The article concerns the development of the public events programme “Now You Can Go” that the author organised in collaboration with six feminist curators, artists and researchers, Angelica Bolletinari, Giulia Casalini, Diana Georgiou, Laura Guy, Irene Revell and Amy Tobin, in London, 2015. It discusses the programme’s exploration of early moments of feminist thinking, art and activism, particularly those from 1970s and 1980s Italy. Inspired by the name of Carla Lonzi’s 1980 book Vai Pure (Now You Can Go), the programme engaged with the implications of Lonzi’s tactics of withdrawal and renunciation: of art criticism, feminist leadership, and – as outlined in Vai Pure – romantic complementarity with a man. The essay explains how “Now You Can Go” also traced the legacy and current relevance of the practices of the Libreria delle Donne di Milano [Milan Women’s Bookshop] collective, Diotima in Verona, Cooperativa Beato Angelico in Rome, international Wages for Housework, and feminist thinkers including Adriana Cavarero, Silvia Federici, Lea Melandri and Luisa Muraro. Considering why this legacy has been under-translated and overlooked, Reckitt highlights the radicalism of Italian feminist stances on sexual difference, non-assimilation, and politicized relations between women. She discusses the artist Claire Fontaine’s formulation of Human Strike and its relationship to Italian feminist theory and practice. Reckitt highlights aspects of the “Now You Can Go” programme, including debates around social reproduction and gendered caring labour; the rehabilitation of women artists into the market and canon; and translating feminisms across time, place, context, and language. In approaching Italian feminism as a living archive that resonates in the present, she shows how the programme emphasised embodied experience, intimacy, dialogue and participation above spectacle and representation. Reflecting on what it means both to curate feminist context, and to curate as feminists, Reckitt underscores the need for attention to be paid to behind-the scenes, infrastructural conditions. In this context she describes her curatorial role as establishing a framework that seeks to engender collective exploration and subjective awakening.

中文翻译：

---

产生女权主义：意大利女权主义和“现在你可以去”计划

这篇文章涉及作者与六位女权主义策展人、艺术家和研究人员合作组织的公共活动节目“现在你可以去”的发展，安吉丽卡·博莱蒂纳里、朱莉娅·卡萨利尼、戴安娜·乔治欧、劳拉·盖伊、艾琳·雷维尔和艾米·托宾，在伦敦，2015 年。它讨论了该计划对女权主义思想、艺术和激进主义早期时刻的探索，尤其是 1970 年代和 1980 年代意大利的那些。受 Carla Lonzi 1980 年出版的书 Vai Pure（现在你可以去）的启发，该计划涉及 Lonzi 退出和放弃策略的含义：艺术批评、女权主义领导，以及 - 正如 Vai Pure 中概述的 - 与浪漫的互补一个男人。这篇文章解释了“现在你可以去”如何追溯 Libreria delle Donne di Milano [米兰妇女书店] 集体、维罗纳的 Diotima、罗马的 Cooperativa Beato Angelico、国际家务劳动工资和女权主义思想家包括阿德里安娜·卡瓦雷罗、西尔维娅·费德里奇、莉亚·梅兰德里和路易莎·穆拉罗。考虑到为什么这一遗产被低估和忽视的原因，Reckitt 强调了意大利女权主义在性别差异、非同化和女性之间的政治化关系方面的激进主义立场。她讨论了艺术家克莱尔·方丹 (Claire Fontaine) 对“人类罢工”(Human Strike) 的表述及其与意大利女权主义理论和实践的关系。Reckitt 强调了“Now You Can Go”计划的各个方面，包括围绕社会再生产和性别关怀劳动的辩论；使女性艺术家重新进入市场和经典；跨时间、地点、语境和语言翻译女权主义。在将意大利女权主义视为一种在当下引起共鸣的活档案时，她展示了该计划如何强调具体体验、亲密关系、对话和参与，而不是景观和表现。反思策展女权主义背景和作为女权主义者策展的意义，Reckitt 强调需要关注幕后的基础设施条件。在这种情况下，她将自己的策展角色描述为建立一个框架，寻求引发集体探索和主观觉醒。在将意大利女权主义视为一种在当下引起共鸣的活档案时，她展示了该计划如何强调具体体验、亲密关系、对话和参与，而不是景观和表现。反思策展女权主义背景和作为女权主义者策展的意义，Reckitt 强调需要关注幕后的基础设施条件。在这种情况下，她将自己的策展角色描述为建立一个框架，寻求引发集体探索和主观觉醒。在接近意大利女权主义作为一个在当下引起共鸣的活档案时，她展示了该计划如何强调具体体验、亲密关系、对话和参与，而不是奇观和表现。反思策展女权主义背景和作为女权主义者策展的意义，Reckitt 强调需要关注幕后的基础设施条件。在这种情况下，她将自己的策展角色描述为建立一个框架，寻求引发集体探索和主观觉醒。Reckitt 强调需要关注幕后的基础设施条件。在这种情况下，她将自己的策展角色描述为建立一个框架，寻求引发集体探索和主观觉醒。Reckitt 强调需要关注幕后的基础设施条件。在这种情况下，她将自己的策展角色描述为建立一个框架，寻求引发集体探索和主观觉醒。