De masques et de costumes. La mascarade identitaire des artistes femmes aux XXe et XXIe siècles
Copyright (c) 2020 Quentin Petit Dit Duhal
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If Carnival seems to participate in the establishment’s reversal, appealing to its codes in the field of representations would then be a tool for the emancipation of women artists, who have historically struggled to have their places in the world of art governed by men. The matter is the different reformulations of Carnival from the angle of the gender studies in the case of the duo Claude Cahun and Marcel Moore’s play on the mask, Deborah de Robertis’ disguise, as well as ORLAN’s manipulation of genetics through new technologies, that invests the figure of the Arlequin directly from the Italian Commedia dell’arte. Therefore, this article attempts to show the conditions in which the development of a Carnival aesthetics allows these artists to challenge femininity