Kamilia Kard is an artist and a researcher born in Milan. After earning a degree in Political Economy at the Bocconi University of Milan, she passes to artistic studies obtaining a BA in Painting and an MA in Net Art both at the Academy of Fine Arts of Brera in Milan. She is currently a Ph.D. candidate in Digital Humanities at the University of Genova. She teaches Multimedia Communication at the Brera’s Academy and 3D Modeling at the Academy of Carrara. Her research explores how hyper-connectivity and new forms of online communication have modified and influenced the perception of the human body, gestures, feelings and emotions. She has exhibited in various venues including the most recent: Galerie Odile Ouizeman in Paris, Dimora Artica in Milan, Metronon in Modena, Victoria and Albert Museum in London, EP7 Paris, IMAL in Brussels, Fotomuseum in Winterthur, La Triennale of Milano, the Museum of Contemporary Art of Sao Paolo, Brazil, La Quadriennale of Roma at Palazzo delle Esposizioni, Hypersalon Miami and at Museum of 900 in Milan.
Title: Judith + Holofernes – Blue(Always Attached to Their Mom)
Description: Born as a sarcastic response to an act of male power abuse suffered by the artist, Judith + Holofernes is a video series inspired by the biblical story of Judith. In the original story, Judith is a young, beautiful and rich widow, who proudly opposes the decision of the elders of her city to yield to the siege of the Assyrian general Holofernes. Accompanied only by a servant, Judith goes to Holofernes’ camp pretending to want to betray her people and hand over the city to him, but in the evening, taking advantage of the general’s drunkenness, she beheads him, ending the siege. Judith would live up to 105 years, honored and powerful, without ever remarrying.
Judith is an extraordinary icon of female power and superiority, who dominates both the weakness of the city’s elders, the violence of Holofernes, and the attempts to bring her back under the control of a husband. If her patriotism and her defense of the patriarchal society she belongs to justify the survival of the legend and its iconography, in the history of art – from Giorgione to Klimt, from Caravaggio to Artemisia – Giuditta often becomes the occasion to either stage the nobility, the superiority, the strength of a genre that has been tried to cage in a role, or to give vent to the anger caused by abuses suffered (Artemisia) or to the terror of a revenge for the violence committed.
In Kamilia Kard’s triptych, Judith takes on the abundant and matronly forms and characteristics from her series Woman as a Temple (2017-ongoing), limbless and faceless idols inspired by Paleolithic Venuses, incarnations of the eternal feminine. The beheading has already taken place; the head of Holofernes is not trampled on (as in Giorgione) or carried in triumph on a tray, but degraded to a support, propping up the female body. Her superiority is aesthetic and moral: a serene and proud superiority, which is not questioned but needs to be reaffirmed in a society in which patriarchal dynamics too often take over.
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