Wanda Wulz. Un diario fotografico. Autoritratti, travestimenti, performance

Valentina Tebala

doi:10.6092/issn.2531-9876/19517

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Valentina Tebala Soprintendenza Archeologia, Belle Arti e Paesaggio per la Città Metropolitana di Reggio Calabria e Provincia di Vibo Valentia

Art Historian, Reggio Calabria (1985). During her university career - carried out at the Department of Visual Arts (Bologna University) – she focused her attention on Futurism, photography and its conceptual potential, dynamics associated with gender and sexual identity, as well as female and feminist contribution in the visual arts. The topic of her Bachelor (2009) was centered on Robert Mapplethorpe’s self-portraits and her Master’s degree (2013) on Wanda Wulz(both thesis with Supervisor Prof. Claudio Marra). In 2019 she obtained a diploma postgraduate School in Historical Artistic Heritage discussing a thesis on Umberto Boccioni’s engraving activity (Supervisor Prof. Marzia Faietti). Her publications and contributions to art catalogues include Ipotesi di una visione fotografica del paesaggio in Boccioni prefuturista, an essay in the exhibitions catalogue of Umberto Boccioni. Un percorso presso il MArRC (2020); Un caso studio di arte pubblica: Flavio Favelli e il murale Luigi Marulla a Cosenza, published in “Figure” (Vol.4, 2019), a magazine of postgraduate School in Historical Artistic Heritage (Bologna University), with an introduction of Roberto Pinto. She writes for SMALL ZINE, a contemporary art magazine and Artribune. From 2019 to 2020 Valentina Tebala carried out an internship as Art Historian at SABAP in Reggio Calabria and Vibo Valentia, where she’s currently working with it to make cultural heritage catalogues campaigns through the general information system for cataloguing SigecWeb.

DOI:

https://doi.org/10.6092/issn.2531-9876/19517

Keywords:

photography, female, identity, performance, self-portraits

Abstract

Child and granddaughter of a centennial dynasty of photographers from Trieste, Wanda Wulz was just 25 years old when she started to lead her family photo studio introducing a long portrait career, along with a short and important avant-gardist period. On closer inspection, what that made her «the only Italian female futuristic photographer» thanks to her well-known worldwide Io + gatto, was clearly the result of a personal, dynamic, and experimental artistic career. Among the 30s work there is a more intimate and private photography, aimed to expose and legitimate an emancipate female identity, in line with the modern, rising, new woman. This paper seeks to bring out a “personal archive” of images from Fondo Wulz (Alinari Foundation) useful to convey the conceptual strength of the photography as well as a new female identity. The aim is to find out interesting female self-portraits – from being object of several portraits made by her father to subject of representation –, of disguise and mini-performance.

Wanda Wulz: a photo diary. Self-portraits, disguises, performance

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