Photographer, artist, reporter and urban flâneuse, Ilse Fusková is an important character of the urban culture of Buenos Aires.
In the 50s, Fusková poetically captures both simple characters, whom she exalts, as well as prominent intellectuals and artists, whom she humanizes. It also stops at its cultural wealth and those who remain at the margins of the modernization process.
At that time, the public and private sphere are configured, establishing the domestic sphere as the forced female territory. Women who travel are not atypical, not for economic needs, but for the pleasure of experiencing the freedom to walk and stimulate the imagination and creative sense. This act means a great step for women in their affirmation as an autonomous subject. Photography, art born during modernity, coincides and promotes these conquests.
In the late 70's, Ilse Fusková joins the Women's Liberation Movement. In this context, it carries out a deep reflection on the woman's gaze and the construction of her identity through the female nude. In her series El zapallo (1982), she seeks to expand the traditional canons of his photographic representation, forming one of the most important feminist artistic works still under the de facto government.
During the 80's she held several workshops at the Women's Place, a space created in Buenos Aires in August 1983. There she began her activist practice - first feminist and then lesbian - in parallel with the urgency to undertake the process of depathologization of homosexuality in Argentina. In 1992, together with Carlos Jáuregui, she organized the first march of LGBTTQ + pride in Buenos Aires.
Fusková is a modern flâneuse and a contemporary activist. During modernity, she sees the city as a sensitive and fascinated photographer. Decades later, she takes it as a laboratory where to subvert to the heteronormative system.
Her walk is political, her contemplation, poetic.