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    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

    The delicate hour of the birds among the branches – Poems by Melih Cevdet Anday (trans. Neil P. Doherty)

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    The wolf hour and other poems by Ella Yevtushenko

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Testing the worth of poetic bombshells – Four poems by Abdul Karim Al-Ahmad

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

  • Fiction
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    In memoriam – Swimming in the Tigris, Greenford: The Poetical Journey of Fawzi Karim, by Marius Kociejowski

    The Naked Shell of Aloneness – Kazi Rafi

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    The Shadow of a Shadow – Nandini Sahu

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    Football is Life – Mojaffor Hossein

    Datura – Paulami Sengupta

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    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

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    HOT MANGO CHUTNEY SAUCE – Farah Ahamed (from Period Matters)

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    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    A tribute to Carla Macoggi – An invitation to reading her novels, by Jessy Simonini

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    In memoriam – Swimming in the Tigris, Greenford: The Poetical Journey of Fawzi Karim, by Marius Kociejowski

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    What Gets Read: How the Beats Caught on in Italy – Clark Bouwman

    What Gets Read: How the Beats Caught on in Italy – Clark Bouwman

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Of romantic love and its perils: The lyrics of the enigmatic Barbara Strozzi – Luciana Messina

  • Interviews & reviews
    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Paradoxes of misfits and wanderers: Modhura Bandyopadhyay reviews Stalks of Lotus

    Beauty and Defiance: Ukrainian contemporary paintings in Padua- Show organizer Liudmila Vladova Olenovych in conversation with Camilla Boemio

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    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

    A preview of Greek poet Tsabika Hatzinikola’s second collection “Without Presence, Dreams Do Not Emerge”, by Georg Schaaf

    Ascension: A conversation with Matthew Smith

    Ascension: A conversation with Matthew Smith

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Of Concentric Storytelling, Footballs and the Shifting World

    Lexically Sugared Circuits of R/elation: A Conversation with Adeena Karasick

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    Camilla Boemio interviews Malaysian artist Kim Ng

    Poetic bridges and conversations: Icelandic, Kiswahili and English through three poems by Hlín Leifsdóttir

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Human Bestiary Series – Five Poems by Pina Piccolo

    Bear encounters in Italy:  Jj4, anthropomorphized nature and the dialectics of generations – Post by Maurizio Vitale (a.k.a. Jack Daniel)

    Bear encounters in Italy: Jj4, anthropomorphized nature and the dialectics of generations – Post by Maurizio Vitale (a.k.a. Jack Daniel)

    Chapter four from “La cena- Avanzi dell’ex Jugoslavia”, by Božidar Stanišić

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    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    A song of peace and other poems by Julio Monteiro Martins

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    I am the storm rattling iron door handles (Part I)- Poems by Michael D. Amitin

    Datura – Paulami Sengupta

    Datura – Paulami Sengupta

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Spirited away by the northern winds (Part I) – Poems by Marcello Tagliente

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Like a geological specimen in a darkened room: Two poems by Neil Davidson

  • News
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    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

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    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

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  • Home
  • Poetry
    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

    The delicate hour of the birds among the branches – Poems by Melih Cevdet Anday (trans. Neil P. Doherty)

    Afro Women Poetry- SUDAN: Reem Yasir, Rajaa Bushara, Fatma Latif

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    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    A flock of cardinals melted in the scarlet sky: Poems by Daryna Gladun

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    The wolf hour and other poems by Ella Yevtushenko

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Testing the worth of poetic bombshells – Four poems by Abdul Karim Al-Ahmad

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

  • Fiction
    Chapter ten, from”Come What May” by Ahmed Masoud

    Chapter ten, from”Come What May” by Ahmed Masoud

    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

    In memoriam – Swimming in the Tigris, Greenford: The Poetical Journey of Fawzi Karim, by Marius Kociejowski

    The Naked Shell of Aloneness – Kazi Rafi

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    The Shadow of a Shadow – Nandini Sahu

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Football is Life – Mojaffor Hossein

    Datura – Paulami Sengupta

    Datura – Paulami Sengupta

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Origin – 1. The House, at night, by Predrag Finci

    HOT MANGO CHUTNEY SAUCE – Farah Ahamed (from Period Matters)

    HOT MANGO CHUTNEY SAUCE – Farah Ahamed (from Period Matters)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

  • Non Fiction
    My Lover, My Body – Gonca Özmen, trans. by Neil P. Doherty

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    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    A tribute to Carla Macoggi – An invitation to reading her novels, by Jessy Simonini

    A tribute to Carla Macoggi – An invitation to reading her novels, by Jessy Simonini

    In memoriam – Swimming in the Tigris, Greenford: The Poetical Journey of Fawzi Karim, by Marius Kociejowski

    In memoriam – Swimming in the Tigris, Greenford: The Poetical Journey of Fawzi Karim, by Marius Kociejowski

    What Gets Read: How the Beats Caught on in Italy – Clark Bouwman

    What Gets Read: How the Beats Caught on in Italy – Clark Bouwman

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Of romantic love and its perils: The lyrics of the enigmatic Barbara Strozzi – Luciana Messina

