Cette recherche se propose d’aborder la façon dont les créatrices oeuvrent dans le champ de la sculpture depuis 1950. Quelle que soit la multiplicité des voies plastiques qu’elles ont choisies d’explorer, et des productions sculptées auxquelles elles ont donné naissance, il s’agit de saisir la teneur de la rencontre entre l’œuvre conçue par une femme sculpteur, et le regard extérieur. Cette rencontre marque la confrontation de deux mondes, celui de l’observateur, aux prises avec ses perceptions, offrant une interprétation et une lecture souvent orientée de la création, et celui de la femme qui sculpte, dont la forme édifiée est soumise aux jugements. Les décalages, voire même les incompréhensions générées par ces mises en perspective des œuvres sculpturales élaborées par des femmes aux yeux de l’extérieur, conduisent à s’interroger plus profondément sur le cheminement artistique, plastique et intellectuel des créatrices dans le champ de la sculpture. Quels sont les éléments matériels et symboliques qui les guident dans l’expérimentation de ce domaine plastique ? A quelles sources puisent-elles leur inspiration ? Que souhaitent-elles exprimer à travers leurs alternatives artistiques ? S’il est difficile de répondre à ces questionnements, ils permettent de pénétrer au cœur de la création, et notamment d’entrevoir ses processus. Bien que les sentiers artistiques parcourus par les femmes sculpteurs soient pluriels, il semble pourtant que certaines d’entre elles se sont particulièrement attachées à développer plus qu’un mode d’expression plastique, un langage, afin de dévoiler les vérités qui les habitent. Ce langage, dont elles connaissent les arcanes, repose sur la mise en forme de la matière textile, essentiellement à partir de deux principes constructeurs : le fil et l’aiguille. Au-delà d’une approche purement matériel, les femmes sculpteurs entrent en lien avec un territoire imaginaire, déployé dans les récits mythologiques sur le thème du tissage et les personnages qu’ils mettent en scène, tels Arachné, Pénélope, Clotho ou encore Atropos. Dans ces dimensions entrecroisées, mêlant l’intensité du travail créateur à partir du textile et le contact avec un univers symbolique, le tissage, les créatrices tracent un des chemins signifiants qu’elles empruntent dans le champ de la sculpture depuis 1950. / This research addresses the ways in which female artists have been working in the field of sculpture since 1950. Irrespective of the medium of expression they have chosen to explore, and of the works they have given rise to, the aim here is to understand the meeting between a work of art conceived by a female sculptor and the way in which it is viewed externally. This meeting marks the confrontation of two worlds: that of the observer − subject to his or her own perceptions and offering an often slanted interpretation and reading of the work − and that of the sculptress whose constructed work is subjected to judgement. The differences, and even misunderstandings, caused by these perspectives on sculptural works by women viewed externally lead to a deeper questioning of the artistic, material and intellectual routes followed by creative females in the area of sculpture. What are the material and symbolic elements that guide their searches in this art form? What are their sources of inspiration? What are they seeking to express via their artistic alternatives? Answering these questions may be difficult, but it can lead to the core of creation and, notably, to a perception of its processes. Although female sculptors have followed numerous paths, it nonetheless appears certain that some of them have striven to develop, over and above a physical mode of expression, a language that will reveal the truths within them. The expression of this language, of which they know the mysteries, is based on giving form to textile materials, using two principles of construction: needle and thread. Beyond a purely material approach, female sculptors come into contact with an imaginary territory of mythical tales that surround weaving, and the characters that people those tales such as Arachne, Penelope, Clotho or Atropos. In these inter-linked dimensions, where the intensity of working creatively with textiles melds with the contact with a world of symbols, weaving, creative women are continuing to trace out one of the significant paths they have been following in sculpture since 1950.

