Este ensaio centra-se em Letícia Parente (1930–1991), videoartista e cientista brasileira, cujos ... more Este ensaio centra-se em Letícia Parente (1930–1991), videoartista e cientista brasileira, cujos trabalhos associam imagens e espaços domésticos, bem como tarefas e objetos quotidianos, a violência, repressão e encarceramento. Ao longo das décadas de 1970 e 1980, Parente criou uma série de performances em vídeo, uma abordagem à performance arte na qual se apresentou perante uma câmara de filmar e não perante uma audiência ao vivo. Embora Parente não se identificasse como feminista, este ensaio interpreta o seu trabalho sob uma leitura feminista, argumentando que ela navegou pelas múltiplas pressões da maternidade, do trabalho doméstico e da sua carreira profissional, desenvolvendo trabalhos experimentais que exploram as tarefas domésticas e que testam os seus limites para abordar as divisões de gênero e raça no trabalho e a violência patrocinada pelo estado da ditadura militar brasileira (1964–1985). Esses trabalhos incluem In (1975), que se concentra no ato de pendurar roupas num a...
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
The article reviews the visual art performance biennial exhibition "Performa 11," which... more The article reviews the visual art performance biennial exhibition "Performa 11," which featured works by various contemporary artists including Robert Ashley, Liz Magic Laser and Frances Stark, held at various locations throughout New York City in 2011.
A escritora examina a genealogia das praticas da arte relacional contemporânea tendo como ponto d... more A escritora examina a genealogia das praticas da arte relacional contemporânea tendo como ponto de partida os textos seminais de Allan Kaprow. Atraves da analise das obras de Rirkrit Tiravanija e Tino Sehgal, dois artistas contemporâneos que atuam dentro do campo expandido das praticas relacionais, ela explora os lacos entre as teorias de Kaprow e as praticas atuais desses artistas, articulando-os com outros teoricos contemporâneos como Claire Bishop e Donald Kuspit.
This dissertation considers the work of a group of women artists in Brazil during the period of t... more This dissertation considers the work of a group of women artists in Brazil during the period of the military dictatorship (1964–1985), working in the genre of “performance-for-camera” (i.e., performance for film and video, rather than for a live audience). The artists are Lygia Pape (1927–2004), Letícia Parente (1930–1991), Anna Bella Geiger (b. 1933), Sonia Andrade (b. 1935), Anna Maria Maiolino (b. 1942), and Regina Vater (b. 1943). Some of these women were friends and colleagues who collaborated with each other; all of them contributed significantly to the development of film and video art in Brazil. Their works share an impulse to use their own bodies to enact a range of repetitive gestures, actions, tasks, and activities. While these works have been interpreted through the lens of media theory as ciphers of resistance to the repressive military regime, scholarship has not yet tackled the issue of gender and the implications of these performances for a broader understanding of feminism in Brazil during this period. This dissertation examines these works through a feminist lens, even though most of these artists did not identify as feminists. A secondary aim of this project is thus to address the difficult question of what feminism meant to women artists working in Brazil during the dictatorship. I argue that these artists worked with and against the patriarchal foundations of the authoritarian regime of the Brazilian dictatorship. They used their gender to resist the dictatorship, as well as the paternalism of U.S. socio-economic interventionism in Brazil, but in ways that both exploited and subverted stereotypical femininity: harnessing bodily and affective excess, gendered masquerade, and explorations of private and public space. The use of video and film allowed these works to circulate in ways that afforded some protection at a time when openly voicing dissent was dangerous. This study thus provides one of the first feminist analyses of Brazilian video, film, and performance art. It also provides an analysis of strategies used by women artists under conditions of (national) political repression and (international) foreign influence
Cet article examine les œuvres d’art des annees 1970 de Regina Vater, Lygia Pape et Anna Bella Ge... more Cet article examine les œuvres d’art des annees 1970 de Regina Vater, Lygia Pape et Anna Bella Geiger, qui ont adopte des formes culturelles « populaires », notamment l’art populaire, l’artisanat et les rituels et coutumes autochtones et afro-bresiliens. Comment ces femmes blanches, urbaines et issues de la classe moyenne ont-elles deploye des references au populaire et au « feminin » dans leurs œuvres de maniere ambivalente et comment ont-elles renegocie les frontieres complexes entre le primitivisme, l’appropriation culturelle et l’anthropophagie, termes que cet essai deploie en s’appuyant sur les theorisations de la race et de l’identite formulees par Denise Ferreira da Silva et Suely Rolnik.
This article examines the landscape paintings of Brazilian modernists Anita Malfatti (1889–1964) ... more This article examines the landscape paintings of Brazilian modernists Anita Malfatti (1889–1964) and Tarsila do Amaral (1886–1973) through the lenses of gender, race, and identity.
