-projected fantasy of women: slim long legs that are emphasized by miniskirts and high heels, “right” weight and height, long flowing hair, pretty faces and, most importantly, silent, the ideal </span><i><span class="Apple-style-span" style="font-weight: normal;">objects</span></i><span class="Apple-style-span" style="font-weight: normal;"> of desire.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Retracing the history of art, or rather its dominant version as it has been written</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">by art historians the majority of which were men, we discover that universally attested masterpieces, such as </span><i><span class="Apple-style-span" style="font-weight: normal;">Venus of Melos</span></i><span class="Apple-style-span" style="font-weight: normal;">, the </span><i><span class="Apple-style-span" style="font-weight: normal;">Nymph Galatea</span></i><span class="Apple-style-span" style="font-weight: normal;"> by Raphael and </span><i><span class="Apple-style-span" style="font-weight: normal;">Olympia</span></i></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">by Manet (all idealistic female nudes destined to attract the admiring – mostly male – gaze), have, if not pioneered, taken part in the ongoing relentless objectification</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of woman, all the while providing it with the alibi of “the cultural prestige of antiquity,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">or of being the creations of Old Masters.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn18" name="_ftnref18" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[18]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">It may be that the so-called high art is in great part responsible for the formation of the concept that “a woman need not be intelligent, as long as she is beautiful”, or even of what female beauty is considered to be, but it is the media which today bear the burden</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of preserving and, if possible, perpetuating the role of woman in society as that of</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">a useless yet graceful “bibelot”.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">A research by Krini Kafiris published in 2005, showed that the female image which most frequently appeared in the local press as well as on the local television channels “was that of attractive global and Greek female celebrities. Attractive women also systematically appear in stock photographs which accompany news articles on a wide range of different subjects which do not specifically involve women. Many of the photographs of women </span><i><span class="Apple-style-span" style="font-weight: normal;">(…)</span></i><span class="Apple-style-span" style="font-weight: normal;"> involved revealing clothing (or bathing suits) and sexy body language.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn19" name="_ftnref19" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[19]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Regarding women’s employment in the media world, “fewer women hold positions of real power, participate in major decision making processes, and are able to advance to higher, more powerful and lucrative positions during their media career.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn20" name="_ftnref20" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[20]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The dictatorship of the media-projected male gaze is, therefore, dual and bidirectional, as was the one of the art-projected male gaze for centuries. On the one hand, the male executives of newspapers, magazines and television stations determine the quantity and quality (usually sexist) of women’s representations that are channeled to the public.</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">On the other hand, the male viewers/readers devour blissfully the fictional female idols which were made for nurturing their need “to control women’s sexuality in the family, enjoy it outside it, and displace the qualities they fear in themselves (such as passivity, openness and emotionality) onto the body of the woman”.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn21" name="_ftnref21" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[21]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In the midst of all this, woman is found at the bottom of the “human nutrition pyramid” as a commodity which passes from production to consumption. To make matters worse, she has convinced herself through the psychological phenomenon of “self-fulfilling prophecy”, much like the </span><i><span class="Apple-style-span" style="font-weight: normal;">unbearably</span></i><span class="Apple-style-span" style="font-weight: normal;"> “pink” women in the video, that she indeed resembles the stereotype of the “weaker sex” forced onto her by the dominant male gaze, that is to say, that she </span><i><span class="Apple-style-span" style="font-weight: normal;">is</span></i><span class="Apple-style-span" style="font-weight: normal;"> vehicle to man’s sexual desires and instincts, incapable to be admired for anything but her natural qualities. Thus, she reflects man’s expectations of her, striving to live up to them (be taller, thinner, more beautiful, in short, more desirable). The dialogue between the charming and successful businessman (Richard Gere) and the sexy prostitute (Julia Roberts), in the 1990 antifeminist yet extremely popular film </span><i><span class="Apple-style-span" style="font-weight: normal;">Pretty Woman</span></i><span class="Apple-style-span" style="font-weight: normal;">, pops into mind:<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– What’s your name?<o:p></o:p></span></span></i></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– What do you want it to be?</span></span></i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The appropriation of the male gaze by women artists is frequent, although controversial, in the history of international feminist art. They dare to direct it upon themselves,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"><br />
</span> </span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">in order to “emasculate” it by sabotaging its functional mechanisms from within. By the end of 1973, American sculptor born of Greek parents Lynda Benglis, published the first of a series of four invitations to her upcoming exhibitions, all of which had printed onto them photographs of the artist in different regalia and pose each time. The third in a row portrait-invitation represents her in the style of the famous 1943 pinup photograph of Betty Grable in a bathing suit, which was wildly popular among American soldiers fighting in World War II. In her version, Benglis too has her back facing the camera while playfully turning to look at it, save for the fact that she has nothing on but her jeans hanging around her ankles.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn22" name="_ftnref22" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[22]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Needless to say that the artist meant the picture as the downfall, by means</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of caustic (in lack of a stronger word) humor, of the role model of the coy pinup girl.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">In the same spirit, </span><i><span style="letter-spacing: -.05pt;"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span class="Apple-style-span" style="font-weight: normal;"> observe themselves through the eyes of a man and create, in the video </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but...</span></i><span class="Apple-style-span" style="font-weight: normal;">, the “pink” parody versions of Lia and Marianna. These digitalized avatars of their self are, as were all the previous ones, figments of hybridism between autobiographic and fictional beings. While blindly obeying the fully digested childhood teachings of the “civilized” Western world on women’s </span><i><span class="Apple-style-span" style="font-weight: normal;">appearance and appearances</span></i><span class="Apple-style-span" style="font-weight: normal;"> (decency and sexuality in “proper doses”), the female avatars embark on the futile quest of bursting with their fetish high heels every last one of the pink balloons; as if that constitutes an act of emancipation or a symbolic gesture of woman’s liberation from “the rings of a chain holding her captive to the sexist conventions of the urban consumer society”.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn23" name="_ftnref23" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[23]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> The reflected sound of the bubbles, going off like guns, and the slow motion contribute to the creation of the image’s whole feeling of fake drama. The work itself indiscriminately and at close range targets everyone: the men for fantasizing sex with virtual women because they are unable to love the real ones, and mostly the women for conferring the privilege of defining their appearance and, worse yet, their being entirely onto the male gaze.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Hopefully, the “pink” avatars by Lapithi-Kafaridou will haunt the minds of us women, when we “narcissistically look ourselves in the mirror”. Hopefully, we will then ask ourselves whether we are smiling to our reflection because of honest contentment, or because we aspire to fulfill the unspoken desires of </span><i><span class="Apple-style-span" style="font-weight: normal;">his</span></i><span class="Apple-style-span" style="font-weight: normal;"> eyes. This way “perhaps </span><i><span class="Apple-style-span" style="font-weight: normal;">(someday)</span></i><span class="Apple-style-span" style="font-weight: normal;"> we will get out of this room”...</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn24" name="_ftnref24" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[24]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">...and Humor as Violence <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Janie Terreno was a member of the Suffrage Movement and one of the women “arrested March 12</span><sup><span class="Apple-style-span" style="font-weight: normal;">th</span></sup><span class="Apple-style-span" style="font-weight: normal;"> 1912 </span><i><span class="Apple-style-span" style="font-weight: normal;">(and)</span></i><span class="Apple-style-span" style="font-weight: normal;"> sentenced</span><i><span class="Apple-style-span" style="font-weight: normal;"> (…) </span></i><span class="Apple-style-span" style="font-weight: normal;">to four months”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn25" name="_ftnref25" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[25]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> imprisonment, as states the handkerchief she embroidered while serving her sentence at a London prison, for vandalism and assault against police officers during a demonstration for women’s right to vote. The suffrage colors (purple, white, green) form a frame around the handkerchief, while an especially made pocket holds a photograph of the movement’s leaders, Emmeline and Christabel Pankhurst, mother and daughter.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">As product of the scorned by art feminine handicraft of embroidery, but also as object destined to dry the tears of the “weaker sex” – everyone knows that “boys don’t cry” –</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">the handkerchief is considered to be an engendered object, and a female one, at that.</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">By sewing on the handkerchief her name and those of tens of other incarcerated suffragettes’ around the phrases “deeds not words” and “hunger strike” – they went on hunger strikes to ensure better prison conditions – Janie Terreno establishes as their own the hitherto “male” notions of political consciousness, willingness to fight, endurance,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">in short, she “redefines their femininity.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn26" name="_ftnref26" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[26]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The work </span><i><span class="Apple-style-span" style="font-weight: normal;">Tissue Box</span></i><span class="Apple-style-span" style="font-weight: normal;">, because it is pink, the color of naïve girlish dreams, and because of its content (tissues: the mass produced disposable industrialized evolution of the handkerchief) may also be interpreted as engendered, feminine. But, instead of bearing the reminders of women’s emancipation, it flaunts the contemporary means of their subordination. “Well-meant pleasantries” and tragic findings on the current state</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of women are here collocated not as opposites, but as mutually complementary pieces</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of our puzzle-of-a-society which witnesses women systematically falling victim to violence, verbal and active, psychological and physical, passive and aggressive. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Just how harmless are the blonde, wife, mother-in-law jokes that men make up and tell “for fun”? Humor that is prompted by, or rather in detriment of, a woman reveals the stereotyped qualities attributed to her by man. Conversely, sexist jokes do not just reflect male prejudice, but promote its spreading and rooting into the collective consciousness as </span><i><span class="Apple-style-span" style="font-weight: normal;">res communis</span></i><span class="Apple-style-span" style="font-weight: normal;">. When repeatedly tracing, either verbally as narrator or mentally</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">as listener, the images of the sexy blonde, the nagging wife and the authoritarian mother-in-law, one is in danger of believing that women are meant to take on only these and</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">no other social roles, and always in a way that is either subordinate and pleasing</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">or oppressive and annoying towards man, but never on an equal basis. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">By, even as a joke, confining the female activity within the limited boundaries of the kitchen and the bedroom, woman is trapped in the shell of an unproductive existence and is made out to be man’s property and instrument. This “property status” established by sexist humor, is exactly what allows men to physically abuse women in jokes – God forbid it should happen in real life! – considering their act as their right and its consequences as hilarious. To be able to laugh at the thought of a “woman with two blackened eyes” requires conveniently ignoring the victim’s physical and psychological pain; that promotes the treatment of women as objects (punching bags to be precise) and not as human beings. Vague, almost invisible behind the smokescreen of “innocent joke”, this vicious circle of systematic undermining of women’s very essence manages, for the most part, to escape social criticism, thus surviving and ensuring that men will arrogantly tell sexist jokes in the presence of women, and that the latter will pretend to be rid enough of their “complexes” to laugh at the punch line to eternity. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></span></i><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> do not, however, seek to make the spectators, much less the female ones, laugh until they cry pretending to be free of guilt. Their recent works </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but…</span></i><span class="Apple-style-span" style="font-weight: normal;">,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Tissue Box </span></i><span class="Apple-style-span" style="font-weight: normal;">and </span><i><span class="Apple-style-span" style="font-weight: normal;">Leg Talks</span></i><span class="Apple-style-span" style="font-weight: normal;"> aim at in depth introspection, from the</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">depths self-confession, and deep catharsis. By facing the beast within and laughing at</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">its ugliness we overcome our fear of it; but in order to exorcise it, we must find the strength to cry – hence the </span><i><span class="Apple-style-span" style="font-weight: normal;">tissue box </span></i><span class="Apple-style-span" style="font-weight: normal;">– for its decadence.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Instead of an Epilogue <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“There is a profound difference between </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> a “liberated woman” and a feminist.</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The liberated woman doesn’t really see past herself. She wants (competes for and often wins) equal pay for equal work, more respect and prestige in the society, more orgasms, higher status – in short, she wants to “make it in a man’s world”. </span><i><span class="Apple-style-span" style="font-weight: normal;">(...) </span></i><span class="Apple-style-span" style="font-weight: normal;">The feminist, however, sees herself as part of a broad movement. She understands the implications</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of sisterhood </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;">. She does not strive for a bigger piece of the male-defined pie,</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">but rather towards a society where not only </span><i><span class="Apple-style-span" style="font-weight: normal;">all</span></i><span class="Apple-style-span" style="font-weight: normal;"> women, but all people are able to define their own existences.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn27" name="_ftnref27" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[27]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">“Post Scriptum”<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 228.65pt; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The following are written with genuine respect to the memory of one and all women who fell victim to our society’s silent guilt. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">I’ m reading the captions of</span><i><span class="Apple-style-span" style="font-weight: normal;"> Leg Talks</span></i><span class="Apple-style-span" style="font-weight: normal;">. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Something I had watched on the news ten years or so ago comes into mind. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">A twenty-year-old woman from </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Russia</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> fell to her death from a balcony.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">She was an “artiste”, she worked at a cabaret.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">I remember feeling… – <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“According to the decision of the European Human Rights Court </span><i><span class="Apple-style-span" style="font-weight: normal;">(she) </span></i><span class="Apple-style-span" style="font-weight: normal;">was driven</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">to death by acts and omissions that violated her rights of freedom and safety. For the</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">above mentioned violations of the Convention of Human Rights articles the Court awarded damages of 43.150 euro </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> which will be paid by the </span><st1:place w:st="on"><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Republic</span></st1:placetype><span class="Apple-style-span" style="font-weight: normal;"> of </span><st1:placename w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:placename></st1:place><span class="Apple-style-span" style="font-weight: normal;"> to the family</span></span><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of the deceased.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn28" name="_ftnref28" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[28]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“43.150 euro”! <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– That’s how much it costs to kill a human being?<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– No, that’s how much it costs to kill an “artiste”.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“It is estimated that about 2.000 women enter </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;"> every year on “artiste” visas.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn29" name="_ftnref29" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[29]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">“During the period 1982-2002, there was an increase of cabarets by 111%.”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn30" name="_ftnref30" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[30]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Why?<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Because “the dream of 45% of women living in </span><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Eastern Europe</span></st1:place><span class="Apple-style-span" style="font-weight: normal;"> is to become prostitutes,”</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftn31" name="_ftnref31" title=""><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span lang="EN-GB" style="font-family: MetaPro-Normal; font-size: 9.5pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[31]</span></span></sup></span></sup></a><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> as stated by former Minister of Justice Doros Theodorou in 2003. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 9.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Let the reader fill in the gaps between my lines…<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><st1:personname w:st="on"><span lang="EN-GB" style="font-family: Arial; font-size: 8.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Andrea Constantinou</span></span></st1:personname><span lang="EN-GB" style="font-family: Arial; font-size: 8.5pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div><span class="Apple-style-span" style="font-weight: normal;"><br clear="all" /></span> <hr align="left" size="1" width="33%" /> <div id="ftn1"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref1" name="_ftn1" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[1]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Eleni S. Nikita, “Prompted by the Happenings of </span></span><i><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Washing</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">-</span></span></i><i><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Up</span></span></i><i><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ladies</span></span></i><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">”</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, in this catalogue, pp. 55 and 57.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn2"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref2" name="_ftn2" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[2]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Spurgeon Thompson, “Gender Issues in </span><st1:country-region w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:country-region><span class="Apple-style-span" style="font-weight: normal;">”, </span><i><span class="Apple-style-span" style="font-weight: normal;">The Gender & Media Handbook</span></i><span class="Apple-style-span" style="font-weight: normal;">, Mediterranean Institute of Gender Studies, </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">, 2005, p. 14.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn3"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref3" name="_ftn3" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[3]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> The statistics come from a series of researches that are mentioned in </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, pp. 13-14 and 21.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn4"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref4" name="_ftn4" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[4]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Maria Hadjipavlou, “Among Cypriot women: The local context” (2007), www.washing-up-ladies. blogspot.com.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn5"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref5" name="_ftn5" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[5]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Margarita Zervidou, “National Report: The Case of Cyprus”, </span><i><span class="Apple-style-span" style="font-weight: normal;">Integration of Female Migrant Domestic Workers</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Mediterranean Institute of Gender Studies, University of Nicosia Press, Nicosia, 2008, p. 37. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn6"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref6" name="_ftn6" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[6]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, p. 34. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn7"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref7" name="_ftn7" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[7]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Judy Attfield, “</span><st1:placename w:st="on"><em><span style="font-style: normal;"><span class="Apple-style-span" style="font-weight: normal;">Inside</span></span></em></st1:placename><em><span style="font-style: normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placename w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Pram</span></st1:placename><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:placetype w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Town</span></st1:placetype><span class="Apple-style-span" style="font-weight: normal;">: a case study of Harlow House Interiors 1951-1961”, </span></span><span class="Apple-style-span" style="font-weight: normal;">A View from the Interior</span></em><em><span style="font-style: normal;"><span class="Apple-style-span" style="font-weight: normal;">, </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">London</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">, 1989, p. 224. </span></span></em></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn8"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref8" name="_ftn8" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[8]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> See Donna Haraway, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Socialist Review</span></i><span class="Apple-style-span" style="font-weight: normal;">, 1985), </span><i><span class="Apple-style-span" style="font-weight: normal;">Simians, Cyborgs and Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, </span><st1:place w:st="on"><st1:city w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Routledge</span></st1:city><span class="Apple-style-span" style="font-weight: normal;">, </span><st1:state w:st="on"><span class="Apple-style-span" style="font-weight: normal;">New York</span></st1:state></st1:place><span class="Apple-style-span" style="font-weight: normal;">, 1991.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn9"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref9" name="_ftn9" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[9]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Mary Koutselini in the catalogue’s address.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn10"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref10" name="_ftn10" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[10]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Household Images in Art” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Ms.</span></i><span class="Apple-style-span" style="font-weight: normal;">, March 1973), </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, New York, 1995, pp. 63 and 65. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn11"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref11" name="_ftn11" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[11]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Mierle Laderman Ukeles, “Touch Sanitation” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Issue</span></i><span class="Apple-style-span" style="font-weight: normal;">, 1980), </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminism-Art-Theory</span></i><span class="Apple-style-span" style="font-weight: normal;">, Blackwell Publishers Ltd, </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Britain</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;">, 2001, p. 106. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn12"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref12" name="_ftn12" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[12]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> “Paravan” is a foreign word used in Greek for “screen”. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn13"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref13" name="_ftn13" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[13]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Women Confront the Bomb” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Boulder Daily Camera</span></i><span class="Apple-style-span" style="font-weight: normal;">, May 17, 1987),</span><i><span class="Apple-style-span" style="font-weight: normal;"> The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, New York, 1995, pp. 228-230. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn14"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref14" name="_ftn14" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[14]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Adonis Pallikarides, «</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Τούτη</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">η</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δίψα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δεν</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σβήνει</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τούτη</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">η</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">μάχη</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δεν</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">παύει</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">», </span></span><i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Σημερινή</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">/Simerini </span></span></i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">(</span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">), August 18, 2010. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn15"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref15" name="_ftn15" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[15]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> The statistics come from a research by Maria Hadjipavlou (2004) that is mentioned in Spurgeon Thompson, “Gender Issues in Cyprus”, </span><i><span class="Apple-style-span" style="font-weight: normal;">The Gender & Media Handbook</span></i><span class="Apple-style-span" style="font-weight: normal;">, Mediterranean Institute of Gender Studies, Nicosia, 2005, p. 23.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn16"> <div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref16" name="_ftn16" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[16]</span></span></sup></span></sup></a><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The statistics come from a research by Maria Hadjipavlou (2004) that is mentioned in </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, p. 22.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn17"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref17" name="_ftn17" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[17]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Daphne Nikita, “The Pink Dolls”, in this catalogue, p. 67.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn18"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref18" name="_ftn18" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[18]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “The Politics of Representation: A Democracy of the Gaze”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Β</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">ritain, 1992, p. 134.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn19"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref19" name="_ftn19" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[19]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Krini Kafiris, “Gender and Media in </span><st1:country-region w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></st1:country-region><span class="Apple-style-span" style="font-weight: normal;">: The Greek Cypriot Study”, </span><i><span class="Apple-style-span" style="font-weight: normal;">The Gender & Media Handbook</span></i><span class="Apple-style-span" style="font-weight: normal;">, Mediterranean Institute of Gender Studies, </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">, 2005, p. 49.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn20"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref20" name="_ftn20" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[20]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, p. 48</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn21"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref21" name="_ftn21" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[21]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “The Politics of Representation: A Democracy of the Gaze”, </span><i><span class="Apple-style-span" style="font-weight: normal;">Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity </span><st1:place w:st="on"><st1:city w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Press</span></st1:city><span class="Apple-style-span" style="font-weight: normal;">, </span><st1:country-region w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Britain</span></st1:country-region></st1:place><span class="Apple-style-span" style="font-weight: normal;">, 1992, p. 134.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn22"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref22" name="_ftn22" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[22]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Making Up: Role-Playing and Transformation in Women’s Art” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Ms.</span></i><span class="Apple-style-span" style="font-weight: normal;">, October 1975), </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ν</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">ew </span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">York</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">, 1995, p. 92.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn23"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref23" name="_ftn23" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[23]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><st1:personname w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Elena Christodoulidou</span></st1:personname><span class="Apple-style-span" style="font-weight: normal;">, “Prompted by the Burst of the Bubble”, in this catalogue, p. 61.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn24"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref24" name="_ftn24" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[24]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Daphne Nikita, “The Pink Dolls”, in this catalogue, p. 67.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn25"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref25" name="_ftn25" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[25]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; letter-spacing: -.1pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “Feminist Arts”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity </span><st1:place w:st="on"><st1:city w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Press</span></st1:city><span class="Apple-style-span" style="font-weight: normal;">, </span><st1:country-region w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Britain</span></st1:country-region></st1:place><span class="Apple-style-span" style="font-weight: normal;">, 1992, p. 176.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn26"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref26" name="_ftn26" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[26]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, pp. 175-176.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn27"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref27" name="_ftn27" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[27]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Judith Stein, “For a Truly Feminist Art” (originally published in </span><i><span class="Apple-style-span" style="font-weight: normal;">Big News</span></i><span class="Apple-style-span" style="font-weight: normal;">, 1-9, 1972), </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminism-Art-Theory</span></i><span class="Apple-style-span" style="font-weight: normal;">, Blackwell Publishers Ltd, </span><st1:country-region w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Britain</span></st1:place></st1:country-region><span class="Apple-style-span" style="font-weight: normal;">, 2001, p. 29.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn28"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref28" name="_ftn28" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[28]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Author’s translation from Greek, Yiannis Kostakopoulos, «</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ανακριτές</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">για</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τους</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τύπους</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">», </span></span><i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Πολίτης</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">/Politis </span></span></i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">(Nicosia), January 9, 2010, p. 22.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn29"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref29" name="_ftn29" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[29]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Author</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">’</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">s</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">translation</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">from</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Greek</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span><i><span class="Apple-style-span" style="font-weight: normal;">Χαρτογράφηση της πραγματικής κατάστασης της Σωματεμπορίας Γυναικών με σκοπό τη Σεξουαλική τους Εκμετάλλευση στην Κύπρο: Περιληπτικό σημείωμα</span></i><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Mediterranean</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Institute</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Gender</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Studies</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><st1:city w:st="on"><st1:place w:st="on"><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></span></st1:place></st1:city><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2007, </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">p</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 1.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn30"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref30" name="_ftn30" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[30]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Author’s translation from Greek, </span><i><span class="Apple-style-span" style="font-weight: normal;">Ibid.</span></i><span class="Apple-style-span" style="font-weight: normal;">, p. 2.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn31"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-ENG.doc#_ftnref31" name="_ftn31" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[31]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Stefanos Evripidou, “Theodorou Refuses to Back Down over Eastern European Prostitution Claim”, </span><st1:country-region w:st="on"><i><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></i></st1:country-region><i><span class="Apple-style-span" style="font-weight: normal;"> Mail</span></i><span class="Apple-style-span" style="font-weight: normal;"> (</span><st1:city w:st="on"><st1:place w:st="on"><span class="Apple-style-span" style="font-weight: normal;">Nicosia</span></st1:place></st1:city><span class="Apple-style-span" style="font-weight: normal;">), December 5, 2003, p. 3.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div></div></i></b></div></div><div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"><br />
</div><div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"><br />
</div><div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"><br />
</div><div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"><b><i></i></b><br />
