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Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023 Anatomy of the Fetish at galerija VARTAI Photography by Darius Petrulaitis
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023 Photography by Darius Petrulaitis
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023 Photography by Darius Petrulaitis
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023 Photography by Darius Petrulaitis
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023
Open a larger version of the following image in a popup: Goda Palekaitė, Medūzos baldakimas / Medusa’s Baldaquin , 2023 Photography by Darius Petrulaitis

Goda Palekaitė Lithuanian, b. 1987

Medūzos baldakimas / Medusa’s Baldaquin , 2023
Organzos audinys, medvilniniai siūlai, siuvinėjimas mašina /
Organza fabric, cotton thread, machine embroidery
250 x 150 x 160 cm
98 1/2 x 59 x 63 in
Enquire
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EN (lietuviškas aprašas apačioje): In Greek mythology, Medusa, one of the monsters or Gorgons, symbolises feminine power and survival as well as danger and rape. A woman would have to...
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EN (lietuviškas aprašas apačioje):
In Greek mythology, Medusa, one of the monsters or Gorgons, symbolises feminine power and survival as well as danger and rape. A woman would have to carry Medusa’s image or have its tattoo as a sign that she is a victim of rape, and as a means of protection from further assaults. It was Poseidon who raped Medusa in the goddess Athena’s temple and remained unpunished. Instead, Athena punished the victim for desecrating her sacred space by cursing Medusa with a head full of snakes and a gaze that turns men to stone. Similarly, for nearly two millennia in Christian Europe, the rape of a courtesan could easily go unpunished.

In Medusa’s Baldaquin, Palekaitė addresses the history of courtesans through the words of two sex workers and writers, Veronica Franco and Grisélidis Réal. The fragments of their poems, machine-embroidered on transparent fabric, invite one to wonder about the spheres and spaces of female labour: embroidery and textile work have always been considered feminine activities, just like prostitution; writing, on the other hand, has not. Veronica Franco (1546-1591), perhaps the most influential courtesan and poetess in 16th-century Italy, worked her way to the class of cortigiana onesta (honest, or honoured courtesan), enjoying the social status of a celebrity, though simultaneously remaining dependent on the protection of powerful men in an oppressive legal system that tried her for witchcraft. Four hundred years later, Grisélidis Réal (1929-2005), a Swiss-born prostitute, writer and a sex-workers’ rights activist, it seems, struggled through a similar path towards safety, respect and recognition. The oldest profession in the world, the mastery of intimacy, is, until now, one of the most stigmatised, precarious, and dangerous occupations; like ghostly Medusa’s head, levitating above the limits of our tolerance and justice.

LT:
Graikų mitologijoje Medūza, viena iš pabaisų Gorgonių, simbolizuoja moterišką galią ir valią, tačiau taip pat pavojų ir išprievartavimą. Moteris, patyrusi seksualinį smurtą, turėdavo nešioti fizinį Medūzos atvaizdą arba jį išsitatuiruoti kaip tokios patirties ženklą ir, sykiu, kaip apsaugos nuo galimų tolesnių išpuolių priemonę. Medūzą deivės Atėnės šventykloje išprievartavo Poseidonas, likęs nenubaustas. Vietoj to už savo šventos erdvės išniekinimą Atėnė nubaudė Medūzą, prakeikdama ją gyvatėmis apaugusia galva ir žvilgsniu, paverčiančiu vyrus akmenimis. Panašiai, beveik du tūkstantmečius krikščioniškoje Europoje už kurtizanės išprievartavimą bausmė galėjo būti neskiriama.

Šiame kūrinyje Goda Palekaitė kurtizanių istoriją nagrinėja pasitelkdama dviejų sekso darbuotojų ir rašytojų – Veronicos Franco ir Grisélidis Réal – žodžius. Jų eilėraščių fragmentai, mašininiu būdu išsiuvinėti ant perregimo audinio, ragina susimąstyti apie moterų darbo sferas ir erdves: siuvinėjimas ir tekstilės darbai visada buvo laikomi moteriška veikla, kaip ir prostitucija – priešingai negu rašymas. Veronica Franco (1546–1591), ko gero, įtakingiausia kurtizanė ir poetė XVI a. Italijoje, pasiekė cortigiana onesta (garbingos kurtizanės) ir įžymybės statusą, tačiau tuo pat metu liko priklausoma nuo įtakingų vyrų globos priespauda grįstoje teisinėje sistemoje, pagal kurią ji buvo teisiama už raganavimą. Praėjus keturiems šimtmečiams, Šveicarijoje gimusi prostitutė, rašytoja ir sekso darbuotojų teisių aktyvistė Grisélidis Réal (1929–2005), regis, turėjo nueiti panašų kelią saugumo, pagarbos ir pripažinimo link. Seniausia pasaulyje profesija – intymumo meistrystė – iki šiol yra viena labiausiai stigmatizuotų, nesaugių ir pavojingų profesijų; tarsi vaiduokliška Medūzos galva, levituojanti virš mūsų tolerancijos ir teisingumo ribų.
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