Italian second-wave feminism and its legacy has been the subject of renewed critical attention across a number of disciplines in recent years. Among the most significant contributions have been studies examining the influence of women’s groups across Italy on both national and regional political discourse. Beyond this focus, efforts have also been made to write a more global history of Italian second-wave feminism by underscoring the relationship between national and international women’s movements in the postwar period. At the same time, there has been a growing interest in the writings of key Italian feminist theorists, as testified by the republication of the entire art critical output of Carla Lonzi, as well as the publication of writings by women associated with the Italian feminist-autonomist tradition, such as Silvia Federici, Mariarosa Dalla Costa, Selma James, Giovanna Franca Dalla Costa, and Leopoldina Fortunati. Through campaigns known internationally as ‘Wages for Housework’, and coordinated in Italy by the Padua-based Lotta Femminista (Feminist Struggle), which counted Federici and Dalla Costa amongst its numbers, these women have been committed to the restructuring of reproductive labour, foregrounding the domestic in their attempts to rethink the nature of work in capitalism. That this discourse has enjoyed something of a revival in the last decade, not least within artistic practice, suggests the relevance of Italian feminism to a discussion of the relationship between art, feminism, and the domestic, and the timeliness of revisiting this question now. I want to reflect on this relationship as it relates to the practice of the artist Carla Accardi during a period that encompasses her involvement in the collective Rivolta Femminile (Feminine Revolt), from the summer of 1970 when the group published their Manifesto di Rivolta Femminile. One of the first separatist feminist collectives to appear in Italy, it would serve as a model for similar groups across the country in subsequent years. Despite Accardi’s founding role, her relationship to Rivolta Femminile and its legacy remains marred by what were irreconcilable differences with her cofounder Lonzi, leading to a split within the group in 1973. This was in part based on a fundamental conflict in their perspectives on art’s place within feminism. Lonzi regarded the two as ultimately incompatible. In an entry in her diary Taci Anzi Parla: Diario di una Femminista, Lonzi reflects on the experience of writing Autoritratto (1969), the book that marked her departure from the circuits of artistic production. She writes of the fourteen artists who had been her interlocutors: ‘what disturbed me was that they viewed me as a spectator . . . perhaps they thought, I was more intelligent, more sensitive, better at recording, certainly more honest, but that is as far as it would go, an ideal spectator’. As the feminist philosopher Maria Luisa Boccia has pointed out, there is an analogy to be made here between the ideal spectator referred to by 1. See for example Molly Toynbee, The Lost Wave, Women and Democracy in Postwar Italy (Oxford: Oxford University Press, 2013); Maud Anne Bracke, Women and the Reinvention of the Political (London: Routledge, 2015); and Ruth Glynn, Women, Terrorism, and Trauma in Italian Culture (New York, NY: Palgrave Macmillan, 2013).

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以不同的方式生活，以不同的方式看待：卡拉·阿卡迪的临时结构（1965-1972）

近年来，意大利第二波女权主义及其遗产已成为许多学科重新关注的主题。最重要的贡献之一是研究意大利各地的妇女团体对国家和地区政治话语的影响。除了这一重点之外，还努力通过强调战后国家和国际妇女运动之间的关系来书写意大利第二波女权主义的更全球化的历史。与此同时，人们对意大利主要女权主义理论家的著作越来越感兴趣，卡拉·隆齐 (Carla Lonzi) 的整个艺术评论作品的再版以及与意大利女权主义者相关的女性著作的出版​​都证明了这一点。自治主义传统，例如西尔维娅·费德里奇（Silvia Federici），玛丽亚罗莎·达拉·科斯塔、塞尔玛·詹姆斯、乔瓦娜·弗兰卡·达拉·科斯塔和 Leopoldina Fortunati。通过在国际上被称为“家务劳动工资”的运动，并由总部位于帕多瓦的 Lotta Femminista（女权主义斗争）在意大利协调，其中包括 Federici 和 Dalla Costa，这些妇女一直致力于重组生殖劳动，前景家庭试图重新思考资本主义工作的性质。这种话语在过去十年中得到了复兴，尤其是在艺术实践中，这表明意大利女权主义与讨论艺术、女权主义和家庭之间的关系的相关性，以及现在重新审视这个问题的及时性。我想反思这种关系，因为它与艺术家 Carla Accardi 在她参与集体 Rivolta Femminile（女性起义）期间的实践有关，从 1970 年夏天该组织发表了他们的 Manifesto di Rivolta Femminile。作为最早出现在意大利的分离主义女权主义团体之一，它将成为随后几年全国类似团体的典范。尽管 Accardi 担任创始角色，但她与 Rivolta Femminile 的关系及其遗产仍然受到与联合创始人 Lonzi 不可调和的分歧的损害，导致 1973 年集团内部分裂。 这部分是基于他们对艺术地位的看法的根本冲突在女权主义里面。Lonzi 认为这两者最终是不相容的。在她的日记 Taci Anzi Parla 的一篇文章中：在《女性日记》中，Lonzi 回顾了写作 Autoritratto (1969) 的经历，这本书标志着她脱离了艺术创作的循环。她写到曾与她对话的 14 位艺术家：“令我不安的是，他们将我视为旁观者。” . . 也许他们认为，我更聪明，更敏感，更擅长录音，当然更诚实，但就它而言，这是一个理想的旁观者。” 正如女权主义哲学家 Maria Luisa Boccia 所指出的，这里可以在 1 所指的理想旁观者之间进行类比。参见 Molly Toynbee，The Lost Wave，Women and Democracy in Postwar Italy (Ox​​ford: Oxford University Press , 2013); Maud Anne Bracke，《女性与政治的重塑》（伦敦：Routledge，2015 年）；和露丝格​​林，妇女，恐怖主义，