<b><i><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Washing-up ladies: Γυναίκες, Καλλιτέχνιδες, «Πλύστρες»<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Γιατί Τώρα!</span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Σε πρόσφατη συζήτηση με νεαρή ακαδημαϊκό, αναφέρθηκε τυχαία και μεταξύ άλλων</span></span><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">η επικείμενη (κατά τη στιγμή της γραφής του κειμένου) έκθεση των Λίας Λαπίθη-Μαριάννας Καφαρίδου ή άλλως </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;">. «Γιατί τώρα...;» αναρωτήθηκε εύλογα – μέχρι αποδείξεως του αντιθέτου – η συνομιλήτριά μου, σχετικά με την πρόθεση των εικαστικών να παραγάγουν και να παρουσιάσουν έργα τέχνης που θα μπορούσαν να χαρακτηριστούν και ως φεμινιστικά. Πίσω από τις λέξεις, ή μάλλον πίσω από τα αποσιωπητικά, το ερώτημα αναδιατυπώνεται προσλαμβάνοντας τις πλήρεις ιστορικές, πολιτικές, κοινωνικές και καλλιτεχνικές του διαστάσεις. Γιατί τώρα, ένα σχεδόν αιώνα μετά την κατάκτηση του δικαιώματος ψήφου από τις σουφραζέτες, μισό σχεδόν αιώνα μετά την πρώτη γενιά Αμερικανών και Ευρωπαίων φεμινιστριών καλλιτέχνιδων, και ισάριθμο χρόνο μετά τη σεξουαλική απελευθέρωση στο Δυτικό κόσμο; Και γιατί, γενικώς; Αφού, όπως επισημαίνει η Ελένη Νικήτα, η σύγχρονη Κύπρια γυναίκα και δημιουργός έχει ήδη δρέψει τους καρπούς των αγώνων του διεθνούς φεμινιστικού κινήματος για χειραφέτηση και ελευθερία εικαστικής έκφρασης, χωρίς να έχει συμμετάσχει ενεργά ή συνειδητά σε αυτό.</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn1" name="_ftnref1" title=""><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[1]</span></span></sup></span></sup></a><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Είναι γεγονός πως, χάρη στις προσωπικές θυσίες μιας πλειάδας φεμινιστριών ανά</span></span><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">το παγκόσμιο, οι μέχρι πρότινος δυσμενείς για μας τις Κύπριες κοινωνικές δομές έχουν αναθεωρηθεί, ακόμη και αναδιαρθρωθεί σε μεγάλο βαθμό και σε πολλούς τομείς</span></span><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">του ιδιωτικού και δημόσιου βίου. Ως κληροδότημα του διεθνούς φεμινιστικού κινήματος,</span></span><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">η γυναίκα στην Κύπρο σήμερα δικαιούται – ο όρος χρησιμοποιείται με τη νομική, αλλά και με την ηθική του χροιά – να εκλέγει και να εκλέγεται, να φοιτά σε οποιοδήποτε ακαδημαϊκό ίδρυμα και κλάδο της αρεσκείας της, να δραστηριοποιείται επαγγελματικά σε όποιο τομέα επιθυμεί η ίδια (αυτού των τεχνών συμπεριλαμβανομένου), να συνάπτει προγαμιαίες σεξουαλικές σχέσεις, να παραμένει ανύπαντρη εφόσον το επιλέγει.</span></span><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Η σημαντικότητα και το εύρος των φεμινιστικών κατακτήσεων, σε συνδυασμό με την άγνοια όσων αναίμακτα έχουμε κληρονομήσει τα προνόμια που απολαμβάνουμε, είναι εύκολο να οδηγήσουν την Κύπρια στο βεβιασμένο συμπέρασμα πως δε συντελείται πλέον καμιά αδικία εις βάρος της και πως, κατ’ επέκταση, ο διάλογος γύρω από ζητήματα κοινωνικού φύλου δεν έχει πια λόγο ύπαρξης· εξ ού και η «εύλογη» απορία «Γιατί τώρα...;».<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Πρόκειται ουσιαστικά για μια αφελή όσο και επιβλαβή αυταπάτη που συνιστά τροχοπέδη στο συνεχιζόμενο αγώνα για ισότητα και ενδυνάμωση των φύλων, όπως παρατηρεί – τι ειρωνεία! – ένας άντρας, ο Spurgeon Thompson: «Ενώ οι περισσότερες γυναίκες στην Κύπρο φαίνεται να είναι ικανοποιημένες με τη ζωή και τις ευκαιρίες τους, αυτό συμβαίνει πιθανώς γιατί δεν αντιλαμβάνονται την καταπίεση με τον τρόπο που την αντιλαμβάνονται, για παράδειγμα, τα Ηνωμένα Έθνη ή οι πλείστες των Δυτικών χωρών. Με άλλα λόγια, οι περισσότερες γυναίκες δεν ξέρουν τι δεν έχουν. Τέτοια ευρέως διαδεδομένη άγνοια κάνει την επίτευξη ισότητας δύσκολη.»</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn2" name="_ftnref2" title=""><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[2]</span></span></sup></span></sup></a><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Τα στατιστικά στοιχεία συνηγορούν προς την ίδια κατεύθυνση· τον 21</span><sup><span class="Apple-style-span" style="font-weight: normal;">ο</span></sup><span class="Apple-style-span" style="font-weight: normal;"> αιώνα στην Κύπρο της ισότητας στο εκλέγειν και εκλέγεσθαι, το 97 τοις εκατό των αξιωματούχων της Κυβέρνησης και του Δημοσίου είναι άντρες· γυναίκες απαρτίζουν τη συντριπτική πλειοψηφία των εγγεγραμμένων φοιτητών στο Τμήμα Επιστημών της Αγωγής του Πανεπιστημίου Κύπρου, ενώ κατέχουν μόλις το 0,5 τοις εκατό των υψηλόβαθμων και διευθυντικών θέσεων στις ιδιωτικές εταιρείες και επιχειρήσεις· οι περισσότερες γυναίκες είναι παντρεμένες, παρά το γεγονός ότι πέφτουν συχνά θύματα ενδοοικογενειακής βίας από τους συζύγους τους (427 πατέρες και σύζυγοι μεταξύ των συνολικά 639 θυτών).</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn3" name="_ftnref3" title=""><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><sup><span style="font-family: MetaPro-Normal; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;">[3]</span></span></sup></span></sup></a><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Οι ιστορικές συνθήκες που ανήγαγαν τον πολιτικό φεμινισμό των τελών του 19</span><sup><span class="Apple-style-span" style="font-weight: normal;">ου</span></sup><span class="Apple-style-span" style="font-weight: normal;"> αιώνα σε αναγκαιότητα των καιρών, υπήρξαν η κατάφωρη στέρηση των πολιτικών δικαιωμάτων, η βάναυση καταπάτηση των προσωπικών ελευθεριών και η ολική καταδυνάστευση των γυναικών από την ανδροκρατούμενη κοινωνία. Σήμερα, τις άλλοτε κραυγαλέες πρακτικές εις βάρος της γυναίκας έχουν διαδεχθεί ανομολόγητες μα επιμόνως υποβόσκουσες διακρίσεις ανάμεσα στα δύο φύλα· παραδοσιακοί ρόλοι και στερεότυπα κοινωνικών φύλων διδάσκονται, εσωτερικεύονται και διαιωνίζονται αψήφιστα από γυναίκες όσο και από άντρες, με αποτέλεσμα η κυπριακή κοινωνία να παραμένει δέσμια της ίδιας της ανωριμότητας και ασυνειδητότητάς της.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Σε μια εποχή όπου οι μορφές καταπίεσης της γυναίκας υφίστανται ακόμη, πλην όμως έχουν καταστεί εξαιρετικά σιωπηλές και ανεπαίσθητες, η πρόκληση της σύγχρονης φεμινίστριας έγκειται πρωτίστως στην εξάλειψη της μαζικής ψευδαίσθησης που θέλει τις Κύπριες γυναίκες απόλυτα χειραφετημένες και ίσες με τους άντρες. Και ποια μέσα καταλληλότερα των εικαστικών, για να εκθέσουν ντροπιαστικά σε κοινή θέα τους καλά κρυμμένους στην κυπριακή κοινωνία-</span><i><span class="Apple-style-span" style="font-weight: normal;">φούσκα</span></i><span class="Apple-style-span" style="font-weight: normal;"> πατριαρχικούς εξουσιαστικούς μηχανισμούς; Τα έργα των </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> εξανεμίζουν τις τελευταίες αμφιβολίες και των πιο σκεπτικιστών. Ο διάλογος γύρω από ζητήματα κοινωνικού φύλου εξακολουθεί </span><i><span class="Apple-style-span" style="font-weight: normal;">τώρα</span></i><span class="Apple-style-span" style="font-weight: normal;"> και θα εξακολουθεί, όσο αυτά παραμένουν άλυτα, να είναι επίκαιρος, παραγωγικός, απαραίτητος!<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">«Εργάτριες Κοινωνικής Υγιεινής»</span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το Σεπτέμβριο του 2006 στο πλαίσιο του φεστιβάλ τεχνών Urban Soul στη Λευκωσία, οι Λαπίθη-Καφαρίδου, μετά από χρόνια ατομικής εικαστικής δημιουργίας, ξανα-συστήθηκαν στο φιλότεχνο κοινό και την ευρύτερη κοινωνία ως «Washing-Up Ladies». Η νεοεφευρεθείσα αυτή καλλιτεχνική ταυτότητα της </span><i><span class="Apple-style-span" style="font-weight: normal;">πλύστρας</span></i><span class="Apple-style-span" style="font-weight: normal;">, γεμάτη καυστικό χιούμορ και αυτοσαρκασμό, αποτελεί το </span><i><span class="Apple-style-span" style="font-weight: normal;">alter ego</span></i><span class="Apple-style-span" style="font-weight: normal;"> των ιδίων αλλά και κάθε Κύπριας παγιδευμένης σε προσωπικό και κοινωνικό επίπεδο, κατά τη Μαρία Χατζηπαύλου, στο μεταίχμιο ανάμεσα στο νεωτερισμό και την παράδοση·</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn4" name="_ftnref4" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[4]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> ποια γυναίκα, όσο επαγγελματικά επιτυχημένη ή κοινωνικά καταξιωμένη και αν είναι, δε γυρνά σπίτι σε ένα καλάθι γεμάτο άπλυτα; <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Συνιστά επίσης μια βαθύτερη πικρή αναφορά στις εντός της κυπριακής κοινωνίας πανταχού παρούσες μορφές φυλετικού – η λέξη εμπερικλείει τόσο την έννοια της φυλής όσο και αυτή του φύλου – και ταξικού ρατσισμού. Η Μαργαρίτα Ζερβίδου αναφέρει πως ο αριθμός των μεταναστριών οικιακών βοηθών στη χώρα μας έχει υπερδιπλασιαστεί τα τελευταία πέντε χρόνια. Το αποδίδει εν μέρει στο γεγονός ότι οι αντιλήψεις για τους κοινωνικούς ρόλους των φύλων απαιτούν ακόμη να εκτελούνται τα οικιακά καθήκοντα από γυναίκες, ενώ ταυτόχρονα όλο και περισσότερες Κύπριες εισέρχονται στην αγορά εργασίας.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn5" name="_ftnref5" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[5]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Ο όρος «μετανάστρια οικιακή βοηθός» μπορεί να είναι πολιτικά ορθός, φέρει όμως το στίγμα του κοινωνικού αποκλεισμού της </span><i><span class="Apple-style-span" style="font-weight: normal;">πλύστρας</span></i><span class="Apple-style-span" style="font-weight: normal;"> βαρύτερα από ποτέ. Έρευνα σε μεσοαστές έχει καταδείξει πως οι ίδιες οι Κύπριες δε θεωρούν τις οικιακές τους βοηθούς γυναίκες, και επιπλέον τις κατηγορούν για ηθική χαλαρότητα διότι εγκατέλειψαν τις οικογένειές τους για να εργαστούν σε ξένη χώρα.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn6" name="_ftnref6" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[6]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο Πάρκο της Πλατείας Ελευθερίας, οι </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> παρουσίασαν το βίντεο με τίτλο</span><i><span class="Apple-style-span" style="font-weight: normal;"> Hurting the Washing Machine</span></i><span class="Apple-style-span" style="font-weight: normal;">. Αν και στο βίντεο εμφανίζονται οι ίδιες σε έναν απροσδιόριστο εξωτερικό οικιστικό χώρο να κτυπούν λυσσαλέα με αξίνες ένα πλυντήριο ρούχων, το πλάνο είναι με τέτοιο τρόπο καδραρισμένο ώστε να αποκλείονται από αυτό τα πρόσωπά τους. Οι ά-τοπες, α-πρόσωπες αυτές </span><i><span class="Apple-style-span" style="font-weight: normal;">personae</span></i><span class="Apple-style-span" style="font-weight: normal;"> που δημιουργούν οι καλλιτέχνιδες, διευκολύνουν την αποταύτιση μεταξύ δημιουργού-δημιουργήματος, ερμηνευτή-ρόλου και ευνοούν την πρόσληψη των χαρακτήρων του βίντεο από το θεατή ως γυναικών-συμβόλων. Γυναίκες-σύμβολα της γυναικείας θηλυκότητας και του αισθησιασμού, με λυτά μακριά μαλλιά και χυτά πόδια, αλλά και γυναίκες-σύμβολα της γυναικείας χειραφέτησης με τζιν παντελόνια, μπότες και αξίνες, μετέωρες ανάμεσα στο πώς μας επιθυμούν να είμαστε και στο πώς επιθυμούμε εμείς να είμαστε.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Η πράξη της ολοσχερούς καταστροφής του πλυντηρίου χαρακτηρίζεται όχι μόνο από τον τρόπο με τον οποίο συντελείται, αλλά και από τον τρόπο με τον οποίον περιγράφεται από τις εικαστικούς: ως </span><i><span class="Apple-style-span" style="font-weight: normal;">hurting</span></i><span class="Apple-style-span" style="font-weight: normal;">, ωσάν να το </span><i><span class="Apple-style-span" style="font-weight: normal;">πληγώνουν</span></i><span class="Apple-style-span" style="font-weight: normal;"> προκαλώντας του πόνο. Η κάθε άλλο παρά τυχαία επιλογή της λέξης εμπεριέχει ένα συναισθηματισμό φαινομενικά αταίριαστο σε ό,τι έχει να κάνει με ηλεκτρική συσκευή. Τη δεκαετία του 1950, μια κάτοικος της νεοϊδρυθείσας τότε βρετανικής αστικής κωμόπολης Harlow περιέγραφε τα ομολογουμένως έντονα συναισθήματά της για... το ψυγείο της: «Ήμουν τόσο ενθουσιασμένη που μου ερχόταν ναυτία. Το ψυγείο μου ήταν καθ’ οδόν! Και να το – εξαίσιο μέσα στη συσκευασία του και μπλε του πάγου στο εσωτερικό του. Ήταν πανέμορφο.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn7" name="_ftnref7" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[7]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο μεταπολεμικό κλίμα γενικευμένης υπεραισιοδοξίας που απέρρεε από τη ραγδαία οικονομική ανάπτυξη των ήδη ισχυρών Δυτικών χωρών και τις καλπάζουσες τεχνολογικές καινοτομίες, οι οικιακές ηλεκτρικές συσκευές ήταν ικανές να προσφέρουν στην αστή ελευθερία, έστω και απατηλή, από τη χειρωνακτική οικιακή εργασία, αισθητική ευχαρίστηση και, καθ’ υπερβολή, συναισθηματική συγκίνηση. Οι συσκευές μιας γυναίκας καθόριζαν ολόκληρη την ύπαρξή της εντός και εκτός του νοικοκυριού· την κατηγοριοποιούσαν κοινωνικοοικονομικά, αποτελούσαν μετρήσιμο μέγεθος για την προσωπική της ευτυχία και την επιτυχία της ως οικοκυράς, συζύγου, μητέρας· με άλλα λόγια, ήταν ταυτόχρονα οι βαναυσότεροι δυνάστες της, αλλά και η προέκταση του εαυτού της.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο βίντεο, ο μητροειδής κάδος και οι σωλήνες-σάλπιγγες του πλυντηρίου καθίστανται ορατοί, όταν οι γυναίκες κατασπαράζουν με τα ίδια τους τα χέρια τα εκτεθειμένα πια εξαρτήματα-εντόσθια της συσκευής. Η συγγένεια της μορφολογίας του πλυντηρίου με τη γυναικεία φυσιολογία αποκαλύπτεται, παραπέποντας στην υβριδική δυαδικότητα οργανικού-μηχανικού του φεμινιστικού</span><i><span class="Apple-style-span" style="font-weight: normal;"> κυβερνο-οργανισμού </span></i><span class="Apple-style-span" style="font-weight: normal;">(</span><i><span class="Apple-style-span" style="font-weight: normal;">cyborg</span></i><span class="Apple-style-span" style="font-weight: normal;">) της Donna Haraway.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn8" name="_ftnref8" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[8]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Συνεπώς, «τραυματίζοντας» έμπρακτα το πλυντήριο οι γυναίκες μεταφορικά </span><i><span class="Apple-style-span" style="font-weight: normal;">πληγώνονται</span></i><span class="Apple-style-span" style="font-weight: normal;"> οι ίδιες· αποσυναρμολογούν, καταργούν το συγχωνευμένο με το πλυντήριο-φίλο-δυνάστη εαυτό τους και εισέρχονται στη μετα-</span><i><span class="Apple-style-span" style="font-weight: normal;">cyborg</span></i><span class="Apple-style-span" style="font-weight: normal;"> εποχή προσπαθώντας να αυτο-επαναπροσδιοριστούν.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Τα απομεινάρια του πλυντηρίου-εαυτού, νεο-αρχαιολογικά κατάλοιπα της προηγούμενης και προπομποί της επερχόμενης τάξης πραγμάτων, μεταφέρθηκαν και αυτά στο Πάρκο της Πλατείας Ελευθερίας. Εκεί, οι καλλιτέχνιδες προσκάλεσαν γυναίκες και άντρες να μιμηθούν τις ψηφιακές ηρωίδες του βίντεο και να </span><i><span class="Apple-style-span" style="font-weight: normal;">πληγώσουν</span></i><span class="Apple-style-span" style="font-weight: normal;"> με την αξίνα το πλυντήριο σε μια πολυπόθητη και αναγκαία πράξη αυτοκαταστροφής και αυτολύτρωσης μαζί. Γιατί, όπως σχολιάζει η Μαίρη Κουτσελίνη, ο άντρας βιώνει εξίσου καταπιεστικά με τη γυναίκα το στερεότυπο του βίαιου, επιθετικού, με συμπλέγματα ανωτερότητας αρσενικού, στο οποίον καταλήγει να αυτοεγκλωβίζεται.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn9" name="_ftnref9" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[9]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Για τα εγκλωβισμένα στο ίδιο τους το παίγνιο εξουσίας μεγάλα </span><i><span class="Apple-style-span" style="font-weight: normal;">αγόρια</span></i><span class="Apple-style-span" style="font-weight: normal;"> προορίζονται τα 2,000</span><i><span class="Apple-style-span" style="font-weight: normal;"> Role Playing Washing Machines</span></i><span class="Apple-style-span" style="font-weight: normal;">, με την αυστηρή αναγραφή </span><i><span class="Apple-style-span" style="font-weight: normal;">for boys only </span></i><span class="Apple-style-span" style="font-weight: normal;">και απορρυπαντική σκόνη στο εσωτερικό. Φτιαγμένα από χαρτόνι και με διαστάσεις πολύ μικρότερες αυτών του πρωτότυπου πλυντηρίου, τα μαζικής παραγωγής αυτά έργα απομυθοποιούν την οικιακή συσκευή μετουσιώνοντάς την από όργανο επιβολής της αντρικής κυριαρχίας σε παιδικό παιχνίδι. Το πλυντήριο παριστάνει το φαινομενικά αθώο παιχνίδι, ξεγελώντας τους άντρες να υποδυθούν με τη σειρά τους το ρόλο της </span><i><span class="Apple-style-span" style="font-weight: normal;">πλύστρας·</span></i><span class="Apple-style-span" style="font-weight: normal;"> οι όροι έχουν αντιστραφεί και οι άντρες είναι αυτοί που τώρα χρειάζεται να χειραφετηθούν, αν θέλουν να επιβιώσουν στον «κόσμο της γυναίκας».<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Τα πέντε </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels </span></i><span class="Apple-style-span" style="font-weight: normal;">που παρουσιάστηκαν επίσης για πρώτη φορά στο φεστιβάλ Urban Soul 2006, είναι αποτέλεσμα σύμμιξης γραφιστικής και λόγου, και συνιστούν από τα πλέον πολύσημα έργα των </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;">. Διογκώνοντας το μέγεθος των μικρών και ταπεινών – χαρακτηριστικά που μπορούν να αποδοθούν υποτιμητικά και σε γυναίκα – υφασμάτινων ετικετών των ρούχων, αναπροσαρμόζοντας το υλικό τους και αλλοιώνοντας τη γραφική και γλωσσική σημειολογία του περιεχομένου τους, οι καλλιτέχνιδες πυροδοτούν μια ανεξάντλητη συζήτηση γύρω από παραδοσιακούς ρόλους και στερεότυπα φύλων, φυλών, τάξεων (της αστικής ιδιαίτερα). Τα παρασυνειδησιακά μηνύματα προς το θεατή, καμουφλαρισμένα πίσω από οδηγίες πλύσης στα ύψους τριών μέτρων πανό, στιλητεύουν στάσεις και συμπεριφορές βαθιά εσωτερικευμένες από όλους και μας φέρνουν αντιμέτωπους με το σκοτεινό εαυτό, την ύπαρξη του οποίου αγνοούσαμε. Πέρα από πανό, τα πέντε γιγάντια </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels </span></i><span class="Apple-style-span" style="font-weight: normal;"> είναι λάβαρα φεμινιστικής επανάστασης και μανιφέστα κοινωνικής αφύπνισης.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το 1969, η Αμερικανίδα Mierle Laderman Ukeles συνέταξε το </span><i><span class="Apple-style-span" style="font-weight: normal;">Manifesto for Maintenance Art</span></i><span class="Apple-style-span" style="font-weight: normal;"> (</span><i><span class="Apple-style-span" style="font-weight: normal;">Μανιφέστο για την Τέχνη της Συντήρησης</span></i><span class="Apple-style-span" style="font-weight: normal;">) αυτοχριζόμενη</span><i><span class="Apple-style-span" style="font-weight: normal;"> maintenance artist </span></i><span class="Apple-style-span" style="font-weight: normal;">(</span><i><span class="Apple-style-span" style="font-weight: normal;">καλλιτέχνις συντήρησης</span></i><span class="Apple-style-span" style="font-weight: normal;">). Το μανιφέστο περιελάμβανε και μια πρόταση για έκθεση με τίτλο </span><i><span class="Apple-style-span" style="font-weight: normal;">Care</span></i><span class="Apple-style-span" style="font-weight: normal;"> (</span><i><span class="Apple-style-span" style="font-weight: normal;">Φροντίδα</span></i><span class="Apple-style-span" style="font-weight: normal;"> ή </span><i><span class="Apple-style-span" style="font-weight: normal;">Νοιάσου</span></i><span class="Apple-style-span" style="font-weight: normal;">), η οποία έμελλε να υλοποιηθεί το 1973 ως μια σειρά από εικαστικά δρώμενα, στη διάρκεια των οποίων η καλλιτέχνις εκτελούσε όλα τα καθήκοντα συντήρησης/καθαρισμού σε μουσεία εν ώρα λειτουργίας και στην παρουσία επισκεπτών.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn10" name="_ftnref10" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[10]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Έξι χρόνια αργότερα θα πραγματοποιούσε ένα τιτάνιο βίντεο-δρώμενο: «Στις 24 Ιουλίου 1979, ξεκίνησα κάνοντας χειραψία με τον πρώτο από τους 8,500 εργάτες υγιεινής (</span><i><span class="Apple-style-span" style="font-weight: normal;">σκυβαλοσυλλέκτες</span></i><span class="Apple-style-span" style="font-weight: normal;">) </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> της Νέας Υόρκης, τις νοικοκυρές ολόκληρης της πόλης </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;">. Ονόμασα το δρώμενο “Touch Sanitation” (</span><i><span class="Apple-style-span" style="font-weight: normal;">Άγγιξε την Υγιεινή</span></i><span class="Apple-style-span" style="font-weight: normal;">) </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;">. Σε κάθε άντρα έλεγα «Ευχαριστώ που διατηρείς τη Νέα Υόρκη ζωντανή». </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> Για τους επόμενους έντεκα μήνες, καθόλη τη διάρκεια των τεσσάρων εποχών, ακολουθούσα τα βήματά τους προσαρμόζοντας το χρόνο τέχνης του δρώμενού μου στις οκτάωρες βάρδιες του εργάτη υγιεινής </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;">.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn11" name="_ftnref11" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[11]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Η Ukeles και οι Λαπίθη-Καφαρίδου επανεφηύραν τους εαυτούς τους ως </span><i><span class="Apple-style-span" style="font-weight: normal;">maintenance artist </span></i><span class="Apple-style-span" style="font-weight: normal;">και </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> αντίστοιχα. Η διαφορά ανάμεσά τους εντοπίζεται κυρίως στο γεγονός ότι η πρώτη όχι μόνο αποδέχεται τον παραδοσιακό ρόλο της γυναίκας ως οικοκυράς, αλλά του προσδίδει επιπλέον αξία και αίγλη, αφού εξυψώνει τις «γυναικείες» οικιακές ασχολίες σε τέχνη· οι δεύτερες, από την άλλη, μεταποιώντας το πλυντήριο σε παιχνίδι ή ακόμη συνθλίβοντάς το, γελοιοποιούν και αποκηρύσσουν κάθε μορφή, φορέα, σύμβολο ή πρότυπο γυναικείας υποταγής, ειδικά αυτό της οικοκυράς. Εντούτοις, και η Αμερικανίδα και οι Κύπριες καλλιτέχνιδες αντλούν τα θέματα, τα υλικά και τα μέσα τους από τις ασχολίες και τον τεχνικό εξοπλισμό του νοικοκυριού, ενώ, εκτός από ζητήματα κοινωνικού φύλου, οι δημιουργίες τους εμπεριέχουν και ταξικές αναφορές. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Πρωτίστως, όμως, αυτό που εντάσσει την Ukeles και τις </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> στην ίδια κοινωνικο-φεμινιστική εικαστική παράδοση, είναι το γεγονός ότι η τέχνη και της μεν και των δε στοχεύει στην εξυγίανση της κοινωνίας, την αναμόρφωση των εσωτερικών της δομών και την αναβάθμιση των ρόλων που διαδραματίζουν τα άτομα, ανεξαρτήτως φύλου ή τάξης, σε αυτή. Καθ’ αυτή την έννοια, και οι τρεις γυναίκες δεν απέχουν πολύ από τους σκυβαλοσυλλέκτες της Νέας Υόρκης· πρόκειται για </span><i><span class="Apple-style-span" style="font-weight: normal;">εργάτριες κοινωνικής υγιεινής</span></i><span class="Apple-style-span" style="font-weight: normal;">.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Φεμινισμός και Ακτιβισμός: Σοβαρά </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ή</span><span style="text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;"> Αστεία; </span></span><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το ντεμπούτο των </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> στο φεστιβάλ τεχνών Urban Soul 2006 ακολούθησε η συμμετοχή τους στο θεσμό τον αμέσως επόμενο χρόνο με μια εγκατάσταση στην Πλατεία Ελευθερίας. Σε συνέχεια του προηγούμενου που είχαν εδραιώσει τα </span><i><span class="Apple-style-span" style="font-weight: normal;">Care Labels</span></i><span class="Apple-style-span" style="font-weight: normal;">, ένα πανό μεγάλων διαστάσεων χρησιμεύει ως φόντο και εννοιολογικό πλαίσιο της εγκατάστασης. Το μέγεθος και το σχήμα του θυμίζουν διαφημιστικές πινακίδες, ενώ η διάταξη του περιεχομένου του και οι εμβόλιμες λεζάντες παραπέμπουν σε βιβλία κόμικς – και στα δύο (διαφήμιση και κόμικς) η γυναίκα συχνά απεικονίζεται με υποτιμητικό, σεξιστικό, ακόμη και βίαιο τρόπο. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στη φωτογραφία που βρίσκεται τυπωμένη στο πανό, εμφανίζονται οι ίδιες οι Λαπίθη-Καφαρίδου, και πάλι όμως φαίνεται να ενσαρκώνουν αριστοτεχνικά δύο νέες </span><i><span class="Apple-style-span" style="font-weight: normal;">personae</span></i><span class="Apple-style-span" style="font-weight: normal;">, χαρακτηριστικές της μονολιθικής και στερεότυπης αντίληψης των αντρών για τις γυναίκες: αυτές της χαζής ξανθιάς και της λιγότερο χαζής μελαχρινής. Φορώντας πόλυχρωμα κλαρωτά ρούχα για να ταιριάζουν με το αντίσκηνό τους, είναι καθισμένες σε σκαμνιά και παίζουν τάβλι (παραδοσιακά αντρικό παιχνίδι) σε ένα παράλογο σκηνικό μεταξύ κατασκήνωσης και καθιστικής διαμαρτυρίας, μπροστά από το άλλοτε κλειστό οδόφραγμα της οδού Λήδρας. Η παραδοξότητα της εικόνας εντείνεται από το στρατιώτη που τις παρακολουθεί με απορία και καχυποψία μέσα από το φυλάκιό του.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μεταξύ των γυναικών διαμείβεται η εξής σουρεαλιστική στιχομυθία, ικανή να προκαλέσει γέλιο ή έστω συγκρατημένο μειδίαμα στο θεατή-αναγνώστη:<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ξανθιά με απλανές βλέμμα<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– </span><i><span class="Apple-style-span" style="font-weight: normal;">Νόμιζα πως πίσω από το παραβάν βρίσκονταν τα ντουζ</span></i><span class="Apple-style-span" style="font-weight: normal;">. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μελαχρινή αποστασιοποιημένη πίνοντας φραπέ<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– </span><i><span class="Apple-style-span" style="font-weight: normal;">Όχι, καλή μου, το κυπριακό πρόβλημα δεν έχει λυθεί ακόμη</span></i><span class="Apple-style-span" style="font-weight: normal;">.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Όλα αυτά ειδωμένα μέσα από το πρίσμα του υπερβάλλοντα ροζ υποτίτλου: </span><i><span class="Apple-style-span" style="font-weight: normal;">Τα φεμινιστικά ζητήματα δεν είναι ακόμη στην πρώτη γραμμή.</span></i><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn12" name="_ftnref12" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[12]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Την εγκατάσταση έρχεται να συμπληρώσει με τη φυσική του παρουσία το αντίσκηνο της φωτογραφίας. Θηλυπρεπές και χαριτωμένο μέσα στα πλούσια χρώματα των λουλουδιών που το διακοσμούν, δε θυμίζει σε τίποτα το συμβατικό χακί (σαν τη στολή του στρατιώτη) αντίσκηνο, κατ’ εξοχήν αξεσουάρ των «αληθινών» αντρών και σύμβολο σκληραγώγησης και επιβίωσης στην άγρια φύση ή σε καιρό πολέμου. Το κοριτσίστικο διακοσμητικό μοτίβο του αντισκήνου υπερτονίζει τις φροϋδικά θηλυκές μορφολογικές του ιδιότητες (το αντίσκηνο περιβάλλει και προστατεύει τους ενοίκους του, όπως η μήτρα το έμβρυο).<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στην προκειμένη περίπτωση, το αντίσκηνο «κυοφορεί» ένα βίντεο με τίτλο </span><i><span class="Apple-style-span" style="font-weight: normal;">The To Do List</span></i><span class="Apple-style-span" style="font-weight: normal;">, στο οποίο παρουσιάζεται ένα γυναικείο χέρι να γράφει σε ένα σημειωματάριο μια ατελείωτη λίστα με πράγματα που πρέπει να γίνουν. Η στιλπνή λευκή επιφάνεια πάνω στην οποία κινείται το χέρι, είναι πιθανόν ο πάγκος κάποιας κουζίνας, του «φυσικού περιβάλλοντος της γυναίκας». Ο θεατής αυτόματα υποθέτει πως πρόκειται για «γυναικείες» δουλειές, εκδοχή που επιβεβαιώνεται από το ίδιο το περιεχόμενο της λίστας, στην οποία σημαντικές-ασήμαντες, σοβαρές-επιπόλαιες, ανατρεπτικές-παραδοσιακές «γυναικείες» υποχρεώσεις φιγουράρουν με την ίδια ισοπεδωτική προχειρότητα, ξεγυμνώνοντας τον τραγελαφικό παραλογισμό της ζωής της σύγχρονης αστής: </span><i><span class="Apple-style-span" style="font-weight: normal;">να σιδερώσω ρούχα, να πάω το γιο μου στο τζούντο, να κλείσω ραντεβού για κομμωτήριο, να τηλεφωνήσω στο δικηγόρο για το διαζύγιο, να πάω στην αντιπολεμική διαδήλωση</span></i><span class="Apple-style-span" style="font-weight: normal;">.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn13" name="_ftnref13" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[13]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Η ενασχόληση με την πολιτική, ακόμη και οι καθημερινές πολιτικές συζητήσεις θεωρούνται πεδία δράσης αμιγώς αντρικά. Οι γυναίκες υποτίθεται πως δεν ενδιαφέρονται γι’ αυτά ή δε διαθέτουν την απαραίτητη νοημοσύνη, ώστε να τα κατανοήσουν. Εντούτοις, πολυάριθμες είναι οι διεθνείς καλλιτέχνιδες-φεμινίστριες που συνέδεσαν το όνομα και τη δημιουργία τους με στρατιωτικοπολιτικά ζητήματα. Ανάμεσα στις διασημότερες η Αμερικανίδα Nancy Spero, της οποίας η αντιπολεμική σειρά του 1966-70 από γκουάς και μελάνια με τίτλο </span><i><span class="Apple-style-span" style="font-weight: normal;">War Series</span></i><span class="Apple-style-span" style="font-weight: normal;"> είναι μέχρι και σήμερα εμβληματική της κατακραυγής μερίδας της αμερικανικής κοινωνίας και της διεθνούς κοινής γνώμης εναντίον του πολέμου στο Βιετνάμ και του πυρηνικού εξοπλιστικού προγράμματος των ΗΠΑ. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Αξιοσημείωτη υπήρξε και η συμμετοχή φεμινιστριών μη καλλιτέχνιδων σε πολιτικές διαδηλώσεις και ακτιβιστικές δράσεις. Στις 6 Μαΐου 1987, μια ομάδα έξι Αμερικανίδων φοιτητριών, οι αυτοαποκαλούμενες “Pele”, διέσχισαν περπατώντας πενήντα περίπου χιλιόμετρα ερήμου, για να βρεθούν σε ένα από τα πολλά πεδία πυρηνικών δοκιμών στην αμερικανική πολιτεία της Νεβάδα. Μετά από δώδεκα συνεχόμενες ώρες πεζοπορίας, έφτασαν στον προορισμό τους και ξάπλωσαν στο έδαφος μπροστά από ένα λεωφορείο γεμάτο εργάτες του πεδίου δοκιμών, κρατώντας πολύχρωμα μπαλόνια και πανό με αντιπυρηνικά συνθήματα. Κατάφεραν να καθυστερήσουν οποιαδήποτε πυρηνική δραστηριότητα για είκοσι λεπτά, προτού οι ένοπλες δυνάμεις ασφαλείας τις συλλάβουν με την κατηγορία παράνομης εισόδου.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn14" name="_ftnref14" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[14]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Σε τοπικό επίπεδο, η πρώτη οργανωμένη διαδήλωση κατά της τουρκικής εισβολής και κατοχής της Κύπρου πραγματοποιήθηκε από γυναίκες. Στις 20 Απριλίου 1975, ούτε ένα χρόνο μετά τα γεγονότα του 1974, Κύπριες μαζί με τη Μελίνα Μερκούρη, γυναίκες βουλευτές από τη Βρετανία, το Ισραήλ, τις ΗΠΑ και άλλες χώρες πορεύτηκαν από τη Δερύνεια προς την κατεχόμενη Αμμμόχωστο, σε μια από τις μαζικότερες και συγκινητικότερες αντικατοχικές διαμαρτυρίες της σύγχρονης κυπριακής ιστορίας. Το εγχείρημα επαναλήφθηκε τη 19</span><sup><span class="Apple-style-span" style="font-weight: normal;">η</span></sup><span class="Apple-style-span" style="font-weight: normal;"> Μαρτίου 1989, όταν γυναίκες από κάθε γωνιά της ελεύθερης Κύπρου πορεύτηκαν προς διάφορα σημεία της γραμμής αντιπαράταξης. Στις 24 Ιουλίου του ίδιου χρόνου, Τούρκοι στρατιώτες κτύπησαν με γκλοπ, ποδοπάτησαν και τραυμάτισαν σοβαρά άοπλες διαδηλώτριες στο οδόφραγμα του Αγίου Κασσιανού στη Λευκωσία, ενώ δε δίστασαν να ρίξουν από τη βουνοπλαγιά πολλές από τις εκατοντάδες γυναίκες που είχαν καταλάβει το ξωκλήσι του Προφήτη Ηλία στα Λύμπια, στην ιστορική πρώτη είσοδο σε κατεχόμενο έδαφος της Κύπρου.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn15" name="_ftnref15" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[15]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Παρά τις δυναμικές πρωτοβουλίες και την έμπρακτη συμμετοχή των γυναικών στον αγώνα ενάντια στην καταπάτηση στοιχειωδών ανθρωπίνων δικαιωμάτων των Κυπρίων συνεπεία της τουρκικής εισβολής και συνεχιζόμενης κατοχής, περίπου το 60 τοις εκατό των Ελληνοκυπρίων γυναικών θεωρούν ότι το Κυπριακό Πρόβλημα καθυστερεί από λίγο έως πάρα πολύ την προώθηση ζητημάτων κοινωνικού φύλου.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn16" name="_ftnref16" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[16]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Αυτό ίσως να οφείλεται, αφενός, στο γεγονός ότι το Κυπριακό Πρόβλημα μονοπωλεί το πολιτικό ενδιαφέρον ως εθνικό θέμα υψίστης προτεραιότητας, και, αφετέρου, στο ότι η χάραξη της επίσημης στρατηγικής της χώρας συντελείται σχεδόν αποκλειστικά από άντρες.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στον πυρήνα της εγκατάστασης </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminist issues still not at front line</span></i><span class="Apple-style-span" style="font-weight: normal;"> βρίσκεται το ψευδοδίλημμα της σύγχρονης Κύπριας ανάμεσα στην προσπάθεια για επίλυση του Κυπριακού Προβλήματος και αυτή για ισότητα και ενδυνάμωση των φύλων. Στην πραγματικότητα, όμως, «ζητήματα κοινωνικού φύλου και Κυπριακό Πρόβλημα είναι, και ήταν ανέκαθεν, συνυφασμένα. Οι γυναίκες και των δύο κοινοτήτων επηρεάστηκαν σημαντικά από τις μεταναστεύσεις, τους εκτοπισμούς, τον πόλεμο, τους συνεπακόλουθους βιασμούς, την κακοποίηση και τις διακοινοτικές διαμάχες που προκλήθηκαν ως αποτέλεσμα των πολιτικών διαχωρισμών.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn17" name="_ftnref17" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[17]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Αποκτώντας επίγνωση των ιστορικών συνθηκών που διαμόρφωσαν το σημερινό πολιτικό και κοινωνικό της περιβάλλον, η γυναίκα επιτυγχάνει αυτογνωσία, αναγνωρίζει δηλαδή τους δικούς της εσωτερικευμένους μηχανισμούς που την κρατούν προσκολλημένη στους παραδοσιακούς κοινωνικούς ρόλους και τις διαστρεβλωμένες αντιλήψεις για τις γυναίκες.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το έργο χλευάζει, καταγγέλλει την παθητική αποδοχή από τις γυναίκες του στερεοτύπου της πολιτικά και κοινωνικά αδαούς, απροβλημάτιστης, ελαφράς γυναικείας ύπαρξης. Επιπλέον, μας προτρέπει να δράσουμε «ακτιβιστικά», αναλαμβάνοντας μερίδιο της ευθύνης και ταυτόχρονα θέτοντας εαυτούς στην</span><i><span class="Apple-style-span" style="font-weight: normal;"> πρώτη γραμμή</span></i><span class="Apple-style-span" style="font-weight: normal;"> της πολιτικής, της κοινωνίας, της ζωής, όχι ως πειθήνιους ουραγούς των οραμάτων αντρικής επινόησης, αλλά ως δημιουργικούς πρωτεργάτες της αλλαγής. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Βλέμμα ως Κράτος... <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«-το πάτωμα είναι γεμάτο ροζ μπάλες<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">και η σκιά του εκεί-»<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Δάφνη Νικήτα, </span><i><span class="Apple-style-span" style="font-weight: normal;">Οι Ροζ Κούκλες</span></i><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn18" name="_ftnref18" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[18]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο κουφετί σε σημείο ναυτίας δωμάτιο όπου διαδραματίζεται το βίντεο </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but...</span></i><span class="Apple-style-span" style="font-weight: normal;">, η ραχοκοκαλιά της νέας εικαστικής σειράς των Λαπίθη-Καφαρίδου, η Δάφνη Νικήτα διακρίνει τη σκιά ενός άντρα. Μήπως, για να παραφράσω την ποιήτρια, δεν είναι «η σκιά του εκεί», αλλά το βλέμμα του; Οι λουστραρισμένες, σαν να έχουν μόλις ξεπηδήσει από σελίδα περιοδικού, </span><i><span class="Apple-style-span" style="font-weight: normal;">ζωντανές κούκλες</span></i><span class="Apple-style-span" style="font-weight: normal;"> που υποδύεται αυτή τη φορά το καλλιτεχνικό δίδυμο, είναι κατασκευάσματα της μέσω του βλέμματος προβαλλόμενης φαντασίωσης των αντρών για τις γυναίκες: ψηλόλιγνα πόδια που υπερτονίζονται από τη μίνι φούστα και τα ψηλά τακούνια, «σωστό» βάρος και ύψος, μακριά λυτά μαλλιά, όμορφα πρόσωπα και προπάντων αμίλητες, τα ιδανικά </span><i><span class="Apple-style-span" style="font-weight: normal;">αντικείμενα</span></i><span class="Apple-style-span" style="font-weight: normal;"> του πόθου.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ανατρέχοντας στην ιστορία της τέχνης, ή μάλλον στην επικρατούσα εκδοχή της έτσι όπως έχει καταγραφεί από ιστορικούς τέχνης στην πλειονότητά τους άντρες, διαπιστώνουμε ότι καθολικώς αναγνωρισμένα αριστουργήματα σαν την </span><i><span class="Apple-style-span" style="font-weight: normal;">Αφροδίτη της Μήλου</span></i><span class="Apple-style-span" style="font-weight: normal;">, τη </span><i><span class="Apple-style-span" style="font-weight: normal;">Νύμφη Γαλάτεια</span></i><span class="Apple-style-span" style="font-weight: normal;"> του Ραφαήλ και την </span><i><span class="Apple-style-span" style="font-weight: normal;">Ολυμπία</span></i><span class="Apple-style-span" style="font-weight: normal;"> του Μανέ (όλα ιδεαλιστικά γυναικεία γυμνά προορισμένα να συγκεντρώνουν – αντρικά κυρίως – βλέμματα θαυμασμού) έχουν συνεργήσει, αν όχι πρωτοστατήσει, στην ισχύουσα μέχρι και σήμερα στυγνή αντικειμενοποίηση της γυναίκας, και μάλιστα προσφέροντάς της ως άλλοθι «το πολιτιστικό γόητρο της αρχαιότητας ή του γεγονότος ότι είναι δημιουργήματα των Παλαιών Δασκάλων.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn19" name="_ftnref19" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[19]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μπορεί η λεγόμενη υψηλή τέχνη να ευθύνεται σε μεγάλο βαθμό για τη διαμόρφωση της αντίληψης ότι «η γυναίκα δε χρειάζεται να είναι έξυπνη, αρκεί να είναι όμορφη», ή ακόμη και για τον ορισμό του τι εστί γυναικεία ομορφιά, τα μέσα μαζικής επικοινωνίας, όμως, είναι αυτά που έχουν σήμερα επωμιστεί το βάρος της συντήρησης και, ει δυνατόν, διαιώνισης του ρόλου της γυναίκας στην κοινωνία ως άχρηστο πλην χαριτωμένο «μπιμπελό».<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Έρευνα της Κρίνης Καφίρη δημοσιευμένη το 2005, κατέδειξε ότι στα εγχώρια έντυπα και τηλεοπτικά μέσα οι εικόνες γυναικών που προβάλλονταν συχνότερα, ήταν αυτές «των ελκυστικών διεθνών και Ελληνίδων διασημοτήτων. Ελκυστικές γυναίκες εμφανίζονται συστηματικά και σε</span><i><span class="Apple-style-span" style="font-weight: normal;"> (...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> φωτογραφίες συνοδευτικές ειδησεογραφικών άρθρων ποικίλης ύλης που δεν αφορούν συγκεκριμένα σε αυτές. </span><i><span class="Apple-style-span" style="font-weight: normal;"> (...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> Πολλές από τις φωτογραφίες </span><i><span class="Apple-style-span" style="font-weight: normal;"> (...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> παρουσίαζαν αποκαλυπτικά ρούχα (ή μαγιό) και προκλητική γλώσσα σώματος.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn20" name="_ftnref20" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[20]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Σε ό,τι αφορά την εργοδότηση στον τομέα των μέσων μαζικής επικοινωνίας, «λιγότερες γυναίκες (</span><i><span class="Apple-style-span" style="font-weight: normal;">παρά άντρες</span></i><span class="Apple-style-span" style="font-weight: normal;">) κατέχουν θέσεις εξουσίας, συμμετέχουν σε διαδικασίες λήψης αποφάσεων και μπορούν να ανελιχθούν σε υψηλότερες, πιο ισχυρές και κερδοφόρες θέσεις στη διάρκεια της καριέρας τους.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn21" name="_ftnref21" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[21]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Η δικτατορία του αντρικού media-κού βλέμματος είναι άρα διττή και αμφίδρομη, όπως υπήρξε για αιώνες αυτή του καλλιτεχνικού. Από τη μια, οι άρρενες υψηλόβαθμοι παράγοντες εφημερίδων, περιοδικών και εκπομπών καθορίζουν το είδος, την ποσότητα και την ποιότητα (συνήθως σεξιστική) των απεικονίσεων της γυναίκας που διοχετεύονται στο κοινό. Από την άλλη, η αντρική μερίδα των αναγνωστών/θεατών καταβροχθίζει με αγαλλίαση τα γυναικεία πλασματικά είδωλα, τα οποία φτιάχτηκαν για να θρέψουν την ανάγκη τους «να ελέγχουν τη σεξουαλικότητα των γυναικών εντός της οικογένειας, να την απολαμβάνουν έξω από αυτή και να μετατοπίζουν τις ιδιότητες που φοβούνται στον εαυτό τους (όπως παθητικότητα, δεκτικότητα και συναισθηματικότητα) στο γυναικείο σώμα».</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn22" name="_ftnref22" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[22]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Εν μέσω όλων αυτών, η ίδια η γυναίκα βρίσκεται στον πυθμένα της «ανθρώπινης διατροφικής αλυσίδας», ως προϊόν που περνά από την παραγωγή στην κατανάλωση. Το τραγικότερο, δε, είναι ότι έχει πειστεί δια του ψυχολογικού φαινομένου της «αυτοεκπληρούμενης προφητείας», σαν και τις </span><i><span class="Apple-style-span" style="font-weight: normal;">αβάσταχτα</span></i><span class="Apple-style-span" style="font-weight: normal;"> «ροζ» γυναίκες του βίντεο, πως πράγματι προσομοιάζει στο στερεότυπο του «ασθενούς φύλου» που της καταλογίζει το κυρίαρχο αντρικό βλέμμα, ότι δηλαδή </span><i><span class="Apple-style-span" style="font-weight: normal;">είναι</span></i><span class="Apple-style-span" style="font-weight: normal;"> φορέας των σεξουαλικών επιθυμιών και ενστίκτων των αντρών, άξια θαυμασμού αποκλειστικά για τα φυσικά της προσόντα. Αντανακλά λοιπόν τις προσδοκίες που έχει ο άντρας για την ίδια, αγωνιζόμενη να ανταποκριθεί σε αυτές (να γίνει πιο ψηλή, πιο αδύνατη, πιο όμορφη, εν ολίγοις, πιο ποθητή). Συνειρμικά έρχεται στο μυαλό o διάλογος ανάμεσα στο γοητευτικό και επιτυχημένο επιχειρηματία (Richard Gere) και την αισθησιακή πόρνη (Julia Roberts), στην αντιφεμινιστική πλην εξαιρετικά δημοφιλή χολιγουντιανή ταινία του 1990 </span><i><span class="Apple-style-span" style="font-weight: normal;">Pretty Woman</span></i><span class="Apple-style-span" style="font-weight: normal;">:<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– </span><i><span class="Apple-style-span" style="font-weight: normal;">Πώς σε λένε;<o:p></o:p></span></i></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– </span><i><span class="Apple-style-span" style="font-weight: normal;">Πώς θες να με λένε;<o:p></o:p></span></i></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Συχνή, αν και αμφιλεγόμενη, είναι στην ιστορία της διεθνούς φεμινιστικής τέχνης η οικειοποίηση του αντρικού βλέμματος από γυναίκες εικαστικούς. Τολμούν μάλιστα να το στρέψουν στον εαυτό τους, προκειμένου να το αποδυναμώσουν σαμποτάροντας εκ των έσω τους μηχανισμούς λειτουργίας του. Στα τέλη του 1973, η ελληνικής καταγωγής Αμερικανίδα γλύπτρια Lynda Benglis δημοσίευσε την πρώτη από μια σειρά τεσσάρων προσκλήσεων σε επικείμενες εκθέσεις της, όλες εκ των οποίων είχαν τυπωμένες φωτογραφίες της ίδιας με διαφορετική αμφίεση και στάση η καθεμιά. Η τρίτη στη σειρά πρόσκληση-πορτραίτο της καλλιτέχνιδας την απεικονίζει αλά Betty Grable στη διάσημη φωτογραφία με ολόσωμο μαγιό του 1943, η οποία έκανε θραύση στις τάξεις των Αμερικανών στρατιωτών που πολεμούσαν στο Β’ Παγκόσμιο Πόλεμο. Η Benglis στη δική της εκδοχή έχει και αυτή στραμμένη την πλάτη στο φακό κοιτώντας παιχνιδιάρικα προς τα πίσω, αλλά δε φορά παρά ένα τζιν κατεβασμένο στους αστραγάλους.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn23" name="_ftnref23" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[23]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Είναι ίσως πλεονασμός να πούμε ότι η καλλιτέχνις προόριζε τη φωτογραφία ως καταβαράθρωση του προτύπου του ναζιάρικου κοριτσιού της αφίσας μέσω του καυστικού (ελλείψει ισχυρότερης λέξης) χιούμορ. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο ίδιο πνεύμα, οι </span><i><span class="Apple-style-span" style="font-weight: normal;">Washing-Up Ladies</span></i><span class="Apple-style-span" style="font-weight: normal;"> αυτοπαρατηρούνται μέσα από τα μάτια του άντρα και δημιουργούν, στο βίντεο </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but...</span></i><span class="Apple-style-span" style="font-weight: normal;">, τις «ροζ» εκδοχές-παρωδίες της Λίας και της Μαριάννας. Οι ψηφιακές αυτές αβατάρ εκδηλώσεις του εαυτού τους αποτελούν, όπως άλλωστε και όλες οι προηγούμενες, αποκυήματα υβριδισμού αυτοβιογραφικών και πλασματικών όντων. Υπακούοντας ευλαβικά στους παιδιόθεν απόλυτα αφομοιωμένους κώδικες του σύγχρονου Δυτικού «πολιτισμένου» κόσμου γύρω από </span><i><span class="Apple-style-span" style="font-weight: normal;">την εμφάνιση και τα προσχήματα</span></i><span class="Apple-style-span" style="font-weight: normal;"> (ευπρέπεια και σεξουαλικότητα σε «σωστές δόσεις») που πρέπει να τηρεί η γυναίκα, τα θηλυκά αβατάρ εξαπολύονται στον ανώφελο άθλο του να σπάσουν με τα φετίχ ψηλά τους τακούνια και το τελευταίο ροζ μπαλόνι· λες και αυτό συνιστά πράξη χειραφέτησης ή συμβολική χειρονομία απελευθέρωσης της γυναίκας από «τους κρίκους της αλυσίδας που την κρατούν δέσμια των σεξιστικών συμβάσεων στην αστική καταναλωτική κοινωνία».</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn24" name="_ftnref24" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[24]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> Ο σαν ριπή όπλου ανακλώμενος ήχος των μπαλονιών που σπάζουν, και η αργή κίνηση της εικόνας συμβάλλουν στη δημιουργία της όλης ψευδο-δραματικότητας του έργου, το οποίο «πυροβολεί» αδιακρίτως και εξ επαφής κατά πάντων: και των αντρών που φαντασιώνονται τον έρωτα με εικονικές γυναίκες, ανίκανοι να αγαπήσουν τις πραγματικές, και κυρίως των γυναικών που εκχωρούν στον άντρα το προνόμιο να καθορίζει το «φαίνεσθαι» και, έτι χειρότερα, το «είναι» τους με το βλέμμα του και μόνο.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μακάρι τα «ροζ» αβατάρ των Λαπίθη-Καφαρίδου να στοιχειώνουν το μυαλό ημών των γυναικών, όταν «κοιταζόμαστε ναρκισσιστικά στον καθρέφτη». Μακάρι τότε να αναρωτηθούμε αν χαμογελάμε στο είδωλό μας από ειλικρινή ικανοποίηση ή μήπως γιατί ενδόμυχα ελπίζουμε να εκπληρώσουμε τις άρρητες επιθυμίες των </span><i><span class="Apple-style-span" style="font-weight: normal;">δικών του</span></i><span class="Apple-style-span" style="font-weight: normal;"> ματιών. Μόνο έτσι «ίσως (</span><i><span class="Apple-style-span" style="font-weight: normal;">κάποτε</span></i><span class="Apple-style-span" style="font-weight: normal;">) βγούμε από αυτό το δωμάτιο»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn25" name="_ftnref25" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[25]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;">...<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">...και Χιούμορ ως Βία </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">H Janie Terreno υπήρξε μέλος του Κινήματος των Σουφραζέτων και μια από τις γυναίκες που είχαν «συλληφθεί την 1</span><sup><span class="Apple-style-span" style="font-weight: normal;">η </span></sup><span class="Apple-style-span" style="font-weight: normal;">Μαρτίου 1912 (</span><i><span class="Apple-style-span" style="font-weight: normal;">και</span></i><span class="Apple-style-span" style="font-weight: normal;">) καταδικαστεί </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> σε τέσσερις μήνες»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn26" name="_ftnref26" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[26]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> φυλάκιση, όπως αναφέρει το μαντήλι που κέντησε κατά την κράτησή της σε λονδρέζικη φυλακή, για βανδαλισμό και επίθεση εναντίον αστυνομικών στη διάρκεια διαδήλωσης υπέρ του δικαιώματος ψήφου των γυναικών. Το μαντήλι είναι πλαισιωμένο με τα χρώματα των σουφραζέτων (μωβ, λευκό, πράσινο), ενώ φέρει θήκη με τη φωτογραφία των ηγετικών μορφών του κινήματος, μητέρας και κόρης, Emmeline και Christabel Pankhurst.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ως προϊόν της περιφρονημένης από την τέχνη γυναικείας χειροτεχνίας της κεντητικής, αλλά και ως αντικείμενο προορισμένο να στεγνώνει τα δάκρυα του «ασθενούς φύλου» – είναι γνωστό τοις πάσι ότι «οι άντρες δεν κλαίνε» – το μαντήλι θεωρείται έμφυλο και, δη, θηλυκό. Κεντώντας λοιπόν στο μαντήλι τα ονόματα της ίδιας και δεκάδων άλλων φυλακισμένων σουφραζέτων γύρω από τις φράσεις «πράξεις όχι λόγια» και «απεργία πείνας» – εφάρμοζαν αυτή την τακτική για να εξασφαλίσουν καλύτερες συνθήκες κράτησης – η Janie Terreno κατοχυρώνει ως δικές τους τις μέχρι πρότινος «αρσενικές» έννοιες της πολιτικής συνείδησης, της μαχητικότητας, της αντοχής, εν ολίγοις, «επαναπροσδιορίζει τη θηλυκότητά τους.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn27" name="_ftnref27" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[27]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το έργο </span><i><span class="Apple-style-span" style="font-weight: normal;">Tissue Box</span></i><span class="Apple-style-span" style="font-weight: normal;">, δια του ροζ των αφελών κοριτσίστικων ονείρων χρώματός του και του περιεχομένου του (χαρτομάντηλα: η μαζικής παραγωγής και μιας χρήσης βιομηχανοποιημένη μετεξέλιξη του μαντηλιού), μπορεί επίσης να ερμηνευτεί ως έμφυλο, θηλυκό. Αντί όμως να φέρει τα ενθύμια της γυναικείας χειραφέτησης, επιδεικνύει τα σύγχρονα όργανα καθυπόταξης της γυναίκας. «Καλοπροαίρετοι αστεϊσμοί» και τραγικές διαπιστώσεις για την τρέχουσα γυναικεία κατάσταση συμπαραβάλλονται όχι ως αντιφατικά στοιχεία, αλλά ως αλληλοσυμπληρούμενα κομμάτια του παζλ της κοινωνίας που θέλει τη γυναίκα κατ’ εξοχήν θύμα της λεκτικής-έμπρακτης, ψυχολογικής-σωματικής, παθητικής-επιθετικής βίας.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Πόσο «άκακα» είναι πράγματι τα ανέκδοτα με τις ξανθιές, τις συζύγους, τις πεθερές, που έχουν σκαρφιστεί και διηγούνται «για πλάκα» οι άντρες; Το χιούμορ με αφορμή τη γυναίκα, ή μάλλον εις βάρος της, μαρτυρά τις στερεότυπες ιδιότητες και χαρακτηριστικά που προσδίδει ο άντρας σε αυτή. Με αμφίδρομη λογική, όμως, τα σεξιστικά ανέκδοτα δεν αντανακλούν απλώς τις αντρικές προκαταλήψεις, αλλά συντείνουν στη διάδοση και εδραίωσή τους ως κοινό κτήμα στη συλλογική συνείδηση. Κατ’ επανάληψη σκιαγραφώντας λεκτικά ως αφηγητής ή νοερά ως ακροατής την εικόνα της σέξι ξανθιάς, της γκρινιάρας συζύγου, της αυταρχικής πεθεράς, κανείς διατρέχει τον κίνδυνο να πιστέψει πως η γυναίκα είναι γεννημένη για να διαδραματίζει αυτούς και μόνο τους κοινωνικούς ρόλους, και μάλιστα κατά τρόπο είτε υποτελή και ευάρεστο είτε καταπιεστικό και ενοχλητικό προς τον άντρα, ποτέ όμως ισότιμα. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Με τον, έστω και υπό τύπο αστείου, περιορισμό της γυναικείας δραστηριότητας στα στενά όρια της κουζίνας και της κρεβατοκάμαρας, η γυναίκα φυλακίζεται στο κέλυφος μιας μη παραγωγικής διεκπεραιωτικής ύπαρξης και προβάλλεται ως κτήμα και χρηστικό εργαλείο των αντρών. Ακριβώς αυτό, το δια του σεξιστικού χιούμορ κατοχυρωμένο «ιδιοκτησιακό καθεστώς» της γυναίκας, είναι που επιτρέπει στον άντρα να ασκεί σωματική βία εναντίον της – προς Θεού! στα ανέκδοτα, όχι στην πραγματική ζωή – θεωρώντας την πράξη του δικαιωματική και τις συνέπειές της ξεκαρδιστικές. Το να γελά κανείς στη σκέψη «μιας γυναίκας με δύο μαυρισμένα μάτια» προϋποθέτει την επιμελή παράβλεψη του σωματικού και ψυχικού πόνου του θύματος, γεγονός που προάγει τη μεταχείριση της γυναίκας ως αντικειμένου (σάκου του μποξ συγκεκριμένα) και όχι ως ανθρωπίνου όντος. Νεφελώδης, σχεδόν αόρατος πίσω από το προπέτασμα καπνού του «αθώου αστείου», ο φαύλος αυτος κύκλος συστηματικής υπονόμευσης της γυναικείας υπόστασης καταφέρνει ως επί το πλείστον να παραμένει στο απυρόβλητο της κοινωνικής κριτικής, επιβιώνοντας και διασφαλίζοντας ότι οι άντρες θα διηγούνται με αλαζονεία σεξιστικά ανέκδοτα παρουσία γυναικών και ότι αυτές θα γελούν δήθεν «ακομπλεξάριστα» με την επίμαχη ατάκα ες αεί.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Το γέλιο μέχρι δακρύων – εξ ού και </span><i><span class="Apple-style-span" style="font-weight: normal;">το κουτί με τα χαρτομάντηλα</span></i><span class="Apple-style-span" style="font-weight: normal;"> – που επιδιώκουν να εκμαιεύσουν οι Washing up ladies από τους θεατές και ιδιαίτερα τις θεάτριες, δεν είναι αυτό της προσποιούμενης απενοχοποίησης. Οι πρόσφατές τους δημιουργίες </span><i><span class="Apple-style-span" style="font-weight: normal;">Sorry to burst your bubble but</span></i><span class="Apple-style-span" style="font-weight: normal;">…, </span><i><span class="Apple-style-span" style="font-weight: normal;">Tissue Box</span></i><span class="Apple-style-span" style="font-weight: normal;"> και </span><i><span class="Apple-style-span" style="font-weight: normal;">Leg Talks</span></i><span class="Apple-style-span" style="font-weight: normal;"> στοχεύουν σε εις βάθος ενδοσκόπηση, εκ βαθέων αυτοεξομολόγηση και βαθιά κάθαρση. Αντικρίζοντας το τέρας μέσα μας και γελώντας με την ασχήμια του ξεπερνούμε το φόβο μας γι’ αυτό· για να το ξορκίσουμε, όμως, πρέπει να βρούμε τη δύναμη να κλάψουμε για την κατάντια του.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Αντί Κατακλείδας </span></span><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«Υπάρχει ουσιώδης διαφορά ανάμεσα σε </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> μια «απελευθερωμένη γυναίκα» και μια φεμινίστρια. Η απελευθερωμένη γυναίκα στην πραγματικότητα δε βλέπει πέρα από τον εαυτό της. Θέλει (ανταγωνίζεται γι’ αυτό και συχνά κερδίζει) ίσο μισθό για ίση εργασία, περισσότερο σεβασμό και κύρος στην κοινωνία, περισσότερους οργασμούς, υψηλότερη θέση – εν ολίγοις, θέλει να «τα καταφέρει στον κόσμο του άντρα». </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> Η φεμινίστρια, από την άλλη, βλέπει τον εαυτό της ως μέρος ενός ευρύτερου κινήματος. Καταλαβαίνει τι συνεπάγεται η γυναικεία αδελφότητα </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;">. Δεν αγωνίζεται για μεγαλύτερο μερίδιο της αντρικά νοούμενης πίτας, αλλά μάλλον για μια κοινωνία όπου όχι μόνο </span><i><span class="Apple-style-span" style="font-weight: normal;">όλες</span></i><span class="Apple-style-span" style="font-weight: normal;"> οι γυναίκες, αλλά όλοι οι άνθρωποι θα μπορούν να ορίζουν οι ίδιοι την ύπαρξή τους.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn28" name="_ftnref28" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[28]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><span class="Apple-style-span" style="font-weight: normal;">Υστερόγραφο<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Όσα ακολουθούν είναι γραμμένα με γνήσιο σεβασμό στη μνήμη μιας και όλων των γυναικών που έπεσαν θύματα της σιωπηλής συνενοχής της κοινωνίας μας. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Διαβάζω τις λεζάντες των </span><i><span class="Apple-style-span" style="font-weight: normal;">Leg Talks</span></i><span class="Apple-style-span" style="font-weight: normal;">. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Στο μυαλό έρχεται η είδηση που είχα παρακολουθήσει στην τηλεόραση πριν από δέκα χρόνια περίπου. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μια εικοσάχρονη γυναίκα από τη Ρωσία έπεσε από το μπαλκόνι και σκοτώθηκε. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ήταν «καλλιτέχνιδα», δούλευε σε καμπαρέ. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Θυμάμαι είχα νιώσει... – <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«Σύμφωνα με την απόφαση του Ευρωπαϊκού Δικαστηρίου Ανθρωπίνων Δικαιωμάτων η </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> οδηγήθηκε στο θάνατο από ενέργειες και παραλείψεις που παραβίαζαν τα δικαιώματα ελευθερίας και ασφάλειάς της. Για τις συγκεκριμένες παραβιάσεις των άρθρων της Σύμβασης Ανθρωπίνων Δικαιωμάτων το ΕΔΑΔ επιδίκασε ως αποζημίωση το ποσό των 43.150 ευρώ </span><i><span class="Apple-style-span" style="font-weight: normal;">(...)</span></i><span class="Apple-style-span" style="font-weight: normal;"> που θα καταβάλει στην οικογένεια της θανούσης η Κυπριακή Δημοκρατία.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn29" name="_ftnref29" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[29]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«Το ποσό των 43.150 ευρώ»! <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– Τόσα στοιχίζει να σκοτώσεις έναν άνθρωπο;<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">– Όχι, τόσα στοιχίζει να σκοτώσεις μια «καλλιτέχνιδα».<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«Υπολογίζεται ότι περίπου 2,000 γυναίκες μεταναστεύουν στην Κύπρο κάθε χρόνο<br />