Este ensaio centra-se em Letícia Parente (1930–1991), videoartista e cientista brasileira, cujos ... more Este ensaio centra-se em Letícia Parente (1930–1991), videoartista e cientista brasileira, cujos trabalhos associam imagens e espaços domésticos, bem como tarefas e objetos quotidianos, a violência, repressão e encarceramento. Ao longo das décadas de 1970 e 1980, Parente criou uma série de performances em vídeo, uma abordagem à performance arte na qual se apresentou perante uma câmara de filmar e não perante uma audiência ao vivo. Embora Parente não se identificasse como feminista, este ensaio interpreta o seu trabalho sob uma leitura feminista, argumentando que ela navegou pelas múltiplas pressões da maternidade, do trabalho doméstico e da sua carreira profissional, desenvolvendo trabalhos experimentais que exploram as tarefas domésticas e que testam os seus limites para abordar as divisões de gênero e raça no trabalho e a violência patrocinada pelo estado da ditadura militar brasileira (1964–1985). Esses trabalhos incluem In (1975), que se concentra no ato de pendurar roupas num a...
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
The article reviews the visual art performance biennial exhibition "Performa 11," which... more The article reviews the visual art performance biennial exhibition "Performa 11," which featured works by various contemporary artists including Robert Ashley, Liz Magic Laser and Frances Stark, held at various locations throughout New York City in 2011.
A escritora examina a genealogia das praticas da arte relacional contemporânea tendo como ponto d... more A escritora examina a genealogia das praticas da arte relacional contemporânea tendo como ponto de partida os textos seminais de Allan Kaprow. Atraves da analise das obras de Rirkrit Tiravanija e Tino Sehgal, dois artistas contemporâneos que atuam dentro do campo expandido das praticas relacionais, ela explora os lacos entre as teorias de Kaprow e as praticas atuais desses artistas, articulando-os com outros teoricos contemporâneos como Claire Bishop e Donald Kuspit.
This dissertation considers the work of a group of women artists in Brazil during the period of t... more This dissertation considers the work of a group of women artists in Brazil during the period of the military dictatorship (1964–1985), working in the genre of “performance-for-camera” (i.e., performance for film and video, rather than for a live audience). The artists are Lygia Pape (1927–2004), Letícia Parente (1930–1991), Anna Bella Geiger (b. 1933), Sonia Andrade (b. 1935), Anna Maria Maiolino (b. 1942), and Regina Vater (b. 1943). Some of these women were friends and colleagues who collaborated with each other; all of them contributed significantly to the development of film and video art in Brazil. Their works share an impulse to use their own bodies to enact a range of repetitive gestures, actions, tasks, and activities. While these works have been interpreted through the lens of media theory as ciphers of resistance to the repressive military regime, scholarship has not yet tackled the issue of gender and the implications of these performances for a broader understanding of feminism in Brazil during this period. This dissertation examines these works through a feminist lens, even though most of these artists did not identify as feminists. A secondary aim of this project is thus to address the difficult question of what feminism meant to women artists working in Brazil during the dictatorship. I argue that these artists worked with and against the patriarchal foundations of the authoritarian regime of the Brazilian dictatorship. They used their gender to resist the dictatorship, as well as the paternalism of U.S. socio-economic interventionism in Brazil, but in ways that both exploited and subverted stereotypical femininity: harnessing bodily and affective excess, gendered masquerade, and explorations of private and public space. The use of video and film allowed these works to circulate in ways that afforded some protection at a time when openly voicing dissent was dangerous. This study thus provides one of the first feminist analyses of Brazilian video, film, and performance art. It also provides an analysis of strategies used by women artists under conditions of (national) political repression and (international) foreign influence
Cet article examine les œuvres d’art des annees 1970 de Regina Vater, Lygia Pape et Anna Bella Ge... more Cet article examine les œuvres d’art des annees 1970 de Regina Vater, Lygia Pape et Anna Bella Geiger, qui ont adopte des formes culturelles « populaires », notamment l’art populaire, l’artisanat et les rituels et coutumes autochtones et afro-bresiliens. Comment ces femmes blanches, urbaines et issues de la classe moyenne ont-elles deploye des references au populaire et au « feminin » dans leurs œuvres de maniere ambivalente et comment ont-elles renegocie les frontieres complexes entre le primitivisme, l’appropriation culturelle et l’anthropophagie, termes que cet essai deploie en s’appuyant sur les theorisations de la race et de l’identite formulees par Denise Ferreira da Silva et Suely Rolnik.
This article examines the landscape paintings of Brazilian modernists Anita Malfatti (1889–1964) ... more This article examines the landscape paintings of Brazilian modernists Anita Malfatti (1889–1964) and Tarsila do Amaral (1886–1973) through the lenses of gender, race, and identity.
Uploads
Papers by Gillian Sneed