Saturday, September 14, 2019

Myths Up To Date

Greek mythology is a boundless source of inspiration for poets, musicians, playwrights and visual artists with its tales of love, tragedies, deceits, rapes and other monstrosities about the deeply entwined lives of gods and mortals. In Gorgo at the Acadiana Center for the Arts in Lafayette, Lala Raščić revisits the story of three tragic female characters in the context of feminism. Born in Sarajevo, the artist is dividing her time between Zagreb, where she attended the Academy of Fine Arts, and New Orleans. She is known for her performances, installations, videos, sculpture-artifacts, drawings and held previous shows at Good Children Gallery in New Orleans. The solo exhibition fills the Center's main gallery with three videos, a reflective glass installation, sculptural objects, drawings and photographs.
Blinded by the local sunshine, it takes a few minutes to accommodate to the darkness of the windowless space. A floor installation made of drawings on glass projects shadows of masks and other artifacts on two opposite walls through a play of lights. Paintings, sculptures, drawings and photographs are scattered throughout the vast space divided by temporary partitions.
The stories of Arachne, Electra and Medusa provide a loose plot for the scripts of the three videos projected on large screens. EE-O, 2018, features Arachne (Raščić) the victim, weaving her way into a science fiction heroine. The slow and monotonous monologue gives emphasis to the spoken words also available in a brochure laying on the bench facing the screen. The images are hypnotic and the artist's performance flawless. The Eumenides, 2014, a piece in three acts based on Jean Paul Sartre's famous play The Flies, starts with a close-up of the lone artist looking straight at the camera to address the viewer. Reversing the traditional use of male actors to play female roles, she is Orestes the "king without a kingdom". In contrast, act two featuring the Furies is a fast paced succession of multicolored masks grimacing while rapping. The third act is about Electra, the winner. Wearing a cloak elegantly draped like an antique sculpture, her head crowned by a delicate crocheted headband,  she represents status and power. From the stage, she is haranguing an invisible crowd, sharing her wisdom. Energized by her exhortations to resistance, the cheers of the chorus build up chanting "Elect Electra". The third video in color is about Gorgo, a made-up character by the artist who resurrects Medusa with a new body. Wearing breastplate, mask, shield, she is also connected to sensors. Triggered by her body and armor, they generate sounds reverberating in the gallery. The cyborg adopts warrior-like poses and stares defiantly behind the mask, fearless. I chose to conclude my visit on this lasting image.
Filled with references to mythology, Ovid's Metamorphoses, modern plays, the Xenofeminist Manifesto, ..., the exhibition is challenging and requires some brushing up before the visit to fully appreciate it. A flyer is available at the entrance to refresh our memory and provide clues about the show which takes time to absorb. Two of the videos are about thirty minutes long and can be viewed regardless of their chronological order. The solo show is supported by a number of contributors: a Bosnian poet, a Serbian academic for texts and scripts, the only Bosnian female blacksmith for props, and three local artists for punctual performances.
The multi-talented artist, who also performed live in previous venues reaches a wide audience as she rejuvenates the myths we grew up with in light of the Me Too Movement.
In doing so, Raščić appears fearless like her heroins.

photographs by the author

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