On 07, Jun 2012 | In Performance | By admin
Florence, in its spectacular epoch in history, not only made itself the capital of modernity, but also the conceptual starting point of all that was to follow: even postmodernism and what we now refer to as contemporary. Along those lines is the appearance of the figure of the individual artist, which had already begun in the fourteenth century, and which had fully developed by the 20th century.
Only in Florence, the first city to celebrate the central political role in the rational capacities of its people, its arts and its industry, could have been born a tradition, continuing on a path begun by no less than Giotto and Paolo Uccello of Santa Maria del Fiore, that honored poets, statesmen and artists alike. Today the figure of the contemporary artist is akin to celebrity and the art market is increasingly personalized. However we must look to Florence to understand the emergence of the artist as cultural icon.
In Requiem, Marta Jovanovic claims the place for women in the male pantheon. In this funeral- like performance, Jovanovi? creates a fake wake, symbolically positioning herself inside the Pazzi Chapel, in the Franciscan Church of Santa Croce, in Florence. The Church of Santa Croce is known also as the Temple of the Italian Glories.
With witty verve and a sense of humor, this performance proposes the equality of the sexes, which has been proscribed by the Church since the Renaissance era — during which the birth of humanism, the development of artists’ individuality and private patronage all came into being. Jovanovic’s original performance was envisioned to be in situ at the Chapel Pazzi, but the project was rejected by the Church at its original location, attesting to the fact that even today the subject matter remains taboo.
The photographs used in the wall projections for Requiem are by the Italian artist Marinella Paolini; the original project was conceived by the artist in conjunction with the curator Simone Verde.