Ekofeministinis žvilgsnis į Šaltąjį karą, arba Undinė su kino kamera

LTLuko Brašiškio straipsnis „Ekofeministinis žvilgsnis į Šaltąjį karą, arba Undinė su kino kamera“, skirtas Emilijos Škarnulytės darbų porai „Sirenomelia / No Place Rising“ (2015-2018). Pasirinkta prieiga leidžia parodyti, kaip juose ekofeministinė poetika virsta ekofeministine politika, o Šaltojo karo pėdsakų refleksija permąsto gamtos ir kultūros santykį, suteikdama jam pozityviai suvokiamą monstrišką pavidalą. [Iš leidinio p. 18]

ENIn this text, Lukas Brašiškis analyses No Place Rising/Sirenomelia (2016-2017), Emilija Škarnulytė’s video work exhibited both as a one-channel film and a multi-channel video installation. In this film, the Lithuanian artist and filmmaker becomes a mermaid exploring underwater worlds in the area of a former NATO basis built in the Cold War times. Seeing a figure of a mermaid as a liminal semihuman creature that confounds the hegemonic boundaries of gender and species, Brašiškis construes the film through the lens of theories of ecofeminist materialisms and the queer performativity of nature. Situating the film within a subfield of eco-cinema, the author suggests that Škarnulytė’s video exposes an image of the past liberated from the political and military structures that oppress the memory of the Cold War, bringing the spectator to the imaginary situation in which relations between humans and non-humans have been transfigured. Brašiškis focuses on the issue of cinematically queered human/animal boundaries not only because of the artist’s impersonation of the mermaid, but also considering the multi-perspectival vision of the film. In this way, the video work connects the material and the discursive, supporting a non-dualistic system of ecofeminist thought. But not only that: going beyond the domain of the “biological”, Škarnulytė’s video relocates the traces of human species in a broader natural-cultural environment. The re-embodiment of the memory of the Cold War, as Brašiškis suggests, is the core of material ecocriticism inherent in Škarnulytė’s work. [From the publication p. 352]