με ειδικές άδειες εισόδου και παραμονής ως «καλλιτέχνιδες».»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn30" name="_ftnref30" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[30]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">«Κατά την περίοδο 1982-2002, υπήρξε μια αύξηση των καμπαρέ κατά 111%.»</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn31" name="_ftnref31" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[31]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Γιατί;<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Γιατί «το όνειρο του 45% των γυναικών της Ανατολικής Ευρώπης είναι να γίνουν πόρνες»,</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftn32" name="_ftnref32" title=""><sup><sup><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[32]</span></span></sup></sup></a><span class="Apple-style-span" style="font-weight: normal;"> όπως δήλωσε το 2003 ο τότε Υπουργός Δικαιοσύνης Δώρος Θεοδώρου. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 9.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ας συμπληρώσει ο αναγνώστης τα κενά των γραφομένων μου...<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 8.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Άντρεα Κωνσταντίνου<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span style="font-family: Arial; font-size: 8.5pt; letter-spacing: -.05pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ιστορικός Τέχνης / Eπιμελήτρια Έκθεσης<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial; font-size: 8.5pt; letter-spacing: -.05pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">30|8|2010</span></span><span lang="TR" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div><div style="mso-element: footnote-list;"><span class="Apple-style-span" style="font-weight: normal;"><br clear="all" /></span> <hr align="left" size="1" width="33%" /> <div id="ftn1"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref1" name="_ftn1" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[1]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Ελένη Σ. Νικήτα, «Με αφορμή τις Δράσεις των </span></span><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Washing</span></span></i><i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">-</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Up</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ladies</span></span></i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">», σε αυτό τον κατάλογο, σσ. 21 και 24.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn2"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref2" name="_ftn2" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[2]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μετάφραση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">της</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">συγγραφέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">από</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αγγλικά</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, Spurgeon Thompson, “Gender Issues in Cyprus”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> The Gender & Media Handbook</span></i><span class="Apple-style-span" style="font-weight: normal;">, Mediterranean Institute of Gender Studies, Λευκωσ</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">ία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2005, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 14.<o:p></o:p></span></span></div><div class="BasicParagraph"><br />
</div></div><div id="ftn3"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref3" name="_ftn3" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[3]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Τα στατιστικά στοιχεία προέρχονται από σειρά ερευνών που αναφέρονται στο κείμενο όπως πριν, σσ. 13-14 και 21.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn4"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref4" name="_ftn4" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[4]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μαρία</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Χατζηπαύλου</span></span><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, “Among Cypriot women: The local context” (2007), www.washing-up-ladies.blogspot.com.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn5"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref5" name="_ftn5" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[5]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μετάφραση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">της</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">συγγραφέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">από</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αγγλικά</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μαργαρίτα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Ζερβίδου</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, “National Report: The Case of Cyprus”, </span><i><span class="Apple-style-span" style="font-weight: normal;">Integration of Female Migrant Domestic Workers</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Mediterranean Institute of Gender Studies, University of Nicosia Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Λευκωσία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2008, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 37. <o:p></o:p></span></span></div><div class="BasicParagraph" style="text-align: justify;"><br />
</div></div><div id="ftn6"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref6" name="_ftn6" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[6]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Μετάφραση της συγγραφέα από τα αγγλικά, όπως πριν, σ. 34. </span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn7"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref7" name="_ftn7" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[7]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μετάφραση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">της</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">συγγραφέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">από</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αγγλικά</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, Judy Attfield, “</span><em><span style="font-style: normal;"><span class="Apple-style-span" style="font-weight: normal;">Inside Pram Town: a case study of Harlow House Interiors 1951-1961”, </span></span><span class="Apple-style-span" style="font-weight: normal;">A View from the Interior</span></em><em><span style="font-style: normal;"><span class="Apple-style-span" style="font-weight: normal;">, </span></span></em></span><em><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; font-style: normal; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Λονδίνο</span></span></em><em><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; font-style: normal; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1989, </span></span></em><em><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; font-style: normal; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span></em><em><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; font-style: normal; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 224. </span></span></em><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn8"> <div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref8" name="_ftn8" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[8]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βλέπε</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Donna Haraway, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Socialist Review</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, 1985), </span><i><span class="Apple-style-span" style="font-weight: normal;">Simians, Cyborgs and Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, Routledge, </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Νέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Υόρκη</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1991.<o:p></o:p></span></span></div><div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><br />
</div></div><div id="ftn9"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref9" name="_ftn9" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[9]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μαίρη Κουτσελίνη στο χαιρετισμό του καταλόγου.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn10"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref10" name="_ftn10" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[10]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Household Images in Art” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Ms.</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μάρτιος</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> 1973), </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Νέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Υόρκη</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1995, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σσ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 63 </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">και</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> 65. </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn11"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref11" name="_ftn11" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[11]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μετάφραση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">της</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">συγγραφέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">από</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">τα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αγγλικά</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, Mierle Laderman Ukeles, “Touch Sanitation” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Issue</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, 1980), </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminism-Art-Theory</span></i><span class="Apple-style-span" style="font-weight: normal;">, Blackwell Publishers Ltd, </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2001, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 106. <o:p></o:p></span></span></div><div class="BasicParagraph"><br />
</div></div><div id="ftn12"> <div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref12" name="_ftn12" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[12]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Η μετάφραση από τα αγγλικά των λεζάντων και του υποτίτλου του πανό </span></span><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Feminist</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">issues</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">still</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">not</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">at</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">front</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">line</span></span></i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> έγιναν από τη συγγραφέα.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn13"> <div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref13" name="_ftn13" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[13]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Μετάφραση της συγγραφέα από τα αγγλικά μέρους της λίστας του βίντεο </span><i><span class="Apple-style-span" style="font-weight: normal;">The To Do List</span></i><span class="Apple-style-span" style="font-weight: normal;">. </span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn14"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref14" name="_ftn14" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[14]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Women Confront the Bomb” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Boulder Daily Camera</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, 17 </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Μαΐου</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> 1987), </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Νέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Υόρκη</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1995, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σσ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 228-230.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn15"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref15" name="_ftn15" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[15]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Άδωνις Παλληκαρίδης, «Τούτη η δίψα δεν σβήνει, τούτη η μάχη δεν παύει», </span><i><span class="Apple-style-span" style="font-weight: normal;">Σημερινή</span></i><span class="Apple-style-span" style="font-weight: normal;"> (Λευκωσία),</span></span><span style="color: windowtext; font-family: MetaPro-Normal; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">18 Αυγούστου 2010. </span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn16"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref16" name="_ftn16" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[16]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Τα στατιστικά στοιχεία προέρχονται από έρευνα της Μαρίας Χατζηπαύλου (2004) που αναφέρεται στο κείμενο του </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Spurgeon</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Thompson</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, “</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Gender</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Issues</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">in</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">”, </span></span><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">The</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Gender</span></span></i><i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> & </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Media</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Handbook</span></span></i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Mediterranean</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Institute</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Gender</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Studies</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, Λευκωσία, 2005, σ. 23.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn17"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref17" name="_ftn17" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[17]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Όπως πριν, σ. 22.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn18"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref18" name="_ftn18" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[18]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Δάφνη Νικήτα, «Οι Pοζ Kούκλες», σε αυτό τον κατάλογο, σ. 34. </span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"><o:p></o:p></span></span></div></div><div id="ftn19"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref19" name="_ftn19" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[19]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “The Politics of Representation: A Democracy of the Gaze”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1992, σ. 134.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn20"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref20" name="_ftn20" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[20]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Κρίνη</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Καφίρη</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, “Gender and Media in Cyprus: The Greek Cypriot Study”, </span><i><span class="Apple-style-span" style="font-weight: normal;">The Gender & Media Handbook</span></i><span class="Apple-style-span" style="font-weight: normal;">, Mediterranean Institute of Gender Studies, Λευκωσ</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">ία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2005, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 49.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn21"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref21" name="_ftn21" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[21]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Όπως</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">πριν</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 48.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn22"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref22" name="_ftn22" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[22]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “The Politics of Representation: A Democracy of the Gaze”, </span><i><span class="Apple-style-span" style="font-weight: normal;">Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1992, σ. 134.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn23"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref23" name="_ftn23" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[23]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Lucy R. Lippard, “Making Up: Role-Playing and Transformation in Women’s Art” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: MetaPro-Normal; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman"; mso-hansi-font-family: MetaPro-Normal;"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Ms.</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Οκτώβριος</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> 1975), </span><i><span class="Apple-style-span" style="font-weight: normal;">The Pink Glass Swan</span></i><span class="Apple-style-span" style="font-weight: normal;">, The New Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Νέα</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Υόρκη</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1995, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 92.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn24"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref24" name="_ftn24" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[24]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Έλενα Χριστοδουλίδου, «Με Αφορμή το Σπάσιμο της Φούσκας», σε αυτό τον κατάλογο, σ. 28.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn25"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref25" name="_ftn25" title=""><sup><span lang="EN-US" style="color: windowtext;"><sup><span lang="EN-US" style="font-family: Times-Roman; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-font-family: Times-Roman;"><span class="Apple-style-span" style="font-weight: normal;">[25]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Δάφνη Νικήτα, «Οι Ροζ Κούκλες», σε αυτό τον κατάλογο, σ. </span></span><span lang="EN-GB" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">34.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn26"> <div class="BasicParagraph" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref26" name="_ftn26" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[26]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Catherine King, “Feminist Arts”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1992, σ. 176.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn27"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref27" name="_ftn27" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[27]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Catherine King, “Feminist Arts”,</span><i><span class="Apple-style-span" style="font-weight: normal;"> Imagining Women</span></i><span class="Apple-style-span" style="font-weight: normal;">, The Open University, Polity Press, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 1992,</span> </span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 175-176.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn28"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref28" name="_ftn28" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[28]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Judith Stein, “For a Truly Feminist Art” (</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">αρχική</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">δημοσίευση</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">στο</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span><i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">Big News</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-weight: normal;">, 1972), </span><i><span class="Apple-style-span" style="font-weight: normal;">Feminism-Art-Theory</span></i><span class="Apple-style-span" style="font-weight: normal;">, Blackwell Publishers Ltd, </span></span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Βρετανία</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, 2001, </span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">σ</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">. 29.</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn29"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref29" name="_ftn29" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[29]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Γιάννης Κωστακόπουλος, «Ανακριτές για τους τύπους», </span><i><span class="Apple-style-span" style="font-weight: normal;">Πολίτης</span></i><span class="Apple-style-span" style="font-weight: normal;"> (Λευκωσία), 9 Ιανουαρίου 2010, σ. 22.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn30"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref30" name="_ftn30" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[30]</span></span></sup></span></sup></a><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Χαρτογράφηση της πραγματικής κατάστασης της Σωματεμπορίας Γυναικών με σκοπό τη Σεξουαλική τους Εκμετάλλευση στην Κύπρο: Περιληπτικό σημείωμα</span></span></i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Mediterranean</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Institute</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">of</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Gender</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Studies</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">, Λευκωσία, 2007, σ. 1.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn31"> <div class="BasicParagraph"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref31" name="_ftn31" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[31]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Όπως πριν, σ. 2.</span></span><span style="color: windowtext; font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> <o:p></o:p></span></span></div></div><div id="ftn32" style="mso-element: footnote;"> <div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/OLK31E3/ANDREA-GR.doc#_ftnref32" name="_ftn32" title=""><sup><span lang="EN-US" style="color: windowtext; font-family: Arial; mso-bidi-font-family: "Times New Roman";"><sup><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span class="Apple-style-span" style="font-weight: normal;">[32]</span></span></sup></span></sup></a><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> Στέφανος Ευριπίδου, “</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Theodorou</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Refuses</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">to</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Back</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Down</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">over</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Eastern</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">European</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Prostitution</span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Claim</span></span><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">”, </span></span><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Cyprus</span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> </span></span></i><i><span lang="EN-US" style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;">Mail</span></span></i><span style="color: windowtext; font-family: Arial; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span class="Apple-style-span" style="font-weight: normal;"> (Λευκωσία), 5 Δεκεμβρίου 2003, σ. 3.<o:p></o:p></span></span></div><div class="BasicParagraph" style="mso-hyphenate: none; text-align: justify;"><br />
</div></div></div></i></b></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-83027315576410918722010-08-25T21:27:00.003+03:002010-09-20T21:21:28.606+03:00Βίντεο προ-πλύση, Katerine Nikita, director of the Lanitis Art Foundation 13|8|2010<div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η συνεργασία δύο Κύπριων γυναικών καλλιτεχνών με σκοπό την πραγματοποίηση μιας συλλογικής εργασίας της οποίας ο αμφισβητίας στόχος είναι κυρίαρχος, αυτό είναι ακόμη πιο ενδιαφέρον αφού, μέσα στο πλαίσιο της σύγχρονης δημιουργίας, πρωτοβουλίες αυτού του είδους είναι σπάνιες στην Κύπρο και ακόμη πιο σπάνιες όταν πρόκειται να τεθεί υπό αμφισβήτηση μια κάποια άποψη της κοινωνίας και των κοινωνικών αρχετύπων μας. Πρέπει επίσης να σημειωθεί, και αυτό είναι σημαντικό για την κατανόηση του τρόπου που ενεργούν οι </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span style="font-family: Arial;">, ότι μέχρι σήμερα οι μοντέρνοι ή σύγχρονοι Κύπριοι καλλιτέχνες, αν και μερικές φορές έχουν ανταλλάξει ιδέες και κάποτε πραγματοποίησαν συλλογικά έργα, δεν υπήρξε στην Κύπρο ούτε και σε ένα μεγάλο μέρος της Ευρώπης συνάντηση καλλιτεχνών οι οποίοι να δημιουργούν μεγάλα καλλιτεχνικά ρεύματα ή που να επαναλαμβάνουν σε τοπικό επίπεδο κάποιες προβληματικές των Ευρωπαίων συναδέλφων τους. Δεν υπάρχουν συλλογικά μανιφέστα τέτοια όπως βλέπουμε να εκδηλώνονται στην τέχνη στην Ευρώπη από τις αρχές του 20<sup>ου</sup> αιώνα. Η σχεδόν παντελής απουσία αντιδράσεων αμφισβήτησης ή συλλογικών μανιφέστων καλλιτεχνών στην Κύπρο καθιστά λοιπόν ακόμη πιο ενδιαφέρον τον αμφισβητία και φεμινιστικό τρόπο με τον οποίον ενεργούν οι </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span style="font-family: Arial;">.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Για να είναι παρούσες και ορατές μέσα στην τέχνη ως καλλιτέχνες, οι γυναίκες στην Ευρώπη ή στις Ηνωμένες Πολιτείες κυρίως έπρεπε να κυριεύσουν τα προπύργια των ανδρών. Από τα τέλη του 19<sup>ου</sup> αιώνα, οι γυναίκες καλλιτέχνες παίρνουν θέση συλλογικά στους κύκλους της τέχνης και αγωνίζονται για να έχουν πρόσβαση στην εκπαίδευση των Καλών Τεχνών. Παρά ταύτα έμειναν για πολύ καιρό μακριά από τα μεγάλα ρεύματα της μοντερνιτέ (</span><span lang="FR" style="font-family: Arial;">Sonia</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Delaunay</span><span style="font-family: Arial;">, </span><span lang="FR" style="font-family: Arial;">Suzanne</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Valadon</span><span style="font-family: Arial;">…). Τη δεκαετία του 70, οι φεμινιστές κριτικοί τέχνης θα εξετάσουν τη θέση των γυναικών καλλιτεχνών μέσα στην τέχνη και την εξαφάνιση τους από την ιστορία της τέχνης, ομάδες αμφισβητιών καλλιτεχνών σχηματίζονται για να καταγγείλουν την μη ορατότητα των γυναικών δημιουργών. Σιγά-σιγά η φεμινιστική ανάγνωση της ιστορίας τη τέχνης θα λαμβάνεται υπόψη στα μουσεία και στις γκαλερί καθώς και οι ίδιοι οι καλλιτέχνες θα χρησιμοποιούν τις γυναίκες αναλυτές στη δημιουργία τους, μετατρέποντας σιγά-σιγά το λόγο και το βλέμμα έναντι της εργασίας τους.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Ο τρόπος που ενεργούν οι Λία και ή Μαριάννα είναι ακόμη πιο χαρακτηριστικός διότι εγγράφεται μέσα σε αυτό το χώρο των φεμινιστικών διεκδικήσεων, αν και αυτές οι δύο καλλιτέχνιδες δεν μπορούν να κατατάσσονται ως φεμινίστριες καλλιτέχνιδες αφού η καλλιτεχνική τους παραγωγή υπογραμμίζει άλλες προβληματικές που σχετίζονται κυρίως με την πολιτική. Αν και ήδη διέρρευσε ένας αιώνας από τις πρώτες απόπειρες των ομολόγων τους στην Ευρώπη και τις ΗΠΑ για αποκατάσταση, η βούληση των </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">για επανισορρόπηση όσον αφορά την αντίληψη και την αναγνώριση της τέχνης των γυναικών πρέπει να χειροκροτηθεί.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Ο παραλληλισμός των δύο έργων βίντεο «</span><span lang="FR" style="font-family: Arial;">Hurting</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">the</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Machine</span><span style="font-family: Arial;">» και «</span><span lang="FR" style="font-family: Arial;">Sorry</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">to</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">burst</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">your</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">bubble</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">but</span><span style="font-family: Arial;">...» φαίνεται να είναι εύστοχος διότι μας επιτρέπει να κατανοήσουμε καλύτερα τις προβληματικές των δύο καλλιτεχνών και εγγράφει τον τρόπο που ενεργούν μέσα σε μια κάποια συνέχεια.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Στο πρώτο βίντεο «</span><span lang="FR" style="font-family: Arial;">Hurting</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">the</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Machine</span><span style="font-family: Arial;">» ο θεατής βρίσκεται αντιμέτωπος με δύο άτομα, η ταυτότητα των οποίων μισοαποκαλύπτεται αφού δεν εμφανίζονται τα πρόσωπα τους αλλά μπορούμε να συμπεράνουμε το φύλο τους χάρη στη μορφολογία των ποδιών τους και το μήκος των μαλλιών τους (πλειοψηφικά γυναικείος ευρωπαϊκός αισθητικός κώδικας). Αρα εδώ πρόκειται βέβαια για δύο γυναίκες που χτυπούνε, καταστρέφουν παθιασμένα ένα πλυντήριο ρούχων.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Αυτή η διαδικασία αμφισβήτησης έναντι ενός στερεότυπου της κοινωνίας μας σχετικά με το ρόλο της γυναίκας στην καθημερινή ζωή υπήρξε ένα από τα θέματα φάροι των φεμινιστικών αμφισβητήσεων από τη δεκαετία του 70. Η σκέψη βέβαια πάει στα έργα της </span><span lang="FR" style="font-family: Arial;">Birgit</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">J</span><span style="font-family: Arial;">ü</span><span lang="FR" style="font-family: Arial;">rgenssen</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">καταγγελία της θέσης της γυναίκας στο σπίτι, αποπροσωποποιημένη, με τον τρόπο ζωής πλήρως περιορισμένο και προσδιορισμένο από τις οικιακές εργασίες. Το έργο «</span><span lang="FR" style="font-family: Arial;">Hausfrauen</span><span style="font-family: Arial;">-</span><span lang="FR" style="font-family: Arial;">K</span><span style="font-family: Arial;">ü</span><span lang="FR" style="font-family: Arial;">chensch</span><span style="font-family: Arial;">ü</span><span lang="FR" style="font-family: Arial;">rze</span><span style="font-family: Arial;">» (η ποδιά κουζίνας της οικοκυράς), που δημιουργήθηκε το 1975, είναι συμβολικό. Η καλλιτέχνης φωτογραφίζεται, από μπροστά και σε προφίλ, με ένα τρισδιάστατο υβρίδιο να κρέμεται από το λαιμό της, το οποίο αποκαλύπτει το σώμα της στην ολότητα του. Ταυτόχρονα ποδιά και έπιπλο κουζίνας, ένας μισάνοιχτος φούρνος έχοντας μέσα φαγητό να ψήνεται υποκαθιστά την κοιλιά της. Αυτή η μεταφορά απεικονίζει με κτυπητό τρόπο την αλλοτρίωση της γυναίκας, η αυτότητας της οποίας υποκύπτει στα οικιακά καθήκοντα. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Μπορούσαμε επίσης να αναφέρουμε την καλλιτέχνη φωτογράφο </span><span lang="FR" style="font-family: Arial;">Shadi</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ghadirian</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">της οποίας η σκηνοθεσία μιας γυναίκας που φορεί μπούρκα και η οποία στη θέση του προσώπου έχει ένα σίδερο σιδερώματος ή μια κατσαρόλα, έργα από τη σειρά «</span><span lang="FR" style="font-family: Arial;">Like</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Every</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Day</span><span style="font-family: Arial;">»</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">αναρωτιέται για αυτή την επιδεικτική εξαντικειμενοποίηση της γυναίκας. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Ομως, εδώ ο τρόπος που ενεργούν οι </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">πάει πάρα πέρα και στην πνευματική διαπίστωση έρχεται να προστεθεί η σωματική δέσμευση της καλλιτέχνιδας καταστρέφοντας υλικά το αντικείμενο της οργής της, το πλυντήριο ρούχων. Πρόκειται για ένα αγώνα εναντίον των προκαταλήψεων, αυτών που θέλουν τη γυναίκα να αισθάνεται απελευθερωμένη μετά την εφεύρεση του πλυντηρίου ρούχων. Από της εφευρέσεως αυτής, το αρσενικό φύλο και ακόμη μέχρι πρόσφατα η εφημερίδα του Βατικανού, η «</span><span lang="FR" style="font-family: Arial;">Osservatore</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">romano</span><span style="font-family: Arial;">» το 2009 διαβεβαίωνε ότι το πλυντήριο ρούχων αποτέλεσε μια από τις μεγαλύτερες χειραφετήσεις για τη γυναίκα του 20<sup>ου</sup> αιώνα και αυτό ακόμη περισσότερο από το αντισυλληπτικό χάπι.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Κι’ όμως, μήπως αυτή η εφεύρεση δεν είναι ένα επιπλέον πρόσχημα, ενισχύοντας τον επιπρόσθετο εγκλεισμό στους κόλπους μιας ανδρικής ιδεολογίας καθιστώντας τη γυναίκα μικρή βασίλισσα στο βασίλειο της, δηλαδή, το σπίτι ; Υπό την κάλυψη της τεχνολογικής προόδου και άρα κατ’ επέκταση, της προόδου για καλύτερη ζωή και απλοποίηση των οικιακών εργασιών, η γυναίκα θα έπρεπε να είναι απόλυτα ευγνώμονας για αυτή τη βελτίωση, σημαντική λένε, της καλυτέρευσης της ζωής της. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Όταν οι δύο καλλιτέχνιδες τα βάζουν με αυτό το πλυντήριο ρούχων δεν πρόκειται, παρά μόνο για μια διαμαρτυρία εναντίον αυτής της σύγχρονης μυθολογίας της καλύτερης ζωής για τη γυναίκα χάρη στη μηχανοποίηση μιας δουλειάς καθόλου μα καθόλου εξυψωτική</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">! Η υποταγή των γυναικών, περιορισμένες στις οικιακές εργασίες, που διαιωνίζεται σε πολλές από τις σύγχρονες κοινωνίες μας τίθεται εδώ στο εδώλιο του κατηγορουμένου κατά τρόπο εξαιρετικά δραστικό. Ο αγώνας σε πνευματικό επίπεδο μετατρέπεται σε σωματικό αγώνα, ωσάν να έπρεπε το σώμα να συνδυαστεί με το πνεύμα για να εξορκιστεί πραγματικά το αντικείμενο που ευθύνεται για αυτή την ετικέτα «της τέλειας νοικοκυράς». Βέβαια εδώ πρόκειται για ένα φεμινιστικό αγώνα εναντίον των αρχετύπων κάθε κατηγορίας αλλά επίσης εναντίον αυτής της απάτης της Ευτυχίας στις σημερινές κοινωνίες της κατανάλωσης και των υλικών αγαθών. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Πρέπει επίσης να σημειωθεί ότι η βίαια πράξη που κινηματογραφείται εδώ εκφράζει αυτή την οργή εναντίον του κατεστημένου που θέλει τη γυναίκα, στην ιστορία των σύγχρονων αναπαραστάσεων μας της γυναίκας μοντέλο που μεταδίδεται από τη διαφήμιση και τα μέσα επικοινωνίας γενικά, να κινείται με γλυκύτητα μέσα στην άνεση του σπιτιού κατά τρόπο μερικές φορές ναζιάρικο με ένα μακάριο χαμόγελο στα χείλη</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">!<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span class="txt"><span style="font-family: Arial;">Αυτή η ζωή που κυριαρχείται από τη ρουτίνα και τη μετριότητα, την πεζότητα, την καθημερινότητα που βιώνουν η γυναίκα και γενικότερα χιλιάδες άνθρωποι, εδώ καταγγέλλεται. Αυτή η θανάτωση του αντικειμένου υπογραμμίζει τον σκληρυντικό χαρακτήρα αυτής της κομφορμιστικής ζωής, με επιβραδυμένο, μονότονο ρυθμό όπου, αυστηρά ομιλούντες, δεν συμβαίνει τίποτε. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span class="txt"><span style="font-family: Arial;">Ο φυσικός αγώνας αυτών των δύο γυναικών έρχεται βίαια σε αντίθεση με τον εγκλεισμό μέσα σε επαναλαμβανόμενες και στοιχειώδεις κινήσεις οι οποίες έρχονται στο μυαλό μας βλέποντας αυτό το φετίχ αντικείμενο. Αυτή η σκηνοθεσία καταγγέλλει τα κοινωνικά καθιερωμένα που μερικές φορές είναι υποδουλωτικά και ανεγείρονται για κάλυψη των καταπιέσεων.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span class="txt"><span style="font-family: Arial;">Το έργο βίντεο υπογραμμίζει επίσης την αποβλακωτική, υποδεέστερη και υποτακτική διάσταση, των οικιακών δουλειών που κάνουν οι γυναίκες, οι οποίες επάγουν έτσι μια μισογυνία που είναι ακόμη ισχυρή στις φαλλοκρατικές κοινωνίες μας, όπου ο άνδρας διεκδικεί την ελευθερία ύπαρξης για όλους χωρίς πραγματικά να λαμβάνει υπόψη την πολυπλοκότητα των δύο φύλων. Αυτό το βίντεο αμφισβητεί αυτή τη στερεοποιημένη, εξαναγκαστική κατανομή των ρόλων που υπαγορεύεται από τις κοινωνικές συμβάσεις όπου όλα προσδιορίζονται με βάση τη διάκριση.</span></span><span style="font-family: Arial;"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Οχι, οι γυναίκες δεν απόκτησαν περισσότερη Ευτυχία και δεν έγιναν περισσότερο ελεύθερες χάρη στην εφεύρεση του πλυντηρίου ρούχων ή του φούρνου μικροκυμάτων ούτε και οι άνδρες χάρη στο αυτοκίνητο ή τον ηλεκτρονικό υπολογιστή.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Στο βίντεο «</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Sorry</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">to</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">burst</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">your</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">bubble</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">but</span><span style="font-family: Arial;">...</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">», οι καλλιτέχνιδες μπαίνουν σε μια διαδικασία αισθητικά στους αντίποδες της πρώτης ταινίας αφού οι δύο γυναίκες είναι κλεισμένες μέσα σε ένα κλειστό ροζ χώρο, ένα είδος δωματίου όπως αυτό μιας κούκλας Μπάρμπι, κατ’ εξοχή αντικείμενο φετίχ και σύμβολο του κώδικα γυναικείας ομορφιάς των σύγχρονων μας κοινωνιών.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η αντίθεση με το προηγούμενο βίντεο είναι ακόμη πιο κτυπητή αφού η ενδυματολογική επιλογή των δύο καλλιτέχνιδων είναι εντελώς αντίθετη. Οι μπότες από καουτσούκ και το παντελόνι άφησα τη θέση στα τακούνια στιλέτο και στη μίνι φούστα. Τα πρόσωπα ακόμη μια φορά δεν εμφανίζονται στην οθόνη καθιστώντας εδώ την καθιερωμένη πράξη κινηματογράφησης ακόμη πιο ραδιούργα.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Εάν έπρεπε να γίνει εδώ ακόμη μια ιστορική αναφορά σε άλλες φεμινιστικές καλλιτεχνικές διαδικασίες, θα μπορούσαμε να υπενθυμίσουμε τα φωτογραφικά έργα της </span><span lang="FR" style="font-family: Arial;">Hanna</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Wilke</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">της δεκαετίας του</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">70 της σειράς </span><span lang="FR" style="font-family: Arial;">Starification</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Objects</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Series</span><span style="font-family: Arial;"> (</span><span lang="FR" style="font-family: Arial;">SOS</span><span style="font-family: Arial;">) όπου η καλλιτέχνιδα πόζαρε με διαφορετικές πόζες και μασκαρέματα της θηλυκότητας. Αυτά τα έργα ήταν τολμηρά επειδή αντιτίθεντο στο φεμινιστικό μιλιταντισμό εχθρικό σε κάθε αναπαράσταση της θηλυκότητας, και έκαναν μια μεταστροφή της γυναικείας γοητείας σε μια δύναμη κοινωνικής κριτικής.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Μέσα σε αυτή την αλκόβα ντυμένη στα ροζ, οι δύο αγωνίστριές μας επιτίθενται αυτή τη φορά σε ένα εχθρό εντελώς διαφορετικό αφού πρόκειται να τρυπήσουν μια-μια πλαστικές μπάλες. Αυτό γίνεται μέσα με μια σχετική ηρεμία αφού αν και οι δύο πρωταγωνίστριες προχωρούν αργά η πράξη είναι βίαια. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η στρατηγική της επίθεσης αυτή τη φορά, γίνεται με ένα όπλο όχι πλέον ανδρικό τέτοιο όπως το σφυρί μέσα στο προηγούμενο βίντεο αλλά με το πιο φετίχ γυναικείο αντικείμενο : το τακούνι στιλέτο. Εάν υπάρχει μια δημιουργία που είναι η πλέον συμβολική και που να στιγματίζει από της εμφανίσεως της, στη δεκαετία του 50, την εικόνα της μοιραίας (</span><span lang="FR" style="font-family: Arial;">femme</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">fatale</span><span style="font-family: Arial;">) και σέξι γυναίκας, είναι βέβαια το τακούνι στιλέτο. Απόλυτα γυναικεία αποκλειστικότητα, σύμβολο του αισθησιασμού και του ερωτισμού για τους άνδρες, αλλά επίσης κακολογημένο από τους φεμινιστές τη δεκαετία του εξήντα, λαμβάνει εδώ μια πολύ ιδιαίτερη συμβολική διάσταση ως κορυφαίο όπλο καταστροφής και όχι πλέον γοητείας. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Αντικείμενο εξευτελισμού της γυναίκας για κάποιους, οι </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">του δίνουν εδώ ένα μείζον ρόλο στη διεκδίκηση τους. Γυναικεία ρεβάνς σε μια δημιουργία που στοχεύει τη στερεοτυποποίηση της γυναίκας αντικείμενο των φαντασιώσεων. Με αυτή την ενέργεια που εγγράφεται ως μια αμφισβήτηση του κατεστημένου για την σχηματοποιημένη αντίληψη της γυναίκας, οι δύο καλλιτέχνιδες χρησιμοποιούν και διεκδικούν ταυτόχρονα τη θηλυκότητά τους την οποία περιφρονούν για να προβάλουν την πολυπλοκότητα της γυναικείας φύσης. Βρισκόμαστε εδώ μακριά από την ατμόσφαιρα των έργων της </span><span lang="FR" style="font-family: Arial;">Dorothea</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Tanning</span><span style="font-family: Arial;"> (‘</span><span lang="FR" style="font-family: Arial;">chamber</span><span style="font-family: Arial;"> <st1:metricconverter productid="202’" w:st="on">202’</st1:metricconverter>) ή της </span><span lang="FR" style="font-family: Arial;">Sophie</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Calle</span><span style="font-family: Arial;"> “</span><span lang="FR" style="font-family: Arial;">hotel</span><span style="font-family: Arial;">”. Παράλληλα μπαίνουμε σε ένα πεδίο σκέψης στην ιδιωτική σφαίρα που καθίσταται δημόσια, μέσα σε ένα κλειστό χώρο που θα μπορούσε αρχικά να παράγεται από το υποσυνείδητο αυτών των δύο καλλιτεχνίδων παρά στη διαδικασία της ανδρικής φετιχοποίησης του γυναικείου σώματος. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Όμως εναντίον ποιου ή σε τι επιτίθενται οι </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">αυτή τη φορά ; Αυτές οι μπάλες από λατέξ δεν μπορούν παρά να θυμίζουν ανδρικά προφυλακτικά. Εάν ξεκινήσουμε από αυτή την ερμηνεία, τότε μπορούμε να αντιληφθούμε ότι ακόμη μια φορά οι δύο καλλιτέχνιδες επιτίθενται σε ένα αντικείμενο που επέτρεψε στις γυναίκες, σύμφωνα με μια ανδρική θεωρία μια κάποια ελευθερία, αυτή της δυνατότητας επιλογής της ηδονής παρά της τεκνοποίησης. Αυτό το βίντεο όμως θα μπορούσε να αναγνωστεί επίσης ως η εξερεύνηση με εφευρετικό και ποιητικό τρόπο των σχέσεων μεταξύ της αγάπης, του ερωτισμού και της σεξουαλικότητας, επιθυμώντας να φωτίσουν τη γυναικεία ψυχή σε μια κοινωνική προοπτική. Η σκέψη εδώ θα πάει στο έργο στη σειρά των <em><span style="font-family: Arial;">«</span></em></span><em><span lang="FR" style="font-family: Arial;">Tender</span></em><em><span style="font-family: Arial;">-</span></em><em><span lang="FR" style="font-family: Arial;">Poetic</span></em><em><span style="font-family: Arial;">»</span></em><span style="font-family: Arial;">, τη δεκαετία του 70, όπου η </span><span lang="FR" style="font-family: Arial;">Renate</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Bertlmann</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">δημιουργεί σωματικές μορφές σε προφυλακτικά από λατέξ, φτιάχνοντας λάγνα και ερωτικά συνονθυλεύματα, με υπονοούμενα μεταξύ του σεξουαλικού και του παιδαριώδους.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η μια από τις δύο καλλιτέχνιδες ενεργεί με πάθος, με κάποια βιαιότητα, ένας άνδρας θα μπορούσε να διακρίνει κάποια μορφή σαδισμού. Η άλλη καλλιτέχνιδα σπάζει τις μπάλες με κάποια νωθρότητα. Και στις δύο περιπτώσεις όμως πρόκειται για ελεγχόμενη εξέγερση, που εξεγείρεται αναμειγνύοντας απαλότητα και σαδισμό, εναντίον των τυποποιημένων αισθητικών μοντέλων που διοχετεύονται από τη διαφήμιση, τα γυναικεία περιοδικά και τα μέσα επικοινωνίας γενικά. Πρόκειται επίσης για μια αναζήτηση σχετικά με τη σχέση εξουσίας μεταξύ του άνδρα και της γυναίκας που διέπει τις δυτικές κοινωνίες μας. Μια διεκδίκηση της γυναίκας ούτε παθητική ούτε θύμα, μια ισχυρή επιβεβαίωση της γυναικείας ταυτότητας προσπαθώντας παράλληλα να διαλύσει την εικόνα της γυναίκας αντικείμενο.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Και στα δύο βίντεο των </span><span lang="FR" style="font-family: Arial;">Washing</span><span lang="FR" style="font-family: Arial;"> </span><span lang="FR" style="font-family: Arial;">Ladies</span><span lang="FR" style="font-family: Arial;"> </span><span style="font-family: Arial;">πρόκειται για μια αναζήτηση των σχέσεων εξουσίας μεταξύ του άνδρα και της γυναίκας στην κοινωνία. Ένα έργο που επιθυμεί να αναθεωρήσει τα σχήματα σκέψης και τους κοινωνικούς αυτοματισμούς, τις ιδεολογικές εξαρτίσεις κάθε λογής και τις αλλοτριώσεις όλων των ειδών. Οι </span><span class="txt"><span lang="FR" style="font-family: Arial;">Washing</span></span><span class="txt"><span lang="FR" style="font-family: Arial;"> </span></span><span class="txt"><span lang="FR" style="font-family: Arial;">Ladies</span></span><span class="txt"><span lang="FR" style="font-family: Arial;"> </span></span><span class="txt"><span style="font-family: Arial;">επιχειρούν με δύο ταινίες με ριζικά διαφορετικές σκηνοθεσίες αλλά συμπληρωματικές να μας προβληματίσουν για αυτούς τους συσχετισμούς δύναμης και αυτούς τους κοινωνικούς κώδικες μιας άλλης ηλικίας.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span class="txt"><span style="font-family: Arial;">Οι δύο ταινίες βίντεο/περφόρμανς εκφράζουν αυτή την αποδοκιμασία των πατριαρχικών κοινωνιών μας όπου ο εξορθολογισμός καταλήγει στο θρίαμβο του μηχανικού επί του οργανικού, καταστέλλοντας μέσα μας το ένστικτο της ζωής. Οι δύο καλλιτέχνιδες πιάνουν στα πράσα τις στερεότυπες, σύμμορφες και καθημερινές πράξεις που επιβάλλονται από τις κοινωνικές συμβάσεις. Επιχειρούν έτσι να μας θέσουν ενώπιον των ευθυνών μας και της αυτονομίας μας, και μας καλούν να είμαστε εμείς οι εαυτοί μας καλλιεργώντας τις διαφορές μας, διότι η ελευθερία είναι η αποδοχή του εαυτού μας και του άλλου. Η σκέψη των </span></span><span class="txt"><span lang="FR" style="font-family: Arial;">Washing</span></span><span class="txt"><span lang="FR" style="font-family: Arial;"> </span></span><span class="txt"><span lang="FR" style="font-family: Arial;">Ladies</span></span><span class="txt"><span lang="FR" style="font-family: Arial;"> </span></span><span class="txt"><span style="font-family: Arial;">είναι στασιαστική έναντι κάθε ταξινόμησης και ανελέητη όταν καταγγέλλει τους σεκταρισμούς.</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-34105124276666489032010-08-16T21:23:00.002+03:002010-09-20T21:32:05.576+03:00Watch before washing, Katerine Nikita, director of the Lanitis Art Foundation 13|8|2010<div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">L’association de deux artistes chypriotes féminines en vue de réaliser un travail collectif et dont l’objectif contestataire est la dominante, ceci est d’autant plus intéressant que rares sont à Chypre, dans le cadre de la création contemporaine, des initiatives de ce genre et encore moins lorsqu’il s’agit de remettre en question une certaine vision de notre société et de nos archétypes sociaux. Il faut également souligner, et ceci est important pour comprendre la démarche des Washing Ladies, c’est que jusqu’à ce jour les artistes chypriotes modernes ou contemporains, s’ils ont parfois échangé des idées et parfois réalisé des œuvres collectives, ils n’y a pas eu à Chypre comme dans une grande partie de l’Europe de rassemblement d’artistes générant de grands courants artistiques ou reprenant au niveau local certaines problématiques de leurs collègues européens. Il n’y pas de manifestes collectifs tel que nous le voyons s’affirmer dans l’art en Europe depuis le début du XXème siècle. L’absence quasi totale de mouvements de contestations ou de manifestes collectifs d’artistes à Chypre rend donc encore plus intéressant la démarche contestataire et féministe des Washing Ladies.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Pour être présentes et visibles dans l’art comme artistes, les femmes en Europe ou aux Etats Unis notamment ont du s’emparer des bastions masculins. Dès la fin du XIX siècle, les artistes femmes prennent place collectivement dans les milieux de l’art et se battent pour avoir accès à l’enseignement des Beaux-arts. Malgré tout elles sont longtemps éloignées des grands courants de la modernité (Sonia Delaunay, Suzanne Valadon…). Dans les années 70, des critiques d’art féministes vont interroger la place des artistes femmes dans l’art et leur disparition de l’histoire de l’art, des groupes d’artistes contestataires se forment pour dénoncer la non-visibilité des créatrices. La lecture féministe de l’histoire de l’art va peu à peu être prise en compte dans les musées et les galeries et les artistes elles-mêmes vont utiliser les analystes féminins dans leur création, transformant peu à peu le discours et le regard posé sur leur travail.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">La démarche de Lia et de Marianna est d’autant plus significative car elle s’inscrit dans cette mouvance de revendication féministe, même si les deux artistes ne peuvent être cataloguées comme étant des artistes féministes car leur production artistique souligne d’autres problématiques liées notamment au politique. Même si un demi siècle s’est écoulé déjà depuis les premières tentatives de leur homologues en Europe et aux US de réhabilitation, la volonté des Washing Up Ladies de re-équilibrage quand la perception et à la reconnaissance de l’art de femmes se doit d’être applaudi.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">La mise en parallèle des deux œuvres vidéo « Hurting the Washing Machine » and « Sorry to burst your bubble but... » semble pertinente car permettant de mieux comprendre les problématiques des deux artistes et d’ inscrire leur démarche dans une certaine continuité.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Dans la première vidéo « Hurting the Washing Machine » le spectateur se trouve confronté à deux personnages dont l’identité est à demi divulguée puisque leurs visages n’apparaissent pas mais on peut conclure de leur sexe grâce à la morphologie de leur jambes et la longueur de leur cheveux ( code esthétique européen majoritairement féminin). Il s’agit donc bien ici de deux femmes tapant, détruisant avec acharnement une machine à laver le linge.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Cette démarche de contestation face au stéréotype de notre société quant au rôle de la femme dans la vie quotidienne fut l’une des thématiques phare des contestations féministes depuis les années 70. On pensera bien sûr aux œuvres de Birgit Juigenssen dénonciation de la condition de la femme au foyer, dépersonnalisée, au mode de vie entièrement quadrillé par les tâches ménagères. L’œuvre « Hausfrauen-Küchenschürze » (tablier de cuisine de la femme au foyer), crée en 1975, est emblématique. L’artiste se photographie, de face et de profil, avec un hybride tridimensionnel suspendu à son cou, qui recouvre son corps dans son intégralité. A la fois tablier et mobilier de cuisine, un four entrouvert sur un plat en cours de cuisson trône en son cœur et se substitue à son ventre. Cette métaphore illustre de façon percutante l’aliénation de la femme, dont l’identité succombe aux fonctions domestiques.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">On pourrait citer encore l’artiste photographe Shadi Ghadirian dont la mise en scène d’une femme portant la burka et ayant à la place du visage un fer à repasser ou une casserole ; oeuvres tirées de la série « Like Every Day s’interrogeait sur cette objectivation ostentatoire du féminin. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Mais, ici la démarche des Washing Ladies va plus loin et a la contestation intellectuelle vient s’ajouter l’engagement corporel de l’artiste détruisant matériellement l’objet de sa colère, le lave-linge. Il s’agit d’une lutte contre les aprioris, ceux qui veulent que la femme se soit sentie libérée après l’invention de la machine à laver. Depuis cette invention, la gente masculine et même encore récemment le journal du Vatican, l' « Osservatore romano » en 2009 affirmait que la machine à laver a représenté l’une des plus grandes émancipations pour la femme au XXème siècle et ce bien plus que la pilule contraceptive.<o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Hors, cette invention n’est-elle pas qu’un prétexte de plus, renforcant l’ enfermement supplémentaire au sein d’une idéologie masculine faisant de la femme la petite reine dans son royaume, entendons par là, le foyer ? Sous couvert d’avancée technologique et donc par association d’idée, d’avancée dans le bien-être et la simplification des tâches ménagères ; la femme se devrait d’être pleinement reconnaissante pour cette amélioration’ significative dit-on, de son bien être. <o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Lorsque les deux artistes s’en prennent à ce lave-linge il ne s’agit, ni plus ni moins que d’une protestation contre cette mythologie contemporaine du bien-être de la femme grâce à la mécanisation d’une tâche loin d’être, quoi qu’il en soit, anoblissante ! L’asservissement des femmes cantonnées aux tâches ménagères qui perdure dans nombre de nos sociétés contemporaines est ici mis au banc des accusés de manière extrêmement radicale. La lutte d’ordre intellectuel se transforme en lutte corporelle, comme si le corps devait s’associer à l’esprit pour exorciser véritablement l’objet responsable de cet étiquette « de la bonne fée du logis » . Il s’agit bien ici d’une lutte féministe contre les archétypes de tout ordre mais aussi contre cette mystification du Bonheur dans nos sociétés de consommation et de biens matériels. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Il faut également noter que l’acte virulent filmé ici exprime cette colere contre l’ordre établi qui veut que dans l’histoire de nos représentations contemporaines de la femme modèle véhiculée par la publicité et les médias en général, celle)ci se meut tout en douceur dans le confort domestique de manière parfois mièvre avec un sourire béat aux lèvres !<o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Cette vie dominée par la routine et la médiocrité, la banalité, la quotidienneté vécue par la femme et plus largement des milliers de gens est ici dénoncée. Cette mise mort de l’objet souligne le caractère sclérosant de cette vie conformiste, au rythme ralenti, monotone, monocorde où, à strictement parler, il ne se passe rien. <o:p></o:p></span></span></span><br />