  • Interviews & reviews
    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Paradoxes of misfits and wanderers: Modhura Bandyopadhyay reviews Stalks of Lotus

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    Remembering Carla Macoggi: Excerpts from “Kkeywa- Storia di una bambina meticcia” and “Nemesi della rossa”

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    Camilla Boemio interviews Malaysian artist Kim Ng

    Poetic bridges and conversations: Icelandic, Kiswahili and English through three poems by Hlín Leifsdóttir

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

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    A song of peace and other poems by Julio Monteiro Martins

    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

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    Datura – Paulami Sengupta

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    Overturning planes in the labyrinth – Four poems by Rita Degli Esposti

    Spirited away by the northern winds (Part I) – Poems by Marcello Tagliente

    Pioneer’s Portrait: How Voltaire Contributed to Comparative Literature, by Razu Alauddin    

    Like a geological specimen in a darkened room: Two poems by Neil Davidson

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

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    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

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    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

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    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

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    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

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THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

From the forthcoming book by Massimo Ceresa, materials from the book translated from Italian by Pina Piccolo

April 15, 2023
in Non Fiction, The dreaming machine n 11
THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa
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From the Introduction by Art Historian and Critic Antonella Uliana

 

[…]If the artist’s task is to embody her era and to represent collective consciousness, Oksana Šačko’ has fought her own battle and achieved her goal.

Her nonchalance and skill in using ancient and well-established tools of iconography, combined with her ability to create hybrids containing seemingly irreverent elements, turns the meaning of the traditional objects upside down. From works of art whose aim is to make Revelation manifest, they are converted into means of social denunciation.

Her  icons bear the indelible imprint of her artistic training, including the great emotions stirred by art  early on as well as the burning disappointments she experienced later.

If a traditional icon evokes hymns, praise, and prayer, Oksana’s works embody experiment, reflection and revolution.

They become the meeting place and the clashing point between the rules and regulations of orthodox iconographic art and a violent plummeting into reality.

The direction Oksana Šačko’ takes undergoes drastic changes, no longer indicating the path of beauty and asceticism leading towards the Creator but rather she plunges viewers into the pain of humanity.  Once she disassembles its age-old mechanisms through her creative work, traditional iconography becomes an opportunity for a renewed pondering on the phenomenology of the sacred itself and its ability to produce meaning for the contemporary world.

From a manifestation of the Divine icons turn into a window to the world. From a place of abstraction and timelessness, to reality and history.[…]

 

THE AMAZONS OF THE APOCALYPSE

There is a strange analogy between Oksana Šačko’s life and that of the author of the Apocalypse. Indeed, many scholars believe that John, the author of the last book of the New Testament, found inspiration for his writings during a period of confinement in a prison on the island of Patmos, just like our artist seems to have found her way to painting icons during her French exile.

The word Apocalypse etymologically means revelation, from verb apokalyptein, the act of removing what covers or hides, i.e., discover, reveal.  Hence, a powerful word of encouragement and hope.

In a time of difficulty for the evangelist and his community, the Apocalypse represented an invitation to resist against the soft and decadent style of Roman consumerism. And, to reach his goal, John pursued a threefold strategy: demolishing his opponent, constructing an alternate universe and offering a knowledge- based moral imperative.[i]

Like John, Šačko depicts her opponent with grotesque pictures, while presenting to her audience her own humanist manifesto. Just like John who aims to instill hope in the middle of persecution, Šačko, who had to find refuge in Paris because of her activism, asks the viewer to avoid the pitfalls of capitalism or the commodification of bodies: “I am not prepared to accept society as it is and the rules it imposes on us. I’m ready to fight to the end, even though I know it won’t bring about big changes in my generation. But it is a beginning and we are part of a long tradition of people who struggled and protested. I want to sound an alarm bell for the people. I want to wake up all the people who are asleep in their houses, content with their little piece of land and their usual old job. I want to give them a wake-up call, to make them rise and help change the world order. There have been many great ideas that aimed to free people and help them fulfill their ambitions, but capitalism ended up corrupting many of these ideas and so now we see them in a distorted light, not as they truly are. But I think that our ideas, our vision of the world, will not fall apart.”

 

 

The four canvases painted by Oksana Šačko, are inspired by the image of the four horsemen of the Apocalypse  But, upon closer inspection, the four horsemen have become four amazons and, in the installation at the Parisian Gallery, under each of the canvases, the passages of the Apocalypse are dripping black blood, describing the sense of death,  along with the subjugation of men and, most of all, of women, which, according to the artist, is intrinsic to all transcendental beliefs revolving around the worship of masters. In the apocalyptic picture, the horses evoke the great forces that dominate history, that is, the dynamics that most profoundly mark human affairs. Unlike the steeds, whose dressing is depicted with an abundance of details that clearly reflect traditional Ukrainian embroidery, the Amazons are shown fully naked, except for a cloak that dances over them.