Made available in DSpace on 2016-03-07T19:21:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-14. Added 1 bitstream(s) on 2016-03-07T19:25:27Z : No. of bitstreams: 1 000856229.pdf: 8858871 bytes, checksum: 01e3b192371c8e78c5e897aea936de92 (MD5) / A partir da minha experiência como psicóloga e artista visual me propus nessa pesquisa a criar intercessores entre psicologia e arte contemporânea para pensar e produzir modos de subjetivação afeitos ao devir e às multiplicidades. Acreditando na relevância ética, estética e política de se investir na produção de subjetividades plurais e pós-identitárias, o objetivo dessa pesquisa é explorar a arte como um vetor de subjetivação capaz, potencialmente, de enriquecer e singularizar nossos campos de experiências. Positivando as diferenças enquanto alteridade, tal enriquecimento pressupõem tanto a desconstrução de valores e normas que nos são dados como prontos e imutáveis, quanto à assunção de um gosto pela vida sem distinção de raças, gêneros, classes, etnias ou espécies. Falamos, pois, da arte como meio para resignificar nossas relações com o mundo e conosco, como via para criar outros modos de pensar e viver nossas práticas, desejos e valores. Nessa perspectiva, em interface com os feminismos no que eles têm de força transformadora, subversiva e inventiva, utilizei recursos imagéticos e literários para criar outras figuras de subjetividade, outras figurações para o corpo e para o sujeito. Figurações nômades, ciborgues e híbridas convocadas para pensarmos modos de subjetivação múltiplos e pós-identitários, menos atados a essencialismos e naturalizações que justificam hierarquias de poder. Utilizando a A/r/tografia como método, pude aqui falar de arte fazendo arte. Nesse percurso, ao explorar algumas de minhas proposições, assim como a de vários outros artistas, tracei um trajeto repleto de marcas, memórias e referências que foram cartografadas para fazer ver os mapas intensivos que moveram a pesquisa. São essas intensidades que apontam para o plano das forças moleculares e micropolíticas implicadas no percurso do pesquisar. A/r/tografar essas forças... / Using my experience as a psychologist and visual artist, with this research I come up with the proposal to create intercessors between art and psychology in order to think and produce forms of subjectivity affected to becoming and multiplicities. Believing in the ethic, aesthetic and political relevancy in investing in the production of plural and post-identitarian subjectivities, this research explores art as a vector potentially capable of enriching and singularizing our experience fields. The differences are been positivated as alterity, and this enrichment assumes, at the same time, the deconstruction of values and rules that sets us as ready and immutable, and the assumption of a new taste for life without any distinction of gender, ethnicity, species or class. We are talking, therefore, about art as means to remean our relations with ourselves and with the world, as a route to create new ways of thinking and living our practises, desires and values. In this perspective, in interface with the feminisms in what they have of transforming, subversive and inventive power, I used imagetic and literary resources to create other figures of subjectivity, other figurations for the body and the subject. Nomads, ciborgue and hybrid figurations are assembled as a device for us to think about multiple and post identitarian forms of subjectivization which are less tied up to essentialisms and naturalizations that justify hierarchies of power. Using a/r/tography as a method, I could hereby talk about art doing art. While exploring some of my propositions, and also various artists' propositions, I depict a track full of impressions, memories and references that were charted in order to envision the intensive maps that propelled this work. These intensities lead to the plan of molecular and micropolitic forces that are implied in the course of researching. Adopting a/r/tography to better understand these forces was the way that I found to shape some...