<span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></span></div><div class="MsoNormal" style="text-align: justify;"><span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">La lutte physique de ces deux femmes contrastes violemment avec l'enfermement dans des gestes répétitifs et minimaux auxquels on pense en voyant cet objet fétiche. Cette mise en scène dénonce des rituels sociaux parfois asservissants qui s'érigent en trompe l'œil des oppressions.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="text-align: justify;"><span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">L’oeuvre vidéo souligne également la dimension aliénante, subalterne et soumise des actions domestiques effectuées par la femme, induisant ainsi une misogynie encore prégnante dans nos sociétés phallocrates, où le mâle y revendique la liberté pour tous d'exister sans vraiment prendre en compte la complexité des deux sexes. Cette réalisation remet en cause cette répartition figée, contraignante des rôles dictée par les conventions sociales où tout est identifié sur fond de différence.</span></span></span><span lang="FR"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><br />
<span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Non, les femmes n’accédèrent pas plus au Bonheur et ne furent pas plus libérées grâce à l’invention du lave-linge ou du four à micro onde pas plus que les hommes grâce à l’automobile ou l’ordinateur.<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Dans la vidéo « Sorry to burst your bubble but... », les artistes rentrent dans une démarche esthétiquement aux antipodes de la première réalisation puisque les deux femmes sont enfermées dans un espace clos peint en rose, une sorte de chambre digne de celle d’une poupée Barbie, objet fétiche par excellence et symbole du code de beauté féminine de nos sociétés contemporaines.<o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Le contraste avec la vidéo précédente est d’autant plus frappant que le choix vestimentaire des deux artistes est totalement à l’opposé. Les bottes de caoutchouc et le pantalon ont laissé la place aux talons aiguilles et à la jupe mini. Les visages encore une fois n’apparaissent pas à l’écran rendant l’opération rituelle filmée ici encore plus intrigante.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">S’il fallait faire ici encore une référence historique à d’autres démarches artistiques féministes, on pourrait rappeler les œuvres photographiques de Hanna Wilke des années 70 de </span><st1:personname productid="la s←rie Starification Objects" w:st="on"><span class="Apple-style-span" style="font-size: small;">la série Starification Objects</span></st1:personname><span class="Apple-style-span" style="font-size: small;"> Series (SOS) où l‘artiste posait dans différentes poses et mascarades de </span><st1:personname productid="la f←minit←. Ces" w:st="on"><span class="Apple-style-span" style="font-size: small;">la féminité. Ces</span></st1:personname><span class="Apple-style-span" style="font-size: small;"> œuvres avaient d’audacieux le fait qu’elles prenaient le contre-pied d’un militantisme féministe hostile à toute représentation de la féminité, et qu’elles opéraient un retournement de la séduction féminine en un pouvoir de critique sociale.<o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Dans cette alcôve habillée de rose, nos deux combattantes s’attaquent cette fois à un ennemi complètement différent puisqu’il s’agit de percer une par une des balles de plastiques. L’opération se fait dans un calme relatif car l’avancée des deux protagonistes même si elle est lente n’en reste pas moins violente. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">La stratégie d’attaque cette fois ci, ce fait grâce à une arme non plus masculine tel que l’était le marteau dans la vidéo précédente mais grace à l’objet féminin le plus fétiche qui soit : le talon aiguille. S’il est une création des plus emblématiques ayant stigmatisé depuis son apparition dans les années 50, l’image de la femme fatale et sexy, c’est bien le talon aiguille. Apanage strictement féminin, symbole de sensualité et d’érotisme pour les hommes, mais aussi vilipendé par les féministes dans les années soixante, il prend une dimension symbolique très particulière ici en tant qu’arme suprême de destruction et non plus de séduction. <o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Sujet d’avilissement de la femme-objet pour certains, les Washing Ladies lui donnent ici un rôle majeur dans leur revendication. Revanche féminine sur une création visant à stéréotyper la femme-objet de fantasmes. Par cette opération s’inscrivant comme une contestation de l’ordre établi dans la perception schématisée de la femme, les deux artistes utilisent et revendiquent en même temps leur féminité dont elles se jouent pour mettre en évidence toute la complexité de la nature féminine. Nous sommes loin ici de l’ambiance des œuvres de Dorothea Tanning (‘chamber </span><st1:metricconverter productid="202’" w:st="on"><span class="Apple-style-span" style="font-size: small;">202’</span></st1:metricconverter><span class="Apple-style-span" style="font-size: small;">) ou de Sophie Calle “hotel”. En même temps on rentre dans un champs de réflexion sur la sphère privée devenue publique, dans un espace clos qui pourrait être initialement tiré de l’inconscient de ces deux artistes plus que dans la procédure de fétichisation masculine du corps féminin. <o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Mais contre qui ou quoi les Washing Ladies s’attaquent-elles cette fois-ci ? Ces balles en latex ne sont pas sans rappeler les préservatifs masculins. Si l’on part de cette interprétation dès lors on peut traduire qu’une fois encore les deux artistes s’attaquent à un objet ayant permis aux femmes selon la théorie masculine une certaine liberté, celle de pouvoir faire le choix du plaisir plutôt que de </span><st1:personname productid="la procr←ation. Mais" w:st="on"><span class="Apple-style-span" style="font-size: small;">la procréation. Mais</span></st1:personname><span class="Apple-style-span" style="font-size: small;"> cette vidéo pourrait être lue également comme l’exploration de façon inventive et poétique des liens entre amour, érotisme et sexualité, désirant éclairer la psyché féminine dans une perspective sociale. On pensera ici à l’œuvre dans la série des </span><em><span class="Apple-style-span" style="font-size: small;">«Tender-Poetic»</span></em><span class="Apple-style-span" style="font-size: small;">, des années 70, ou Renate Bertlmann recrée des formes corporelles dans des préservatifs en latex, enfantant d’assemblages lascifs et érotiques, aux suggestions à mi-chemin entre le sexuel et l’infantile.<o:p></o:p></span></span><br />
<span lang="FR"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">L’une des deux artistes opère avec acharnement, avec une certaine violence, un homme pourrait y voir une certaine forme de sadisme. L’autre artiste éclate les balles avec une certaine nonchalance. Mais dans les deux cas il s’agit d’une révolte métrisée, qui s’insurge mêlant douceur et sadisme, contre les modèles esthétiques normalisés véhiculés par la publicité, la presse féminine et les médias en général. Il s’agit aussi d’un questionnement sur la relation de pouvoir entre homme et femme dans nos sociétés occidentales régies. Une Revendication de femme ni passive ni victime, une affirmation forte de l’identité féminine tout en s’efforçant de casser l’image de la femme-objet.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Dans les deux vidéos des Washing Ladies nous avons à faire à un questionnement entre les relations de pouvoir homme/femme dans la société ; une oeuvre </span><span class="txt"><span class="Apple-style-span" style="font-size: small;">souhaitant modifier les schémas de pensée et les automatismes sociaux, les conditionnements idéologiques de tous bords et les aliénations de toutes natures, les Washing Ladies tentent avec deux réalisations aux mise-en-scènes radicalement différentes mais complementaires de nous faire réflêchir à ces rapports de force et ces codes sociaux d’un autre age.<o:p></o:p></span></span></span><br />
<span lang="FR"><span class="txt"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></span></div><div class="MsoNormal" style="text-align: justify;"><span class="txt"><span lang="FR"><span class="Apple-style-span" style="font-size: small;">Les deux réalisations vidéo/performance expriment cette désapprobation de nos sociétés patriarcales où la rationalité aboutit au triomphe du mécanique sur l'organique, réprimant en nous l'instinct de vie. Les deux artistes épinglent les gestes stéréotypés, conformes et quotidiens imposés par les conventions sociales. Elles tentent ainsi de nous renvoyer à nos responsabilités et à notre autonomie; et nous invitent à être nous-mêmes en cultivant nos différences, car la liberté est dans l'acceptation de soi et de l'autre. La pensée des Washing Ladies est rebelle à toute classification et impitoyable dans sa dénonciation des sectarismes. </span></span></span><span lang="FR"><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="Apple-style-span" style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 19px;"><br />
</span></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">This is the collaboration between two Cypriot female artists aiming to realize a collective project, with a dominant dissenting objective, which renders it even more interesting since, in the context of contemporary creation, such kinds of initiatives are rare in <st1:place w:st="on"><st1:country-region w:st="on">Cyprus</st1:country-region></st1:place> and even rarer when questioning a view attributable to society and our social archetypes. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">It should also be noted, and this is important should we wish to comprehend the way </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> operate, that despite the fact that Cypriot artists have occasionally exchanged ideas and realized some collective work, there has not been, until today,</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">in Cyprus, or in a major part of Europe for that matter, a meeting of artists shaping major artistic movements or repeating, on a local level, some of the considerations</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">of their European colleagues. There are no collective manifestos, as we have seen them emerging in art in <st1:place w:st="on">Europe</st1:place> since the early 20<sup>th</sup> century. The, almost complete, absence of contestation, counteraction or collective manifestos by artists in <st1:place w:st="on"><st1:country-region w:st="on">Cyprus</st1:country-region></st1:place> renders even more interesting the dissenting and feminist manner by which </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies </span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">operate. In order to be present and visible in art as artists, women, principally in Europe</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">or the <st1:place w:st="on"><st1:country-region w:st="on">United States</st1:country-region></st1:place>, had to conquer several of men’s bartizans. Since the end of the</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">19<sup>th</sup> century, women artists are present in the circles of art and fight for their right to access the education offered by Fine Arts Schools. Despite their efforts, they remained for long away from the great movements of modernity (Sonia Delaunay, Suzanne Valadon…). In the 70’s, the feminist art critics shall assess the standing of women artists in art and their disappearance from the history of art, while groups of dissenting artists are formed to denounce the non-visibility of women creators. Gradually the feminist reading of the history of art shall be taken into account by museums and galleries, since the artists themselves shall utilize female analysis in their creations, slowly shifting the discourse and regard of their work.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The way Lia and/or Marianna operate is even more characteristic, since it is recorded inside this space of feminist claims, although these two artists cannot be classified</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">as feminist artists, since their artistic production underlines other discourses, principally related to politics. While a whole century has passed from the initial attempts for restoration, by their fellows in Europe and the <st1:place w:st="on"><st1:country-region w:st="on">United States</st1:country-region></st1:place>, the will of </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: MetaPro-NormalItalic; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Ladies</span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> for re-balancing, with respect to the perception and recognition of female art,</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">must be applauded. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The parallelism of the two video projects, <i style="mso-bidi-font-style: normal;">Hurting the Washing Machine </i>and <i style="mso-bidi-font-style: normal;">Sorry to burst your bubble but…</i> appears to be on target since it permits us to better comprehend the discourse of the two artists and documents the way they operate with some continuity. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">In the first video, <i style="mso-bidi-font-style: normal;">Hurting the Washing Machine</i>, the audience is confronted by two people, their identity half-concealed, since their faces are not visible but we can deduce their gender thanks to the morphology of their legs and the length of their hair (a majority reading of the European female aesthetic code). Therefore, we are evidently dealing here with two women who hit and vehemently destroy a washing machine. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The process of doubting a stereotype of our society relating to the role of woman in everyday life stands as one of the beacons of feminist contestations ever since the 70’s. Our thoughts go, of course, to the works by </span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Birgit</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">J</span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">ü</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">rgenssen, </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">denouncements</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> of </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">the place of woman at home, a woman that stands depersonalized, with her way of living completely restrained and predetermined by housework. Her work “</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Hausfrauen</span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">-</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">K</span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">ü</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">chensch</span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">ü</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">rze”</span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> (Housewife’s Kitchen Apron), created in 1975, is symbolic. The artist is photographed, full-face and profile, with a three-dimensional hybrid hanging from her neck and covering all of her body. An object which is at the same time an apron and kitchen furniture, a half-open stove, wherein food is cooking, substitutes her belly. This metaphor illustrates, in a striking manner, the alienation of women, whose identity succumbs to household duties. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">One may also cite the artist-photographer Shadi Ghadirian, whose image of a woman wearing a burqua, where an iron or a saucepan has replaced her face, from the series</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">of works entitled “Like Every Day”, questions this pretentious objectification of women. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">However, the way </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> operate here goes much further, and added to the intellectual ascertainment is also the corporeal commitment of the artist to materially destroy the object of her wrath, the washing machine. This is a fight against prejudice, those prejudices that want women to feel liberated after the invention of the washing machine. From this invention onwards, men, and until recently, in 2009, <st1:place w:st="on"><st1:country-region w:st="on">Vatican</st1:country-region></st1:place>’s newspaper “Osservatore romano”, assured us that the washing machine was one of the greatest emancipations for 20<sup>th</sup> century women, even more so than the contraceptive pill.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">But could it be that this invention is no more than one further pretext, reinforcing imprisonment in the arms of a male ideology, rendering women petit queens in their domain, namely the house? Under the cover of technological progress and, therefore, by extension, of progress for a better life and the simplification of housework, women should be absolutely grateful for such an improvement, which the status quo holds as important for the improvement of women’s living conditions.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">When the two artists pit themselves against the washing machine, their action is but</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">a protestation against this modern mythology of the better life for women thanks to</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">the mechanization of a chore which isn’t uplifting in the slightest! <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The submission of women, who are limited to housework, which is perpetuated in many of our contemporary societies, is put here on the dock in a manner that is extraordinarily effective. The intellectual struggle is converted to a physical fight, as if the body must be combined with the spirit in order to effectively exorcise the object responsible of this etiquette of the “perfect housewife”. Of course, this is a feminist struggle against all kinds of archetypes, but also against this delusion of Happiness prevalent in modern societies of consumption and consumer goods. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">It should also be noted that the violent act shot on film here, expresses this rage against the status quo that wants woman, in the history of our contemporary representations of the model woman transmitted by advertising and, in general, the Mass Media, to delicately move inside the comfort of home, at times in a mincing manner and with a blissful smile!<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">This life, dominated by routine and mediocrity, banality and prosaism, experienced by women and, more generally, by thousands of people, is here being denounced. This ‘killing’ of the object underlines the hardening nature of such a conformist living, with its deadened, monotonous rhythm where, strictly speaking, nothing ever happens. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The natural struggle of these two women comes to violent contrast with the impoundment within the recurring and elementary movements that come to mind when watching this fetish-object. This direction denounces social standards, which are sometimes enslaving and erected to cover up oppression.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The video work also underlines the stupefying, subordinate and hypotactic dimension of housework performed by women, which, thus, leads to a misogyny which is even more forceful in our phallocratic societies, where man asserts the freedom of existence for everyone without really taking into account the complexity of the two genders. This video contests such a stereotype, coercive distribution of roles as dictated by social conventions, where everything is determined based on discrimination.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">No, women did not come to be more happy or enjoy more freedom thanks to the invention of the washing machine or the microwave oven, no more than men did thanks to the automobile or the personal computer. </span></span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">In the video <i style="mso-bidi-font-style: normal;">Sorry to burst your bubble but…</i> the artists delve in a process that aesthetically stands at the very opposite of the first film, since the two women are now pent in an enclosed pink space, a kind of room like that of the Barbie doll, a par excellence fetish object and symbol of the code of female beauty in our modern societies. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The contrast with the previous video is even more striking given that the choice</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">of costumes for the two artists is completely the opposite. The rubber boots and the pants have given their place to stiletto heels and miniskirts. Faces seldom appear on screen, thus rendering here the established act of shooting on film even more devious. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Should we make here a further historic reference to other feminist artistic processes,</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">we could remind the reader of the photographic works by Hannah Wilke in the 70’s,</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">the series of works under the header <i style="mso-bidi-font-style: normal;">S.O.S. Starification Objects Series</i>, where the artist posed in various postures and masquerades of femininity. These were bold works for they opposed the feminist militarism, hostile to any representation of femininity, and effected the reversal of female charm to a force for social criticism. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Inside this alcove, dressed in pink, our two fighters now attack a completely different enemy, since they are to burst rubber balloons one-by-one. This occurs in only relative calmness, since, despite the fact that our two protagonists proceed slowly, the act</span><span lang="EN-US" style="font-family: MetaPro-Normal; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">itself is violent.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The strategy for the assault now utilizes a weapon that is no longer male, such as the hammer of the previous video, but is the ultimate fetish of female objects, the stiletto heel. If there was ever a creation that stands as the most symbolic and has stigmatized since its appearance, in the 50’s, the image of the femme fatale and sexy woman, this has to be the stiletto heel. Reserved exclusively for women, it is a symbol of sensuality and eroticism for men, has been defamed by feminists in the 60’s and assumes here a very special symbolic dimension as the penultimate weapon, no more of charm, but of destruction. For some an object for the derogation of women, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> lend to high heels a major role in their postulation. A female retaliation with respect to a creation that aims to pigeonhole women as the objects of sexual fantasies. By this action, which is registered as a contestation of the status quo with respect to a schematized perception of woman, the two artists use and at the same time assert their femininity which they disdain to promote the complexity of female nature. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">We stand here far removed from the ambience evoked by the works of Dorothea Tanning (‘Chamber 202’) or Sophie Calle (‘Hotel’). In parallel we enter a field of thought in the private sphere which is rendered public, in an enclosed space that could have originally been created more by the subconscious of these two artists than the process of the male turning into fetish of the female body.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">But against whom, or what, do </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> </span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">turn this time? These latex balls cannot but remind of condoms. Should this interpretation be our starting point, then we may realize that, once more, the artists attack an object that has granted to women a freedom, according to male theory, that of choosing pleasure instead of procreation. But this video may also be interpreted as a inventive and poetic probe into the relations between love, eroticism and sexuality, wishing to illuminate the female psyche in a social perspective. Our thoughts here go to the series of works of <i style="mso-bidi-font-style: normal;">Tender-Poetic</i>, of the 70’s, where Renate Bertlmann fashions corporeal figures out of latex condoms, making lascivious and erotic mishmashes, with innuendos ranging from the sexual to the outright infantile. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">One of the two artists is acting passionately, with undertones of violence, while a man could also discern a touch of some form of sadism. The other bursts the balls languidly. But in both cases the uprising is controlled, an uprising blending simplicity and sadism and directed against stereotype aesthetic standards channeled by advertising, women’s magazines and the Mass Media in general. It is also an inquiry on the power relations between men and women that govern our western societies. The claim of a woman that is neither passive nor a victim. A powerful confirmation of women’s identity that, at the same time, strives to destroy the image of the woman-object.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Both videos by </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> </span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">regard an inquiry into the power relations between men and women in society. A work wishing to review the frameworks of thought and social automations, all kinds of ideological outfits and alienations. </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> </span></i><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">aim with two films, which utilize radically different but complementary mise-en-scenes, to set us thinking about such correlations of power and the social codes of a different era. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;">The two video/performances express this disavowal of our patriarchic societies, where rationalization results to the triumph of the mechanic over the organic, repressing the instinct of life in us. The two artists have caught the stereotype, homogenous and daily actions imposed by social conventions red-handed. Thus they attempt to put us before our responsibilities and our autonomy, and call on us to be ourselves and cultivate our differences, since freedom is the acceptance of our self and of the other. The cogitation of </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; letter-spacing: -0.05pt; line-height: 150%;">Washing-Up Ladies</span></i><span class="txt"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> is insurgent against any kind of classification and relentless when denouncing sectarianisms. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><br />
</div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Katerina Louis Nikita<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Art Historian<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 150%;">Director, <st1:place w:st="on"><st1:placename w:st="on">Evagoras</st1:placename> <st1:placename w:st="on">Lanitis</st1:placename> <st1:placetype w:st="on">Center</st1:placetype></st1:place><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; mso-hyphenate: none; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; vertical-align: middle;"><span class="MsoHyperlink"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 120%;">13|8|201</span></span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt; line-height: 120%;">0</span></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-8953201158908446512010-08-01T20:38:00.001+03:002010-08-25T17:43:14.547+03:00Με αφορμή τις δράσεις των ‘Washing-up ladies’ - Δρ. Ελένη Σ. Νικήτα- Ιστορικός Τέχνης - 1/8/2010<div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">H</span><span style="font-family: Georgia;"> συνεργασία δύο νέων γυναικών </span><span style="font-family: Georgia;">καλλιτεχνών και η σύσταση της δυάδας ‘</span><span lang="EN-GB" style="font-family: Georgia;">Washing</span><span style="font-family: Georgia;">-</span><span lang="EN-GB" style="font-family: Georgia;">up</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">ladies</span><span style="font-family: Georgia;">’, </span><span style="font-family: Georgia;">για τη δημιουργία εικαστικών δράσεων, μου γέννησε πολλές σκέψεις που σχετίζονται με τη γυναικεία καλλιτεχνική δημιουργία στην Κύπρο.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Επέλεξα λοιπόν, η συνεισφορά μου στον κατάλογο που συνοδεύει τις δράσεις αυτές να επικεντρωθεί όχι σ’ αυτά καθ’ εαυτά τα έργα – αυτό εξάλλου γίνεται από άλλες συναδέλφους – αλλά, σ’ ένα ευρύτερο θέμα, αυτό της γυναικείας καλλιτεχνικής δημιουργίας, θέμα που με απασχόλησε πρόσφατα και με αφορμή τη συγγραφή ενός κειμένου για ένα ημερολόγιο αφιερωμένο στις Κύπριες γυναίκες εικαστικούς<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12pt;">[1]</span></span></span></a>.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Το πρώτο εύλογο ερώτημα που τίθεται είναι κατά πόσο νομιμοποιούμαστε να μιλούμε για θήλεια καλλιτεχνική δημιουργία. Είναι γεγονός παραδεκτό ότι η καλλιτεχνική δημιουργία επηρεάζεται από τις κοινωνικές πολιτικές, οικονομικές και πολιτιστικές συνθήκες που επικρατούν τη συγκεκριμένη εποχή που δημιουργείται, τα ιδεολογικά ρεύματα, τα μέσα έκφρασης που διαθέτει ο καλλιτέχνης και πολλούς άλλους παράγοντες όπως είναι οι συνθήκες ζωής του καλλιτέχνη, η αγορά τέχνης, το ποιος κατέχει και διαχειρίζεται την εξουσία και κατά προέκταση τα μέσα προώθησης και προβολής της τέχνης, για να αναφέρουμε κάποιους από τους παράγοντες αυτούς. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η θέση λοιπόν της γυναίκας μέσα στην κοινωνία, σε συνέργεια με όλους τους άλλους προαναφερθέντες παράγοντες επηρέασαν ή καλύτερα καθόρισαν την έκφραση της δημιουργικότητας των γυναικών. Όπως υποστήριξε και η </span><span lang="EN-GB" style="font-family: Georgia;">Rozsika</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Parker</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span style="font-family: Georgia;">«</span><span style="font-family: Georgia;">Η τέχνη δεν έχει φύλο, αλλά οι καλλιτέχνες έχουν». </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Οι δεδομένες λοιπόν ιστορικές διαφορές ανάμεσα στα φύλα, στον κοινωνικό και πνευματικό τομέα, μας επιτρέπουν τον έμφυλο διαχωρισμό όσον αφορά την καλλιτεχνική δημιουργία, ως ένα χρήσιμο εργαλείο μελέτης, το οποίο θα μας βοηθήσει να διερευνηθούν κάποιες ιδιαίτερες πτυχές της εικαστικής δημιουργίας και να διατυπωθούν επισημάνσεις, οι οποίες θα βοηθήσουν στην πληρέστερη καταγραφή της ιστορίας των εικαστικών τεχνών. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η ενασχόληση της γυναίκας με την «υψηλή» καλλιτεχνική δημιουργία δεν υπήρξε δεδομένη, αλλά μια κατάκτηση στον μακρύ δρόμο της γυναίκας προς την πλήρη κοινωνική ισότητα με τον άνδρα. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Αν επιχειρήσουμε μια αναδρομή στην ιστορία του πολιτισμού θα διαπιστώσουμε ότι αυτή είναι γραμμένη από άνδρες. Όλα τα μεγάλα και λαμπρά έργα του πολιτισμού φέρουν ανδρική υπογραφή. Οι ανδροκρατούμενες δυτικές κοινωνίες όριζαν επακριβώς τον ρόλο της γυναίκας, το εύρος και τον χώρο των δραστηριοτήτων της. Ο άνδρας στην αγορά, η γυναίκα στον οίκο, ο άνδρας στην κοινωνία, η γυναίκα στην οικογένεια, ο άνδρας για τις «υψηλές τέχνες», η γυναίκα για τις «ταπεινές» οικιακές χειροτεχνίες. Απόκλιση από τους συγκεκριμένους αυτούς ρόλους επέφερε βαριές ποινές για τις γυναίκες, οι οποίες, ως απειλή πια για την κοινωνία, γνώριζαν την απόρριψη, την απομόνωση ή την αποκοπή από το κοινωνικό σώμα. Δεν είναι λοιπόν τυχαίο που η </span><span lang="EN-GB" style="font-family: Georgia;">Aurore</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Dupin</span><span style="font-family: Calibri;"> για να </span><span style="font-family: Georgia;"> αναφέρουμε ένα μόνο παράδειγμα, επέλεξε να εκδίδει τα έργα της με το ανδρικό ψευδώνυμο </span><span lang="EN-GB" style="font-family: Georgia;">George</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Sand</span><span style="font-family: Georgia;">.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η θέση της γυναίκας στην κοινωνία αλλάζει μόλις τον 20<sup>ό</sup> αιώνα και αυτό αποτελεί ένα από τα σημαντικότερα κοινωνικά, οικονομικά και πολιτιστικά γεγονότα του 20ού αιώνα. Οι γυναίκες εικαστικοί δημιουργοί είχαν την ίδια μοίρα και ιστορική πορεία με όλες τις άλλες γυναίκες δημιουργούς, παραμένοντας για αιώνες στο περιθώριο της καλλιτεχνικής παραγωγής και δραστηριότητας. Το πλήρες καθεστώς του καλλιτέχνη δεν θα τους δοθεί εύκολα, αλλά θα το αποκτήσουν σταδιακά και με αγώνες, όπως πολλά άλλα δικαιώματα. Αποκλεισμένες οι γυναίκες για αιώνες από την εικαστική γνώση, εκπαίδευση και κατάρτιση, έπρεπε να περιμένουν την έλευση του 20ού αιώνα για να ανοίξουν και γι’ αυτές, σταδιακά και με περιορισμούς στην αρχή, οι πύλες των Σχολών Καλών Τεχνών. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Για δεκαετίες μετά την είσοδό τους στις Σχολές Καλών Τεχνών, οι γυναίκες δεν απολάμβαναν των ιδίων συνθηκών παραγωγής, προβολής και προώθησης στην αγορά των έργων τους. Έτσι το 1931 οι Γαλλίδες εικαστικοί δημιουργοί αναγκάστηκαν να ιδρύσουν στο Παρίσι, τη δική τους καλλιτεχνική εταιρεία, για προώθηση των ιδιαίτερων προβλημάτων που αντιμετώπιζαν. Η θήλεια δημιουργία υποτιμάτο και χρειάστηκε να φθάσουμε στις τελευταίες δεκαετίες του 20ού αιώνα για να αναγνωρισθεί σε κάποιες γυναίκες το καθεστώς του «μεγάλου καλλιτέχνη». </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η </span><span lang="EN-GB" style="font-family: Georgia;">Virginia</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Woolf</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span style="font-family: Georgia;">στο βιβλίο της «Ένα δικό σου δωμάτιο» θεωρεί ότι η γυναίκα δεν μπόρεσε να δημιουργήσει, γιατί για αιώνες στερήθηκε δύο πρωταρχικών για την πνευματική ελευθερία και τη δημιουργία προϋποθέσεων: την οικονομική ανεξαρτησία και ένα δικό της προσωπικό ζωτικό χώρο (ένα δωμάτιο), στον οποίο να καταφεύγει και ο οποίος να την αποσπά από τις συνεχείς ευθύνες της οικογενειακής ζωής. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Αναμφισβήτητα, η έκφραση της δημιουργικότητας των γυναικών καθορίστηκε από τις ιδιαιτερότητες της φύσης τους και τους συγκεκριμένους ρόλους που τους επέβαλαν οι ανδροκρατούμενες κοινωνίες και τα ανδρογενή κοινωνικά, οικονομικά και πολιτισμικά συστήματα: «Οι γυναίκες δημιουργούν παιδιά και όχι τέχνη». Η </span><span lang="EN-GB" style="font-family: Georgia;">Sonia</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Delaunay</span><span style="font-family: Georgia;">, μια από τις ελάχιστες γυναίκες-καλλιτέχνες του ιστορικού μοντερνισμού αναφέρει χαρακτηριστικά<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12pt;">[2]</span></span></span></a>: «Είχα τρεις ζωές: μια ζωή για τον </span><span lang="EN-GB" style="font-family: Georgia;">Robert</span><span style="font-family: Georgia;">, μια για τον γιο και τα εγγόνια μου, και μια πιο μικρή για μένα. Δεν λυπάμαι που δεν ασχολήθηκα περισσότερο με τον εαυτό μου. Πραγματικά δεν είχα το χρόνο». </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Όπως όλες οι επαναστάσεις, έτσι και η γυναικεία επανάσταση για την απόκτηση ίσων δικαιωμάτων έγινε όταν οι γυναίκες άρχισαν να συνειδητοποιούν ότι η δύναμή τους βρίσκεται στο «εμείς» και όχι στο «εγώ». Έτσι, ιδιαίτερα από τη δεκαετία του ’60 άρχισαν να οργανώνονται σε μικρές ή μεγαλύτερες ομάδες και να διεκδικούν μια, ισάξια με τους άνδρες συναδέλφους τους, θέση στον χώρο ης εικαστικής δημιουργίας. Οι δεκαετίες του ’60 και του ’70 ήταν οι πιο κρίσιμες. Χρειάστηκε κάποιες γυναίκες ή ομάδες γυναικών να αρθρώσουν ένα ρηξικέλευθο και ενίοτε «ενοχλητικό» εικαστικό λόγο με σκοπό να αναγκάσουν το κατεστημένο σύστημα να τις κοιτάξει. Αν σήμερα η ιστορία της τέχνης γράφεται εξίσου από τις γυναίκες και τους άνδρες καλλιτέχνες, ίσως να οφείλεται εν πολλοίς στους παθιασμένους αγώνες των στρατευμένων αυτών γυναικών καλλιτεχνών, κριτικών και ιστορικών τέχνης. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Στην Κύπρο, λόγω των ιδιαίτερων ιστορικών συνθηκών που γνώρισε το νησί, η ιστορία της έντεχνης εικαστικής δημιουργίας, αρχίζει να γράφεται μόλις τις πρώτες δεκαετίες του 20ού αιώνα και ιδιαίτερα μετά την ανεξαρτησία του νησιού το 1960. Παρόλο ότι η ιστορία αυτή είναι άρρηκτα δεμένη με την ιστορία της δυτικής τέχνης του 20ού αιώνα, ακολούθησε ετεροχρονισμένα τάσεις και ρεύματα της δυτικής τέχνης και διέγραψε μια πορεία που καθόρισαν οι ιδιαίτερες ιστορικές, κοινωνικές και οικονομικές συνθήκες του νησιού.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Λόγω του γεγονότος ότι η ιστορία της τέχνης στην Κύπρο αρχίζει να γράφεται μόλις τον 20ό αιώνα, η Κύπρια δημιουργός δεν γνώρισε τον μακροχρόνιο αποκλεισμό από την εικαστική δημιουργία, που γνώρισε η Ευρωπαία συνάδελφός της. Αντίθετα, επωφελήθηκε από τους δικούς της αγώνες για την ελευθερία της δημιουργικής έκφρασης και γενικότερα από τους αγώνες για τη χειραφέτηση της γυναίκας, χωρίς να είναι αναγκασμένη να στρατεύσει συνειδητά με οποιοδήποτε τρόπο τον εαυτό της ή τα έργα της στη γυναικεία υπόθεση. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Όμως, παρόλο ότι η ιστορία της θήλειας δημιουργίας στην Κύπρο αρχίζει σχεδόν ταυτόχρονα με αυτήν του άνδρα δημιουργού, δεν είναι όμοια με αυτή. Έχει τις δικές της ιδιαιτερότητες που απορρέουν από το γεγονός ότι είναι δυσκολότερο για τη γυναίκα από ό,τι για τον άνδρα να ξεφύγει από τα κοινωνικά συμφραζόμενα και τις συμπεριφορές που καθορίζονται από τη θέση της στην κοινωνία και το ιδεολογικό σύστημα που τη διέπει. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Μεταξύ των σκαπανέων της κυπριακής τέχνης, αυτών δηλαδή που γεννήθηκαν τις δύο τελευταίες δεκαετίες του 19<sup>ου</sup> αιώνα μέχρι το 1920 και που ασχολήθηκαν επαγγελματικά με την τέχνη – ολοκληρώνοντας ή όχι σπουδές σε Σχολή Καλών Τεχνών – συμπεριλαμβάνεται μόνο μία γυναίκα, η Λουκία Νικολαΐδου-Βασιλείου (1909-1994)<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12pt;">[3]</span></span></span></a>. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Μεταξύ των πρωτοπόρων αυτών καλλιτεχνών μόνο έξι είχαν ολοκληρώσει σπουδές σε Σχολή Καλών Τεχνών και μεταξύ τους συμπεριλαμβάνεται και η Λουκία Νικολαΐδου-Βασιλείου, η οποία σπούδασε στην Ανώτατη Σχολή Καλών Τεχνών του Παρισιού. Τις δύο επόμενες δεκαετίες 1920-1939 αυξάνεται ο αριθμός αυτών που σπουδάζουν τέχνη και κατ’ αναλογίαν και ο αριθμός των γυναικών, ο οποίος ανεβαίνει στις πέντε. Πρόκειται για τις Παυλίνα Παυλίδου (1922-1993), Καίτη Στεφανίδου (1925), Ελένη Χαρικλείδου (1926-1978), Έλλη Μιτζή (1930-1997) και Βέρα Γαβριηλίδου-Χατζηδά (1936). </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Είναι χαρακτηριστικό ότι και οι έξι πρωτοπόρες αυτές γυναίκες-καλλιτέχνες προέρχονταν από την αστική τάξη και από μορφωμένες οικογένειες. Αυτό είναι απόλυτα κατανοητό, γιατί η χειραφέτηση της γυναίκας είχε ως αφετηρία τις πόλεις και τα πιο μορφωμένα οικογενειακά περιβάλλοντα. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Αντίθετα, όπως εύστοχα επεσήμανε ο Αλέξανδρος Ξύδης<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12pt;">[4]</span></span></span></a>, οι άνδρες καλλιτέχνες που σπούδασαν τέχνη την ίδια εποχή και ιδιαίτερα μετά τον Δεύτερο Παγκόσμιο Πόλεμο, προέρχονταν από λαϊκά αγροτικά στρώματα. Αυτό εξηγείται πιστεύω από το γεγονός ότι πολλοί από αυτούς, παρασυρμένοι από το μεταναστευτικό ρεύμα προς τη Βρετανία, έφευγαν από την Κύπρο με την ελπίδα εξεύρεσης ενός καλύτερου μέλλοντος και ταυτόχρονα, εργάζονταν και σπούδαζαν. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Παρόλο ότι το ποσοστό των γυναικών που σπούδασαν τέχνη στο εξωτερικό το πρώτο μισό του 20ού αιώνα είναι πολύ μικρό, δεν διαφέρει πολύ από το ποσοστό των γυναικών οι οποίες σπούδασαν σε άλλους επιστημονικούς τομείς. Στην Κύπρο ο αριθμός των γυναικών που πήραν πανεπιστημιακή μόρφωση μέχρι την Ανεξαρτησία της Κύπρου, είναι πολύ μικρός. Ένα από τα πρώτα επαγγέλματα που κατέκτησε η γυναίκα στην Κύπρο είναι αυτό της εκπαιδευτικού. Για το επάγγελμα αυτό προορίζονταν από τις οικογένειές τους και οι ελάχιστες γυναίκες που σπούδασαν τέχνη. Η δημιουργία όλο και περισσότερων Σχολών Μέσης Εκπαίδευσης στην Κύπρο και η διδασκαλία σ’ αυτές του μαθήματος της τέχνης, δημιουργούσε για τις γυναίκες την ευκαιρία να εξασκήσουν ένα αξιοπρεπέστατο επάγγελμα, το οποίο θεωρείτο ότι ταίριαζε απόλυτα στη γυναικεία τους φύση. Εκτός από τη Λουκία Νικολαΐδου και την Παυλίνα Παυλίδου, οι οποίες έζησαν μεγάλο μέρος της ζωής τους στο εξωτερικό, οι άλλες τέσσερις γυναίκες που ολοκλήρωσαν σπουδές στην τέχνη, τη συγκεκριμένη χρονική περίοδο, εργάστηκαν μέχρι τη συνταξιοδότησή τους στη δημόσια εκπαίδευση. Το ίδιο συνέβηκε και με τη μεγάλη πλειοψηφία των γυναικών που ανήκουν σε νεότερες γενιές.