Vlasta Delimar | galerie michaela stock

The upcoming exhibition at galerie michaela stock offers a comprehensive insight into Delimar’s artistic development from its beginnings to the present. An astonishing 44 years have passed since her inaugural performance in 1979, titled “Attempt at Identification“, which she co-performed with Željko Jerman at the legendary Podroom Gallery in Zagreb.

Delimar uses her art as a platform to draw attention to social, political and cultural problems and to fight against hierarchical power structures. She strives to give women back control over their own bodies, and to deconstruct the objectification of the female body in society.

In her oeuvre, she repeatedly expresses her heterosexual desire and lust, evoking both fascination and outrage among viewers. Nevertheless, her art has faced criticism, particularly from feminist perspectives interpreting such representations as objectification of women. Vlasta Delimar photographed herself with naked men, performing explicit sexual acts and using the female body as a medium for communicating her message. However, it is important to note that she criticizes totalitarian, nationalist, and religious foundations. Alredy 1981, she expressed a sharp critique of patriarchy and the state in her work “F* * * Me”, inviting everyone to penetrate her – men, women, the state, religion, socialism, feminists, anti-feminists and more.

In one of her artistic approaches, Delimar often reduces the photographic image of the human body to an elemental representation of genitals. And subsequently, she adds stereotypically elements associated with femininity, such as lace, ribbons and buttons. This leads to a hyperbolization and carnivalization of the female or male body in which desire and eroticism become a norm-free space.

The exhibition is complemented by her latest film “Diptych: From Love to Love“, a poetic reminder of the discovery of sensual and androgynous physicality, which became her most important artistic tool. The film challenges middle-class morality promoted by patriarchal institutions such as the church, school, and family, stimulating erotic aesthetics. Through this intimate portrait, Delimar undermines society’s hypocrisy rooted in somatophobia, contributing to the discourse on the role, power, and politics of female sexuality.

Overall, Vlasta Delimar can be described as an intellectual, feminist performance artist whose works address a wide range of issues and evoke emotional, intellectual, and social responses. Her art is significant to the contemporary art world and contributes to the discussion of identity, gender, and power. The upcoming exhibition offers a unique opportunity to delve into her artistic development and bold messages.