All Good
Video (00:01:04), 2020
All Good is a collected text archive that reflects daily communication in relation at work to friendship, professionalism, affection, empathy, and frustration, via patterns of habitual responses during the pandemic inspired by Carla Lonzi’s publication of Autoritratto [Self-Portrait] in the summer of 1969, and her activity as an art critic and curator.
This video is for the Open Call, Taci Anzi, Parla (Shut up. Or rather, speak) submission to the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome as a part of the festival Women Out of Joint project for the Carla Lonzi Archive in the museum. It was selected as one of 30 finalists.
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More about Carla Lonzi’s Self-Effacing ‘Self-Portrait’
BY ARA H. MERJIAN IN BOOKS , OPINION | 23 DEC 21
"At more than 300 pages, Carla Lonzi’s absorbing and innovative Self-Portrait (1969) records her interactions with 14 different artists over the course of the 1960s. Now, for the first time, a welcome translation by Allison Grimaldi Donahue for Divided Press offers English readers the opportunity to read one of postwar Italy’s most eccentric and irreducible texts. Lonzi, who died in 1982 at age 51, would go on to make an even more prominent mark in Italy with her essay ‘Let’s Spit on Hegel’ (1970) and the volumes The Clitoridian Woman and the Vaginal Woman (1974) and Diary of a Feminist (1977) – all undertaken out of frustration with what she perceived as the country’s lack of contemporary feminist consciousness. Yet, before co-founding the group Rivolta Femminile (Feminine Revolt) in 1970 – and, indeed, before publishing Self-Portrait – she had penned a good deal of art criticism and studied under one of Italy’s most distinguished art historians and critics, Roberto Longhi. When Lonzi turned on her tape recorder in the early 1960s, the vocation of the critic in Italy was a forbiddingly imperious one, anchored in academic bona fides and ideological self-righteousness alike. To be a critic was to be a tastemaker. For Longhi and an older generation, it was also to be a stylist, with ambitions that vied, in a sense, with the objects of their aesthetic study. With few exceptions, that ambition was singularly male. The same was effectively true for artists in Italy. Self-Portrait’s interlocutors range in age, media practice, political orientation, but – excepting the sole case of Carla Accardi – not gender."
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