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η εργασία στην εκπαίδευση έδωσε στην Κυπρία εικαστικό, όπως βέβαια και στον άνδρα καλλιτέχνη, ένα αξιοπρεπές επάγγελμα με καλές αποδοχές και άλλα συναφή ωφελήματα που τους εξασφάλιζε οικονομικά το παρόν και το μέλλον και τους απάλλασσε από την καθημερινή ανασφάλεια του αυτοεργοδοτούμενου καλλιτέχνη. Ίσως αυτή η οδός ήταν και η μοναδική γιατί στην Κύπρο δεν υπήρχε – και ούτε υπάρχει ακόμη – η αγορά η οποία θα στηρίξει το καλλιτεχνικό προϊόν, επιτρέποντας στον καλλιτέχνη να ζήσει αποκλειστικά και μόνο από την καλλιτεχνική του δραστηριότητα και παραγωγή. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Ζώντας σε μια παραδοσιακή κοινωνία, η οποία θεωρεί τον γάμο ως προορισμό ζωής και ως ένδειξη κοινωνικής χειραφέτησης και εισδοχής ως πλήρες μέλος στην κοινωνία των ενηλίκων, η συντριπτική πλειοψηφία των Κυπρίων γυναικών εικαστικών παντρεύτηκαν και δημιούργησαν οικογένεια. Αυτό βέβαια πρόσθετε ένα ακόμη ρόλο στη γυναίκα, με πολλές απαιτήσεις και υποχρεώσεις σε μια κοινωνία, η οποία δεν ήταν οργανωμένη για να στηρίζει την εργαζόμενη γυναίκα και να της προσφέρει την αναγκαία βοήθεια. Έτσι, όπως όλες οι Κύπριες γυναίκες, η Κυπρία εικαστικός είχε – αν όχι την αποκλειστική – το μεγαλύτερο μέρος της ευθύνης για το μεγάλωμα των παιδιών και τη φροντίδα του νοικοκυριού. Αυτό τη διαφοροποίησε δραστικά από τον άνδρα συνάδελφό της, ο οποίος επιστρέφοντας από την εργασία του στο σχολείο, είχε όλο τον χρόνο να οργανωθεί και να αφοσιωθεί απερίσπαστος στην εικαστική δημιουργία. Η γυναίκα καλλιτέχνις-εκπαιδευτικός είχε πολύ λιγότερο – σχεδόν καθόλου – δικό της προσωπικό χρόνο για ν’ αφοσιωθεί με συνέπεια και επαγγελματισμό στη δημιουργία. Έτσι διαπιστώνουμε ότι δημιουργούν λιγότερο από τους άνδρες συναδέλφους τους και κατά συνέπεια εμφανίζονται σπανιότερα στο κοινό με ατομικές εκθέσεις έργων τους. Αυτό δεν τους επέτρεψε να αποκτήσουν εύκολα το «καθεστώς του καλλιτέχνη», ή τουλάχιστον το «πλήρες καθεστώς του καλλιτέχνη». Ως αποτέλεσμα είναι και η προκατάληψη του αγοραστικού κοινού προς το έργο των γυναικών καλλιτεχνών.<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12pt;">[5]</span></span></span></a></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Δεν είναι τυχαίο ότι μεταξύ των εμπορικών καλλιτεχνών δεν συμπεριλαμβάνεται καμιά γυναίκα. Επίσης, οι γυναίκες που εκπροσώπησαν την Κύπρο σε μεγάλες σημαντικές διεθνείς εικαστικές διοργανώσεις είναι πολύ λιγότερες από τους άνδρες. Αν πάρουμε ως παράδειγμα τη Διεθνή Μπιεννάλε Βενετίας, την αρχαιότερη μπιεννάλε τέχνης, θα διαπιστώσουμε ότι από το 1985 που παίρνει μέρος συστηματικά η Κύπρος μέχρι σήμερα, τη χώρα μας εκπροσώπησαν δεκατρείς άντρες και μόνο τρεις γυναίκες. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Όσο προχωρούμε προς το σήμερα, η εικόνα διαφοροποιείται. Η γυναίκα-καλλιτέχνις αντιμετωπίζει με πολύ μεγαλύτερο επαγγελματισμό και σοβαρότητα την καλλιτεχνική της καριέρα, η οποία αποτελεί πια μια συνειδητή επιλογή, για την οποία είναι έτοιμη να θυσιάσει πολλές απαιτήσεις άλλων κοινωνικών, παραδοσιακών της ρόλων. Η Κύπρια καλλιτέχνις και το έργο της αποκτούν σήμερα όλο και μεγαλύτερη ορατότητα στην καλλιτεχνική σκηνή, και ο αριθμός των γυναικών καλλιτεχνών είναι ο ίδιος – αν όχι μεγαλύτερος – με αυτό των ανδρών. Πέρα, όμως από τις ιδιαιτερότητες που παρουσιάζει η θήλεια δημιουργία στην Κύπρο, ως αποτέλεσμα ιστορικών και κοινωνικών παραγόντων, αν ρίξουμε μια πιο ανιχνευτική και διεισδυτική ματιά στα επιτεύγματα της κυπριακής τέχνης του 20ού αιώνα, θα διαπιστώσουμε ότι η συμβολή της γυναίκας εικαστικής δημιουργού στη διαμόρφωση του σύγχρονου καλλιτεχνικού προσώπου της Κύπρου είναι πολύ μεγάλη, και δεν μπορεί να διαχωριστεί από αυτή του άνδρα. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Μεταξύ των σκαπανέων της κυπριακής τέχνης του 20ού αιώνα σημαντική θέση κατέχει μία γυναίκα: η Λουκία Νικολαΐδου, η οποία είχε το θάρρος να κάνει από μόνη της μια καλλιτεχνική επανάσταση, κομίζοντας τάσεις και ρεύματα εντελώς άγνωστα μέχρι τότε στην Κύπρο. Σημαντική για την ιστορία της κυπριακής γλυπτικής είναι και η εργασία της Παυλίνας Παυλίδου, η οποία θα πρέπει να θεωρηθεί πρωτοπόρος στην αποσύνδεση της γλυπτικής από τον μνημειακό της ρόλο, ο οποίος μέχρι τότε ήταν ο μοναδικός δρόμος που ακολουθούσαν οι Κύπριοι γλύπτες. Η έκθεσή της το 1967, ήταν η πρώτη έκθεση στην Κύπρο, η οποία πρόβαλε ένα άλλο ρόλο της γλυπτικής δημιουργίας πέρα από τον μνημειακό. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Δύο άλλες σημαντικές γυναικείες παρουσίες είναι οι Καίτη Στεφανίδου (1925) και η Βέρα Γαβριηλίδου-Χατζηδά (1936). Η Καίτη εμβάθυνε όσο λίγοι Κύπριοι καλλιτέχνες στα διδάγματα του ιστορικού μοντερνισμού, βοηθώντας την κυπριακή τέχνη να προχωρήσει, χωρίς να παραγνωρίσει τα σημαντικά αυτά κινήματα που έδωσαν κατεύθυνση και τροφή για την πορεία που ακολούθησε η τέχνη διεθνώς τον 20ό αιώνα. Η Βέρα άνοιξε πρώτη το διάλογο με ένα άλλο σημαντικό κίνημα του 20ού αιώνα, την οπτική τέχνη.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Πέρα από τις πρωτοπόρες αυτές καλλιτέχνιδες, και άλλες γυναίκες πρωτοστάτησαν διευρύνοντας τους ορίζοντες της κυπριακής τέχνης, ιδιαίτερα όσον αφορά τις εγκαταστάσεις στο χώρο και τη χρησιμοποίηση της τεχνολογίας στην τέχνη. Επίσης, με την οικειοποίηση τεχνικών και ευτελών εφήμερων, μη συμβατικών υλικών από τις διάφορες οικιακές χειροτεχνίες στις οποίες ήσαν περισσότερο εξοικειωμένες, συνέβαλαν ουσιαστικά στον εμπλουτισμό της τέχνης με νέα υλικά και τεχνικές.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Μπορούμε λοιπόν με ασφάλεια να υποστηρίξουμε ότι η ιστορία της τέχνης στην Κύπρο, γράφτηκε εξίσου από άνδρες και γυναίκες δημιουργούς και ότι δεν υπάρχουν ουσιαστικές έμφυλες διαφορές όσον αφορά το σημαίνον της τέχνης. Οι διαφορές στο σημαινόμενον είναι αυτές που προέρχονται από τον ιδιαίτερο ψυχισμό και εμπειρίες ζωής του κάθε ατόμου.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Μια από τις πρώτες επισημάνσεις που έγινε στο σύντομο αυτό κείμενο είναι ότι η Κύπρια δημιουργός δεν βίωσε τον μακροχρόνιο αποκλεισμό από την εικαστική δημιουργία που γνώρισε η Ευρωπαία συνάδελφός της. Αντίθετα έδρεψε τους καρπούς των δικών της αγώνων για χειραφέτηση της γυναίκας και για την ελευθερία της δημιουργικής έκφρασης. Έτσι η Κύπρια δημιουργός δεν αισθάνθηκε την ανάγκη να στρατεύσει με οποιοδήποτε τρόπο την προσωπική της δημιουργία ως συνείδηση, αμφισβήτηση του κατεστημένου, διαμαρτυρία ή όπλο, σ’ ένα φεμινιστικό αγώνα. Αυτό βέβαια δεν περιορίζεται στην καλλιτεχνική δημιουργία. Γενικότερα, η Κύπρος δεν γνώρισε ισχυρό φεμινιστικό κίνημα και η Κύπρια γυναίκα δεν πρωταγωνίστησε, αλλά τις περισσότερες φορές επωφελήθηκε από τις κατακτήσεις του διεθνούς φεμινιστικού κινήματος.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Σήμερα λοιπόν που η γυναίκα δημιουργός έχει ότι συμβολικά ζήτησε η </span><span lang="EN-GB" style="font-family: Georgia;">Virginia</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">Woolf</span><span style="font-family: Georgia;">,</span><span style="font-family: Georgia;"> </span><span style="font-family: Georgia;">οικονομική ανεξαρτησία και τον δικό της ζωτικό χώρο δημιουργίας, που οι Σχολές Καλών Τεχνών άνοιξαν τις πύλες τους στις γυναίκες, που η αγορά τέχνης τούς είναι φιλικότερη, που οι κοινωνικές πεποιθήσεις δεν τις θεωρούν ανίκανες να δημιουργήσουν «υψηλή τέχνη», που οι περισσότερες εθνικές νομοθεσίες αντιμετωπίζουν ισότιμα τον άνδρα και τη γυναίκα, έρχονται οι «</span><span lang="EN-GB" style="font-family: Georgia;">Washing</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">up</span><span lang="EN-GB" style="font-family: Georgia;"> </span><span lang="EN-GB" style="font-family: Georgia;">ladies</span><span style="font-family: Georgia;">», να ανατρέψουν την αγγελική εικόνα, δίνοντας με το έργο τους ισχυρά ερείσματα στον σκοπό ύπαρξής τους. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Ποια ανάγκη, ποια εσωτερική παρότρυνση τις έσπρωξε να «οργανωθούν» για τη δημιουργία μιας τέχνης στρατευμένης γύρω από ένα θέμα, αυτό της θέσης και της εικόνας της γυναίκας στην κοινωνία, το οποίο απασχόλησε πολύ τις γυναίκες – εικαστικούς καλλιτέχνες τις δεκαετίας του ’50,’60 και ’70;</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Η απάντηση βρίσκεται μέσα στα ίδια τα έργα. Η οξεία παρατηρητικότητα των δύο δημιουργών ευαισθητοποιήθηκε από τη συνειδητή προσπάθεια διαιώνισης του αρχέτυπου του «αιώνιου θηλυκού» και από την επιδέξια αλλαγή του περιβλήματος προκαταλήψεων αιώνων, που επιχειρείται σήμερα ως μια από τις ουσιαστικότερες πτυχές των εξουσιαστικών μηχανισμών. Είναι προφανές ότι δεν πρόκειται για μια όψιμη φεμινιστική τέχνη, αλλά για μια τέχνη που επιδιώκει να ευαισθητοποιήσει τον άνθρωπο στα πολύπλοκα και πολυσχιδή παιγνίδια της οποιασδήποτε μορφής εξουσίας.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3pt; text-align: justify;"><span style="font-family: Georgia;">Άνισος αγώνα. Μόνο που αυτή τη φορά δεν πρόκειται για τον αγώνα μεταξύ των δύο φύλων, αλλά για ένα πολύ πιο άνισο αγώνα, μεταξύ του ελεύθερα σκεπτόμενου ανθρώπου (άνδρα ή γυναίκας) και των μέσων εξάσκησης της εξουσίας. </span></div><div style="mso-element: footnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 10pt;">[1]</span></span></span></span></a><span lang="EN-US"> </span>Ημερολόγιο 2010 Λύκειο Ελληνίδων Αμμοχώστου, εκδόσεις Εν Τύποις, Λευκωσία 2009.</div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 10pt;">[2]</span></span></span></span></a><span lang="EN-US"> </span><span lang="EN-GB">Sonia Delaunay ‘Nons irons jusqu’au soleil’ Robert Lafont, Paris, 1978.</span></div></div><div id="ftn3" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 10pt;">[3]</span></span></span></span></a><span lang="EN-US"> </span>Το έργο της Λουκίας Νικολαΐδου έφερε στο φως έρευνα της Ελένης Σ. Νικήτα. Με πρωτοβουλία της οι Πολιτιστικές Υπηρεσίες του Υπουργείου Παιδείας και Πολιτισμού οργάνωσαν αναδρομική έκθεση του έργου της στην Κρατική Πινακοθήκη Σύγχρονης Κυπριακής Τέχνης. Βλ. κείμενο Ελένης Σ. Νικήτα στον κατάλογο της έκθεσης Υπουργείο Παιδείας, 1992. </div></div><div id="ftn4" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 10pt;">[4]</span></span></span></span></a><span lang="EN-US"> </span>Βλ. Αλέξανδρου Ξύδη «Σύγχρονη Κυπριακή Τέχνη – Πρώτη γενιά της Ανεξαρτησίας» στον κατάλογο της έκθεσης «Σύγχρονη Κυπριακή Τέχνη», Εθνική Πινακοθήκη και Μουσείο Αλέξανδρου Σούτζου, Αθήνα 1984.</div></div><div id="ftn5" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/%C3%8E%E2%80%A2%C3%8E%C2%BB%C3%8E%C2%AD%C3%8E%C2%BD%C3%8E%C2%B7%20%C3%8E%C2%9D%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%AE%C3%8F%E2%80%9E%C3%8E%C2%B1%20%C3%8E%C2%BA%C3%8E%C2%B5%C3%8E%C2%AF%C3%8E%C2%BC%C3%8E%C2%B5%C3%8E%C2%BD%C3%8E%C2%BF.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 10pt;">[5]</span></span></span></span></a><span lang="EN-US"> </span>Πρόκειται βέβαια για παγκόσμιο φαινόμενο που χρειάστηκαν πολλές δεκαετίες σημαντικής γυναικείας εικαστικής δημιουργίας για να ξεπερασθεί.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Prompted by the happenings of <o:p></o:p></span></b></div><div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">‘</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";">Washing</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">-</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";">up</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";">ladies</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">’<o:p></o:p></span></b></div><div align="right" class="MsoNormal" style="line-height: 150%; margin-right: 57.6pt; text-align: right;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Eleni S. Nikita<o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;"><span style="mso-tab-count: 1;"> </span>The collaboration between two young women and the formation of the duo “Washing-up Ladies”, for the creation of visual happenings, provoked a lot of thoughts in me, related to female artistic creation in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">I, thus, chose for my contribution to the catalogue complementing these happenings to focus not on the works themselves – besides, they are discussed and analyzed by the other contributors to the catalogue – but to a greater issue, that of women’s artistic creation, an issue that has been recently the focus of my attention, while drafting the text for a calendar dedicated to Cypriot women artists</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: Georgia; mso-ansi-language: EL;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span></span></span></span></a><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The first plausible issue regards whether we are legitimized to talk of women’s, or female, artistic creation. It is a recognized fact that artistic creation is influenced by social, political, economic and cultural conditions prevailing at the particular era where such art is created; the ideological movements, the means of expression available to the artist and many other factors, such as the artist’s living conditions, the art market, who holds and manages power and authority and, by extension, the media for the promotion and marketing of art, to cite just some of these factors. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Woman’s place in society, therefore, in association with all the factors cited above, has influenced, or rather determined, the expression of female creativity. As Rozsika Parker has suggested, “Art has no gender, but artists have”. Hence, the given historic differences between the sexes, on the social and intellectual levels, allow us to distinguish between the genders with respect to artistic creation and utilize such a distinction as a useful research tool which may help us to investigate certain distinctive folds of conjectural creation and formulate observations which will help for more complete recording of the history of visual arts.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Woman’s engagement in “high” artistic creation was never given, but a triumph in the long road to woman’s full social equality with man.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">If we embark on a flashback of the history of culture we will observe that it is written by men. All grand and majestic cultural works bear a male signature. Male-dominated western societies precisely prescribed the role of women, the scope and space of her activities. Man was in the market, woman was in the house, man was ‘in society’, woman belonged to the family, man for “high arts”, woman for “humble” handcrafts. Straying away from these specific roles brought severe punishment for women, who, now a threat to society, were met with rejection, isolation or even cutting off from the social body. It, thus, should be no surprise that Aurore Dupin, to cite but an example, chose to publish her works under a male pseudonym, George Sand.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Woman’s place in society begins to change just in the 20<sup>th</sup> century and this is one of the most significant social, economic and cultural events of the 20<sup>th</sup> century. Women visual artists shared the fate and historic course of all other women artists, remaining for centuries on the fringes of artistic production and activity. The full status of the artist will not be granted to them easily, but they fought and gradually acquired it, as they did for many other rights. For centuries excluded from knowledge, education and training in visual arts, women had to wait the coming of the 20<sup>th</sup> century for the gates of Schools of Fine Arts to open for them as well and then only gradually, with several initial limitations. For decades after they first enrolled to Fine Arts Schools, women did still not enjoy the same privileges as men with respect to the conditions for the production, promotion and distribution into the art market, of their works. Thus, in 1931 French visual artists resorted to establishing their own artistic company in <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city> in order to publicize and raise public awareness with respect to the very peculiar problems they were facing. Female creation was depreciated and one had to reach the twilight of the 20<sup>th</sup> century for the status of “great artist” to be attributed to, at least, some women. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Virginia Woolf in her work “A Room of One’s Own” holds that women can’t create for they were for centuries deprived of two principal, for spiritual freedom and creation, prerequisites: financial freedom and a personal living space (a room) where a woman could take shelter in and which could detract her from the never ending chores of family life.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Undoubtedly, the expression of women’s creativity was delineated by the particularities of their nature and the specific roles imposed on them by men dominated societies and the established by men social, economical and cultural systems: “Women give birth to children, not art”. </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";">Sonia</span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";">Delaunay</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">, one of the few women-artists of historic modernism characteristically relates</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span></span></span></span></a><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">: “I had three lives: a life for Robert, a life for the son and my grandchildren and a smaller one for myself. I don’t regret not paying more attention to myself. I</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">really</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">did</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">not</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">have</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">the</span><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">time</span><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";">.” </span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Just like all revolutions, the woman’s revolution for equal rights took place when women begun to realize that their power lies with “us” and not “I”. Thus, especially since the 60s, they began to organize themselves in small or larger groups and to assert a place in artistic creation equal to that of their male colleagues. The decades of the 60s and 70s were the critical ones. It took some women or groups of women to articulate a modernist and at times “annoying” artistic expression aimed to force the status quo to look at their direction. The fact that history of art is written today equally by women and men, may, to large extend, be attributed to the passionate struggle of these activist women artists, critics and art historians. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>, due to the peculiar historic conditions prevailing on the island, the history of artistic conjectural creation commences on just the first decades of the 20th century and especially since the independence of the island in 1960. Despite the fact that this history is irrevocably tied to the history of western art in the 20<sup>th</sup> century, it has followed, with some time-lag, the trends and movements of western art and registered a course that was mapped out by the special historic, social and economic conditions of the island.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Due to the fact that the history of art in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> begun being written just in the 20<sup>th</sup> century, the Cypriot female artist did not experience the long exclusion from artistic creation of her European colleague. On the contrary she has greatly benefited by the latter’s struggles for freedom of creative expression and, more generally, for the emancipation of women, without being forced to consciously enlist, in any way, herself or her works for women’s cause. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>However, despite the fact that the history of female artistic creation in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> commences almost simultaneously with that of their male counterparts, it cannot be identified with the latter. It has its own particularities which stem from the fact that it is far more difficult for women to escape the social contexts and behaviors determined by woman’s place in society and the ideological regime that governs it. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Amongst the pioneers of Cypriot art, namely those that were born in the last two decades of the 19<sup>th</sup> century and up to 1920 and who were professionally involved in art – completing or not a formal course at a School of Fine Arts – only one woman is included, Loukia Nikolaidou-Vasileiou (1909-1994)</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span></span></span></span></a><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">.<b style="mso-bidi-font-weight: normal;"> <o:p></o:p></b></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Among these pioneering artists just six had completed their studies at a <st1:placetype w:st="on">School</st1:placetype> of <st1:placename w:st="on">Fine Arts</st1:placename>, Loukia Nikolaidou-Vasileiou being included amongst them, who studied in the <st1:placetype w:st="on">School</st1:placetype> of <st1:placename w:st="on">Fine Arts</st1:placename> in <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city>. The number of those studying art, and, proportionately, also the number of women studying art, increases during the next two decades, 1920-1939. Five women studied art during this period: Pavlina Pavlidou (1922-1993), Keti Stefanidou (1925), Eleni Harikleidou (1926-1978), Elli Mitzi (1930-1997) and Vera Gavrilidou-Hatzida (1936).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>It is characteristic that all six of these pioneering women-artists came from bourgeoisie and educated families. This makes sense, since the emancipation of women had cities and more educated family backgrounds as its starting point.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>On the contrary, as Alexadros Xydis</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span></span></span></span></a><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> has felicitously noted, man artists who studied art in the same era and especially after WWII came from the lower, rural classes. I believe that one may explain this on the basis that many of these lured by the migratory flow to <st1:country-region w:st="on">Britain</st1:country-region>, left <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> seeking a better future and worked and studied at the same time.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Despite the fact that the percentage of women who studied art abroad during the first half of the 20<sup>th</sup> century is very small, it does not differ much from the percentage of women who studied other disciplines. In <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> the number of women with a university education until the Independence of Cyprus is very small. One of the first professions women conquered in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> was that of the educator. The very few women studying art at the time were destined by their families to follow this professional career. The establishment of an increasing number of secondary education schools in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> and the inclusion of art in the curriculum offered women the chance to practice a most respectable profession, which was considered to perfectly fit their female nature. Apart from Loukia Nikolaidou and Pavlina Pavlidou, who lived most of their lives abroad, the other four women who completed their studies in art during this specific period, served state education until their retirement. The same can be said also regarding the great majority of women from younger generations. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Working in education gave the Cypriot woman artist, as was the case, of course, also for men artists, a respectable profession with a good salary and other benefits that financially secured their present and future and relieved them from the daily insecurity of working as a self-employed artist. Perhaps this was, and remains, the only way available, since there was no market in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>, there still isn’t one, that would support the artistic product and allow artists to make their living exclusively from their artistic activity and production.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Living in a traditional society which considers marriage to be one of life’s principal predestinations and an indication of social manumission and entry as a full member to adult society, the overwhelming majority of Cypriot women artists were married and had their own families. Of course, this added a further role to women, with a lot of requirements and obligations, in a society which was not organized to support or cater for the working woman and offer her the necessary assistance. Thus, like all other Cypriot women, the Cypriot artist was, if not exclusively, at least for the most part, responsible for the household and growing up the children. This drastically differentiated her from her male colleague, who, upon returning from his work at school had all the time to organize and devote himself, undistracted, to artistic creation. Women artists-educators had little – almost none – personal time to devote with consistency and professionalism to creation. Thus we observe that they create less than their male colleagues and, consequently, make rarer appearances with solo shows. This did not allow them to easily acquire the “status of an artist”, or, at least, the “full status of an artist”. The prejudice of the buying public towards the work of women artists is another result of this attitude.</span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span></span></span></span></a><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">It is no accident that no women are included amongst the commercial artists. Also the number of women artists representing <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> in major international artistic events is much smaller than their male counterparts. Should one take, for example, International Venice Biennale, the longest standing art biennale, one will note that since 1985, when <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> begun to systematically participate in the exhibition and until today, our country has been represented by thirteen male artists and just three women. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The picture is differentiated as we move closer to the present. Woman artists now treat their artist career with greater professionalism and commitment, a career that is now a conscious choice for which they are prepared to sacrifice a lot of the requirements imposed by other social and traditional roles. The Cypriot female artist and her work today become increasingly visible in the artistic scene and the number of women artists is equal, if not greater, to the number of male ones.</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman";"> But the particularities of female creation in Cyprus, as the result of historic and social factors, notwithstanding, should we cast a more penetrating and inquisitive look at the accomplishments of Cypriot art in the 20<sup>th</sup> century, we shall come to realize that the contribution of female visual artists in shaping the current artistic face of Cyprus is great and cannot be separated from that of men. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Amongst the pioneers of Cypriot 20<sup>th</sup> century art an important place is held by a woman: Loukia Nikolaidou, who had the courage to undertake an artistic revolution by herself, conveying trends and movements that were completely unknown until then in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>. The work of Pavlina Pavlidou is also important for the history of Cypriot sculpture, since she was a pioneer for the detachment of sculpture from its monumental role, which was the only road treaded by Cypriot sculptor until then.<b style="mso-bidi-font-weight: normal;"> </b>Her exhibition in 1967 was the first exhibition in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> which promoted a different role for sculpture than the monumental one.<b style="mso-bidi-font-weight: normal;"> <o:p></o:p></b></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span></span></b><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Two further important woman presences are Keti Stefanidou (1925) and Vera Gavrilidou-Hatzida (1936). Keti delved like few other Cypriot artists in the teachings of historic modernism, helping Cypriot art move forward, without overlooking those important movements which directed and fueled the course of art internationally in the 20<sup>th</sup> century.<b style="mso-bidi-font-weight: normal;"> </b>Vera initiated the dialogue with another important movement of the 20<sup>th</sup> century, visual art.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span></span></b><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Besides these pioneering artists there were other women who played a leading part in expanding the horizons of Cypriot art, especially with respect to installations and the use of technology in art. Furthermore by the appropriation of techniques and lowly, ephemeral, unconventional materials from the various handicrafts with which they were more accustomed, they materially contributed to art’s enrichment with new materials and techniques.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>We may, therefore, safely suggest that history of art in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> was written equally by men and women creators and that there are no substantial gender related differences with respect to the signifier of art. The differences with respect to the signified are those originating from the private psychism and life experiences of each individual.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>One of the first things noted in this brief text was the fact that Cypriot women creators were not faced with the age-long exclusion from artistic creation, experienced by their European colleagues. On the contrary, she reaped the fruits of the latter’s struggles for woman’s emancipation and freedom of creative expression. Thus Cypriot women creators did not feel the need for their personal creation to serve in any way as a conscience, questioning of the status quo, protestation or weapon in a feminist struggle. This, of course, is not limited to artistic creation. Cyprus, in general, never saw a strong feminist movement and Cypriot women never led, but most of the time benefited from, the conquests of the international feminist movement.</span><span style="font-family: Arial; mso-ansi-language: EL; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Today, then, that woman creators have all that was symbolically asked for by Virginia Woolf, namely financial freedom and their own creative living space, where Schools of Fine Arts have opened their gates to women, where the art market is friendlier to them, where social convictions do not consider them incapable of producing “high art”, where most national legislations treat men and women as equals, come the Washing-Up Ladies to overthrow this beatific image, offering by their work powerful footholds for the reason for their existence. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">What need, what internal exhortation propelled them to “organize themselves” for the creation of an art enlisted round a subject, that of the place and image of women in society, which preoccupied women – artists in the decades of the ‘50s, ‘60s and ‘70s?<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 3.0pt; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The answer lies in the works themselves. The acute perceptiveness of the two artists was sensitized by the conscious endeavor to protract the archetype of the of the “eternal female” and the masterly change of the wrapping of centuries of prejudices, that is attempted today as one of the most substantial folds of authoritative mechanisms. It is evident that this is not late feminist art, but an art pursuing to sensitize man to the complex and multifarious games of any form of power. <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">An unfair struggle to be sure. But this is not a struggle between the two sexes, it is a much more unequal struggle: between the free thinking man or woman and the mediums for the exercise of powe</span> <div style="mso-element: footnote-list;"><br clear="all" /> <hr align="left" size="1" width="33%" /> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span></span></span></span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> 2010 </span><span lang="EN-US">Calendar, Lyceum Club of Greek Women, Famagusta Chapter, En Typois publications</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, </span><span lang="EN-US">Nicosia </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2009.<o:p></o:p></span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span></span></span></span></a><span lang="EN-US"> </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sonia Delaunay ‘Nons irons jusqu’au<span style="mso-spacerun: yes;"> </span>soleil’ Robert Lafont, Paris, 1978.<o:p></o:p></span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span></span></span></span></a><span lang="EN-US" style="mso-ansi-language: EN-GB;"> </span><span lang="EN-US">The work of Loukia Nikolaidou was brought to light by Eleni S. Nikita’s research. It was by her initiative that the Cultural Services of the Ministry of Education and Culture organized a retrospective exhibition of her work at the National Gallery of Modern Cypriot Art. Cf. Eleni S. Nikita’s text for the catalogue of the exhibition, Ministry of Education and Culture, 1992. </span></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span></span></span></span></a><span lang="EN-US"> Cf. Al. Xydis “Modern Cypriot Art – First generation of Independence” in the catalogue to the exhibition “Modern Cypriot Art”, National Art Gallery and Alexander Soutzos Museum, Athens 1984.</span></div></div><div id="ftn5" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/Eleni-Nikita-ENG.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span></span></span></span></a><span lang="EN-US"> This is, of course, a world-wide phenomenon and it has taken many decades of important female artistic creation to overcome. </span><span style="mso-ansi-language: EL;"><o:p></o:p></span></div></div></div><br />
<br />
</div></div></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-36949846543471620972010-07-30T20:07:00.004+03:002010-08-19T14:57:43.489+03:00Οι ροζ κούκλες, Δάφνη Νικήτα, Ιστορικός τέχνης/ποιήτρια 30|7|2010Σε δωμάτιο κλειστό<br />
-όλες οι λεπτομέρειες μέσα σε μπάλες<br />
τριγύρω στο πάτωμα-<br />
φοράς ψηλά τακούνια <br />
όπως και εγώ<br />
-ζωντανές κούκλες μπροστά σε τοίχο βαμμένο-<br />
φοράς κοντό μεταξένιο φόρεμα <br />
όπως και εγώ<br />
«είναι δύσκολο ν’ αγγίξεις το αληθινό»<br />
μου ψιθυρίζεις <br />
όμως βρίσκομαι εκεί, απέναντί σου <br />
όπως πάντα <br />
με φόβο <br />
εγώ και εσύ, στη μέση<br />
-μπάλες αμέτρητες ριγμένες-<br />
δεν θα βγούμε ποτέ από αυτό το δωμάτιο<br />
η μυρωδιά του παντού <br />
η σκιά του και αυτή στο πάτωμα <br />
-στρέφομαι σε σένα-<br />
μου μιλάς , δεν με βλέπεις<br />
σου μιλώ, δεν μ’ ακούς<br />
-το πάτωμα είναι γεμάτο ροζ μπάλες<br />
και η σκιά του εκεί-<br />
δεν θέλω να με αγγίζουν πια<br />
μου δείχνεις <br />
τα ψηλά σου τακούνια <br />
σαν πρόκες να λάμπουν<br />
σου ψελλίζω τις λέξεις<br />
«νιώθω πως έχουμε γεννηθεί μαζί»<br />
σηκώνω το πόδι τρυπάω την πρώτη<br />
κάνεις το ίδιο<br />
-ίσως βγούμε από αυτό το δωμάτιο<br />
πατάω σ’ αυτή την σκιά!<br />
-το αστέρι δεν έχει μεγαλώσει ακόμη-<br />
θόρυβος και σιγή <br />
σπασμένες μπάλες <br />
σιγή<br />
πουθενά εσύ<br />
μόνον εγώ<br />
στο πάτωμα<br />
<br />
<br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><b><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">The Pink Dolls<o:p></o:p></span></b></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">In a shut room<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> all details in balloons <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">strewn over the floor </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you are in stiletto heels<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">like me <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> living dolls in front of a painted wall </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you are wearing a mini silk dress<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">like me<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">“It’s hard to touch what’s real”<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you whisper<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">and yet I’m right there, facing you<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">fearful<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">as usual<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you and I, in the middle<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> countless balloons around </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">we’ll never get out of this room<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">his smell is everywhere<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">his shadow too is thrown on the floor<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> I turn to you </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you talk to me, you can’t see me<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">I talk to you, you can’t hear me<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> the floor is full of pink balloons </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">and his shadow on the spot<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">I don’t want to be touched anymore<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you show me <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">your stiletto heels<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">shining like tacks<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">I stammer out the words<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">“I feel we were born together”<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">I lift a leg and prick the first one<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you do the same<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> perhaps we will get out of this room<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">I’m stepping on this shadow!<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> the star has yet to wax </span><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-font-kerning: 14.0pt; mso-no-proof: yes;">-</span><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">noise and silence<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">burst balloons<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">silence<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">you are nowhere to be found<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">only me<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">on the floor<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><b><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">Daphne Nikita<o:p></o:p></span></b></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><i><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;">Translated by Yannis Goumas</span></i><span lang="EN-US" style="font-family: Georgia; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-font-kerning: 14.0pt;"> <o:p></o:p></span></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-61853433664312888312010-07-28T00:00:00.002+03:002010-08-25T21:30:00.934+03:00Washing up ladies - Αντρη Μιχαήλ, Αναπληρώτρια καθηγήτρια στο Πανεπιστήμιο Τεχνών της Αμιένης- 26|7|2010<div class="MsoNormal" style="line-height: 150%; text-align: justify;">Οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>είναι μια ομάδα δύο μόνο γυναικών, οι οποίες, συνειδητοποιώντας το χάσμα της κλειστής κυπριακής κοινωνίας απέναντι στο ζήτημα της πραγματικής ισότητας ανδρών και γυναικών, αποφάσισαν ότι έπρεπε να δράσουν πέρα από στερεότυπα και προκαταλήψεις. Μετά την ανεξαρτησία και, στη συνέχεια, κατά τη μετά την εισβολή περίοδο, υπήρχαν στην Κύπρο, πολύ σοβαρά προβλήματα που υπερέβαιναν οτιδήποτε ατομικό ή προσωπικό. Η Κύπρος παρέμενε μια περιφερειακή σκηνή, όπου δεν έφταναν οι κοινωνικές και πνευματικές κατακτήσεις του ευρωπαϊκού χώρου. Έτσι λ.χ. τον καιρό που οι Ευρωπαίες γυναίκες έδιναν μάχες για την αναγνώριση της ισότητας και των δικαιωμάτων τους σε μια ανδροκρατούμενη κοινωνία, οι Κύπριες είχαν να αντιμετωπίσουν τα προβλήματα της ευρύτερης κοινωνίας και ειδικότερα αυτά που ήταν συνδεδεμένα με την εισβολή και τη δύσκολη περίοδο που ακολούθησε. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">Ωστόσο, τα τελευταία χρόνια, χωρίς βέβαια το πολιτικό πρόβλημα να έχει επιλυθεί –αντιθέτως, γίνεται ολοένα και πιο περίπλοκο– παρατηρείται μια απενοχοποίηση των καλλιτεχνών απέναντι στους επιβεβλημένους κοινωνικούς όρους και κώδικες συμπεριφοράς. Είναι ιδιαίτερα ενδιαφέρον το ότι οι σύγχρονοι Κύπριοι καλλιτέχνες τολμούν να μιλήσουν για το πολιτικό πρόβλημα θίγοντας τον τυποποιημένο και ανούσιο πολιτικό λόγο και αγγίζοντας με λεπτότητα ευαίσθητα θέματα, όπως τη συμφιλίωση ελληνοκυπρίων και τουρκοκυπρίων ή τα συνθήματα που απέκτησαν εθνικό περιεχόμενο, λ.χ. το «Δεν ξεχνώ». Ακόμη, φέρουν για πρώτη φορά στην επιφάνεια νέα κοινωνικά ζητήματα, ερωτήματα και αναζητήσεις που αφορούν την κυπριακή κοινωνία. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> Οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>καταθέτουν με τρόπο τολμηρό τις απόψεις τους για την έλλειψη ουσιαστικής ισότητας ανάμεσα στ<span lang="EN-US">o</span>υς άνδρες και τις γυναίκες στην Κύπρο. Εκφράζουν την κριτική τους και την αντίστασή τους στο κατεστημένο μ΄ έναν τρόπο άμεσο, ώστε το μήνυμα να γίνεται ξεκάθαρα αντιληπτό, αλλά και συγχρόνως αρκετά έμμεσο, ώστε να υπερβαίνει το στενό κοινωνικό πολιτικό περιβάλλον της Κύπρου. Τα δρώμενα και τα έργα τους<i style="mso-bidi-font-style: normal;"> </i>έχουν προγραμματικό χαρακτήρα. Έχοντας συγκεκριμένο ιδεολογικό περιεχόμενο, επιθυμούν να εκφράσουν ένα εύγλωττο μήνυμα: την ανάγκη της κοινωνίας της Κύπρου να συνειδητοποιήσει το πρόβλημα της ανισότητας ανάμεσα στις γυναίκες και στους άνδρες. Ωστόσο, πέρα από το περιεχόμενο, που αποτελεί μόνον μία παράμετρο, τα έργα τους είναι σημαντικά και για την αισθητική τους διάσταση. Εξέχοντα ρόλο παίζουν εδώ ο αποστασιοποιημένος τρόπος με τον οποίο εκφράζεται το μήνυμα, καθώς και η δύναμη της εικόνας και του ρυθμού. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> Οι καλλιτέχνιδες έχοντας επίγνωση ότι ακόμη και οι νέες γυναίκες δεν έχουν συνειδητοποιήσει το μέγεθος του προβλήματος, έρχονται να παίξουν το ρόλο του διαφωτιστή ή και του υπερασπιστή των δικαιωμάτων των γυναικών που βρίσκονται ακόμη σε κατάσταση άγνοιας. Οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Waching</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i>, δυναμικά αλλά διακριτικά και με σεμνότητα, έθεσαν ως στόχο τους τη διαφώτιση των γυναικών, την υπεράσπιση των δικαιωμάτων τους, τη διακωμώδηση ορισμένων καταστάσεων, με μόνο όπλο την τέχνη και τη δυναμική των σημάνσεών της. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> Κατά τη διάρκεια του δρώμενου με το πλυντήριο, οι δύο καλλιτέχνιδες σπάνε με αξίνες ένα πλυντήριο. Σπάζοντας την χρησιμότερη ίσως οικιακή συσκευή και ίσως την πιο αποκλειστικά γυναικεία σε σχέση με τις υπόλοιπες, ασκούν μέσα απ’ αυτό μια συμβολική βία που δεν απευθύνεται ενάντια στους άντρες αλλά απέναντι σ΄ ένα συμβολικό αντικείμενο που ανταποκρίνεται μετωνυμικά στον υποβιβασμένο ρόλο της γυναίκας στην κυπριακή –και όχι μόνο– κοινωνία. Για την ιστορία της τέχνης, τέτοιου είδους δρώμενα είναι ανάλογα με τα χάπενινγκς της δεκαετίας του ’60 κυρίως, τα οποία, –πέρα από την εισαγωγή ενός νέου είδους καλλιτεχνικής δράσης, με νέα μορφή, που ήθελε την τέχνη και τη ζωή να ξανασμίγουν, κάνοντας εναλλακτικές προτάσεις στον κυρίαρχο εικαστικό φορμαλισμό–, είχαν κι έναν κοινωνικά επαναστατικό ρόλο, με ολοένα και μεγαλύτερη αντίδραση απέναντι στο κατεστημένο, τόσο το πολιτικό όσο και το καλλιτεχνικό. Δεν μπορούμε εδώ να μην αναφερθούμε συνειρμικά στο ολοκληρωτικό σπάσιμο του αυτοκινήτου με διάφορα τσεκούρια κατά τη διάρκεια του χάπενινγκ <i style="mso-bidi-font-style: normal;"><span lang="FR">D</span></i><i style="mso-bidi-font-style: normal;">é<span lang="FR">chirex</span></i> του <span lang="FR">Jean</span>-<span lang="FR">Jacques</span><span lang="FR"> </span><span lang="FR">Lebel</span> το 1963, στο πρωτοποριακό «Αμερικανικό Κέντρο» της οδού <span lang="FR">Raspail</span> στο Παρίσι. Το αυτοκίνητο, ένα από τα σύμβολα της καταναλωτικής κοινωνίας και της επαγγελματικής και κοινωνικής καταξίωσης, είχε σχεδόν πολτοποιηθεί από τους ίδιους τους καλλιτέχνες και το κοινό που συμμετείχε σ’ αυτό το δρώμενο. Η συμμετοχική αυτή δράση του θεατή συμβάδιζε στη δεκαετία του ’60 με την συνεχώς αυξανόμενη εμπλοκή του θεατή στο καλλιτεχνικό δρώμενο, το οποίο με αυτό τον τρόπο υπερέβαινε τον ίδιο τον καλλιτέχνη και αποκρυστάλλωνε με ευαισθησία και έντονα συμβολικό χαρακτήρα τις ανησυχίες μιας εποχής. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">Με τον ίδιο τρόπο, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>καλούν το κοινό, άντρες και γυναίκες, να συμμετέχει στο δρώμενο και στη διάλυση του πλυντηρίου. Καθαρά ακτιβιστικού χαρακτήρα, η δράση και το μήνυμά τους δεν έχουν ως στόχο τους άντρες, αλλά παίρνουν τη μορφή εκστρατείας για τη διαφώτιση και τη συνειδητοποίηση του ρόλου και της θέσης των γυναικών στην κυπριακή κοινωνία. Με την εμπλοκή του θεατή στα δρώμενά τους τονίζουν τον επαναστατικό ρόλο της τέχνης και την ανάγκη συνειδητοποίησης και αντίδρασης απέναντι στα κοινωνικά προβλήματα, που δεν είναι φυσικά υπόθεση μόνο του καλλιτέχνη. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> <span lang="FR">Στο</span><span lang="FR"> </span><span lang="FR">έργο</span><span lang="FR"> </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB">Sorry to burst your bubble but … </span></i>(2010), βίντεο μιας ιδιωτικής χωρίς θεατές περφόρμανς, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>υιοθετούν ένα διαφορετικό σχέδιο μιας πιο αποστασιοποιημένης αντίδρασης και εξισορροπούν φαινομενικά τη βία που είχαν ασκήσει πάνω στο πλυντήριο. Επιχειρείται και εδώ το σπάσιμο, αλλά η βία έχει αλλάξει πρόσωπο.<span lang="FR"> </span>Ακόμη πιο συμβολική, ασκείται ανεπαίσθητα, με τακτ, με μια ιδιαίτερη έμφαση στο αισθητικό αλλά και στο αισθησιακό στοιχείο που απουσίαζαν από την προαναφερθείσα δράση με το σπάσιμο του πλυντηρίου. Δύο γυναίκες, η μια ξανθιά και η άλλη μελαχρινή, που εκφράζουν εύγλωττα τα κοινωνικά στερεότυπα, μετακινούνται σ’ ένα ροζ δωμάτιο, γεμάτο με ροζ επίσης μπαλόνια, πάνω στα οποία πατάνε σπάζοντάς τα. Σχεδόν πανομοιότυπες ως προς το ύψος και το βάρος, το μήκος των μαλλιών και την ενδυματολογική επιλογή, τα γυναικεία αυτά μοντέλα βρίσκονται σε αρμονία με τα στερεότυπα της γυναικείας ομορφιάς και θηλυκότητας. Με κοντά φορέματα και ιδιαίτερα επιλεγμένα ψηλοτάκουνα παπούτσια, αντικείμενο φετίχ για πολλούς άντρες και ιδιαίτερα καλλιτέχνες –ας θυμηθούμε, για παράδειγμα, τη σημασία του ποδιού και του παπουτσιού σε ταινίες του Μπουνιουέλ–, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>κινούνται με αργή κίνηση στο χώρο, προσδίδοντας στη δράση έντονη θεατρικότητα. Δεν μπορούμε να μην προσέξουμε τη σχεδόν νωχελική μετακίνηση της ξανθιάς γυναίκας, που σπάει απαλά τα μπαλόνια και τη διαμετρικά αντίθετη, επιθετική σχεδόν εξόρμηση της μελαχρινής κατά των μπαλονιών, πράγμα που καυτηριάζει τις απλουστευμένες γενικεύσεις σχετικά με τις γυναίκες, τον τύπο τους και το χρώμα των μαλλιών τους. Ο φακός εστιάζει περισσότερο στα πόδια των γυναικών –όπως και στο βίντεο <i style="mso-bidi-font-style: normal;"><span lang="FR">Marcher</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">sur</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">les</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">choses<a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 12pt;">[1]</span></b></span></span></a></span></i> της <span lang="FR">Marie</span><span lang="FR"> </span><span lang="FR">Legros</span>, όπου, μια γυναίκα, σ’ ένα είδος επίσης ιδιωτικής περφόρμανς, με έντονη έμφαση στα παπούτσια της, επιχειρεί να πατήσει διάφορα αντικείμενα και οικιακά σκεύη τοποθετημένα σε κύκλο μέσα σ’ ένα δωμάτιο. Ο ήχος των μπαλονιών που σπάνε, μακρινός απόηχος των πυροβολισμών της <span lang="FR">Niki</span><span lang="FR"> </span><span lang="FR">de</span><span lang="FR"> </span><span lang="FR">Saint</span>-<span lang="FR">Phalle</span>, έρχεται ως απειλή να ταράξει την ονειρική ροζ ατμόσφαιρα. Θυμίζοντας υφολογικά τα βίντεο της <span lang="FR">Pipilotti</span><span lang="FR"> </span><span lang="FR">Rist</span>, το έργο αυτό έχει τη δύναμη του έκδηλου που εκφράζεται χωρίς φλυαρία.