Carla Lonzi (b. 1931, Florence; d. 1982, Milan) was an art critic and feminist activist best known for her work with Rivolta Femminile, a feminist collective created in 1970. Following the publication of Autoritratto ('Self-portrait') in 1969, Lonzi published Manifesto di Rivolta femminile (1970), Sputiamo su Hegel. La donna clitoridea e la donna vaginale e altri scritti (1974) and Taci, anzi parla. Diario di una femminista (1977). Due to her uncodified practice, she occupies a singular position within postwar Italian politics and art, and is a crucial figure of European feminism.
(trans. Allison Grimaldi Donahue)
Recorded and transcribed throughout the 1960s, Carla Lonzi’s Self-portrait ruptures the linear tradition of art-historical writing. Lonzi first abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising. This is the voice of feminist experimentalism in Italian art and literature, and here Lonzi speaks for herself in English. Self-portrait montages her verbatim conversations with fourteen prominent artists working at the time, all men except one. Lonzi’s vital feeling that it was impossible to respond professionally to the political and existential problems embedded in the production and distribution of artworks drives the book’s contingent structure. Artmaking struck Lonzi as the invitation to be together in a humanly satisfying way. This first English translation brings Lonzi’s final work of criticism before her break with ‘art’ to an international audience. Her uncompromising enactment and pragmatic drop-out discontinues the narration of postwar modern art in Italy and beyond.
Afterword by Fulvia Carnevale.
- 21.6 x 13.9 cm
- 368 p.
- October 2021
About the author
About the translator
Allison Grimaldi Donahue (b. Middletown, Connecticut) is the author of Body to Mineral (Publication Studio Vancouver, 2016) and the co-author of On Endings (Delere Press, 2019). Her writing and translations have appeared in The Brooklyn Rail, Words Without Borders, Flash Art, BOMB, NERO and Tripwire, and her performances have been presented in Italy at Gavin Brown's enterprise, MAMbo, MACRO and Short Theatre. She is a 2021–22 resident of Sommerakademie Paul Klee, Bern. She lives in Bologna.
The book itself is seemingly such a straightforward idea of transcribing an interview word-for-word … it arrives at something that … exceeds the possibilities or expectations … She turns an interview into something that has a kind of arc into literature … it opens up a world.
Stage of Recovery
Stage of Recovery
Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.
- 21.6 x 13.9 cm
- 160 p.
- May 2021
About the author
Georgia Sagri (born Athens, 1979) lives and works in Athens and New York. Her practice is influenced by her ongoing engagement in political movements and struggles on issues of autonomy, empowerment and self-organisation. From 1997 to 2001 she was a member of Void Network, a cultural, political and philosophical collective operating in Athens. In 2011 she was one of the main organisers of the Occupy Wall Street movement in New York. Since 2013 she has been a member of the assembly of the Embros Theatre Occupation, and in 2014 she initiated Ύλη[matter]HYLE, a semi-public cultural space in the heart of Athens. She is professor of performance at the Athens School of Fine Arts.
Insightful, passionate, flowing and jarring. Stage of Recovery is a creative journey that invites the reader to reflect on and reimagine society.
This book proposes a singular bio-aesthetic, an original way of living with each other, against the ever more delirious diktats of planetary techno-capitalism. Sagri’s is an extraordinary example of a practice where, as with the Situationists, art becomes indiscernible from politics.
I am convinced that Sagri's thinking in action is ultimately dedicated to the empowerment of the mass corporeality of the nameless, and to self-recovery from psychosomatic pains suffered in this world of hell.
Stage of Recovery observes a decade of revolutionary animism. There is no score of absolute ethics, the subject is made in anarchy. Her presence pulses in sustained relation.
Sagri captures affects of anti-capitalist resistance invisible within much political writing. When she writes she uses the whole wall (and climbs over it), reminds us of our powerful, vulnerable bodies, and does not shy away from paradox. Her highly personal practice (‘Don’t call it politics’) at Ύλη[matter]HYLE once offered important clarity in my own life – may her book reach all those who cannot stand on the balcony.