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Репрезентация женского тела в творчестве Ники де Сен-Фалль
This chapter analyzes the artistic practice of the French artist Niki de Saint Phalle, one of the most radical artists of the second half of the 20th century, whose work lies at the intersection of sculpture, performance art, painting, and architecture. The purpose of this article is to study her works through the lens of the philosophical and cultural category of the “Other” and feminist theory, drawing on the ideas of Simone de Beauvoir, Luce Irigaray, Linda Nochlin, and Laura Mulvey. The article focuses on two key artistic series: the performance art series “Tires” (1961-1962) and the sculpture series “Nanas” (1960s). The article explores how de Saint Phalle creates her own visual language that challenges traditional notions of the female body, its representation, and subjectivity in Western culture during the second half of the 20th century. The “Tires” performances are interpreted as a radical artistic gesture that combines social critique and political protest against institutional and symbolic structures of power. On the other hand, the “Nanas” series is analyzed as a transition from a creative and destructive gesture to the assertion of alternative models of female corporeality and subjectivity. It is suggested that the “Nanas” fi gures represent an artistic strategy for reimagining the female body in opposition to the canons of beauty and the logic of the “male gaze”. As a result, Niki de Saint Phalle’s work is seen as an attempt to create a new visual language that off ers alternative models of female art in the second half of the 20th century.
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