<span lang="FR"> </span>Η μεγάλου μεγέθους βιντεοπροβολή, που αγγίζει το πάτωμα σ’ ένα ειδικά αφιερωμένο χώρο, δημιουργεί αμεσότητα, κάνοντας το θεατή να εισέρχεται άθελά του στη σκηνή. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> Με καθαρά μεταφορικό και μετωνυμικό τρόπο ακόμη και στον τίτλο, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>καταθέτουν ένα μανιφέστο, χωρίς να θυσιάζουν τη θηλυκότητά τους –το αντίθετο, την υπερτονίζουν. ΄Εντονη θηλυκότητα και συνειδητοποίηση των κοινωνικών θέσεων και αναζητήσεων δεν είναι στην περίπτωσή τους ζητήματα αντιφατικά.<i style="mso-bidi-font-style: normal;"> </i>Και οι δύο έχουν μια αυτόνομη καλλιτεχνική δραστηριότητα και δουλεύουν με την πραγματική τους ταυτότητα ατομικά. Η δημιουργία της ομάδας αυτής, που αναπτύσσεται παράλληλα υποδηλώνει τη θέλησή τους να δράσουν στον κυπριακό χώρο ως καταλύτες αφύπνισης της συνείδησης των γυναικών. Σε αντίθεση με τις θέσεις πολλών φεμινιστριών στο χώρο της τέχνης, που προσπαθούν να αποδείξουν ότι η υψηλή και ενδιαφέρουσα τέχνη δεν είναι μόνο προνόμιο των ανδρών, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>δραστηριοποιούνται διπλά και παίζουν σε δύο μέτωπα, χωρίς να υποκύπτουν σε φεμινιστικά συνθήματα, όπως «είναι προνόμιο να είσαι γυναίκα-καλλιτέχνης». Η σύσταση μεμονωμένων ομάδων με στόχο την υπεράσπιση των γυναικείων δικαιωμάτων οδήγησε συχνά, είναι αλήθεια, σε στόχους και επιτεύγματα, όπως η νομική υποστήριξη ή η εγκαθίδρυση νέων νομικών θεσμών που διασφαλίζουν το δικαίωμα στη «διαφορά». Παράλληλα όμως δημιούργησε και περιθωριακές ομάδες, ενώ συνέβη, μέσα από τον υπερτονισμό των δικαιωμάτων και την υπερβολική σημασία που δόθηκε στη «διαφορά», να δημιουργηθεί μερικές φορές άλλου είδους ανισότητα και περιθωριοποίηση. Οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>δεν θέλουν να πέσουν σ’ αυτή την παγίδα κι ούτε απεμπολούν τα όπλα της γυναικείας γοητείας και θηλυκότητας. Το μήνυμα είναι μ’ αυτό τον τρόπο ακόμη πιο καίριο. Το ίδιο συνέβαινε και με την <span lang="FR">Niki</span><span lang="FR"> </span><span lang="FR">de</span><span lang="FR"> </span><span lang="FR">Saint</span>-<span lang="FR">Phalle </span>και τις πολύ γνωστές δράσεις της: τους πυροβολισμούς με καραμπίνα πάνω σε πίνακες, που είχαν ως αποτέλεσμα να σπάζουν μικρές «φούσκες» γεμάτες χρώμα, κάνοντας το να ξεχειλίζει πάνω στον πίνακα. Οι πυροβολισμοί, λέει η <span lang="FR">Niki</span><span lang="FR"> </span><span lang="FR">de</span><span lang="FR"> </span><span lang="FR">Saint</span>-<span lang="FR">Phalle</span>,<span lang="FR"> </span> προηγούνται του κινήματος απελευθέρωσης των γυναικών. ΄Ηταν μάλιστα πολύ σκανδαλώδες να βλέπει κανείς μια χαριτωμένη νέα γυναίκα να πυροβολεί με ένα όπλο και να θυμώνει ενάντια στους άντρες στη διάρκεια των συνεντεύξεών της. Αν ήμουν άσχημη λέει, θα έλεγαν ότι είχα κόμπλεξ και θα με είχαν ξεχάσει<a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 12pt;">[2]</span></span></span></span></a>. Αντίθετα, το έργο της σηματοδότησε τόσο την τέχνη εκείνης της εποχής –συμπυκνώνοντας αρκετά από τα χαρακτηριστικά της σύγχρονης τέχνης, όπως η έντονη κριτική του φορμαλισμού στην εικαστική δημιουργία του αφηρημένου εξπρεσιονισμού, η αναζήτηση της ανάμειξης της τέχνης με τη ζωή και τα κοινωνικά δρώμενα, καθώς και η ολοένα προεξάρχουσα θέση του συμμετέχοντος θεατή στη δημιουργία του έργου. Παράλληλα εξέφραζε με έντονο αλλά αποστασιοποιημένο τρόπο την αντίθεση μιας γυναίκας καλλιτέχνιδας ενάντια στην ηγεμονία των ανδρών σε όλα τα επίπεδα της κοινωνικής ζωής γενικότερα και στο χώρο της τέχνης ειδικότερα. Με αυτά τα έργα και τις δράσεις της <span lang="FR">Niki</span><span lang="FR"> </span><span lang="FR">de</span><span lang="FR"> </span><span lang="FR">Saint</span>-<span lang="FR">Phalle</span> μπορούμε λοιπόν να παρομοιάσουμε τα έργα των <i style="mso-bidi-font-style: normal;"><span lang="FR">Waching</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;">. </i>Σε αντίθεση με έργα-περφόρμανς, όπως αυτά της <span lang="FR">Yoko</span><span lang="FR"> </span><span lang="FR">Ono</span> στα <i style="mso-bidi-font-style: normal;"><span lang="FR">Cut</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">pieces</span></i><a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 12pt;">[3]</span></span></span></span></a>, όπου προσκαλούσε τους θεατές να ψαλιδίσουν και να κόψουν ένα κομμάτι από το φόρεμά της τονίζοντας τη θέση της υποταγμένης γιαπωνέζας γυναίκας, οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>υιοθετούν μια σχεδόν «αυθάδικη» στάση, παίζοντας με τα διφορούμενα αισθήματα του θεατή στη θέση του «ηδονοβλεψία». Σε αντίθεση επίσης με τις <i style="mso-bidi-font-style: normal;"><span lang="FR">Guerilla</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">girls</span></i>, που μάχονται για την προβολή του ζητήματος της ανισότητας ανδρών και γυναικών στο χώρο της τέχνης –ας θυμίσουμε, για παράδειγμα, τη δράση τους στη Νέα Υόρκη το 1985, όταν τοποθέτησαν στους δρόμους αφίσες με στατιστικά στοιχεία: το 1984 οι γυναίκες αντιπροσώπευαν λιγότερο από το 10% των καλλιτεχνών που παρουσίαζαν έργα τους στις γκαλερί– οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>δεν κρύβουν το πρόσωπό τους (οι <i style="mso-bidi-font-style: normal;"><span lang="FR">Guerilla</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span><span lang="FR">girls</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR"> </span></i>φορούσαν μάσκα γορίλλα για να κρατήσουν την ανωνυμία τους). Δεν είναι απλά <i style="mso-bidi-font-style: normal;"><span lang="FR">girls</span></i> που δρουν στο χώρο της τέχνης για την υπεράσπιση των δικαιωμάτων των γυναικών καλλιτεχνών, αλλά <i style="mso-bidi-font-style: normal;"><span lang="FR">ladies</span></i><i style="mso-bidi-font-style: normal;">, </i>που εμπνέουν σεβασμό και μιαν ιδιαίτερη γοητεία. </div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"> Αντρη Μιχαήλ-Sueur</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;">Αναπληρώτρια καθηγήτρια στο Πανεπιστήμιο Τεχνών της Αμιένης (Faculté des Arts, Université de Picardie Jules Verne), Γαλλία. </div><div style="mso-element: footnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10pt;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 10pt;">[1]</span></span></span></span></a><span style="font-size: 10pt;"> Δες κατάλογο έκθεσης <i style="mso-bidi-font-style: normal;">Εικόνες εν κινήσει</i>, επιμέλεια </span><span lang="FR" style="font-size: 10pt;">Sophie</span><span lang="FR" style="font-size: 10pt;"> </span><span lang="FR" style="font-size: 10pt;">Duplaix</span><span style="font-size: 10pt;"> & ΄Αντρη Μιχαήλ, Δημοτικό Κέντρο Τεχνών Λευκωσίας, συνεργασία Ιδρύματος Πιερίδη, 2000.</span></div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10pt;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 10pt;">[2]</span></span></span></span></a><span lang="FR" style="font-size: 10pt;"> </span><span lang="EN-GB" style="font-size: 10pt;">Niki</span><span lang="EN-GB" style="font-size: 10pt;"> </span><span lang="EN-GB" style="font-size: 10pt;">de</span><span lang="EN-GB" style="font-size: 10pt;"> </span><span lang="EN-GB" style="font-size: 10pt;">Saint</span><span style="font-size: 10pt;">-</span><span lang="EN-GB" style="font-size: 10pt;">Phalle</span><span style="font-size: 10pt;">, «</span><span lang="EN-GB" style="font-size: 10pt;">Lettre</span><span style="font-size: 10pt;"> à </span><span lang="EN-GB" style="font-size: 10pt;">Pontus</span><span lang="EN-GB" style="font-size: 10pt;"> </span><span lang="EN-GB" style="font-size: 10pt;">Hulten</span><span style="font-size: 10pt;">», στο </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;">Niki</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;">de</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;">Saint</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">-</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10pt;">Phalle</span></i><span style="font-size: 10pt;">, κατάλογος έκθεσης, Παρίσι, Μουσείο Σύγχρονης Τέχνης του Δήμου Παρισιού, Ιούνιος-Σεπτέμβριος, 1993.</span></div></div><div id="ftn3" style="mso-element: footnote;"><div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Desktop/Washing%20up%20ladies%20blog/Andri%20Michael.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10pt;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: 'Times New Roman'; font-size: 10pt;">[3]</span></span></span></span></a><span style="font-size: 10pt;">Από το 1964 έως το 1966, το έργο-περφόρμανς της </span><span lang="EN-US" style="font-size: 10pt;">Ono</span><span style="font-size: 10pt;"> πραγματοποιήθηκε πέντε φορές στο Κιότο, το Τόκιο και τη Νέα Υόρκη. </span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"><br />
</span><br />
<span style="font-size: 10pt;"></span><br />
<span style="font-size: 10pt;"><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: EL;"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: EL;"> </span><span lang="FR">ladies</span></i><span style="mso-ansi-language: EL;"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Washing Up Ladies</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;"> is a group comprising of just two women, who, realizing the gap evident in the closed Cypriot society with respect to the issue of the true equality between men and women, decided that they had to act beyond stereotypes and prejudices. Post <st1:city w:st="on">Independence</st1:city> and, afterwards, in the post invasion period, <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region> faced grave problems that transcended anything private or personal. <st1:country-region w:st="on">Cyprus</st1:country-region> was still a fringe scene not reached by the social and intellectual conquests in <st1:place w:st="on">Europe</st1:place>. Thus, for example, at the time when European women were fighting for the recognition of equality and their rights in a male dominated society, Cypriot women had to face the problems of the greater society and specifically those that were connected to the invasion and the period of hardship that followed.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">However, in recent years, without of course the political problem having been resolved – on the contrary, it becomes increasingly more complicated – we observe exculpation by the artists against imperative social terms and codes of behavior. It is very interesting that modern Cypriot artists dare to speak about the political problem by going against the stereotype and insipid political rhetoric and subtly touching upon sensitive issues, such as the reconcilement of Greek and Turkish Cypriots or the catchwords that have acquired a national content, such as “I do not forget”. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 35.45pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Furthermore, they bring to light, for the first time, new social issues, questions and quests regarding Cypriot society.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Washing Up Ladies</i> boldly disclose their views on the lack of substantive equality between men and women in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>. They express their criticism and their opposition to the status quo in a way that is both direct, in order for their message to be crystal clear, but at the same time fairly oblique, in order to transcend the narrow social political environment of <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>. Their works and happenings are in outline form. Having a specific ideological content, they aim to express a eloquent message: the need for Cypriot society to realize the problem of inequality between women and men. However, besides the content, which is just one parameter, their works are important also with respect to their aesthetic dimension. Key features here are the detached way by which the message is expressed, as well as the power of the image and the rhythm. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="mso-ansi-language: EL;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">The artists, aware that even young women have not come to realize the sheer magnitude of the problem, come to play the role of the enlightener or the defender of the rights of those women who are still in a state of ignorance. </span><i style="mso-bidi-font-style: normal;"><span lang="FR">Washing</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: EN-US;"> </span><span lang="FR">up</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: EN-US;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">L</span><span lang="FR">adies</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">, forcefully but also discreetly and with modesty, have set as their objective to illuminate women, to stand up for their rights, to satirize certain conditions, their only weapon being art and the weight carried by its significations.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>During the washing machine happening, the two artists smash a washing machine with pickaxes. By breaking what is perhaps the most useful home appliance and the one which is more exclusively female, they exert a symbolic violence that is not directed to men, but against a symbolic object that metonymically corresponds to the degrading role of woman in Cypriot – and not only – society. In the history of art, such happenings are similar to the happenings principally of the 60s, which – besides the introduction of a new kind of artistic action, with a new form, which wished for art and life to reunite, thus suggesting alternative propositions to the dominant conjectural formalism – also had a social revolutionary role, expressing an increasing opposition against the status quo, both the political and the artistic. One cannot but, by association, refer here to the complete breaking up of a car with various axes during the </span><i style="mso-bidi-font-style: normal;"><span lang="FR">D</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">é</span><span lang="FR">chirex </span></i><span lang="FR">happening by Jean</span><span lang="EN-US" style="mso-ansi-language: EN-US;">-</span><span lang="FR">Jacques</span><span lang="FR" style="mso-ansi-language: EN-US;"> </span><span lang="FR">Lebel</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> in 1963, at the pioneering “<st1:placename w:st="on">American</st1:placename> <st1:placetype w:st="on">Center</st1:placetype>” on </span><st1:street w:st="on"><st1:address w:st="on"><span lang="FR">Raspail</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> Street</span></st1:address></st1:street><span lang="EN-US" style="mso-ansi-language: EN-US;"> in <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city>. The car, one of the symbols of consumer society and professional and social recognition had almost turned to pulp by the artists and the audience who participated in this happening. Such participatory action by the audience kept pace with the continuously increasing, during the 60s, involvement of the audience in artistic happenings, which, in this way, transcended the artists themselves and crystallized with sensitivity and an intensely symbolic character, the unrest of an era.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>In the same way, <i style="mso-bidi-font-style: normal;">Washing Up Ladies</i> call on the audience, men and women, to participate in the happening and the breaking up of the washing machine. Of purely activist nature, the happening and its message are not directed to men, but assume the form of a campaign for the illumination and realization of the role and place of women in Cypriot society. With the audience’s involvement in their happening, the artists stress art’s revolutionary role and the need to become aware of and react to the social problems, which, of course, is not only the artist’s business. </span><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EL;"><o:p></o:p></span></b></div><h1 style="line-height: 150%; text-align: justify;"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">In the work</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Sorry to burst your bubble but … </span></i><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">(2010), </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">a</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">video</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">of</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">a</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">private</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">, </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">without</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">audience</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">, </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">performance</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">Washing up ladies </span></i><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">adopt a different plan for a more detached reaction and seemingly balance the violence they had exerted over a washing machine. Breaking is also attempted here, but the violence has changed its face. Even more symbolic it is imperceptibly exercised, with savoir faire and a strong emphasis on the aesthetic but also sensual element that was absent from the aforementioned happening involving the breaking to pieces of a washing machine. Two women, one blond and one dark haired, eloquently express social stereotypes, more around in a pink room, filled with balloons, also pink, on which they step, thus bursting them. Almost identical with respect to height and weight, the length of their hair and their clothes, these female models stand in harmony to the stereotypes of female beauty and femininity. Wearing short dresses and carefully chosen high heel shoes, a fetish for many man and especially artists – let us recall, for example, the importance of feet and shoes in Luis Buñuel’s films – <i style="mso-bidi-font-style: normal;">Washing Up Ladies</i> move in slow motion around the space, lending theatricality to the happening. One cannot but notice the almost lazy movement of the blond woman, who simply bursts the balloons, with the polar, almost aggressive, charge of the dark haired lady against the balloons, which cauterizes the oversimplified generalizations regarding women, their character and the color of their hair. The lens focuses more on the women’s legs – just like the video <i style="mso-bidi-font-style: normal;">Marcher sur les choses</i></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-font-kerning: 18.0pt;">[1]</span></span></span></span></span></a><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> <span lang="EN-US">by Marie Legros, where a woman, also in a private performance, with emphasis on her shoes, attempts to step on various objects and household items placed in a circle inside a room. The sound of the bursting balloons, a distance reverberation of Niki de Saint-Phalle’s gunfire, emerges as a threat to the dreamlike pink ambiance. Stylistically reminiscent of Pipilotti Rist’s video, this work is endowed with the forcefulness of the evident, expressed with no loquaciousness. The large format video projection, that touches the floor in a specially set-up space, creates an immediacy forcing the audience to unwittingly enter the stage. <o:p></o:p></span></span></h1><h1 style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><span style="mso-tab-count: 1;"> </span>In a purely metaphorical and metonymic fashion, even in the title, the <i style="mso-bidi-font-style: normal;">Washing Up Ladies</i> present a manifest, without sacrificing their femininity – quite the opposite, they overstress it. Stressed femininity and awareness of social standings and quests are not in their case contradictory issues. Both artists have an autonomous artistic activity and individually work under their real name. The joint creations of this team, which are developed in parallel to their individual work, is indicative of their will to act as catalysts for the awakening of women’s consciousness in <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>. Against the attitude of many suffragettes in the field of art, who strive to demonstrate that high and interesting art is not men’s privilege, <i style="mso-bidi-font-style: normal;">Washing Up Ladies</i> are active and act on two fronts, without succumbing to feminist mottos, such as “it is a privilege to be a woman-artist”. It is true that the formation of individual groups aiming to defend women’s rights has frequently led to objectives and accomplishments, such as the legal support or establishment of new legal institutions ensuring the right to “difference”. In parallel, however, it has also created fringe groups, while, by overstressing rights and placing an exaggerated importance to “difference”, it has sometimes led to another kind of inequality and marginalization. <i style="mso-bidi-font-style: normal;">Washing Up Ladies </i>want to stir clear of this trap and not betray the weapons of female charm and femininity. This</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">way</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">, </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">their message</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">becomes</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">even</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">more</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">opportune</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">. </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">The</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">same</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">can</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">be</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">said</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">of</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">Niki de Saint-Phalle and her very famous happenings: the shotgun firing on painints, which bursted small « bubbles » filled with paint, making the color spill over the canvas. The shots, says Niki</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">de</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">Saint</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">-</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">Phalle</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">,</span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"> </span><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> <span lang="EN-US">preceeded the movement for the liberation of women. Indeed, it was most scandalous for one to see a charming young woman firing with a shotgun and being enraged at men in her interviews. Should I have been ugly, she says, they would have suggested that I had a complex and I would have been forgotten</span></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-font-kerning: 18.0pt;">[2]</span></span></span></span></span></a><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">. On the contrary, her work marked both the art of her era – encapsulating several of the characteristics of modern art, such as the accented criticism of formalism in the conjectural creation of abstract expressionism, the search for mixing the art with life and social events, as well as the increasingly leading role of the participating audience in the creation of the work. In parallel, it expressed in an emphasized by detached manner, the opposition of a woman artist to the hegemony of men in all sectors of social live in general and in art in particular. It is with these works and happenings by Niki de Saint-Phalle that we may, therefore, liken the works of <i style="mso-bidi-font-style: normal;">Washing Up Ladies</i>.<i style="mso-bidi-font-style: normal;"> </i>Contrary to performance-works, such as those by Yoko Ono in <i style="mso-bidi-font-style: normal;">Cut pieces</i></span><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-font-kerning: 18.0pt;">[3]</span></span></span></span></span></a><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">, where she invited the audience to clip with scissors a piece of her dress, thus accentuating the place of the obeisant Japanese woman, <i style="mso-bidi-font-style: normal;">Washing Up Ladies </i>adopt an almost “audacious” stance, playing with the ambiguous sentiments of the audience who has assumed the place of a “voyeur”. Also contrary to the </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">Guerilla</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;">girls</span></i><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">, who fight to promote and publicize the issue of inequality between women and men in the field of art – let us remember here, for example, their happening in New York in 1985, when they placed banners in the streets showing statistics: in 1984 women represented less than 10% of artists exhibiting their work at galleries – <i style="mso-bidi-font-style: normal;">Washing Up </i>Ladies do not hide their faces (<i style="mso-bidi-font-style: normal;">Guerilla girls </i>wore a gorilla mask to keep their anonymity). They</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">are</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">not</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">simply</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">girls</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">performing</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">in</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">the</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">world</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">of</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">art</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">for</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">the</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">defense</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">of</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">women</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">artists</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">’</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">rights</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">, </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">but</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">ladies</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">inspiring</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">respect</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">and</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">who possess of </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">a</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">very </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">special</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">charm</span><span lang="EN-GB" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">. </span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><o:p></o:p></span></h1><div class="a" style="line-height: 150%; text-align: justify;"><br />
</div><div class="a" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Andri Michail</span><span lang="EN-US" style="mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">-Sueur<o:p></o:p></span></div><div class="a" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Assistant Professor at the <st1:placetype w:st="on">School</st1:placetype> of <st1:placename w:st="on">Fine Arts</st1:placename>, </span><st1:placename w:st="on"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jules</span></st1:placename><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <st1:placename w:st="on">Verne</st1:placename> <st1:placetype w:st="on">University</st1:placetype>, <st1:place w:st="on"><st1:city w:st="on">Amiens</st1:city>, <st1:country-region w:st="on">France</st1:country-region></st1:place>. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div style="mso-element: footnote-list;"><br clear="all" /> <hr align="left" size="1" width="33%" /> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></span></a><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;"> </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Cf. the catalogue to the exhibition <i style="mso-bidi-font-style: normal;">Images in motion</i>, curators </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Sophie</span><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;"> </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Duplaix</span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;"> & Andri Michael, <span style="mso-spacerun: yes;"> </span><st1:place w:st="on"><st1:placename w:st="on">Nicosia</st1:placename> <st1:placename w:st="on">Municipal</st1:placename> <st1:placename w:st="on">Arts</st1:placename> <st1:placetype w:st="on">Center</st1:placetype></st1:place>, Associated with the Pierides Foundation, 2000.<o:p></o:p></span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></span></a><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> </span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Niki de Saint-Phalle, «Lettre à Pontus Hulten», </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">in</span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Niki de Saint-Phalle</span></i><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">, </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Exhibition</span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">catalogue</span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">, </span><st1:city w:st="on"><st1:place w:st="on"><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Paris</span></st1:place></st1:city><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">, </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Municipality of Paris Museum of Modern Art, June-September</span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">, 1993.<o:p></o:p></span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoFootnoteText" style="text-align: justify;"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/ANDRI%20MICHAEL-eng.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></span></a><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">From</span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> 1964 </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">until</span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> 1966, </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Ono’s work was performed five times in <st1:city w:st="on">Kyoto</st1:city>, <st1:city w:st="on">Tokyo</st1:city> and <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state></span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">. <o:p></o:p></span></div></div></div></span><br />
<span style="font-size: 10pt;"><br />
</span></div></div></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-37890261725448212982010-07-22T20:47:00.001+03:002010-08-19T15:08:38.028+03:00Πρόσκληση<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzXdFUZAANzIkz96uNUeYhvR9SvyeZUbKd1oJmoYZnp1fYQDkI8HA-SXu9rzRqP0yboM5YEnbjUIsnNXQwvgzhoo1iLouW6C-QV5oVZm3thFF6xRH23otU-JBblUsRB0dCuB6y6IoUSM/s1600/Invite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzXdFUZAANzIkz96uNUeYhvR9SvyeZUbKd1oJmoYZnp1fYQDkI8HA-SXu9rzRqP0yboM5YEnbjUIsnNXQwvgzhoo1iLouW6C-QV5oVZm3thFF6xRH23otU-JBblUsRB0dCuB6y6IoUSM/s640/Invite.jpg" width="640" /></a></div><br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;"><!--[if gte vml 1]><v:shapetype id="_x0000_t75"
coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe"
filled="f" stroked="f"> <v:stroke joinstyle="miter"/> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"/> <v:f eqn="sum @0 1 0"/> <v:f eqn="sum 0 0 @1"/> <v:f eqn="prod @2 1 2"/> <v:f eqn="prod @3 21600 pixelWidth"/> <v:f eqn="prod @3 21600 pixelHeight"/> <v:f eqn="sum @0 0 1"/> <v:f eqn="prod @6 1 2"/> <v:f eqn="prod @7 21600 pixelWidth"/> <v:f eqn="sum @8 21600 0"/> <v:f eqn="prod @7 21600 pixelHeight"/> <v:f eqn="sum @10 21600 0"/> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/> <o:lock v:ext="edit" aspectratio="t"/> </v:shapetype><v:shape id="_x0000_i1025" type="#_x0000_t75" style='width:514.5pt;
height:268.5pt'> <v:imagedata src="file:///C:\DOCUME~1\yiannis\LOCALS~1\Temp\msohtml1\01\clip_image001.jpg"
o:title="E14902FC"/> </v:shape><![endif]--></span><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EL; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;"><!--[if gte vml 1]><v:shapetype id="_x0000_t75"
coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe"
filled="f" stroked="f"> <v:stroke joinstyle="miter"/> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"/> <v:f eqn="sum @0 1 0"/> <v:f eqn="sum 0 0 @1"/> <v:f eqn="prod @2 1 2"/> <v:f eqn="prod @3 21600 pixelWidth"/> <v:f eqn="prod @3 21600 pixelHeight"/> <v:f eqn="sum @0 0 1"/> <v:f eqn="prod @6 1 2"/> <v:f eqn="prod @7 21600 pixelWidth"/> <v:f eqn="sum @8 21600 0"/> <v:f eqn="prod @7 21600 pixelHeight"/> <v:f eqn="sum @10 21600 0"/> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/> <o:lock v:ext="edit" aspectratio="t"/> </v:shapetype><v:shape id="_x0000_i1025" type="#_x0000_t75" style='width:514.5pt;
height:268.5pt'> <v:imagedata src="file:///C:\DOCUME~1\yiannis\LOCALS~1\Temp\msohtml1\01\clip_image001.jpg"
o:title="E14902FC"/> </v:shape><![endif]--></span><div class="separator" style="clear: both; text-align: center;"></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-4426186708683924522010-07-22T20:41:00.004+03:002010-09-05T20:27:42.333+03:00Με Αφορμή το Σπάσιμο της Φούσκας - Έλενα Χριστοδουλίδου 21|7|2010<div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;"></span><span class="Apple-style-span" style="font-family: Arial;">Ο ανθρώπινος λόγος, προκειμένου να κατανοήσει και να ερμηνεύσει έναν κόσμο πολυσύνθετο και πολύμορφο, επινοεί διάφορες μεθόδους ερμηνείας.</span><br />
<br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η τέχνη, ως μια τέτοια μέθοδος ερμηνείας, μέσα από τα δικά της μέσα και εργαλεία, γίνεται ένα ενέργημα κατανόησης που για να υπάρξει ως τέτοιο συμφύρει, πάντοτε, μια μορφή (άλλως ειπείν ένα σημαίνον) κι ένα περιεχόμενο (άλλως ειπείν σημαινόμενο). Μια μορφή προϋποθέτει και εκβάλλει σ’ ένα περιεχόμενο και αντίστροφα ένα περιεχόμενο καταλήγει σε μια μορφή. </span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η κριτική που ασκείται ευχερέστερα στο επίπεδο του περιεχομένου, και λιγότερο της μορφής,<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>καθίσταται αδύναμη να συλλάβει το πώς του έργου τέχνης, μπερδεύοντας τον εστετισμό με την κενολογία. Ο φορμαλισμός, από την άλλη, συχνά μετατρέπεται σ’ ένα παιχνίδι αυτοαναφορικότητας μέσα από ακατανόητους κώδικες, χωρίς παραπέμποντα ή σημαινόμενα, με αποτέλεσμα να καταλήγει κενολόγος. Το έργο τέχνης οφείλει λοιπόν να συλλαμβάνει και να εκφράζει την πολυπλοκότητα και πολυκωδική φύση του κόσμου στον οποίο ζούμε, ή τουλάχιστον του θέματος με το οποίο καταπιάνεται και η κριτική που έπεται του έργου, να αναγνωρίζει (όταν υπάρχουν) τις πολλαπλές στρωματώσεις του.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"></i></b></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Αυτή η διαπίστωση οδηγεί σε μια δεύτερη, εξίσου σημαντική, που θέλει όλα τα σπουδαία έργα, όσο πολύπλευρα και να είναι, να είναι ταυτόχρονα και απλά. </span><span lang="EN-US" style="font-family: Arial;">E</span><span style="font-family: Arial;">ίναι λοιπόν απαραίτητο ένας φιλότεχνος να μπορεί να ξεχωρίζει την απλότητα από την απλοϊκόητα, προκειμένου να αναγνώσει ορθά το περιεχόμενο του έργου, έτσι που να μην αντιμετωπίζει την τέχνη με κριτήριο τη διασημότητα του δημιουργού, ή να ταυτίζει την ποιότητα με την ερμητικότητα και το ακατάληπτο, θεωρώντας πως, όσο λιγότερο κατανοητό είναι το έργο, τόσο περισσότερου θαυμασμού αξίζει.<u></u></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Έτσι, αυτό που επιτελείται στο τρίπτυχο έργο που παρουσιάζουν η Λία Λαπίθη και η Μαριάννα Καφαρίδου, αρχής γενομένης της οπτικογραφημένης δράσης μέσα στο ροζ δωμάτιο που εξελίσσεται πάνω σε μια γιγαντοπροβολή, δεν είναι ένα απλοϊκό καπρίτσιο δύο νέων γυναικών, αλλά μια καταγγελία, ένας πυροβολισμός «εν αιθρία» στην προδιαγεγραμμένη μοίρα συγκεκριμένης ταξικής ομάδας γυναικών των δυτικών κοινωνιών. </span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Αφού, λοιπόν, με την προηγούμενη δουλειά τους οι δύο δημιουργοί κανόνισαν τους λογαριασμούς τους με τον καταναγκασμό των οικιακών χειροτεχνικών «γυναικείων» επιδόσεων τσακίζοντας στην κυριολεξία ένα πλυντήριο, εντασσόμενες, έτσι, στην παράδοση της συμβολικής βίας στη φεμινιστική τέχνη - θυμηθείτε την </span><span lang="EN-US" style="font-family: Arial;">Pipilotti</span><span lang="EN-US" style="font-family: Arial;"> </span><span lang="EN-US" style="font-family: Arial;">Rist</span><span style="font-family: Arial;"> που επιδίδεται στο σπάσιμο του παρ μπριζ αυτοκινήτων, επιτιθέμενη με τον τρόπο αυτό στο μεταλλικό άλογο του σύγχρονου ιππότη - τώρα επιχειρούν να αποδομήσουν τον ακόμα πιο δεσμευτικό και ύπουλο εχθρό, τη μυθοποίηση της γυναικείας ευτυχίας.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η γυναίκα με την «μπάρμπι – εμφάνιση» που παρουσιάζουν οι δύο δημιουργοί είναι και ανιστόρητη και ανιστορική. Δεν τη βαραίνει η ιστορία του τόπου της ή οι παραδόσεις του, γι’ αυτό και στερημένη από την ιστορικότητα που θα την επανέντασσε ενεργά στην κοινωνία των ανθρώπων και όχι των κουκλόσπιτων, είναι καταδικασμένη να βιώνει τα επίπλαστα πρότυπα μιας ξενόφερτης και απατηλής ευτυχίας. Είναι ενδεδυμένη τον μανδύα μιας α-νοήτου φύσης, στην οποία σημασία έχει μόνον η εξωτερική εμφάνιση και οι κοινωνικοί κώδικες ευγενικής συμπεριφοράς.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Το ροζ δωμάτιο στο οποίο περιφέρονται οι Λαπίθη και Καφαρίδου σπάζοντας ροζ φούσκες (δεν είναι εκείνο το δωμάτιο των γυναικών, «το δικό τους δωμάτιο», που ονειρεύονταν η Βιρτζίνια Γουλφ πριν αυτοκτονήσει), και ο μεγάλος μύθος της γυναίκας ως καταναλωτικού κτήνους σε αναζήτηση του μαγικού ενδύματος (στην προκειμένη υποδήματος), που την κάνει ωραιότερη και πιο ξεχωριστή από τις υπόλοιπες, είναι οι κρίκοι μιας αλυσίδας που την κρατούν δέσμια των σεξιστικών συμβάσεων στην αστική καταναλωτική κοινωνία, για την οποία, σύμφωνα με την <span style="color: black;">Ann Laura Stoler, οι γυναίκες υπήρξαν<i style="mso-bidi-font-style: normal;"> </i>«σημαντικές όχι ως συμμετοχικοί πολίτες στη δημόσια σφαίρα, αλλά ως εκείνες που διασφαλίζουν ότι ο γάμος, η σεξουαλική ηθική και η οικογένεια παρέχουν τους φυσικούς πόρους για την αστική ζωή» </span></span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: Arial; font-size: 14pt; line-height: 150%;">1</span></b><span style="color: black; font-family: Arial; font-size: 14pt; line-height: 150%;">. </span><i style="mso-bidi-font-style: normal;"><u><span style="color: black; font-family: Arial;"></span></u></i></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η οπτικογράφηση της κίνησης των δύο γυναικών μέσα στο ροζ δωμάτιο γίνεται με όρους χαλαρής καταγραφής, με αρχικά σταθερή, σε μεσαίο κοντινό, λήψη των δύο σωμάτων, κυρίως από τη μέση και κάτω, η οποία εξελίσσεται στη συνέχεια, με αργή κίνηση της κάμερας, σε κοντινά πλάνα των ποδιών εν δράσει. Η δεκαπεντάλεπτη οπτικογράφηση είναι ένα αδιάλειπτο μονόπλανο, ενώ ο φωτισμός, ακατέργαστος, αφήνεται στην επιρροή του έντονου χρώματος των ροζ παρυφών του χώρου. Όπως και στα προηγούμενα έργα της Λαπίθη, δεν πρόκειται για μια στιλβωμένη ταινία κατασκευασμένη με έγνοια στην καλλιέπεια της εικόνας, αν και πιο στρωτή σε σχέση με τις προηγούμενες, στις οποίες συμφύρονται η εμπειρία της βιντεοτέχνης και του πειραματικού ντοκιμαντέρ, με χαρακτηριστικά του οικιακού βίντεο (home video), δηλαδή της ηθελημένα ερασιτεχνικής ιδιόχειρης χρήσης της κάμερας και της φλουταρισμένης εικόνας.</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 11pt; line-height: 150%;"> </span></i><span style="font-family: Arial;">Η μουσική, που είναι ένα από τα βασικά συστατικά στη νοηματική των προηγούμενων έργων, εδώ απουσιάζει, για να δοθεί έμφαση στον στιλπνό ήχο του σπασίματος. </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 11pt; line-height: 150%;"></span></i></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Το σπάσιμο της κάθε φούσκας σε ήχους που θυμίζουν πυροβολισμούς (ως φόρος τιμής σε μιαν από τις σημαντικότερες γυναίκες δημιουργούς, τη </span><span style="color: black; font-family: Tahoma;">Ν</span><span lang="EN-US" style="color: black; font-family: Tahoma;">iki</span><span lang="EN-US" style="color: black; font-family: Tahoma;"> </span><span lang="EN-US" style="color: black; font-family: Tahoma;">de</span><span lang="EN-US" style="color: black; font-family: Tahoma;"> </span><span lang="EN-US" style="color: black; font-family: Tahoma;">Saint</span><span lang="EN-US" style="color: black; font-family: Tahoma;"> </span><span lang="EN-US" style="color: black; font-family: Tahoma;">Phalle</span><span style="font-family: Arial;">), σηματοδοτεί κάθε φορά ένα βήμα προς την έξοδο της γυναίκας από την πλασματική χωρικότητα της κουφετένιας ζωής. Στον επίπλαστα τέλειο, ροζ, περίκλειστο κόσμο, οι ανέστιες από έναν αληθινό οίκο που θα στέγαζε την πραγματική τους φύση γυναίκες, όπως, για παράδειγμα, ο θόλος ενός ναού στον οποίο υπερίπτανται οι αισθαντικές γυναίκες της </span><span lang="EN-US" style="font-family: Arial;">Pipilotti</span><span style="font-family: Arial;">, προσπαθούν να διαρρήξουν την ιδεολογική συνοχή ενός οικοδομήματος που τις υποτάσσει στην υπαρξιακή αυτή πλάνη της αστικής ηθικής. </span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;">Ο φετιχισμός του γυναικείου σώματος – μεταφραζόμενο σε αντικείμενο/</span><span style="font-family: Arial;">κομμάτι κρέατος (στην προκειμένη μπουτιού), προκειμένου είτε να παγιδευτεί το αρσενικό<span style="color: black;"> ως καταναλωτικό θύμα, </span>με σκοπό να αλλάξει την αγοραστική του συμπεριφορά, αφού έχει</span><i style="mso-bidi-font-style: normal;"> </i><span style="font-family: Arial;">αποδεικτεί ότι ανταποκρίνεται καλύτερα σε διαφημίσεις που έχουν σεξουαλικό υπονοούμενο</span>,<i style="mso-bidi-font-style: normal;"> </i><span style="color: black; font-family: Arial;">είτε στον ιστό του έγγαμου βίου με μια «θεά» – παραπέμπει στη πραγμοποίηση του ανθρώπου, το να αντιμετωπίζεται, δηλαδή, ο άνθρωπος ως αντικείμενο.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η<span style="color: black;"> τελική αποανθρωποποίηση του ανθρώπου, οδηγεί σε μια κατάσταση ιδιαίτερα ευνοϊκή για την καταναλωτική κοινωνία, που δεν απολήγει μόνο σε ζητήματα εκμετάλλευσης, αλλά απόλυτου ελέγχου της σκέψης και των επιθυμιών του ατόμου, όπου το μεγάλο θύμα είναι η γυναίκα. </span></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;"> Το ζήτημα του έμφυλου υποκειμένου, η αναπαράσταση της γυναίκας στην τέχνη και η εικόνα που προβάλλουν τα ΜΜΕ απετέλεσαν το προζύμι για πολλές εικαστικούς (π.χ. Cindy Sherman, Judy Chicago, Suzanne La<personname w:st="on">cy</personname>, Adrian Piper, Kiki Smith, Barbara Kruger και Gina Pane), οι οποίες έδωσαν εξαιρετικά ενδιαφέρουσες όσο και διαφορετικές μεταξύ τους απαντήσεις γύρω από το πώς παράγεται και αναπαράγεται το έμφυλο υποκείμενο με επίκεντρο το σώμα, άλλοτε νοούμενο ως «κείμενο» που χρήζει ανάλυσης, παρά ως εικόνα προς κατανάλωση (Mary Kelly), άλλοτε ως «σάρκα-μάσκα» που πρέπει να αποβληθεί ή να τεμαχιστεί (Orlan, Pane) <b style="mso-bidi-font-weight: normal;">2 </b>κ.τ.λ.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;">Οι Λαπίθη-Καφαρίδου αναπαριστούν την αστή γυναίκα με σκοπό να τη γελοιοποιήσουν, τοποθετώντας με τη σειρά τους στο επίκεντρο τις «γυναίκες» ως δυνητική συλλογικότητα παρά ως σημείο-αναπαράσταση, ή ως σημείο-αναζήτηση των συμβολικών όρων παραγωγής της σεξουαλικής διαφοράς. <b style="mso-bidi-font-weight: normal;">3</b></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Οι δύο πλύστρες (αγγλιστί - </span><span lang="EN-US" style="font-family: Arial;">Washing</span><span lang="EN-US" style="font-family: Arial;"> </span><span lang="EN-US" style="font-family: Arial;">up</span><span lang="EN-US" style="font-family: Arial;"> </span><span lang="EN-US" style="font-family: Arial;">Ladies</span><span style="font-family: Arial;">), επιχειρώντας να «λευκάνουν» τα άπλυτα μιας υπόγειας και με αδιαφανή τρόπο σεξιστικής κοινωνίας, προχωρούν τη δράση προς τα πρόσω, στύβοντας στην τελική πλύση και τις ενοχές της αστής γυναίκας (εξ ου και τα χαρτομάντιλα που συνοδεύουν, αντί ποπ-κορν, το θεατή κατά τη θέαση του έργου)</span><i style="mso-bidi-font-style: normal;"> </i><span style="font-family: Arial;">για τη σημερινή της κατάσταση. <span style="color: black;">Φιλοδοξούν να προκαλέσουν ένα διάλογο γύρω από το γεγονός ότι στη δυτική κοινωνία του 21<sup>ου</sup> αιώνα η αστή γυναίκα διαθέτει τη δυνατότητα απαλλαγής από την κατασταλτική κυρίαρχη ανδρική εξουσία, την οποία δεν αξιοποιεί επαρκώς. Και επειδή ακριβώς φέρνει τη γυναίκα ενώπιον των ευθυνών της, ωθώντας την να κατεβάσει την ασπίδα του θύματος και να χειραφετηθεί και σε αυτό το επίπεδο, το έργο είναι αμιγώς εμποτισμένο από φεμινιστικό λόγο και πρόθεση.</span></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: Arial;">Η αισθητική παράθεση της γυναικείας επαναστατικότητας διασταυρώνεται με την περιπλοκότητα μιας στο έπακρον κερματισμένης συνείδησης, η οποία έχει αφομοιώσει και διαθλά έναν κόσμο ψεύτικο και αξίες που έχει, φευ, ενστερνιστεί από τη βιομηχανική επανάσταση και δώθε. Πώς άλλωστε να <span style="color: black;">ξεφύγει εύκολα από την </span>παγίδα του ρόλου τής<span style="color: black;"> δήθεν προστάτιδας της παράδοσης και της ηθικής, που έχει ως αποτέλεσμα το γυναικείο σώμα να γίνεται πεδίο επιτήρησης, προκειμένου να κρατηθεί στους αιώνες η ευθύνη της γυναίκας για την «ιερότητα» της κοινότητας και την περιφρούρηση της ευρωπαϊκής πολιτιστικής ευγένειας;</span></span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: Arial; font-size: 14pt; line-height: 150%;"> 4</span></b><span style="color: black; font-family: Arial;"></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;">Ο εικαστικός λόγος των Λαπίθη-Καφαρίδου μ</span><span style="font-family: Arial;">εταστοιχειώνεται σε αυτοσαρκασμό</span> <span style="font-family: Arial;">και απαίτηση για αυτογνωσία. Το ιδιόμορφο, φλεγματικό χιούμορ θα απολήξει σε μια φρενίτιδα από κακόγουστα σεξιστικά ανέκδοτα, για να προκαλέσει εκ νέου τον καθωσπρεπισμό και την υποκρισία μας (σοκαριστικά ανέκδοτα είναι αποδεκτά παντού εκτός από τους αμόλυντους ναούς του δυτικόφερτου πολιτισμού, οι οποίοι μεταφέρουν μέχρι σήμερα, έστω και ως ψήγματα, το σπόρο της προτεσταντικής βλοσυρότητας), ένας λόγος που δεν αφήνει ασχολίαστη ούτε τη βαθιά ριζωμένη αντίληψη και νοοτροπία που πηγάζει μέσα από τα σώψυχα της γυναίκας, εμποτισμένη με μια δόση αυτοενοχικής συνείδησης (θυμηθείτε το, την επόμενη φορά που θα αισθανθείτε «συμπόνια» για κάποιον, ο οποίος χειροδίκησε ενάντια σε γυναίκα και ακούσατε μέσα σας να ηχεί το... κατευναστικό «έλα μωρέ, τον καημένο», επειδή η καταδικαστέα αυτή πράξη απλώς έτυχε της αρμόζουσας τιμωρίας), η οποία, τελικά, επενδύει τις δομές της γυναικείας καταπίεσης. </span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding-bottom: 1pt; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; line-height: 150%; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm; text-align: justify;"><br />