Orientador: Fernando Silva Teixeira Filho / Banca: Wiliam Siqueira Peres / Banca: Dolores Cristina Gomes Galindo / Banca: Angela Aparecida Donini / Banca: Luana Saturnino Tvardovskas / Resumo: A partir da minha experiência como psicóloga e artista visual me propus nessa pesquisa a criar intercessores entre psicologia e arte contemporânea para pensar e produzir modos de subjetivação afeitos ao devir e às multiplicidades. Acreditando na relevância ética, estética e política de se investir na produção de subjetividades plurais e pós-identitárias, o objetivo dessa pesquisa é explorar a arte como um vetor de subjetivação capaz, potencialmente, de enriquecer e singularizar nossos campos de experiências. Positivando as diferenças enquanto alteridade, tal enriquecimento pressupõem tanto a desconstrução de valores e normas que nos são dados como prontos e imutáveis, quanto à assunção de um gosto pela vida sem distinção de raças, gêneros, classes, etnias ou espécies. Falamos, pois, da arte como meio para resignificar nossas relações com o mundo e conosco, como via para criar outros modos de pensar e viver nossas práticas, desejos e valores. Nessa perspectiva, em interface com os feminismos no que eles têm de força transformadora, subversiva e inventiva, utilizei recursos imagéticos e literários para criar outras figuras de subjetividade, outras figurações para o corpo e para o sujeito. Figurações nômades, ciborgues e híbridas convocadas para pensarmos modos de subjetivação múltiplos e pós-identitários, menos atados a essencialismos e naturalizações que justificam hierarquias de poder. Utilizando a A/r/tografia como método, pude aqui falar de arte fazendo arte. Nesse percurso, ao explorar algumas de minhas proposições, assim como a de vários outros artistas, tracei um trajeto repleto de marcas, memórias e referências que foram cartografadas para fazer ver os mapas intensivos que moveram a pesquisa. São essas intensidades que apontam para o plano das forças moleculares e micropolíticas implicadas no percurso do pesquisar. A/r/tografar essas forças... / Abstract: Using my experience as a psychologist and visual artist, with this research I come up with the proposal to create intercessors between art and psychology in order to think and produce forms of subjectivity affected to becoming and multiplicities. Believing in the ethic, aesthetic and political relevancy in investing in the production of plural and post-identitarian subjectivities, this research explores art as a vector potentially capable of enriching and singularizing our experience fields. The differences are been positivated as alterity, and this enrichment assumes, at the same time, the deconstruction of values and rules that sets us as ready and immutable, and the assumption of a new taste for life without any distinction of gender, ethnicity, species or class. We are talking, therefore, about art as means to remean our relations with ourselves and with the world, as a route to create new ways of thinking and living our practises, desires and values. In this perspective, in interface with the feminisms in what they have of transforming, subversive and inventive power, I used imagetic and literary resources to create other figures of subjectivity, other figurations for the body and the subject. Nomads, ciborgue and hybrid figurations are assembled as a device for us to think about multiple and post identitarian forms of subjectivization which are less tied up to essentialisms and naturalizations that justify hierarchies of power. Using a/r/tography as a method, I could hereby talk about art doing art. While exploring some of my propositions, and also various artists' propositions, I depict a track full of impressions, memories and references that were charted in order to envision the intensive maps that propelled this work. These intensities lead to the plan of molecular and micropolitic forces that are implied in the course of researching. Adopting a/r/tography to better understand these forces was the way that I found to shape some... / Doutor

Orientador: Luzia Margareth Rago / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1 Laurentiis_GabrielaBarzaghiDe_M.pdf: 188718690 bytes, checksum: efdce2b517714ad07709da63f618f70c (MD5) Previous issue date: 2015 / Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot / Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot / Mestrado / Historia Cultural / Mestra em História

This dissertation contends with the diverse corpus of Gothic ivory grooming implements carved in France in the thirteenth and fourteenth centuries. Employing feminist, queer, posthumanist, and ecocritical methodologies, it explores these objects as tools in gender and identity formation. Attending to the complexity of medieval attitudes to grooming and women and to the polysemy of these objects’ iconographies, this dissertation argues for the inherent ambiguity of the bodies that constitute and were constituted by these tools. It participates in a broader project of revealing the inherent ambiguity of medieval gender and its deep enmeshment with the nonhuman animal world by presenting ivory beauty implements as nexuses of excess and resistance to feminine ideals. Calling attention to the body of the elephant as the source of the grooming tools’ materiality, its analysis demonstrates how the subjugation of the nonhuman animal reverberates through objects created to give order to human animal bodies, in particular the bestial female body. The material, iconographical, functional, and textual strands wound together in ivory grooming tools reveal the women of flesh and ivory to be far more multilayered and subversive, resourceful and complex, than scholarship has hitherto recognized. At once tools of subjugation and instruments to assert agency, in the hands of their users, ivory grooming tools become sites of identity expression and self-transformation.

