Frida Kahlo: The woman behind the legend - Iseult Gillespie

Prevodilac: Stefan Vesić Lektor: Ivana Krivokuća

In 1925,

Godine 1925,

Frida Kahlo was on her way home from school in Mexico City

Frida Kalo se vraćala kući iz škole u Meksiko Sitiju

when the bus she was riding collided with a streetcar.

kada se autobus u kojem je bila sudario sa tramvajem.

She suffered near-fatal injuries to her spine, pelvis and hips,

Zadobila je skoro smrtonosne povrede kičme, karlice i kukova,

and was bedridden for months afterward.

zbog čega je mesecima bila prikovana za krevet.

During her recovery,

Tokom svog oporavka,

she had a special easel attached to her bed

prikačila je poseban štafelaj za krevet

so she could practice painting techniques.

kako bi vežbala slikanje.

When she set to work,

Kada je krenula da radi,

she began to paint the world according to her own singular vision.

slikala je svet onako kako ga je ona videla.

Over the course of her life,

Tokom svog života,

dokazaće se kao stvaralac i muza iza izvanrednih umetničkih dela.

she would establish herself as the creator and muse behind extraordinary art.

Though you may have met Kahlo's gaze before,

Iako ste se možda već susreli sa njenim pogledom,

her work provides an opportunity to see the world through her eyes.

njena dela nam pružaju priliku da vidimo svet kroz njene oči.

She painted friends and family,

Slikala je porodicu i prijatelje,

still lives and spiritual scenes;

mrtvu prirodu i duhovne scene,

but it was her mesmerizing self-portraits

ali njeni očaravajući autoportreti su ti

which first caught the world’s attention.

zbog kojih je pridobila pažnju sveta.

Na jednom od ranijih radova,

In an early work,

"Self Portrait with Velvet Dress,"

„Autoportretu u somotskoj haljini",

the focus is on her strong brows, facial hair, long neck and formidable stare.

fokus je na njenim obrvama, dlakama na licu,

dugačkom vratu i prodornom pogledu.

Such features remained,

Te odlike je zadržala u daljem radu,

but Kahlo soon began to present herself in more unusual ways.

ali Kalo je počela da prikazuje sebe na neobične načine.

For example,

Na primer,

"The Broken Column" uses symbolism,

na „Slomljenom stubu" koristi simbolizam, religiozne motive i pejzaž u pukotinama

religious imagery and a ruptured landscape to reveal her physical and mental state.

da prikaže svoje fizičko i psihičko stanje.

In 1928, Kahlo started dating fellow painter Diego Rivera.

Godine 1928. Kalo je započela vezu sa slikarom, Dijegom Riverom.

They became lifelong partners and cultivated an eccentric celebrity.

Postali su doživotni partneri i zajedno odavali sliku ekscentričnosti.

Together, they traveled the world and dedicated themselves to art,

Zajedno su putovali svetom i posvetili se umetnosti,

Communist politics and Mexican nationalism.

komunističkoj politici i meksičkom nacionalizmu.

Kahlo and Rivera shared a deep affinity with Mexicanidad,

Kalo i Rivera su bili izuzetno privučeni „Meksikanidadu“,

a movement which celebrated indigenous culture after the Revolution.

pokretu koji je veličao nacionalnu kulturu nakon meksičke revolucije.

In her daily life, Kahlo wore traditional Tehuana dress

Preko dana, Kalo bi nosila tradicionalnu tevantepešku haljinu

and immersed herself in native spirituality.

i tako živela u duhu te nacije.

And in her work,

Na svojim slikama stalno se osvrtala na meksičko narodno slikanje,

she constantly referenced Mexican folk painting,

incorporating its bright colors

koristeći svetle boje

and references to death, religion and nature.

i slikajući motive poput smrti, religije i prirode.

With her imagery of giant floating flowers,

Zbog slika ogromnih lebdećih cvetova,

undulating landscapes, transplanted body parts and billowing clouds of demons,

lelujavih pejzaža, izmeštenih delova tela i demonskih oblaka,

Kahlo has often been associated with Surrealism.

Kalo često povezuju sa nadrealizmom.

But while surrealists used dreamlike images to explore the unconscious mind,

Ali, dok su nadrealisti koristili motive nestvarnog da bi prikazali podsvest,

Kahlo used them to represent her physical body and life experiences.

Kalo ih je koristila kako bi prikazala svoje fizičko stanje i životna iskustva.

Two of her most-explored experiences

Dva motiva na koja se ona najviše fokusira

were her physical disabilities and her marriage.

jesu njeni invaliditeti i njen brak.

As a result of the bus accident,

Kao posledica saobraćajne nesreće,

she experienced life-long health complications

ceo život imala je problema sa zdravljem

and endured many hospitalizations.

i dosta vremena je provela u bolnicama.

She often contemplated the physical and psychological effects

U svojim radovima često se bavila fizičkim i psihičkim efektima

of disability in her work;

svojih fizičkih nedostataka.

painting herself in agony,

Slikala je sebe u agoniji,

recuperating from operations,

oporavljajući se od operacija,

or including objects such as her back brace and wheelchair.

kao i predmete poput svoje proteze za leđa i invalidskih kolica.

Meanwhile, her relationship with Rivera was tempestuous,

Njena veza sa Riverom bila je burna,

marked by infidelity on both sides.

obeležena prevarama sa obe strane.

At one point they even divorced,

U jednom trenutku su se čak i razveli,

ali se ponovo venčali godinu dana kasnije.

then remarried a year later.

During this period,

Tokom ovog perioda,

she painted the double self-portrait "The Two Fridas,"

Kalo je naslikala dupli autoportret „Dve Fride"

which speaks to the anguish of loss and a splintered sense of self.

koji svedoči o bolu nakon gubitka i sada već podvojenoj svesti o sebi.

The Frida to the left has a broken heart,

Frida sa leve strane slomljenog je srca.

which drips blood onto her old-fashioned Victorian dress.

Iz tog srca ide krv i pada na njenu staromodnu viktorijansku haljinu.

She symbolizes a version of the artist who is wounded by the past–

Ta Frida predstavlja umetnicu koju je ranila prošlost,

but is also connected by an artery to a second self.

ali ujedno je i arterijom povezana sa drugom Fridom.

This Frida is dressed in Tehuana attire–

Ova Frida nosi tevantepešku haljinu

and although she remembers Diego with the tiny portrait in her hand,

i iako se seća Dijega u vidu male slike u njenoj ruci,

her heart remains intact.

njeno srce je netaknuto.

Together, the two suggest a position caught between past and present,

Zajedno, ove dve figure prikazuju osobu koja stoji između prošlosti i sadašnjosti,

individuality and dependency.

samostalnosti i zavisnosti.

Kahlo died in 1954 at the age of 47.

Kalo je umrla 1954. godine, u 47. godini života.

In the years after her death,

U godinama nakon svoje smrti,

she experienced a surge in popularity that has lasted to this day.

stekla je veliku slavu koja traje i do dana današnjeg.

And although her image has proliferated,

I iako se slika o njenom životu proširila,

Kahlo’s body of work

celokupno delo Fride Kalo

reminds us that there are no simple truths

podseća nas da ne postoji jednostavan način

about the life, work and legacy of the woman behind the icon.

da opišemo život, delo i zaveštanje žene iza legende.

Ona je predstavila više verzija svog pogleda na stvarnost života

Rather, she put multiple versions of her reality on display–

and provided us with a few entry-ways into the contents of her soul.

i tako nam ponudila da pogledamo u ogledala njene duše.