Instalacija “Island of Inanna” je otok, mistično mjesto, kružnog oblika, okupano suncem što navire iz prizmi kupole Meštrovićeva paviljona. On je ujedno i dom božice Inane (Inanna), sumerske boginje ljubavi, plodnosti i rata (3. st. p.n.e.). Ona je boginja s četiri lica,: osim djevice, zrele žene i starice (ratnice, ljubavnice i vladarice) ona je i gospodarica podzemnog svijeta. Ona je istovremeno i mlada djevojka, zaokupljena samom sobom i buntovna tinejdžerica, koja je u stanju prekršiti sve zabrane, suprotstavljajući se raznim očinskim figurama. Poigravanjem materijalima poput betona, voska, kamena, tekstila; različitim teksturama; medijima, ali i predmetima – instrumentima “nadgradnje“ ili „popravka“ ženskog tijela. gubi se granica između društveno uvjetovanog i biološkog tijela, a seksualnost i ženski atributi ne izazivaju sram, već, naprotiv, postaju kvalitativni element svake žene. Polazeći od ideje žene kao primordijalne stvarateljice svemira, Island of Inanna predstavlja utopijsko mjesto ispunjeno artefaktima preuzetima iz svakodnevnice i pop kulture, arheološkim nalazima ženske prisutnosti koji predstavljaju tragove postojanja božanskog ženskog principa. No ipak, otvara se i pitanje nasilnosti prema samom tkivu žene, od strane npr. kozmetičke industrije ili pak samih muškaraca, čime se biološki zadana nježnost iskorištava u kapitalističke svrhe ili npr. uzimajući feminizam kao dobru marketinšku manipulaciju.
In artists´work, island is a mystical place, circular, sun-bathed by the dome of the Meštrović pavilion. It is also the home of the goddess Inanna, the Sumerian goddess of love, fertility and war (3rd century BC). She is a four-person goddess: besides being a virgin, a mature woman and an old woman (warrior, lover, and ruler) she is also the ruler of the underworld. She is at the same time a self-centered young girl and a rebellious teenager, who is able to break all the prohibitions, opposing various fatherly figures. Playing with materials such as concrete, wax, stone, textiles; different textures; media, but also objects – instruments for “upgrading” or “repairing” a woman’s body. With this approach, the boundary between the socially conditioned and the biological body is lost, and the sexuality and the female attributes do not provoke shame; on the contrary, they become the qualitative element of every woman. Starting from the idea of a woman as the primordial creator of the universe, Island of Inanna is a utopian topos filled with artifacts taken from everyday life and pop culture, archeological findings of women’s presence that represent the remaining traces of the existence of the divine female principle. However, the issue of violence against women’s tissue, the cosmetic industry, or the men themselves is opening up, making use of the biological tenderness for capitalist purposes, taking feminism as a good marketing manipulation.
lina kovacevic 