No description available.

M. Tech. Fine Arts / The research aim of the study was to investigate the way that Nandipha Mntambo and Mary Sibande have used the female form in their art to undermine harmful representations/myths of women from a third wave feminist and a post-colonial perspective, using semiotics. Semiotics can be used to establish how meaning is made and reality represented in signs. The impact of signs, codes, myths and ideology of society on the embodiment of the female was investigated using semiotics. Third wave feminism theories can be applied in the analysis of the artworks such as Butler's gender construction and Crash and Pruzinsky's viewpoint on the harmful and stereotypical assumptions about women in visual culture. The post-feminist viewpoints as discussed by Jones about women being portrayed either as housewives and mothers or as sex and consumer objects in visual media were highlighted. Post-colonial perspectives such as the dominant ideology of the colonial period fostering the creation of interrelated, socially constructed, controlling images of black womanhood were discussed. Racial and gender discrimination affected most black women in colonial times. Through the semiotic analysis of Nandipha Mntambo and Mary Sibande, as well as the author's own artwork, an examination of the ideology of patriarchy as well as the ideology of colonialism could be identified. The artists express pride in their heritage and traditions. The ideology of consumerism and the myth of beauty are subverted by the artists in their artwork. The myth of the maid can be observed in the artworks of Sibande and the author. All the artists subvert stereotypical representations of women in society.

Desiring Machinations of Matertekhnologi is an Individualized Multidisciplinary thesis that synthesizes feminist frameworks with new media art to investigate the mediated body in relation to communications technology. The thesis illustrates contemporary, twenty-first century artists working with feminist strategies, the body, performance and technological media. Theoretical discussions are developed that imagine or suggest new forms of subjectivity that could be experienced through artistic appropriation of communicative, networked and technological media. These discussions include my studio investigations and unfold around the following themes: corporeal feminism, body-based philosophy, a subversion or manipulation of consumer technologies through intervention, appropriation and performance, the politics of space and location through networked interaction, and the mediated body in relation to communication technologies through a valorization of embodiment and the senses. / vii, 161 leaves : ill. ; 29 cm. --

Thesis (M.A.)--University of Canterbury, 2009. / Typescript (photocopy). Includes bibliographical references (leaves 132-136). Also available via the World Wide Web.

This dissertation develops a history of experimental art emerging in India in the final decades of the twentieth century. It addresses the turn to video, performance and mixed-media installation – conceptually driven, circulation friendly, critical artistic modes – by artists who share a generational consciousness, shaped in part by their class position and metropolitan location. My arguments are constructed through a historical and formal analysis of significant transformations in the works of two Bombay-based artists, Nalini Malani (b. 1946) and Rummana Hussain (1952- 1999), between the mid-1980s and the early 2000s. This post-Emergency period is marked by the spectacle, symbolism and horror of the Babri Masjid demolition (December 1992) and numerous instances of targeted violence against minority communities (1984, 1992-93, 2002). The coinciding legislative passage of economic liberalization (1991) also had far-reaching implications, including a decline in state dominance over culture and artistic patronage. I contend that these dramatic shifts in the market, media and art institutional landscape catalyzed the development of postmodernist art practices. As artists like Malani and Hussain confronted the limitations and failings of their postcolonial, cosmopolitan imaginaries, their artistic responses were driven by the affective and reflexive tendencies of despair and melancholia, enlivening radical praxis in the face of derailments and lost causes. My work problematizes the notion of rupture that has often been deployed in discussions of these artist’s trajectories, referring to the transition from conventional formats of oil painting and sculpture towards expanded media experiments⁠. This study examines both specific shifts and underlying continuities in the formal and conceptual registers of the practices in question, while situating theoretical debates around postmodernism, feminism, periodization and artistic generation in the context of India.