</div></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">1. <em><span style="font-family: Arial; font-style: normal;">«Race</span></em><i style="mso-bidi-font-style: normal;"> and the </i></span><em><span style="color: black; font-family: Arial; font-style: normal;">Ε</span></em><em><span lang="EN-US" style="color: black; font-family: Arial; font-style: normal;">ducation</span></em><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: Arial;"> of </span></i><em><span lang="EN-US" style="color: black; font-family: Arial; font-style: normal;">Desire</span></em><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: Arial;">»,</span></i><span lang="EN-US" style="color: black; font-family: Arial;"> </span><span style="color: black; font-family: Arial;">σελ</span><span lang="EN-US" style="color: black; font-family: Arial;">. 131-132.</span><span lang="EN-US" style="font-family: Arial;"></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;">2. Από το κείμενο της Άντζελας Δημητρακάκη (Λέκτορας Ιστορίας της τέχνης στο Πανεπιστήμιο του Εδιμβούργου) «Η Σχεδόν Αναίμακτη Επανάσταση» </span><span lang="EN-US" style="color: black; font-family: Arial;">Book</span><span lang="EN-US" style="color: black; font-family: Arial;"> </span><span lang="EN-US" style="color: black; font-family: Arial;">press</span><span style="color: black; font-family: Arial;">.</span><span lang="EN-US" style="color: black; font-family: Arial;">gr</span><span style="color: black; font-family: Arial;"> </span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="color: black; font-family: Arial;">3. Ανάλυση (απόσπασμα) για το σύγχρονο τοπίο της φεμινιστικής τέχνης, η οποία ανήκει στην Άντζελα Δημητρακάκη (βλ. υποσημείωση 2)</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><em><span style="color: black; font-family: Arial; font-style: normal;">4. Από κείμενο της Λιόπης Αμπατζή (Δρ. Κοινωνικής Ανθρωπολογίας </span></em><span style="color: black; font-family: Arial;">και Ερευνήτρια στο Πανεπιστήμιο Αθήνας<em><span style="font-family: Arial; font-style: normal;">)</span></em><em><span style="font-family: Arial;"> </span></em><em><span style="font-family: Arial; font-style: normal;">«Το γυναικείο Σώμα ως σύνορο», </span></em></span><span lang="EN-US" style="color: black; font-family: Arial;">Book</span><span lang="EN-US" style="color: black; font-family: Arial;"> </span><span lang="EN-US" style="color: black; font-family: Arial;">press</span><span style="color: black; font-family: Arial;">.</span><span lang="EN-US" style="color: black; font-family: Arial;">gr</span><span style="color: black; font-family: Arial;"></span><br />
<span lang="EN-US" style="color: black; font-family: Arial;"><br />
</span><br />
<span lang="EN-US" style="color: black; font-family: Arial;"><div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span lang="EN-US" style="font-family: Arial; font-size: 14pt; line-height: 150%;"><br />
</span></u></i></b><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span lang="EN-US" style="font-family: Arial; font-size: 14pt; line-height: 150%;"><br />
</span></u></i></b><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span lang="EN-US" style="font-family: Arial; font-size: 14pt; line-height: 150%;"><br />
</span></u></i></b><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span lang="EN-US" style="font-family: Arial; font-size: 14pt; line-height: 150%;"><br />
</span></u></i></b><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span lang="EN-US" style="font-family: Arial; font-size: 14pt; line-height: 150%;"> Prompted by the burst of the bubble<o:p></o:p></span></u></i></b></div><div class="MsoNormal" style="line-height: 150%;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">By Elena Christodoulidou<o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">In order to make sense of and interpret a complex and manifold world, human reason devises various interpretative methods. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Art, being such an interpretative method and by employing its own media and tools becomes an act of understanding that, in order to be such, always commixes a form (or, in other words, the signifier) and a content (in other words the signified). Form presupposes and flows into content, and, conversely, content concludes in form.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Criticism always facilely exercised on the level of content, and less so with respect to form, is rendered unable to capture the ‘how’ of a work of art, confusing aesthetics with chatter. Formalism, on the other hand, frequently becomes a self-referential game, by means of incomprehensible codices, without referenced or signified objects, and thus ends up being jabber. A work of art must, therefore, capture and express the complexity and multi-coded nature of the world we live in, or, at least, of its subject and the criticism that follows the work must identify (when such exist) its multiple layers.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">This ascertainment leads to a second and equally important one, which holds that important works, however complex and multifaceted they may be, are at the same time simple. Thus, a patron of the arts must be able to discern simplicity from simplemindedness, in order to properly read the work’s content, and thus not treat art with the criterion being the fame of its creator, or identify quality with impenetrability and the unintelligible, feeling that the less comprehensible a work is the more praise it deserves.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Hence, what is achieved in the triptych presented by Lia Lapithi and Marianna Kafaridou, starting with the visualized action in the pink room that develops over a large projection, is not the simpleminded caprice of two young women, but a denouncement, a shot in a clear blue sky against the predetermined fate of a particular class of women group in western societies.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">After the two creators have settled, with their previous work, their score with the compulsion of household handiwork “women” performances, by literally breaking a washing machine to pieces, placing themselves firmly in the tradition of symbolic violence in feminist art – recall Pipilotti Rist engaged in the breaking of cars’ windscreens, attacking in this way the metal horse of the modern-era knight – now attempt to deconstruct an even more obligating and devious enemy, the fictionalization of woman’s happiness.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">The woman with the “Barbie looks” on show by the two creators is both unhistorical and with no history. She does not carry the burden of her land’s history or its traditions, and for this she is also deprived of historicity, which would actively re-place her in the human and not dollhouse, society; thus she is doomed to experience the feigned ideas of a outlandish and deceitful happiness. She wears the gown of un-intelligible nature, where all that is important are looks and social codes of suaveness.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">The pink room where Lapithi and Kafaridou wander round bursting pink bubbles (this being not <i style="mso-bidi-font-style: normal;">that</i> room for women, “their room”, the one that Virginia Wolf dreamed about before she committed suicide), and the great myth of woman as a consuming beast in search of the enchanted dress (in the case at hand, shoe), that would make her more beautiful and special from the others, are the rings of a chain holding her captive to the sexist conventions of the urban consumer society, for which, according to Ann Laura Stoler, women were “important not as participial citizens in the public sphere, but as those ensuring that marriage, sexual morals and family provide the natural resources for urban life”.<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 12pt;">[i]</span></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">The visualization of the movement of the two women inside the pink room is in terms of a relaxed recording, initially stable, close-up to medium distance shooting of the two bodies, principally from the waist below, which then evolves, through the camera’s slow movement, to a close-up of the feet in action. The fifteen minute visual narrative is a uninterrupted single camera action, while the lighting, unprocessed, is left under the spell of the bright color of the pink edges of the space. Just like in Lapithi’s older works this is not glazed movie that cares for the elegance of the image, although more streamlined than her previous works, where the experience of video art mixes with experimental documentary, with home video features, namely the intended amateur point-of-view camera work and blurred image. The music, which was one of the key components with respect to the noematics of previous works, is absent here, to emphasize the sleek sound of bursting.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Bursting every bubble to sounds reminiscent of gunfire (as a tribute to one of the most important woman creators, Niki </span><span lang="EN-US" style="color: black; font-family: Tahoma;">de Saint Phalle</span><span lang="EN-US" style="font-family: Arial;">), each time signifies a step towards the women exiting from the factitious territoriality of a sugarplum life. In this storybook, pink, enclosed world, the homeless from a real house, that would accommodate their real nature, women, such as, for example, the dome of a temple where Pipilotti’s luscious women hover, strive to break the ideological coherence of an edifice that subordinates them to this existential deception of urban morals.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">The fetishism of the female body, translated into an object/piece of meat (in the case at hand, thigh), in order to either trap the male as consuming prey, and thus change its consuming behavior, since it has been proven that it responds best to advertisements with a sexual innuendo, or to trap it in the web of married life to a “goddess” – refers to the reification of man, treating, that is, man as an object.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">The ultimate de-humanization of man leads to a state favorable for the consuming society that not only results in exploitation issues, but also in the absolute control of the thoughts and desires of the individual, where the major victims are women.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">The issue of gendered subject, the representation of women in art and the image projected by the Media functioned as leaven for many women visual artists (such as Cindy Sherman, Judy Chicago, Suzanne La<st1:personname w:st="on">cy</st1:personname>, Adrian Piper, Kiki Smith, Barbara Kruger and Gina Pane to name a few), which have offered us extremely interesting and different from one another answers to the question of how the gendered subject centered around the body is produced and reproduced, at times understood as a “text” in need of an analysis, rather than an image to be consumed (Mary Kelly), and at other times as “flesh-mask” that must be cast out or dissected (Orlan, Pane)<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: Arial; font-size: 12pt;">[ii]</span></span></span></a>, etc. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">Lapithi-Kafaridou express the urban woman aiming to ridicule her, placing, in their turn, at the epicenter “women” as a potential collectiveness rather than a point-representation; or as a point-quest for the symbolic terms for the production of sexual contrast.<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: Arial; font-size: 12pt;">[iii]</span></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">The two Washing up Ladies, striving to “bleach” the dirty linen of an underground and in an opaque way sexist society, march onwards, squashing in the final wash also the guilt of the urban woman (hence the paper tissues replacing popcorn during the show) for its present state. They aspire to bring about a dialogue centered on the fact that in 21<sup>st</sup> century western society, the urban woman can acquit herself of the repressive dominant male authority, which she does not adequately exploit. And precisely because it brings women before their responsibilities, urging them to lower the shield of the victim and be emancipated also on this level; the work is immiscibly impregnated in feminist work and intent.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">The aesthetic apposition of female insubordination crosses with the complexity of an extremely smashed consciousness, which has absorbed and diffracts a feigned world and the values it has, alas, adopted from the industrial revolution and onwards. Besides, it is not easy to escape the trap of her role as, supposedly, the patroness of tradition and morals, resulting into the female body becoming the field of supervision, in order to hold till kingdom come women responsible for the “sacredness” of community and the safeguarding of European cultural civility.<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 12pt;">[iv]</span></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-US" style="color: black; font-family: Arial;">The artistic expression of Lapithi-Kafaridou transmutes into self-sarcasm and a demand for self-awareness. The idiosyncratic, phlegmatic humor concludes in a frenzy of bad taste sexist jokes, thus challenging our respectability and slyness afresh (socking jokes are acceptable everywhere save for the unsullied temples of westernized culture, which convey, until today, be them filings, the grain of protestant sternness); an expression that does not leave even the deeply rooted notion and attitude emanating from the female psyche untouched, impregnated with a dose of self-reproaching awareness (remember this next time you will feel “compassion” for someone who used force against a woman, and you hear inside of you the toll of the… depressant “come on, this poor soul”, simply because such condemnable act received the proper punishment), which, ultimately, invests on the structures of female oppression.<o:p></o:p></span></div><div style="mso-element: endnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: 'Times New Roman'; font-size: 10pt;">[i]</span></span></span></a> <span lang="EN-US" style="font-family: Arial;">“Race and the Education of Desire”, pp. 131-132.<o:p></o:p></span></div></div><div id="edn2" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: 'Times New Roman'; font-size: 10pt;">[ii]</span></span></span></a> <span lang="EN-US" style="color: black; font-family: Arial;">Excerpt from Angela Dimitrakaki’s (History of Art Lecturer at the <st1:place w:st="on"><st1:placetype w:st="on">University</st1:placetype> of <st1:placename w:st="on">Edinburgh</st1:placename></st1:place>) work “The Almost Bloodless Revolution”, Book press.gr</span><span lang="EN-US"><o:p></o:p></span></div></div><div id="edn3" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: 'Times New Roman'; font-size: 10pt;">[iii]</span></span></span></a> <span lang="EN-US">Analysis (excerpt) on the modern landscape of feminist art, by Angela Dimitrakaki” (cf. endnote 2).<o:p></o:p></span></div></div><div id="edn4" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/bursting_the_bubble_eng.doc#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: 'Times New Roman'; font-size: 10pt;">[iv]</span></span></span></a> <span lang="EN-US">From Liopi Abatzi’s text “The Female Body as Boundary”, Book press.gr (Liopi is a doctor of Social Anthropology and Researcher at the <st1:place w:st="on"><st1:placetype w:st="on">University</st1:placetype> of <st1:placename w:st="on">Athens</st1:placename></st1:place>).<o:p></o:p></span></div></div></div></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-44066434595169020702010-07-22T20:36:00.001+03:002010-08-25T21:34:09.407+03:00Washing Up Ladies- Για την Ισότητα και την Ενδυνάμωση των Φύλων . Μαίρη Κουτσελίνη<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ0xtzQAMjFrJsvrvBb94eDx7kEe8MsDcVDc_-X5S17X5rBMuVyDC_ZWiotMsF36qYYaOXxi2EIYZonsJOQs5dmWQUIOrFDhm4uynOXGawrsmOcvHoUikvL2qiWEjOdexkqPKtrcLw6Uk/s1600/UniCy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ0xtzQAMjFrJsvrvBb94eDx7kEe8MsDcVDc_-X5S17X5rBMuVyDC_ZWiotMsF36qYYaOXxi2EIYZonsJOQs5dmWQUIOrFDhm4uynOXGawrsmOcvHoUikvL2qiWEjOdexkqPKtrcLw6Uk/s640/UniCy.jpg" width="640" /></a></div><br />
<br />
Λευκωσία, 17 Ιουλίου 2010 <br />
<br />
Η έκδοση «Washing Up Ladies » είναι ένα ισχυρό βήμα ενσυναίσθησης, αναστοχασμού και αντίδρασης στις δεδομένες σχέσεις και δομές δύναμης και εξουσίας μεταξύ των φύλων στη σύγχρονη κοινωνία. Παρά τις περί του αντιθέτου διακηρύξεις, οι δομές, (οικονομικές, κοινωνικές, εκπαιδευτικές-πολιτιστικές και πολιτικές) που καθορίζουν τις σχέσεις των φύλων, τα δικαιώματα και τις προσδοκίες της κοινωνίας από τον άνδρα και τη γυναίκα παραμένουν πατριαρχικές, με την έννοια ότι οι βιολογικές διαφορές ενδύονται με κοινωνικό νόημα που περιορίζει το ρόλο και τη θέση της γυναίκας σε σχέση με τον άντρα. Μια τέτοια εκλογίκευση των διαφορών εις βάρος της γυναίκας στηρίζεται στη διάδοση του στερεοτύπου ότι οι γυναίκες επειδή είναι από τη φύση τους διαφορετικές βιολογικά, είναι και προορισμένες να αναλαμβάνουν διαφορετικούς ρόλους, και κυρίως αυτούς της συζύγου και μητέρας και γιατί όχι, και του σεξιστικού αντικειμένου. <br />
<br />
Επομένως θα πρέπει να αφήνουν άλλους εργασιακούς και ευρύτερα κοινωνικούς ρόλους στους άντρες και κατά συνέπεια να «υπόκεινται» στους όρους και τα κριτήρια αξιολόγησης της αξίας τους, όπως αυτά προτάθηκαν στην ιστορική εξέλιξη των κοινωνιών μέσα από την μια κυρίαρχη έμφυλη κουλτούρα με πρότυπα τα χαρακτηριστικά της αντρικής ταυτότητας. Αυτή η κυρίαρχη κουλτούρα θέλει τη γυναίκα να «κρίνεται» με κριτήρια κατά κύριο λόγο εμφανισιακά, σεξιστικά, συναισθηματικά, φιλανθρωπίας και κοινωνικής προσφοράς, σε τομείς δηλαδή που της παραχωρήθηκαν ως πλέον αρμόζοντες στον ρόλο που «πρέπει» να έχει σε μια κατά κανόνα πατριαρχικά δομημένη κοινωνία. <br />
<br />
Με τη θέση ότι οι πατριαρχικές σχέσεις είναι δομικές εννοούμε ότι ενυπάρχουν στους θεσμούς και στις κοινωνικές πρακτικές στην κοινωνία και δεν μπορούν να εξηγηθούν απλουστευτικά με επίκεντρο τις προθέσεις συγκεκριμένων ατόμων. Είναι περισσότερο σχέσεις εξουσίας και δύναμης οι οποίες εκδηλώνονται αλλά και εγκαθιδρύονται στις επικρατούσες πρακτικές, για παράδειγμα προαγωγών, υποτροφιών, ωραρίου εργασίας καθώς και στη ρητορική των ΜΜΕ, των διαφόρων προγραμμάτων, σχεδίων, ανακοινώσεων, μανιφέστων και σε όλες τις αναπαραστάσεις κάθε μορφής τέχνης και επικοινωνίας. <br />
<br />
Η αποδόμηση των αναπαραστάσεων αυτών αποκαλύπτει μορφές κοινωνικής οργάνωσης με συνέπειες σε όλους τους τομείς δραστηριότητας οι οποίες εγκαθιδρύονται ως φυσιολογικές διαδικασίες (naturalization process), γίνονται αποδεκτές και δεν ξενίζουν. Έτσι, για παράδειγμα θεωρείται φυσιολογικό η γυναίκα- μητέρα να εγκαταλείπει τα σχέδιά της για εργασία, μόρφωση και καριέρα, όπως δείχνουν οι επίσημες στατιστικές σε ολόκληρη την Ευρώπη και την Κύπρο, όπου το ποσοστό απασχόλησης γυναικών μειώνεται όταν αυτές έχουν παιδιά, ενώ το αντίθετο συμβαίνει με τους άνδρες. Ακόμη, στις ηλικίες 25-54 παρατηρείται το μεγαλύτερο ποσοστό ανεργίας των γυναικών, ενώ η φτώχεια είναι γένους θηλυκού και στεριώνεται στην πρακτική η γυναίκα- μητέρα να είναι εξαρτώμενη οικονομικά του άνδρα. Η μη συμφιλίωση της εργασίας και της δια βίου εκπαίδευσης με την οικογένεια, καθώς και οι δομές που αναγκάζουν τη μητέρα να εγκλωβίζεται σε ένα μόνο ρόλο μέσα στο σπίτι, περιορίζουν τη δυνατότητά της να συνεχίσει να μορφώνεται και να διεκδικεί, όπως δείχνουν οι στατιστικές που θέλουν τη γυναίκα μετά τα 40 να συμμετέχει σε προγράμματα εκπαίδευσης και μόρφωσης σε ποσοστό τρεις φορές μικρότερο από αυτό του άνδρα. <br />
<br />
<br />
<br />
Την ίδια ώρα το πολυπροβαλλόμενο πρότυπο του άντρα- αφέντη, που πρέπει να έχει τον πρώτο και κυρίαρχο ρόλο στο δημόσιο πολιτικό και κοινωνικό βίο, συμβάλλει στην αύξηση των κρουσμάτων κάθε μορφής βίας σε μια ανεκτική κοινωνία, την ευρωπαϊκή, αλλά και ιδιαίτερα την κυπριακή που έχει και ένα από τα χαμηλότερα ποσοστά καταδίκης για βία κατά των γυναικών, παρόλο που την τελευταία δεκαετία τα κρούσματα έχουν υπερδιπλασιαστεί. Το θέμα επομένως της ισότητας δεν είναι μόνο θέμα της κοινωνίας αλλά και της πολιτείας που προχωρεί σε νομοθετικές μεν ρυθμίσεις, κάθε φορά που η Ευρωπαϊκή Ένωση την αναγκάζει, αλλά που παραμένει απαθής σε θέματα όχι απλώς ισονομίας αλλά πραγματικής ισοτιμίας, όπως εξάλλου δείχνει και η μη αναγνώριση των εκ μητρογονίας προσφύγων σε μια ευρωπαϊκή χώρα του 21ου αι. <br />
<br />
Το θέμα της καταπίεσης του ίδιου του άντρα που πρέπει να συμπεριφέρεται με βάση τα στερεότυπα ενός προτύπου επιθετικού, βίαιου, και με συμπλέγματα ανωτερότητας απέναντι στη γυναίκα είναι επίσης καίριο φυλετικό θέμα, μια και ο ίδιος ο θύτης αυτοεγκλωβίζεται με τις στερεότυπες αντιλήψεις σε ένα δοσμένο ρόλο, πολλές φορές το ίδιο καταπιεστικό. Όμως, η διάσταση αυτή δεν πρέπει να αποκρύπτει τις κυριαρχικές εις βάρος της γυναίκας συμπεριφορές σε μια κοινωνία της οποίας όχι μόνο οι αντιλήψεις αλλά και οι δομές περιθωριοποιούν τη γυναίκα στα κέντρα λήψης απόφασης, στα ΜΜΕ, στα ακαδημαϊκά ιδρύματα, στα κέντρα έρευνας, στα πολιτικά βήματα αλλά και στην ιδιωτική και οικογενειακή ζωή, όπου είναι καλή μόνο όταν δουλεύει για όλους τους άλλους, και από όπου βρίσκεται στη φυλακή για οικογενειακά χρέη μετά τη διάλυση του γάμου της. <br />
<br />
Μέσα από ποικίλες θεωρίες για τη σχέση των φύλων, εναλλαγές ορολογίας για την αποδόμηση των στερεοτύπων της γλώσσας και των διαφορετικών σημασιών στους όρους και στη γλώσσα που χρησιμοποιούμε, όπως για παράδειγμα στις διαφορές των μηνυμάτων στους όρους γυναίκα- άντρας, θηλυκό και αρσενικό και των σχέσεων που υποδηλώνουν, καταλήγουμε στον εαυτό ως μια κοινωνική κατασκευή που συνεχώς διαμορφώνεται και αναδιαμορφώνεται με κυρίαρχο όργανο τη γλώσσα. Από το Freud στο Lacan, από τον Derrida και τη Cixous στη Julia Kristeva, για να μείνουμε μόνο σε λίγους, αναζητούνται και ερμηνεύονται οι όροι της κατασκευής της κοινωνικής ταυτότητας και των ρόλων, που διαιωνίζουν την αρνητική διάκριση των φύλων. <br />
<br />
Οι Washing – Up ladies συνοδοιπορούν στις αναζητήσεις αυτές και αγωνίζονται μέσα από την Τέχνη στο ξέπλυμα των ιδεών που θέλουν τις σχέσεις εξάρτησης και εξουσίας να διαιωνίζονται εις βάρος της γυναίκας. Διακηρύσσουν μέσα από τις αναπαραστάσεις της τέχνης «Sorry to burst your bubble but gender issues still unresolved (2010)» στοχεύοντας στην υπέρβαση των αρνητικών στερεοτύπων εις βάρος της γυναίκας αλλά και στη διάρρηξη των δομών που τα αναπαράγουν, μέσα από το συμβολισμό με το σπάσιμο των ροζ μπαλονιών με τα ψηλά τακούνια των κοριτσιών που τα πατούν. Μεταφέρουν μηνύματα που αποδομούν το καθιερωμένο προφίλ της νηφάλιας γυναίκας που καρτερεί να της δώσουν ισότητα: αυτοσαρκάζονται, προβάλλουν το αρνητικό πρότυπο και αντιστέκονται με πράξη καταστροφής του. Η τέχνη τους δεν είναι διαμαρτυρία αλλά Δράση με πολλαπλούς συμβολισμούς. <br />
<br />
<br />
<br />
Η Έδρα ΟΥΝΕΣΚΟ για την Ισότητα και Ενδυνάμωση των Φύλων του Πανεπιστημίου Κύπρου συμβάλλει με την έκδοση αυτή στην προβολή των ιδεών και της δράσης της ομάδας Τέχνης Washing-Up Ladies της Κύπρου εκπληρώνοντας έτσι βασικούς στόχους των δραστηριοτήτων της. <br />
<br />
Μαίρη Κουτσελίνη <br />
Καθηγήτρια <br />
<br />
Τμήμα Επιστημών της Αγωγής<br />
<br />
Διευθύντρια της Έδρας ΟΥΝΕΣΚΟ του Πανεπιστημίου Κύπρου<br />
<br />
Για την Ισότητα και την Ενδυνάμωση των Φύλων<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">The volume on “Washing up ladies” is a bold step of empathy, self-reflection and reaction to given relations and frames of power and authority between the genders in modern-era society. Despite declarations to the opposite, the frames (economic, social, educational, cultural and political) that determine relations between the genders, the rights and society’s expectations from man and woman remain patriarchic, in the sense that biological differences are outfitted with social meaning that restricts the role and place of woman compared to that of man.<o:p></o:p></span></div><div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Such a rationalization of differences against women rests on the propagation of the stereotype that women being biologically different by nature, are also destined to assume different roles, and specifically those of the wife and mother and, why not, that of the sex object.<o:p></o:p></span></div><div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">They must therefore leave the other professional, vocational and greater social roles to men and, consequently, to “subscribe” to the terms and criteria for the evaluation of their value, as these were proposed in the historic evolution of societies through the one dominant gender-defined culture whose models bear the characteristics of male identity. This dominant culture wants women to be “judged” with criteria that are mostly based on appearances, are sexist, emotional, relate to charity and social work, to those sectors, that is, that were accorded to them, as the most fitting for the role that they “must” play in an, as a norm, paternalistically structured society. <o:p></o:p></span></div><div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">In holding that patriarchal relations are structural ones, we mean that they are inherent in institutions and social practices in society and cannot be explained by being simplified with reference to the intentions of particular individuals. They are more relations of authority and power which are manifested by, but also established in, the prevailing practices, for example with respect to promotions, scholarships, working hours, as well as the rhetoric of the Mass Media, the different programs, plans, notices and manifestos and in all representations of every form of art and communication.<b> <o:p></o:p></b></span></div><div style="background: white; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">The deconstruction of such representations brings to light forms of social organization whose effects are evident in all sectors of human activity and which are established as naturalization processes, become acceptable and no longer sound strange. Thus, for example, it is considered natural for a woman-mother to abandon any plans she may have made regarding a job, education or careers, as it is evident from official statistics across Europe and <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>, where the percentage of women employed decreases while they have children, contrary to what happens with men. Furthermore, the largest unemployment percentage in women is observed in the 25-54 age group, while poverty is also of the feminine gender and is cemented on the practice for women-mothers to be financially dependent on the man. The non reconciliation of employment and life-long learning with family and the structures that force mothers to a sole role in the house, limit women’s capacity to be further educated and stake their claims, as is demonstrated by statistics that show that women over 40 participate in training and education programs at a percentage three times smaller than that of men. </span><span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></div><div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">At the same time the much-publicized standard of man-master, who must have the first and overbearing role in public political and social life, contributes to the increase of incidents of all kinds of violence in a tolerant society, the European one, but also specifically in Cypriot society which has one of the lowest percentages of convictions for violence against women, despite the fact that such cases have more than doubled in the last decade. Hence, the issue of equality is not only an issue for society, but also for the state which may proceed with regulation, every time it is so compelled by the European Union, but which remains impassive to issues, not just regarding isonomy, but also regarding actual equality, as is demonstrated by the non-recognition of matrilinear refugees in a European country in the 21<sup>st</sup> century.<b> <o:p></o:p></b></span></div><div style="background: white; text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">The issue of the oppression of man himself, who must behave based on the stereotypes of a violent, aggressive standard, exhibiting superiority complexes against women, is also an opportune gender issue, since the victimizer finds himself enclosed in stereotype perceptions for a given role which, on many occasions, are as oppressive. However, this dimension must not suppress the dominating, against women, behaviors in a society whose frameworks, as well as its perceptions, marginalize women in the decision making centers, the Media, the academic institutions, the research centers, the political rostrums, but also the private and family life, where she is deemed good only when working for everybody else, and from where she finds herself in prison, for family debts, after the dissolution of her marriage. <o:p></o:p></span></div><div style="background: white; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Through various theories on gender relations, changes of terminology for the deconstruction of linguistic stereotypes and the different meanings of the terms and the language we use, such as, for example, the differences in the content of the terms woman-man, female and male and the relations they imply, we end up in the self as a social structure which is continuously shaped and reconfigured, with language serving as the dominant tool. From Freud to Lacan, from Derrida and Cixous to Julia Kristeva, to cite but a few, the terms of the construction of the social identity and roles, that perpetuate the negative discrimination between the sexes, are constantly being sought and interpreted. </span><span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman"; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-language: EL;">Washing-Up Ladies travel together on these quests and fight through Art to wash away the ideas that want the relations of dependence and power against women to drag on. They make a statement with their artistic representations in “<i style="mso-bidi-font-style: normal;">Sorry to burst your bubble but gender issues still unresolved</i>”<i style="mso-bidi-font-style: normal;"> </i>(2010), aiming to transcend negative stereotypes against women and to break the structures that reproduce them, through the symbolism of the bursting of pink balloons-bubbles by the girl’s high heels stepping on them. They convey messages deconstructing the established profile of the composed woman that longs for equality: they practice self-sarcasm, promote the negative standards and impugn with the act of its destruction. Their art is not a protestation but a Happening with multiple symbolisms. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman"; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-language: EL;">The UNESCO chair in Gender Equality and Women’s Empowerment at the <st1:placetype w:st="on">University</st1:placetype> of <st1:placename w:st="on">Cyprus</st1:placename> contributes with this publication to the promotion of the ideas and actions by the Washing-Up Ladies art group of <st1:country-region w:st="on"><st1:place w:st="on">Cyprus</st1:place></st1:country-region>, thus fulfilling the key objectives of their activities. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><!--[if gte vml 1]><v:shapetype id="_x0000_t75" coordsize="21600,21600"
o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe" filled="f"
stroked="f"> <v:stroke joinstyle="miter"/> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"/> <v:f eqn="sum @0 1 0"/> <v:f eqn="sum 0 0 @1"/> <v:f eqn="prod @2 1 2"/> <v:f eqn="prod @3 21600 pixelWidth"/> <v:f eqn="prod @3 21600 pixelHeight"/> <v:f eqn="sum @0 0 1"/> <v:f eqn="prod @6 1 2"/> <v:f eqn="prod @7 21600 pixelWidth"/> <v:f eqn="sum @8 21600 0"/> <v:f eqn="prod @7 21600 pixelHeight"/> <v:f eqn="sum @10 21600 0"/> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/> <o:lock v:ext="edit" aspectratio="t"/> </v:shapetype><v:shape id="_x0000_i1025" type="#_x0000_t75" style='width:162pt;
height:29.25pt'> <v:imagedata src="file:///C:\DOCUME~1\yiannis\LOCALS~1\Temp\msohtml1\01\clip_image001.jpg"
o:title="scan0002"/> </v:shape><![endif]--></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Professor<o:p></o:p></span></i></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Department of Educational Sciences<o:p></o:p></span></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Director, UNESCO Chair in Gender Equality and Women’s Empowerment, University of Cyprus<o:p></o:p></span></i></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-66487941329790563542010-07-09T16:27:00.004+03:002010-08-25T21:39:30.449+03:00Washing-Up Girls : στα χνάρια της φεμινιστικής τέχνης - Χριστίνα Βατσέλλα,Ιστορικός τέχνης 8|7|2010<div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"></span></span><br />
<span class="Apple-style-span" style="font-size: small;"></span><br />
<div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Το γεγονός ότι η τέχνη είναι γένους θηλυκού ανήκει στα παράδοξα της γλώσσας και της ιστορίας. Ανδροκρατούμενος κατά βάση χώρος επί αιώνες, με λίγες εξαιρέσεις να επιβεβαιώνουν θλιβερά τον κανόνα, η καλλιτεχνική δημιουργία αρχίζει δειλά να γίνεται (και) γένους θηλυκού κατά τη διάρκεια του 20<sup>ου</sup> αιώνα, ήδη από τις πρώτες δεκαετίες αλλά κυρίως μεταπολεμικά. Η μεγάλη διαφοροποίηση παρατηρείται στα τέλη του 60 και τις αρχές του 70 όπου η γυναικεία καλλιτέχνικη δημιουργία γίνεται συστηματική και συμπορεύεται με το κοινωνικό κίνημα του φεμινισμού. Η διαφορά έγκειται στο γεγονός ότι η τέχνη αυτή δεν είναι απλώς φτιαγμένη από γυναίκες αλλά τα έργα πραγματεύονται και καταγγέλλουν, άμεσα ή έμμεσα, τη γυναικεία συνθήκη. Οι φεμινίστριες καλλιτέχνιδες, ακροβατώντας μεταξύ τέχνης και ζωής, κάνουν, υπό μίαν έννοια, στρατευμένη τέχνη εκφράζοντας την ανάγκη προσδιορισμού μιας ταυτότητας και του μηχανισμού καταπίεσης που τη δομεί<a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Verdana; font-size: 10pt;">[1]</span></span></span></a>. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Μέσα στην πλούσια φεμινιστική εικονογραφία των προηγούμενων δεκαετιών μπορούμε να διακρίνουμε τρία έργα-αναφορά, τρεις εικόνες–σύμβολα, οι οποίες, χαραγμένες στο συλλογικό εικαστικό υποσυνείδητο, συμπυκνώνουν το περιεχόμενο της φεμινιστικής τέχνης. Πέρα από το να υπηρετούν τον συγκεκριμένο ιδεολογικό προσανατολισμό, τα έργα αυτά αποτελούν ταυτόχρονα πολύ σημαντικές στιγμές της σύγχρονης καλλιτεχνικής δημιουργίας λόγω της ωριμότητας της φόρμας και της πρωτότυπης και εικαστικά άρτιας χρήσης των εικαστικών μέσων. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Μια από τις πρώτες βαθιά φεμινιστικές εικόνες στην ιστορία της τέχνης γεννιέται πριν την αυγή του φεμινιστικού κινήματος. Στις 12 Φεβρουαρίου 1961 η Niki de Saint-Phalle πραγματοποιεί για πρώτη φορα δημόσια την εικαστική δράση που θα συνδεθεί άρρηκτα με το έργο της : τους πυροβολισμούς (<i style="mso-bidi-font-style: normal;">tirs</i>). Εχοντας από πριν τοποθετήσει σακούλες με υγρή μπογιά πάνω στο έργο, η καλλιτέχνης πυροβολεί με ένα όπλο τους πίνακες-γλυπτά της. Με το πάτημα της σκανδάλης, η κόκκινη, μπλε ή κίτρινη μπογιά εκτινάσσεται στην επιφάνεια του έργου. Με το βίαιο αυτό τρόπο, η Niki de Saint-Phalle προσθέτει την τελευταία πινελιά. Πρόκειται και για μια διαδικασία εικαστικής δημιουργίας με στοιχεία </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">performance</span><span style="font-family: Verdana; font-size: 10pt;"> που παραπέμπει στο </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">action</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">painting</span><span style="font-family: Verdana; font-size: 10pt;">, με την έννοια ότι το χρώμα συναντά την επιφάνεια του έργου μέσα από μια συγκεκριμένη σωματική δράση του καλλιτέχνη. Οπως αναφέρει και η ίδια, <i style="mso-bidi-font-style: normal;">ο πυροβολισμός ειναι για μένα</i> (…) <i style="mso-bidi-font-style: normal;">μια χειρονομία που γεννά μια γλώσσα, ένα λεξιλόγιο άλλα και το χώρο ενός θεάματος</i></span><a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">[2]</span></b></span></span></i></span></a><span style="font-family: Verdana; font-size: 10pt;">. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Η καλλιτέχνης είναι οπλισμένη, σημαδεύει και πυροβολεί. Και το έργο ματώνει. Πρόκειται για μια σκηνή ακραίας, ωμής βίας που ανατρέπει άρδην τη στερεοτυπική εικόνα που επιτάσσει να έχει ο άντρας το όπλο και τη δύναμη, να είναι εκείνος ο στρατιώτης ή ο κυνηγός, ο εκφραστής της βίας, ο κυρίαρχος. Αντίστοιχα, το στερεότυπο της γυναίκας–θύμα ανατρέπεται</span><span style="font-family: Symbol; font-size: 10pt;">×</span><span style="font-family: Verdana; font-size: 10pt;"> η γυναίκα γίνεται θύτης. Όπως αναφέρει ο </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Ulrich</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Krempel</span><span style="font-family: Verdana; font-size: 10pt;">, ένας από τους βασικούς ερευνητές του έργου της, η Niki de Saint-Phalle αγνοεί εσκεμμένα το ρόλο και την εικόνα της γυναίκας που σε μια ανδροκρατούμενη κοινωνία συνίσταται στην παθητικότητα, την υποχώρηση, τη συστολή, το ρόλο δευτεραγωνιστή<a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Verdana; font-size: 10pt;">[3]</span></span></span></a>. Πράγματι, η καλλιτέχνης αγνοεί επιδεικτικά τα κοινωνικά ταμπού καθώς πυροβολεί και σκοτώνει το ίδιο της το έργο, το δημιούργημά της, το παιδί της, ως άλλη Μήδεια.</span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Αρχής γενομένης από τη σειρά έργων της Niki de Saint-Phalle, η βία και η ανάγκη ή το δικαίωμα έκφρασής της, θα αποτελέσει ένα βασικό άξονα της φεμινιστικής δημιουργίας. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Ένα δεύτερο έργο-σταθμός της φεμινιστικής τέχνης είναι το <i style="mso-bidi-font-style: normal;">Tap and Touch Cinema</i> της Valie Export. H performance πραγματοποιείται στο Μόναχο το 1968, τη χρονιά που έχει ανεξίτηλα συνδεθεί με την σεξουαλική απελευθέρωση. Η μαγνητοσκόπηση της </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">performance</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">αποτελεί ένα από τα πιο γνωστά έργα </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">video</span><span style="font-family: Verdana; font-size: 10pt;"> της περιόδου αυτής. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Η καλλιτέχνις φέρει στο μπούστο της μία ορθογώνια κατασκευή που λειτουργεί ως μικρογραφία κινηματογραφικής αίθουσας. Πρόκειται για ένα σκοτεινό δωμάτιο με μία αυλαία, η οποία ανοίγει προς τέρψιν των χεριών και όχι των ματιών του θεατή. Το κοινό καλείται να βάλει τα χέρια του μέσα σε αυτό το σκοτεινό κουτί και να ψηλαφίσει το στήθος της καλλιτέχνιδας για 30 δευτερόλεπτα. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">H</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">πρόσκληση-πρόκληση της καλλιτέχνιδας έχει κάτι το το βαθιά σεξουαλικό αλλά ταυτόχρονα τρομακτικό καθώς γίνεται άμεση αναφορά στο συμβολισμό της διείσδυσης αλλά και του ευνουχισμού, εξ ου κι ο χαρακτηρισμός «genital guillotine» που η καλλιτέχνης αποδίδει στο έργο της. Καθώς η performance πραγματοποιείται σε δημόσιο χώρο, η καλλιτέχνης κάνει ένα εύγλωττο σχόλιο πάνω στη σεξουαλική φαντασίωση και την ηδονοβλεψία στα πλαίσια μιας περιόδου που η σεξουαλική απελευθέρωση είναι αίτημα της κοινωνίας. Στο <i style="mso-bidi-font-style: normal;">Tap and Touch Cinema</i> η γυναίκα-καλλιτέχνης-Πανδώρα μεταμορφώνεται κυριολεκτικά σε αντικείμενο ηδονής και διατίθεται σε κουτί.<span style="color: red;"> </span></span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Το τρίτο εξαιρετικά σημαντικό έργο φεμινιστικού προσανατολισμού ειναι το </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">video</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">της </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Martha</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Rosler</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Semi</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10pt;">ο</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">tics</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">of</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">the</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">kitchen</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><span style="font-family: Verdana; font-size: 10pt;">(1975). Στο έργο αυτό η καλλιτέχνις βρίσκεται στην κουζίνα και φορώντας την ποδιά της μας ξεναγεί στον κόσμο της προφέροντας τo αλφάβητο. Κάθε γράμμα αντιστοιχεί σε ένα εργαλείο της κουζίνας. Η επίδειξη του κάθε εργαλείου γίνεται με ένταση και, όσο προχωρά η αλφάβητος, με κλιμακούμενη επιθετικότητα -ως απόρροια της καταπίεσης- φτάνοντας στο σημείο να κάνει ευθείες αναφορές στην πράξη του ευνουχισμού (μια αναφορά που θα μπορούσε δίκαια να χαρακτηριστεί ένα </span><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">leitmotiv</span></i><span style="font-family: Verdana; font-size: 10pt;"> της φεμινιστικής τέχνης). Η </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Rosler</span><span style="font-family: Verdana; font-size: 10pt;"> αποδίδει εικαστικά τη γνωστή φράση του </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Wittgenstein</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10pt;">τα όρια του κόσμου μου είναι τα όρια της γλώσσας μου</span></i><span style="font-family: Verdana; font-size: 10pt;">, δηλώνοντας ότι ο χώρος έκφρασης της γυναίκας, το Α και το Ω της ζωής της, περιορίζεται στο χώρο της κουζίνας. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Στη φεμινιστική τέχνη η βία ως μέσο έκφρασης είναι πανταχού παρούσα, από τον καταγγελτικό λόγο έως τον πυροβολισμό. Η βία εκλαμβάνεται από τις καλλιτέχνιδες ως μέσο δράσης και κυρίως αντίδρασης σε όλες τις μορφές της γυναικείας καταπίεσης, όπως αυτή εκφράζεται μέσα από τα στερεότυπα και τους ρόλους που η κοινωνία επιβάλλει. Στην προβληματική της καταπίεσης ξεχωριστή θέση καταλαμβάνει το αίτημα για τη γυναικεία σεξουαλική απελευθέρωση, βασικό ζητούμενο του φεμινιστικού κινήματος εντός αλλά και εκτός καλλιτεχνικής δημιουργίας. Το στοιχείο εκείνο που απομακρύνει την φεμινιστική δημιουργία από μια ακτιβιστικού τύπου μονοκόμματη δράση είναι το χιούμορ και ο αυτοσαρκασμός που απαλύνει την αγριότητα της καταγγελθείσας πράξης χωρίς όμως να αποπροσανατολίζει τον θεατή από την ουσία του προβλήματος. Μέσα από τη χρήση περίτεχνων εκφραστικών μέσων, η φεμινιστική δημιουργία γέννησε εξαιρετικές εικαστικές φόρμες εμπλουτίζοντας το σύγχρονο εικαστικό λεξιλόγιο και υπηρετώντας παράλληλα τον κοινωνικό της στόχο. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Τα βασικά αυτά χαρακτηριστικά της φεμινιστικής τέχνης έχουν διαποτίσει το έργο των </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Washing</span><span style="font-family: Verdana; font-size: 10pt;"> – </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Up</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span style="font-family: Verdana; font-size: 10pt;">, που εντάσσεται με φυσικό τρόπο στη φεμινιστική καλλιτεχνική παράδοση.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Οι </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Washing</span><span style="font-family: Verdana; font-size: 10pt;"> – </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Up</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span style="font-family: Verdana; font-size: 10pt;">, ελληνιστί πλύστρες, μπορεί να μην φορούν μάσκες κατά το πρότυπο των </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Guerilla</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span style="font-family: Verdana; font-size: 10pt;">, τη θρυλική φεμινιστική κολλεκτίβα καλλιτεχνών, αλλά υποδύονται ένα ρόλο και πραγματώνουν τις καλλιτεχνικές τους δράσεις μέσα στην κοινωνία που ζουν και την οποία επιθυμούν να κάνουν καλύτερη. Ο τίτλος που επιλέγουν είναι πολυσήμαντος</span><span style="font-family: Symbol; font-size: 10pt;">×</span><span style="font-family: Verdana; font-size: 10pt;"> αφενός, αναφέρεται στην παραδοσιακά γυναικεία οικιακή εργασία ενσαρκώνοντας ένα κοινωνικό ρόλο και αφετέρου, αναφέρεται στην πλύση εγκεφάλου που υφίσταται η κοινωνία σχετικά με τα γυναικεία θέματα αλλά και στο ξέπλυμα βρώμικων και παρωχημένων ιδεών στο οποίο οι </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Washing</span><span style="font-family: Verdana; font-size: 10pt;"> – </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Up</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">αποσκοπούν. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Συστήθηκαν στο κοινό με μια πολύ βίαιη πράξη, τη δημόσια καταστροφή ενός πλυντηρίου ρούχων. Έβαλαν κατά της συσκευής που ενσαρκώνει την ίδια τους την καλλιτεχνική τους ταυτότητα, λυτρώθηκαν από τα δεσμά της ιδιότητας τους δίνοντας αυτόματα τον αυτοσαρκαστικό και ειρωνικό τόνο της καλλιτεχνικής τους γραφής. Συνεπείς στην ανακατανομή των κοινωνικών ρόλων, οι </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Washing</span><span style="font-family: Verdana; font-size: 10pt;"> – </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Up</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span style="font-family: Verdana; font-size: 10pt;"> αποφάσισαν να εισαγάγουν τον ανδρικό πληθυσμό στον κόσμο της οικιακής εργασίας εκπαιδεύοντάς τον στη χρήση της συσκευής αυτής μέσα από τα χάρτινα ομοιώματα πλυντηρίου με οδηγίες χρήσης «</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">for</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">boys</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">only </span><span style="font-family: Verdana; font-size: 10pt;">» που διένειμαν στην Κύπρο. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Το </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">video</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10pt;">Sorry to burst your bubble but gender issues still unresolved </span></i><span style="font-family: Verdana; font-size: 10pt;">(2010) αποτελεί ένα ώριμο και πολυεπίπεδο έργο. Σε φόντο απόλυτου ροζ, δύο γυναίκες των οποίων η ύπαρξη την περισσότερη ώρα περιορίζεται σε δυο ζευγάρια καλλίγραμμα πόδια που φορούν ψηλά τακούνια, ενσαρκώνοντας απόλυτα το σεξιστικό στερεότυπο, σπάνε τα εξίσου ροζ φουσκωμένα μπαλόνια. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Το ροζ είναι το χρώμα της ελαφρότητας, ταυτισμένο με το λεγόμενο «ασθενές φύλο» και κυρίως με τα νεαρά κορίτσια. Είναι το χρώμα που κυριαρχεί στα κοριτσίστικα παιδικά δωμάτια γεμάτα με ροζ κουκλες, ροζ παιχνίδια, κατά προτίμηση κουζινικά και λοιπά οικιακά σκεύη, που ως σκοπό έχουν την έγκαιρη γαλούχηση του κοριτσιού για τον κοινωνικό ρόλο που οφείλει αργότερα να ενσαρκώσει. Τα κοριτσάκια μεγαλώνουν σε ένα ροζ κόσμο, σε μια ροζ φούσκα, που όπως κάθε φούσκα εξ ορισμού κάποια στιγμή σκάει. </span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Ο ήχος του μπαλονιού που καταστρέφεται από το μυτερό τακούνι θυμίζει ήχο πυροβολισμού ή έκρηξης δημιουργώντας μια ατμόσφαιρα βίας και απειλής. Ο βίαιος ήχος έχει στόχο να αφυπνίσει την κοινωνία καθώς τα ζητήματα που άπτονται του φύλου δεν έχουν ακόμη λυθεί, όπως δηλώνει και ο τίτλος. Τα στοιχειώδη γυναικεία δικαιώματα καταπατώνται καθημερινά από ορατά και αόρατα μυτερά τακούνια και οι καλλιτέχνιδες δε διστάζουν να βγάλουν τα άπλυτα στη φόρα. Οι </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Washing</span><span style="font-family: Verdana; font-size: 10pt;">-</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Up</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Girls</span><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">οδηγούνται σε μία πράξη βίαιης απομυθοποίησης δημιουργώντας ένα εφιαλτικό, ρημαγμένο σκηνικό με τα σκισμένα απομεινάρια των μπαλονιών. Το τελετουργικό της καταστροφής των ροζ μπαλονιών αναφέρεται στο απότομο τέλος της παιδικής ηλικίας και της αθωότητας, στο σημείο που το παραμύθι γίνεται εφιάλτης. Ταυτόχρονα όμως, ως πράξη, έχει ένα λυτρωτικό, απελευθερωτικό χαρακτηρα, όπως κάθε μορφή βίας που εκφράζεται σ΄ενα φεμινιστικού τύπου πλαίσιο, όπου η βία δεν είναι πρωτογενής αλλά αποτελεί απάντηση, είναι η αντίδραση στην υφιστάμενη καταπίεση, είναι η βία στη βία, στοχεύντας σ΄ένα καλύτερο κόσμο.</span></div><div class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="font-family: Verdana; font-size: 10pt;">Το λυπηρό είναι ότι 35 χρονια μετά το </span><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Semiotics</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">of</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">the</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Verdana; font-size: 10pt;">Kitchen</span></i><span lang="FR" style="font-family: Verdana; font-size: 10pt;"> </span><span style="font-family: Verdana; font-size: 10pt;">η χαρτογράφηση του γυναικείου χώρου έχει σταθερά σημεία αναφοράς μεταξύ μπουγάδας και κουζίνας. Το ευτυχές είναι ότι 35 χρόνια μετά η τέχνη έχει ακόμα τη δύναμη να αφουγκράζεται την κοινωνία, να καταγγέλει και να αφυπνίζει. Μένει να δούμε για πόσες ακόμα δεκαετίες η φεμινιστικού τύπου τέχνη θα έχει λόγο ύπαρξης. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Verdana; font-size: 10pt;">Χριστίνα Βατσέλλα</span><span lang="EN-US" style="font-family: Verdana; font-size: 10pt;"></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Verdana; font-size: 10pt;">Ιστορικός τέχνης</span></div><div style="mso-element: footnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12pt;">[1]</span></span></span></span></a><span lang="FR"> </span><span lang="FR" style="font-size: 10pt;">Christopher</span><span lang="FR" style="font-size: 10pt;"> </span><span lang="FR" style="font-size: 10pt;">Reed</span><span style="font-size: 10pt;">, «Μεταμοντερνισμός και τέχνη της ιδιαίτερης ταυτότητας», Νίκος Στάγκος (επιμ.), μτφρ. Ανδρέας Παππάς, <i style="mso-bidi-font-style: normal;">Έννοιες της μοντέρνας τέχνης. Από το Φωβισμό στον Μεταμοντερνισμό</i>, ΜΙΕΤ,</span><span lang="FR" style="font-size: 10pt;"> </span><span style="font-size: 10pt;">Αθήνα, 2003, σελ. 402</span></div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12pt;">[2]</span></span></span></span></a><span lang="FR"> </span><span lang="FR" style="font-size: 10pt;">1980, <i style="mso-bidi-font-style: normal;">Niki de Saint-Phalle : exposition rétrospective</i>, Musée national d’art moderne, Paris,</span><span lang="FR"> </span><span lang="FR" style="font-size: 10pt;">σελ. 15</span></div></div><div id="ftn3" style="mso-element: footnote;"><div class="MsoNormal"><a href="file:///C:/Documents%20and%20Settings/yiannis/My%20Documents/WashingUp%20Ladies/%C3%8E%E2%84%A2%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%BF%C3%8F%C2%81%C3%8E%C2%B9%C3%8E%C2%BA%C3%8E%C2%BF%C3%8E%C2%AF%20%C3%8E%C2%A4%C3%8E%C2%AD%C3%8F%E2%80%A1%C3%8E%C2%BD%C3%8E%C2%B7%C3%8F%E2%80%9A/%C3%8E%C2%A7%C3%8F%C2%81%C3%8E%C2%B9%C3%8F%C6%92%C3%8F%E2%80%9E%C3%8E%C2%AF%C3%8E%C2%BD%C3%8E%C2%B1%20%C3%8E%E2%80%99%C3%8E%C2%B1%C3%8F%E2%80%9E%C3%8F%C6%92%C3%8E%C2%AD%C3%8E%C2%BB%C3%8E%C2%BB%C3%8E%C2%B1.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12pt;">[3]</span></span></span></span></a><span lang="FR"> </span><span lang="EN-GB" style="font-size: 10pt;">Ulrich Krempel, « The Political Universe in the Art of Niki De Saint-Phalle », <i style="mso-bidi-font-style: normal;">Niki De Saint-Phalle Monographie</i>, <city w:st="on"><place w:st="on">Lausanne</place></city>, Editions Acatos, 2001, </span><span style="font-size: 10pt;">σελ</span><span lang="EN-GB" style="font-size: 10pt;">.29</span><span lang="EN-GB"></span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"><br />
