»Ima u tome nešto lepo« (Marković) / “There is something beautiful in this” (Marković)

»Ima u tome nešto lepo« (Marković): O avtobiografiji, o telesu in bolečini, o seksualnem užitku, o biopolitiki, o dogodkovnosti pisave in še o čem

Simona Semenič, Alja Lobnik

xx ABONMA SIMONA SEMENIČ

Slovenija

Predavanje

Dramatika Simone Semenič nastaja vseskozi skozi lastno (avtobiografsko) izjavljalno pozicijo, levi se skozi telo; vanjo se vpisuje položaj avtorice, ki je ženska, mati, umetnica z neurejenim zdravstvenim statusom, samozaposlena v kulturi, epileptičarka in kadilka. Zlasti to velja za trilogijo žrtve, (Jaz, žrtev.; drugič), ki preigrava razmerje med telesnim in patologijo političnega, med realnim in fikcijo ter med performativnim in dramskim. Zanimala nas bo dogodkovnost njenih tekstualnih leg, največkrat razpirajoča se skozi monodramsko samouprizarjanje biopolitike vsakdanjega življenja, pa tudi skozi instalacijo tekstov v prostoru, ki skušajo pisavi omogočiti drugačen način obstoja. Zasledovale_i bomo žmohtnost njene pisave, s katero izigrava slovenščino in ji daje živost. Pa tudi tisto brezrezervno žgečkljivost, ki se sprehaja po tabujih inhibirane seksualnosti in moško-ženskih relacijah ter nonšalantno razkriva proizvodnjo in avtonomijo “ženskega” seksualnega užitka.

Produkcija in organizacija: Mesto žensk

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“There is something beautiful in this” (Marković): On Autobiography, Body and Pain, Sexual Pleasure, Biopolitics, the eventuality of writing and other things

Simona Semenič, Alja Lobnik

xx SIMONA SEMENIČ SEASON

Slovenia

Lecture

Simona Semenič’s dramatics is always created from a personal (autobiographical) declarative position, it moults through the body; it inscribes the position of the author who is a woman, a mother, an artist with no health insurance, a freelancer in culture, an epileptic and a smoker. This is especially true for her victim trilogy (I, Victim., the second time) that plays with the relationship between the body and the pathology of the political, between reality and fiction, between performative and dramatic. We will dive into the eventuality of her textual positions which often comes alive through the monodramatic self-staging of everyday-life bio-politics but also through an installation of texts in space that tries to enable her writing to exist in a different manner. We will follow the juiciness of her writing that bends the rules of Slovenian language and brings it to life. We will also tackle the unreserved erotic play with the taboos of inhibited sexuality and relationships between men and women, while it nonchalantly displays the production and the autonomy of “female” sexual pleasure.

Production and organization: City of Women