Kobieta jest nomadą, kobieta jest artystką. Spojrzenie na Panny młode w podróży Pippy Bacca i Silvii Moro w feministycznym ujęciu Rosi Braidotti

The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa BraidottiThe text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in unconditioned hospitality in the frames of what Jacques Derrida called “Abraham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which demands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist demands of Rosi Braidotti. The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa BraidottiThe text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in unconditioned hospitality in the frames of what Jacques Derrida called “Abraham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which demands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist demands of Rosi Braidotti