</span><br />
<span lang="EN-GB" style="font-size: 10pt;"></span><br />
<span lang="EN-GB" style="font-size: 10pt;"><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Washing-Up Ladies </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">: On the vestiges of feminist art<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span>The fact that the word <i style="mso-bidi-font-style: normal;">art</i> in Greek belongs to the feminine gender is part of the paradoxes of language and history. A field essentially dominated by men for centuries, with a few exceptions serving as sad reaffirmations of the rule, artistic creation timidly becomes (also) female in the course of the 20<sup>th</sup> century, already since its first decades but principally in the post-WWII era. The great differentiation is observed at the end of the 60s and in early 70s when female artistic creation becomes systematic and keeps up with the social movement of feminism. The difference lies in the fact that this art is not simply made by women, but the works deal with and impeach, directly or indirectly, the conventions of women. Feminist artists are skating on the thin ice between art and life and practice, in a sense, a form of militant art, expressing the need to define an identity and the repression mechanism which constructs it<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span>From the rich feminist iconography of past decades we may discern three reference works, three icons-symbols which, incised in the collective artistic subconscious, encapsulate the content of feminist art.<b style="mso-bidi-font-weight: normal;"> </b>Besides serving this particular ideological orientation, these works of art are at the same time very important moments in modern artistic creation, due to the maturity of the form and the original and visually perfect use of conjectural means. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span>One of the first deeply feminist images in the history of art was born before the dawn of the feminist movement. On February 12, 1961 Niki de Saint-Phalle publically realizes for the first time the artistic happening that will be indissolubly connected to her work: the gunshots (<i style="mso-bidi-font-style: normal;">tirs</i>).<span style="mso-spacerun: yes;"> </span>Having placed bags with liquid paint on the work beforehand, the artist shoots at her pictures-sculptures. By pulling the trigger the red, blue and yellow paint thrust on the work’s surface. This is the violent manner by which Niki de Saint-Phalle adds the final touch. This is a process of artistic creation with performance elements, referring to action painting, in the sense that color comes into contact with the surface of the work through a specific bodily action by the artist. As the artist herself points out, “shots are for me (…) a gesticulation that begets a language, a vocabulary but also the site of a spectacle”<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><i style="mso-bidi-font-style: normal;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[2]</span></b></span></span></i></span></a>. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The artist is armed, aims and shoots. And the work bleeds. This is a scene of extreme, raw violence that totally overthrows the stereotypical image dictating that man should have the gun and the power, that he be the soldier or the hunter, the one who expresses violence, the cock of the walk. Correspondingly, the stereotype of women-victims is also overthrown, woman now becomes the aggressor. As Ulrich Krempel, one of the key researchers of her work, observes Niki de Saint-Phalle deliberately ignores the role and image of woman in a male dominated society, which constitutes of passiveness, giving ground, coyness and the role of the deuteragonist<a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[3]</span></span></span></span></a>. Indeed, the artist ostentatiously ignores social taboos, as she shoots and kills her own work, her creation, her child, like another Medea.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Starting with Niki de Saint-Phalle’s series of works, violence and the need for or the right to its expression, shall constitute a key pillar of feminist creation. <span style="mso-spacerun: yes;"> </span>The second landmark work of feminist art is <i style="mso-bidi-font-style: normal;">Tap and Touch Cinema</i>by Valie Export. The performance took place in <st1:city w:st="on"><st1:place w:st="on">Munich</st1:place></st1:city> in 1968, the year irrevocably connected to sexual liberation. The recording of this performance is one of the best known video works of this period.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The artist wears on her bust a rectangular construction that functions like a miniature cinema hall. It sembles a dark room with a curtain, which opens for the delight of the beholder’s hands not eyes. The audience is called to put its hands inside this dark box and feel the artist’s breasts for 30 seconds.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">There is something profoundly sexual but also scary in this challenge-invitation extended by the artist, since there is a direct reference to the symbolism of penetration, but also of castration, from where the characterization “genital guillotine”, attributed to the work by the artist herself, derives. Since the performance takes place in a public space, the artist makes a eloquent comment on sexual fantasy and voyeurism in a context of a period where sexual liberation was one of society’s demands. In <i style="mso-bidi-font-style: normal;">Tap and Touch Cinema</i> the woman-artist-Pandora literally transforms herself to an object of desire disposed in a box.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The third and very important work with a feminist orientation is the video by Martha Rosler <i style="mso-bidi-font-style: normal;">Semiotics of the kitchen</i> (1975). In this work the artist is in the kitchen wearing her apron and shows us round her world by saying the alphabet. Each letter corresponds to a kitchen utensil. She exhibits such utensils with growing intensity and, as the alphabet progresses, with climaxing aggression – a result of oppression – and reaches the point where she makes direct references to the act of castration (a reference that may justifiably be characterised as a <i style="mso-bidi-font-style: normal;">leitmotiv</i> of feminist art). Rosler visually renders Wittgenstein’s well known quote <i style="mso-bidi-font-style: normal;">the limits of my language means the limits of my world</i>, declaring that the space of expression for women, the A and Z of her life is limited to the space of the kitchen.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In feminist art violence as a means of expression is omnipresent, from inculpating speech to gunfire. Violence is viewed by artists as a means to escape from and, principally, to respond to all forms of oppression against them, as such oppression is expressed through stereotypes and the roles imposed on women by society.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In the discourse of oppression a special place is reserved for the demand for women’s sexual liberation, a key objective of the feminist movement within, but also outside of artistic creation. The element that keeps feminist creation away from an activist type of inflexible action is humor and self-sarcasm, that softens the fierceness of the denounced act without, however, disorienting the viewer from the essence of the problem. Through the use of elaborate expressive means, feminist creation has given birth to exquisite visual forms, enriching modern conjectural vocabulary while at the same time serving its social objective.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">These key features of feminist art have permeated the work of Washing-Up Ladies, which is thus only naturally included in feminist artistic tradition.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The Washing-Up Ladies may not wear masks, the standard set by Guerilla Ladies, that legendary feminist collective of artists, but act a role and realize their artistic happening within the society they live in and which they desire to make better. The title they chose has many meanings: it refers, on the one hand, to the traditionally female housework by embodying a social role and, on the other hand, to society’s brain wash with respect to gender issues and the laundering of dirty and long gone by ideas at which Washing-Up Ladies aim. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">They were introduced to the public through a very violent act, the public smashing of a washing machine. They attacked the appliance which embodies their artistic identity itself, were liberated from the manacles of their identity, thereby automatically lending the self-sarcastic and ironic overtone of their artistic writing. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Consistent in the redistribution of social roles, Washing-Up Ladies decided to introduce the male population to the world of housework, training it in the use of this appliance through paper models of the washing machine with “for boys only” instructions which they distributed in Cyprus. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The video <i style="mso-bidi-font-style: normal;">Sorry to burst your bubble but gender issues still unresolved </i>(2010) is a mature and multilayered work. On a totally pink background, two women, the existence of who is, for most of the time, limited to two pairs of slender legs in high heels, thus completely embodying the sexist stereotype, burst the equally pink inflated balloons.</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> <o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Pink is the color of frivolity, identified with the so-called “fair sex” and principally with young girls. It is the color that dominates girl’s rooms, filled with pink dolls, pink toys, preferably kitchenware and other household appliances, aimed at the timely nursing of the girl in the social role that they are obliged to perform later. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Girls grow up in a pink world, in a pink bubble which, just like any other bubble, will at some point, and by definition, burst.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The sound of the bubble being burst by the pointed heel reminds us of a gunshot or an explosion, creating an ambience of violence and threat. The tearing sound aims at awakening society, as gender related issues remain unresolved, as the title suggests. Fundamental women’s rights are violated on a daily basis by visible and invisible pointed high heels and the artists do not hesitate to expose the dirty laundry. Washing-Up Ladies are led to an act of violent demystification, creating a nightmarish, ruined scenery with the torn remains of the balloons. The ritual of the destruction of the pink bubbles refers to the abrupt end of childhood and innocence, to the point where the fairy tale turns into a nightmare. But simultaneously, as an act it has a liberating, redemptory nature, just like any form of violence expressed in a feminist type context, where violence is not primordial, but a response, the response to the continuing oppression; it is violence against violence, aiming at a better world.</span><span style="mso-ansi-language: EL;"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What is sad is that 35 years after <i style="mso-bidi-font-style: normal;">Semiotics of the Kitchen</i> the mapping of feminine space still has its unvarying reference points between the laundry and the kitchen. The good thing is that 35 years on, art still has the power to listen to society, to criticize and to rouse. What remains to be seen is for how many more decades feminist type art shall have a reason for existing. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Christina Vatsela <o:p></o:p></span></div><div style="mso-element: footnote-list;"><br clear="all" /> <hr align="left" size="1" width="33%" /> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[1]</span></span></span></span></span></a><span lang="FR" style="mso-ansi-language: EN-US;"> </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Christopher</span><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;"> </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Reed</span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">, “Post-modernism and the Art of Identity”, Nikos Stagos (ed.), Andreas Pappas (transl.). </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 10.0pt; mso-ansi-language: EL; mso-bidi-font-size: 12.0pt;">Έννοιες της μοντέρνας τέχνης. Από το Φωβισμό στον Μεταμοντερνισμό</span></i><span style="font-size: 10.0pt; mso-ansi-language: EL; mso-bidi-font-size: 12.0pt;">,<span style="mso-spacerun: yes;"> </span>ΜΙΕΤ,</span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">Athens</span><span style="font-size: 10.0pt; mso-ansi-language: EL; mso-bidi-font-size: 12.0pt;">, 2003, </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt;">p</span><span style="font-size: 10.0pt; mso-ansi-language: EL; mso-bidi-font-size: 12.0pt;">. 402<o:p></o:p></span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[2]</span></span></span></span></span></a><span lang="FR"> </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">1980, <i style="mso-bidi-font-style: normal;">Niki de Saint-Phalle : exposition rétrospective</i>, Musée national d’art moderne, Paris,</span><span lang="FR"> </span><span lang="FR" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">p. 15<o:p></o:p></span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoNormal"><a href="file:///C:/Documents%20and%20Settings/yiannis/Local%20Settings/Temporary%20Internet%20Files/Content.IE5/4LDW1II6/vatsela_en.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="FR" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[3]</span></span></span></span></span></a><span lang="FR" style="mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Ulrich Krempel, “The Political Universe in the Art of Niki De Saint-Phalle”, <i style="mso-bidi-font-style: normal;">Niki De Saint-Phalle Monographie</i>, <st1:city w:st="on"><st1:place w:st="on">Lausanne</st1:place></st1:city>, Editions Acatos, 2001, </span><span style="font-size: 10.0pt; mso-ansi-language: EL; mso-bidi-font-size: 12.0pt;">σελ</span><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">.29</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div><div class="MsoFootnoteText"><br />
</div></div></div></span></div><div class="MsoFootnoteText"><br />
</div></div></div></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-23284193196215141892010-06-17T19:58:00.001+03:002010-07-09T16:29:16.677+03:00List of contents<span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><strong><span style="font-size: large;">2010</span></strong></span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-POSTER: “SORRY TO BURST YOUR BUBBLE, BUT .......”</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-VIDEO: “SORRY TO BURST YOUR BUBBLE, BUT .......” (video/10 minutes nonstop loop)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-LEG TALK</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-TISSUE BOX (500 boxes including tissues inside)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-LIST OF COUNTRIES WITH GENDER EQUALITY</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-Artists notes 2010</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><strong><span style="font-size: large;">2007</span></strong></span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-FRONT LINE BANNER</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-INSTALLATION AT ELEFTHERIA SQUARE, NICOSIA, CYPRUS</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-VIDEO: TO DO LIST (video/5 minutes nonstop loop)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-Artists notes 2007</span><br />
<span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"></span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-RESEARCH ‘The context’ <span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">Maria Hadjipavlou Ph.D</span></span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><strong><span style="font-size: large;">2006</span></strong></span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-HURTING THE WASHING MACHINE (video/5 minutes nonstop loop)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-PROJECT LOGO</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-ROLE PLAYING WASHING MACHINE BOX (2000 boxes including washing-powder inside)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-CARE LABELS 5x (90x300cm)</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-INSTALLATION/HAPPENING UNDER ELEFTHERIA SQUARE, NICOSIA, CYPRUS</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-SELLING THE WASHING MACHINE BOX IN STASICRATOUS HIGH STREET, NICOSIA</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">-Artists notes 2006</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">RESEARCH ‘The Washing up ladies’</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;"><br />
</span><span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: 11px; line-height: 15px;">Maria Hadjipavlou Ph.D, Zelia Gregoriou Ph.D</span>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-56648395785536515462010-06-17T19:57:00.000+03:002010-06-17T19:57:02.897+03:00<b><span class="Apple-style-span" style="font-size: xx-large;"><span class="Apple-style-span" style="color: blue;">2010</span></span></b>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-62435128441684004362010-06-17T19:55:00.001+03:002010-07-09T16:29:58.143+03:00Poster: Sorry to burst your bubble but ......<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWKRLDKZSBNiN6D1TxuiwiMIF4XnjX3L4AIqNeBRv7_x4JSik-w1jjf30izRhwtwdXp08MLR-nC8AA6tpFst-boFek3qCHx5TK_8xB7b3bPDA9XA8YF8CStpxpMX5DIQJZBAFOQxdrw4/s1600/SORRY+TO+BURST+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWKRLDKZSBNiN6D1TxuiwiMIF4XnjX3L4AIqNeBRv7_x4JSik-w1jjf30izRhwtwdXp08MLR-nC8AA6tpFst-boFek3qCHx5TK_8xB7b3bPDA9XA8YF8CStpxpMX5DIQJZBAFOQxdrw4/s640/SORRY+TO+BURST+1.jpg" width="460" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-41089051439108143802010-06-17T19:54:00.009+03:002010-07-09T16:30:30.279+03:00Sorry to burst your bubble but ....... (video 10 minutes, looped)In case you can not see the below video, then click <a href="http://www.youtube.com/watch?v=LEHeprudCJo">HERE</a> to direct you to youtube to whatch it.<br />
<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/LEHeprudCJo&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LEHeprudCJo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-31805343195572622262010-06-17T19:53:00.001+03:002010-07-09T16:30:56.480+03:00Sorry to burst your bubble but ...... (video stills)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr9w-tvZs0pgixdBwNS__F93MefYYvWtoqUUgM0yN1CaNvKs4ml5kn9JKhJpLD_JQWLlSbTDRpeo_o4jcdjS5z_ER6KU-ykjyzOy4TTuHLQRsHDU9cNtG8JskzgG9AWEOoMz4lCPWrzTA/s1600/SORRY+TO+BURST+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr9w-tvZs0pgixdBwNS__F93MefYYvWtoqUUgM0yN1CaNvKs4ml5kn9JKhJpLD_JQWLlSbTDRpeo_o4jcdjS5z_ER6KU-ykjyzOy4TTuHLQRsHDU9cNtG8JskzgG9AWEOoMz4lCPWrzTA/s640/SORRY+TO+BURST+2.jpg" width="460" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-88344181428555510632010-06-17T19:50:00.000+03:002010-06-17T19:50:45.676+03:00Leg talk<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5CafBUsVCxNRi0ixya5VIplhmtB0mTi0CUhRIYnr9XlH_OrAjACmn_d5s6gYJmVKimPPgJHBw5Kyg4AGwH0PL7uzPuCExPVSQI6Ui8pmXdzRLg4OvvZYRew2YbE61FF5-6VNHUBbYtzI/s1600/SORRY+TO+BURST+YOUR+BUBBLE03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5CafBUsVCxNRi0ixya5VIplhmtB0mTi0CUhRIYnr9XlH_OrAjACmn_d5s6gYJmVKimPPgJHBw5Kyg4AGwH0PL7uzPuCExPVSQI6Ui8pmXdzRLg4OvvZYRew2YbE61FF5-6VNHUBbYtzI/s640/SORRY+TO+BURST+YOUR+BUBBLE03.jpg" width="452" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh_LnQLS_H1G7Qw3uaMH9lv4vuym2EFnKlRSEBAxOvJjZkJ0NoBU1XnnHvLD5Qk3zfwH6Qf32-YoFHD2ylnU8aw45Z-7fhQe8it9ihnja8stemO32u1c-EbI9WdRdOEZ4YnoxyI4PQmDQ/s1600/SORRY+TO+BURST+YOUR+BUBBLE04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh_LnQLS_H1G7Qw3uaMH9lv4vuym2EFnKlRSEBAxOvJjZkJ0NoBU1XnnHvLD5Qk3zfwH6Qf32-YoFHD2ylnU8aw45Z-7fhQe8it9ihnja8stemO32u1c-EbI9WdRdOEZ4YnoxyI4PQmDQ/s640/SORRY+TO+BURST+YOUR+BUBBLE04.jpg" width="452" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktyBu5Ay_zKiDJuS9FR4TvtrFqD5RhssCNYqi1VY2J4wpdLnhmk-Jt9LS8d8kyVNk1mtEvdkDDnX_WEZH9EI0xIx4AJgx42_X65rSBbsCpKnIiw2PovwCefg6Of1xcxUrVd69A3Wm_kM/s1600/SORRY+TO+BURST+YOUR+BUBBLE05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktyBu5Ay_zKiDJuS9FR4TvtrFqD5RhssCNYqi1VY2J4wpdLnhmk-Jt9LS8d8kyVNk1mtEvdkDDnX_WEZH9EI0xIx4AJgx42_X65rSBbsCpKnIiw2PovwCefg6Of1xcxUrVd69A3Wm_kM/s640/SORRY+TO+BURST+YOUR+BUBBLE05.jpg" width="452" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzvE6nEKRiynysG7HBKYlKTgtlyk-4pRefGX6gzbiwchUO5x68yU47RewDH3BycekNXDTiAJz1iohqIND2ryo0jHmTC8VFJ8bjamBcPedY_a8B-8VytTx7Dq3lQMlPee5gl8RuDF22xWk/s1600/SORRY+TO+BURST+YOUR+BUBBLE06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzvE6nEKRiynysG7HBKYlKTgtlyk-4pRefGX6gzbiwchUO5x68yU47RewDH3BycekNXDTiAJz1iohqIND2ryo0jHmTC8VFJ8bjamBcPedY_a8B-8VytTx7Dq3lQMlPee5gl8RuDF22xWk/s640/SORRY+TO+BURST+YOUR+BUBBLE06.jpg" width="452" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div><br />
<div class="separator" style="clear: both; text-align: center;"></div><br />
<div class="separator" style="clear: both; text-align: center;"></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-89599242006044484442010-06-17T19:45:00.000+03:002010-06-17T19:45:20.637+03:00Tissue box (500 boxes including tissues inside)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQz_S7F-k4pTw8HOAYZonPBk62vdolwAOGdMxPlOr-cvBGhAsbDHzsz6laHDLohDjUqGUKWBEhtOMeWYR-XT0gKDnpE5KfAK0KFikfSlW0L-XBmkamrEw7O9io5TyL5_xR4pwtXgo6tPU/s1600/SORRY+TO+BURST+YOUR+BUBBLE07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQz_S7F-k4pTw8HOAYZonPBk62vdolwAOGdMxPlOr-cvBGhAsbDHzsz6laHDLohDjUqGUKWBEhtOMeWYR-XT0gKDnpE5KfAK0KFikfSlW0L-XBmkamrEw7O9io5TyL5_xR4pwtXgo6tPU/s640/SORRY+TO+BURST+YOUR+BUBBLE07.jpg" width="452" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-55944949610668987422010-06-17T19:43:00.000+03:002010-06-17T19:43:48.848+03:00List of countries with gender equality<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpQrRLpTkWauiOwmvz1iHXkiFRLRSWVYVBIX8eqOiBcMsvqlAICTB8HySEIqONQH7fCRcP8p99OgeEzGNP_9ybx4dOMsEUFwQjma9w8oKZ4AUFEx_70EZ0IouKvQ_uaeOHBrosMGM0UA/s1600/SORRY+TO+BURST+YOUR+BUBBLE08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpQrRLpTkWauiOwmvz1iHXkiFRLRSWVYVBIX8eqOiBcMsvqlAICTB8HySEIqONQH7fCRcP8p99OgeEzGNP_9ybx4dOMsEUFwQjma9w8oKZ4AUFEx_70EZ0IouKvQ_uaeOHBrosMGM0UA/s640/SORRY+TO+BURST+YOUR+BUBBLE08.jpg" width="452" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6BeNST4dnM_3lfnwyQnCfEd8a6JwoQcCT5LKMirQuPG2TKegEU7XIQQ1ylpzqdD7emU3CHkW57pYHhX6fNNZXBI074fwbmVKI7kdDWO17PhotNeyPUesS49_1-irROeLActTbd-qymE/s1600/SORRY+TO+BURST+YOUR+BUBBLE09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6BeNST4dnM_3lfnwyQnCfEd8a6JwoQcCT5LKMirQuPG2TKegEU7XIQQ1ylpzqdD7emU3CHkW57pYHhX6fNNZXBI074fwbmVKI7kdDWO17PhotNeyPUesS49_1-irROeLActTbd-qymE/s640/SORRY+TO+BURST+YOUR+BUBBLE09.jpg" width="452" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GyX2p_DOU_W6Phut2RTBGT_2Tno8eN4yHYbJ5IGd6gDGEa_bhIyAP8fMfMUHzI_vbcZaRPL1OhxGtIrJM8ac54jd1JV0OTCHMyIqaeC15YHheUoHw3X9kcrOrfH5Rx8-51L-UwXjFLo/s1600/SORRY+TO+BURST+YOUR+BUBBLE10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GyX2p_DOU_W6Phut2RTBGT_2Tno8eN4yHYbJ5IGd6gDGEa_bhIyAP8fMfMUHzI_vbcZaRPL1OhxGtIrJM8ac54jd1JV0OTCHMyIqaeC15YHheUoHw3X9kcrOrfH5Rx8-51L-UwXjFLo/s640/SORRY+TO+BURST+YOUR+BUBBLE10.jpg" width="452" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-19679200596314409852010-06-17T19:36:00.002+03:002010-06-17T19:36:39.649+03:00Artists notes on 2010 works:<span class="Apple-style-span" style="color: #444444; font-family: Verdana, Geneva, sans-serif; font-size: small; line-height: 18px;"><b></b></span><br />
<b><div class="MsoNormal"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><span lang="EN-GB" style="font-family: Verdana; font-size: 9pt;">-VIDEO : “<b>SORRY TO BURST YOUR BUBBLE, BUT GENDER ISSUES STILL UNRESOLVED</b>”…to be screened on gigantic cinematic-type projection either in a movie theatre or on a large wall from the edge where the floor meets wall.</span></div></b></span></div><div class="style6"><span lang="EN-GB" style="font-family: Verdana; font-size: 9pt;">Notes on video:</span><b><span lang="EN-GB" style="color: magenta; font-family: Verdana; font-size: 9pt;"> The Unbearable lightness of being<o:p></o:p></span></b></div><div class="style6"><b><span lang="EN-GB" style="color: magenta; font-family: Verdana; font-size: 9pt;">Daily “serious” Cypriot<span> </span>newspapers publish naked women on daily bases. The two leading newspapers in<st1:place w:st="on"><st1:country-region w:st="on">Cyprus</st1:country-region></st1:place>; Fileleftheros (with an aprox. 50%) and Politis with an aprox. 30%), both have naked women in provocative poses within their sports section. This daily slap in our face, attack to our senses, assault to our sex,<span> </span>was what inspired the 2010 works.<o:p></o:p></span></b></div><div class="style6" style="margin-bottom: 0cm;"><span lang="EN-GB" style="color: grey; font-family: Verdana; font-size: 9pt;">'It is hard to touch what is real',</span><em><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 9pt;"> burst</span></em><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 9pt;"> all the <em>balloons</em><o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 9pt;">After the Washing-Up Ladies’ performance video “hurting the washing-machine” in which they kick and bash up a washing machine, along the same lines comes another </span><span lang="EN-GB" style="color: #0066cd; font-family: Verdana; font-size: 9pt;">humorous video piece;<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 9pt;">Tower high-heels pop pink balloons in a candy-pink painted room.<o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 9pt;">It’s the sort of wonderfully “inappropriate” behaviour that channels every </span><span lang="EN-GB" style="font-family: Verdana; font-size: 9pt;">woman’s inner Power Puff Girl – while also busting a hole (literally) through traditional notions of femininity. </span><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 9pt;">Earnest and deadpan, the artists, dressed in very feminine regalia, like a cocktail dress and high heels, takes on some mildly preposterous “physical-cathartic” challenge with feminist overtones, entertaining and enigmatic. </span><span lang="EN-NZ" style="font-family: Verdana; font-size: 9pt;">If somebody came along and burst your balloon you had would you be annoyed?</span><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 9pt;"><o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana; font-size: 9pt;">-60% of girls in a study said that glamour modelling was their perfect career…Living Dolls; The return of Sexism where appearances are everything..and the contradictory notion that </span><span lang="EN-US" style="font-family: Verdana; font-size: 9pt;">Pretty is not necessarily passive and submissive…Pretty is more multi-dimensional than one might think. Have we really moved on somewhat from feminism to femininity and how much we can use it… <b>The leg talk</b> series questions <span> </span>gender issues and where we stand now…<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><span lang="EN-GB" style="font-family: Verdana; font-size: 10pt;">-TISSUE BOX</span></b><b><span lang="EN-US" style="font-family: Verdana; font-size: 10pt;">:</span></b><span lang="EN-US" style="font-family: Verdana; font-size: 10pt;"> The design has two references from two sources. The first is based on pantone color card sample: Merry Pink/Child’s Play/Prominent Pink/Ice Plant. The other reference comes from a pack of cigarettes, in which at the bottom a black frame outlines the warning that cigarettes kill. The<span> </span>targeted audience was younger women. The aim of the message was to make a visually stimulating box to attract their attention even on an overcrowded supermarket shelf yet include yet include (like a cigarette box), serious messages.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><span lang="EN-US" style="font-family: Verdana; font-size: 10pt;">The tissue box which also symbolizes tears</span></b><span lang="EN-US" style="font-family: Verdana; font-size: 10pt;">, will be given, instead of pop-corn, during the screening of the video </span><span lang="EN-GB" style="font-family: Verdana; font-size: 10pt;">“SORRY TO BURST YOUR BUBBLE, BUT GENDER ISSUES STILL UNRESOLVED”.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana; font-size: 9pt;">Sexist Jokes are Not OK, it condones and normalises male violence against women<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="color: blue; font-family: Verdana; font-size: 8pt;">According to the British Crime Survey there are over 40,000 rapes every year, and over 300,000 sexual assaults. Conservative estimates suggest that at least one in six children suffer sexual abuse. While male violence against women and children continues to rise the conviction rate continues to fall. Currently the rape conviction rate in this country is at its lowest ever, hovering above 5%, one of the lowest in <st1:place w:st="on">Europe</st1:place>. The conviction rate for rape is indeed a joke, but the fact that men get away with such serious crimes against women is certainly not; and should never be trivialised or normalised.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana; font-size: 8pt;">Most common sex jokes:<o:p></o:p></span></div><div class="MsoNormal"><b><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">-What do you tell a woman with two black eyes?<br />
-Nothing, you already told her twice.<o:p></o:p></span></b></div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">-What's the first thing a woman does when she gets back from the battered women's clinic?<br />
-The god damned dishes if she knows what's good for her.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">-Why do women get married in white?<br />
-So they match the kitchen appliances!<o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">-Whats the difference between your wife and your dog?<o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">-Walking the dog is relaxing.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">What have you done wrong when you wife comes out of the kitchen and starts nagging you?<o:p></o:p></span></b></div><div class="MsoNormal"><b><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">You made the chain too long.<o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 8pt;">Why did the woman cross the road?<br />
Wait, better question, why is she out of the kitchen!?<br />
<b><br />
</b></span><b><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 8pt;">What's the first thing a woman does after getting out of a battered wives shelter?<br />
The washing up if she knows what's good for her.</span></b><span lang="EN-GB" style="color: black; font-family: Verdana; font-size: 8pt;"><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><ul style="line-height: 1.4; list-style-image: initial; list-style-position: initial; list-style-type: disc; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.5em; padding-bottom: 0px; padding-left: 2.5em; padding-right: 2.5em; padding-top: 0px;" type="disc"><li class="MsoNormal" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-color: initial; border-top-style: none; border-top-width: initial; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><b><span lang="EN-GB" style="color: #333333; font-family: Verdana; font-size: 10pt;">Wanna hear a funny joke?<br />
Women's rights.</span></b><span style="font-family: Verdana; font-size: 10pt;"><o:p></o:p></span></li>
<li class="MsoNormal" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><span lang="EN" style="color: windowtext; font-family: Georgia; font-size: 10.5pt;">- Why did the feminist cross the road?<br />
- Have you heard the one about feminism?</span><span lang="EN-GB" style="color: #333333; font-family: inherit; font-size: 10pt;"><br />
<br />
Women are cute and cuddly - every man should own one.<br />
</span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">How many feminists does it take to</span><b><span lang="EN-GB" style="color: red; font-family: Arial; font-size: 11pt;"> screw in a lightbulb? </span></b><span style="font-family: Arial; font-size: 10pt;">One, and it's not funny.<o:p></o:p></span></li>
<li class="MsoNormal" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">How many feminists does it take to screw in a lightbulb? Two: one to screw in the lightbulb, and one to chase off any men who try to help.<o:p></o:p></span></li>
<li class="MsoNormal" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">How many feminists does it take to screw in a lightbulb? None: They can bitch in the dark.<o:p></o:p></span></li>
<li class="MsoNormal" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">How many feminists does it take to change a lightbulb? It's a trick question, feminists can't change anything!<o:p></o:p></span></li>
<li class="MsoNormal" style="border-bottom-color: initial; border-bottom-style: none; border-bottom-width: initial; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: black; margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0.25em; padding-left: 0px; padding-right: 0px; padding-top: 0.25em; text-indent: 0px;"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">How many feminists does it take to change a lightbulb? Sixteen, one to screw in the lightbulb, fifteen to form a support group.<o:p></o:p></span></li>
</ul><b><span lang="EN-GB" style="font-family: Arial;">Where’s the Joke? </span></b><b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"><o:p></o:p></span></b><br />
<b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">To laugh or not to laugh?</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"> <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">the purpose + the meaning behind sexual humour <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">may disguise attitudes toward gender roles/ gender relationships and may be used to maintain an existing organizational structure.<o:p></o:p></span><br />
<b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Humour Sends a Serious Message</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"> <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Hearn and Parkin (1987) present four “fronts” of sexuality in organizations: (a) visible, such as open sexual liaisons; (b) secret, such as sometimes uncirculated documents that pertain to sexuality in the organization; (c) unseen, such as sexual fantasies and desires; and (d) elusive, which overarches the visible, secret, and unseen fronts. The primary front of sexuality in organizations is the elusive because, as Hearn and Parkin (1987) write, “On the one hand, we have discovered the ‘ever-presentness’ of sexuality in organizations and the ways it can permeate, influence and be powerful; on the other, sexuality almost always remains ‘one step removed’ from being pinned down, measured and researched unambiguously” (p. 123). <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Given this elusive nature of sexuality, it is easy to see how ambiguous, gender-related messages are often sent on a humourous vehicle. According to Mulkay (1988), there are two different forms of discourse--serious and humourous--and different rules of interaction apply in each mode. Assumptions made by the listener in the serious mode are not appropriate in the humourous mode. Humour provides a perspective that would not be appropriate in the serious mode. Although at times there may not be any hidden meaning, a humourous statement may carry significance from the serious realm. The recipient of the humour is left to wonder whether or not there is a serious message because the words can convey both serious and humourous messages at the same time. Humour is the perfect medium in which to couch a serious message because any serious intention and any serious meaning can always be denied (Linstead, 1985; Mulkay, 1988). <o:p></o:p></span><br />
<b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Sexual Humour Maintains an Existing Structure</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"> <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">While societal norms and discrimination laws target the obvious discrimination practices in organizations, subtle methods of prejudice, such as sexual humour, retain and support an organization’s historical structure and are often overlooked. Although most organizations present themselves as gender-neutral, in actuality most organizations exist according to a masculine identity, and several writers argue that gender and sexuality exist in organizations as part of the process of control (Acker, 1990; Burrell, 1984; Hearn & Parkin, 1983; Walby, 1988). Often this control is demonstrated through maintenance of the status quo. <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Mulkay (1988) believes humour, and especially sexual humour, is used to preserve existing organizational structures: “It is yet another ‘paradox of the humourous mode’ that, although semantically humour involves confrontation with a subversion of a dominant pattern, it is used most effectively for serious purposes mainly in structured situations where it works to maintain that pattern” (p. 177). Thus, sexual humour may be used to support the patriarchal structure of most workplaces. Seemingly harmless jokes and remarks may undermine a woman’s advancement, thereby preserving the existing power base. <o:p></o:p></span><br />
<div class="MsoNormal"><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Kahn’s (1989) article concerning organizational diagnosis and change demonstrates how humour sends a message about power relationships. When a male employee mumbles a one-line witticism under his breath, this forces a female consultant to reconsider the gender relationships in their workplace. A female secretary walks into a meeting of the bank’s managers to deliver some papers and accidentally unplugs the slide projector with her foot. A male supervisor’s quick comment about “a woman’s touch” provokes laughter from the men attending the meeting (Kahn, 1989, p. 46). Initially the consultant perceives the men in the bank as liberal and non-sexist but, with some investigation, she finds that the joke signals “issues about resistance to women’s control and authority” (Kahn, 1989, p. 47). This supposedly innocent joke exposes underlying attitudes toward power relationships in the organization. Although these attitudes may not manifest through conversations with organization members, humour provides an acceptable way for men to express these beliefs. This type of brief interaction, recurring repeatedly throughout a normal workday, may indicate and perpetuate assumptions that men make about women’s roles in the workplace. </span><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Spradley and Mann (1975) also illustrate how sexual humour maintains status and role relationships. In The Cocktail Waitress (Spradley & Mann, 1975), the authors observe a complicated and tricky pattern of joking between the exclusively male bartenders and the female waitresses. It takes time for the waitresses to learn how to negotiate the boundary between acceptable joking comments and unacceptable serious insults because, “even when joking, girls must maintain a subordinate position, careful that their ritual insults do not denigrate a male bartender” (Spradley & Mann, 1975, p. 93). Even without the help of the authors’ narrative and interpretation, it is clear that the bartenders’ joking keeps the women subordinate.<o:p></o:p></span></div><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">The explicit or subtle sexual humour observed by Spradley and Mann (1975) and Kahn (1989) provides insight into existing power structures and gender relationships. It is interesting to note, though, that most of the research regarding sexual humour does not follow this lead but focuses instead on the legal harassment aspects. Yet, if humour, and particularly sexual humour, is being used to undermine power, then women seeking success in management roles need to be aware that even subtle sexual or gender-related joking may be blocking their path to the top. <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">As organizations, and organizational researchers, seem to focus primarily on finding the formula for avoiding sexual harassment litigation, popular culture and the media, paradoxically, seem intent on projecting an image that says work relationships are more rife with sexual innuendo and power trips than ever before. If television may be considered in any way a mirror of what society deems normal or acceptable, then even a superficial, non-scientific review of programming would reveal that, as in the past, sexual humour is still being used to define roles. Much of the humour in the media involves sexual situations and put downs and is considered funny because others can relate to it. However, as Spradley and Mann (1975) demonstrate, humour is often used to keep a character in her place; and many times that place is subordinate. <o:p></o:p></span><br />
<b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Conclusion</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 10pt;"> <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Sexual humour’s prevalence in the workplace seems to imply a normalcy that is accepted until it crosses the legal harassment line. Research that defines the boundary of acceptable sexual humour probably helps some organizations avoid legal action but does not address the possibility that sexual humour supports an existing organizational framework that is harmful to the advancement of women. We conclude that sexual humour perpetuates men’s domination of women while appearing innocent of intent, and in this way, supports the existing patriarchal, social structure of organizations. Women need to recognize that even if sexual humour does not cross the boundary into harassment, it still may communicate a deeper, and darker, meaning. <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Is it possible that humour can be used in an organization in a way that promotes equality and does not diminish the power of men or women? In 1978, Neitz suggested that office humour should change in content to reflect the awareness of the power contained in the male narrative. This humour would allow laughter by both men and women at the expense of neither, “Laughter in this sense is only possible between equals; when men and women can both tell jokes, and can both laugh together perhaps the content will reflect the change, with neither needing to assert superiority over the other through their jokes, or in other patterns of interactions” (Neitz, 1978, p. 222). Mary Crawford (2000) also acknowledges that sexual humour “maintains a sexist social order” (p. 220), but she suggests that humour may “subvert the social order and create new realities” (p. 224). <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial; font-size: 10pt;">Perhaps Neitz (1978) and Crawford (2000) are optimistic in their thinking, or just ahead of their time. Their proposals imply that organization members have an understanding of how sexual humour is used to perpetuate a male dominated structure, and we present an initial step toward that goal. Women who are leaders in their organizations need to have an understanding of the serious messages that may be hidden in seemingly harmless jokes related to sexuality or gender. Further research exploring the roles of sexual humour should not overlook women’s perspectives, the meaning behind jokes, and how humour may perpetuate relationships that are no longer appropriate. </span></b>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-67595507516995698722010-06-17T15:35:00.002+03:002010-06-17T15:35:27.559+03:00<b><span class="Apple-style-span" style="font-size: xx-large;"><span class="Apple-style-span" style="color: blue;">2007</span></span></b>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.comtag:blogger.com,1999:blog-313674623894541770.post-19700915154566886172010-06-17T15:34:00.000+03:002010-06-17T15:34:59.299+03:00Front Line Banner<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqo9I2faGuX6L6-Tjh-eDDkEyLAtyEuiMRzfI0JieUyJmFj15bTgf15twlFLxF4Z60MP7XSyIJpBVduhvwa3lV9nag4S0pnf7DT9VePFeZnc0v2mfGBTlBPXHLL0RPcw-8izYJwI7Yy70/s1600/FRONT+LINE+BANNER+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqo9I2faGuX6L6-Tjh-eDDkEyLAtyEuiMRzfI0JieUyJmFj15bTgf15twlFLxF4Z60MP7XSyIJpBVduhvwa3lV9nag4S0pnf7DT9VePFeZnc0v2mfGBTlBPXHLL0RPcw-8izYJwI7Yy70/s640/FRONT+LINE+BANNER+1.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2YNjJ0svcHQGq0oFXlyWe8rD8YxIAuWkwg17PLbG_Lm8KGoXXykPg2BzJOk8qhoGUhvvlU2mH1-nJS4jXQTbqkHBrg_GY8eoPeo4TZjlKkE2fAb7Juu31pxyoErfXA6Chbwy4gNDfA8/s1600/FRONT+LINE+BANNER+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2YNjJ0svcHQGq0oFXlyWe8rD8YxIAuWkwg17PLbG_Lm8KGoXXykPg2BzJOk8qhoGUhvvlU2mH1-nJS4jXQTbqkHBrg_GY8eoPeo4TZjlKkE2fAb7Juu31pxyoErfXA6Chbwy4gNDfA8/s640/FRONT+LINE+BANNER+2.jpg" width="640" /></a></div>Washing.Up.Ladieshttp://www.blogger.com/profile/07901749544070411511noreply@blogger.com