The red horse draws blood and fire and the Amazon bears a great sword that she uses to do away with the falsehoods of patriarchal society while spurring humanity to seek the truth through a dialogic battle.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The black horse: its color evokes darkness and death. The horsewoman holds the scales in her hand, a sign of measurement. Thus, the scene represents the dearth of ideas and ideals that, the artist believes, characterizes contemporary society (a theme that we will find again in two of his icons of the trinity).

The green horse evokes the livid color of a corpse. The amazon riding it is Death symbolizing the demise of will and moral strength that plunge humanity into the abyss of sloth.

 

.

 

Finally, the white Amazon rides a mare bearing even more evident references to Ukrainian traditions. The animal’s dressing almost turns into a vyshyvanka, the traditionally embroidered shirt considered one of the most important symbols of Ukrainian identity. The design of the embroidery, the color of the silk threads, the cut of the shirt vary from region to region and are often arranged in such a way as to suggest the idea of protection, like an amulet, a kind of protective armor, also worn by soldiers under the uniform. Embroidering a shirt for someone is the equivalent of embroidering his/her destiny, so the embroiderer, just like the writer of icons must have only beautiful thoughts to convey through needle and thread. And always just like icons, vyshyvankas are kept in the family and passed down from generation to generation.  However, this is not where the reference to the Ukrainian tradition ends. In the image, the white Amazon draws a bow while wearing a crown of flowers on her head as a sign of victory. “The crown – Oksana Šačko says – is a Ukrainian symbol and represents the condition of unmarried girls: they are free, young and strong. For us, the flowers represent freedom, independence, peaceful protest. And, in addition, they are beautiful.”[ii]

 

 

[i] Claudio Doglio, la testimonianza del discepolo, Torino, 2018

[ii] Femen, In the beginning was the body, Malpaso.

 

 

[…] Oksana Šačko was born on January 31, 1987 in Khmel’nyt’kyj in Ukraine, three hundred kilometers from Kyïv . In 1995, still a child, she joined an art school in Nikoš, renowned for teaching Orthodox icon painting and normally reserved for adults.

In 2000, after graduating from the Nikoš school, she enrolled in the Khmelnytskyi Free University. Her philosophy studies caused her to undergo a  serious crisis of conscience as she discovered the corruption in religion as well as the power of the patriarchy. This led her to abandoning her religious fervor for feminist activism.

“At thirteen I wanted to take my vows, because I adored the Orthodox icons which I passionately copied, but as I deepened this discipline, I realized that it was a big business and that priests were more merchants than people of God. I continued attending the iconography school to earn a living, but I gave up the idea of becoming a nun [1].”

In 2003 she participated in the political activities of the New Ethics group. In 2008, together with Hanna Hucol and Oleksandra Ševčenko  she founded the group FEMEN to raise awareness and encourage Ukrainian women to fight for their rights. In 2008 she moved to Kyiv where she rented a small workshop used to make and  paint Femen’s “weapons”, i.e., costumes, masks, body drawings. In 2010, she came up with the idea of demonstrating topless in Kyïv, holding signs that read Ukraine is not a brothel. Three years later, in 2013, as a result of some of the group’s demonstrations, together with some of her associates she was forced to seek asylum in France. In 2014 Oksana Šačko left Femen and her activism took a new form: “I still have my beliefs, but I have chosen to act using other means, to explain my ideas using these paintings which are not on my breasts. It would be so boring to paint the whole of life on my breasts!”. So Oksana Šačko returned to devote himself to painting and, in particular, to icons. […]

Oksana Šačko passed away in Paris, at the age of 31, on July 23, 2018, with a life full of struggles and experiences behind her. This book wants to celebrate his courage, his unwavering determination and her work always aimed at dialogue and against any form of indoctrination. […]

 

Massimo Ceresa (Rome, 1974) was the head of Mondo in Cammino Veneto and one of the founders of AnnaViva, two associations dealing with the situation in Eastern Europe and Caucasus countries, supporting and promoting solidarity and cooperation projects. He contributed to IAMNESTY, Amnesty International’s human rights quarterly. With Infinito Edizioni he published the novels Dania e la neve (Dania and the snow, 2009) and Sopravvivere nella Russia di Stalin e Putin (Surviving in Stalin’s and Putin’s Russia) (2013). With Carlo Spera Editore he published in 2014 Pussy Riot  – Le ragazze che hanno osato sfidare Putin (Pussy Riot – The girls who dared to challenge Putin). His latest book is an investigative work titled FEMEN – Inna e le altre streghe senza Dio (FEMEN – Inna and the other godless witches, Tra le righe libri 2016)

 

Antonella Uliana is an art historian and art critic, with a degree in Art History of the Venetian Renaissance from the University of Padua; former professor of Art History at the Liceo Artistico Bruno Munari in Vittorio Veneto. She has promoted numerous artists, curating their exhibitions and catalogues, both in Italy and in galleries and museums abroad.

 

Tags: Antonella UlianaApocalypseBook of RevelationFemenfeminismfeminist articonographyIkonoklastMassimo Ceresamodern iconographyOksana Šačko'religious iconssocial criticismUkraine
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    • the dreaming machine – issue number 12
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