The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.21814/diacritica.534 |
Resumo: | This essay focuses on Letícia Parente (1930–1991), a Brazilian video artist and scientist, whose works associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration. Throughout the 1970s and 1980s, she created a series of video performances, an approach to performance art in which she performed for the video camera, rather than for a live audience. Though Parente did not self-identify as a feminist, this essay interprets her work through a feminist reading, arguing that she navigated the multiple pressures of motherhood, housework, and her professional career by devising experimental tasks exploring her domestic chores and testing their limits to address both the gendered and racial divisions of labor and the state-sponsored violence of the Brazilian military dictatorship (1964–1985). These works include In (1975), which centers on the act of hanging up clothes in a closet, Marca Registrada(1975), which depicts sewing/embroidery, and Tarefa I(1982), which tackles ironing, all of which she performed in her own home. In thesevideos, Parente performs quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship.By enacting disciplinary ‘punishments’(or the threat of such punishments) on herself, cloaked as daily domestic tasks, she demonstrates the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. |
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The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982O disciplinar e o doméstico: Imagens domésticas nos vídeo-performances de Letícia Parente, 1975–1982Letícia ParenteBrasilVideo ArtFeminismHousehold ChoresDictatorshipLetícia ParenteBrasilVídeo ArteFeminismoTarefas DomésticasDitaduraThis essay focuses on Letícia Parente (1930–1991), a Brazilian video artist and scientist, whose works associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration. Throughout the 1970s and 1980s, she created a series of video performances, an approach to performance art in which she performed for the video camera, rather than for a live audience. Though Parente did not self-identify as a feminist, this essay interprets her work through a feminist reading, arguing that she navigated the multiple pressures of motherhood, housework, and her professional career by devising experimental tasks exploring her domestic chores and testing their limits to address both the gendered and racial divisions of labor and the state-sponsored violence of the Brazilian military dictatorship (1964–1985). These works include In (1975), which centers on the act of hanging up clothes in a closet, Marca Registrada(1975), which depicts sewing/embroidery, and Tarefa I(1982), which tackles ironing, all of which she performed in her own home. In thesevideos, Parente performs quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship.By enacting disciplinary ‘punishments’(or the threat of such punishments) on herself, cloaked as daily domestic tasks, she demonstrates the ways that the same forces that structure public disciplinary society also configure the private spaces of the home.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 armário, Marca Registrada(1975), que retrata a costura/bordado, e Tarefa I(1982), que aborda o acto de engomar, executado em sua própria casa. Nesses vídeos, Parente realiza ações quotidianas de formas que promovem a automutilação e o confinamento, com o objectivo de organizar uma resposta à opressão de gênero no quotidiano das mulheres, paralelamente à violência e ao aprisionamento sofridos pelos brasileiros sob a ditadura. Ao retratar ‘punições’ disciplinares (ou a ameaça de tais punições) sob o manto das tarefas domésticas, Letícia Parente demonstra como as mesmas forças que estruturam a sociedade pública disciplinada também configuram os espaços privados do lar.CEHUM2020-07-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.21814/diacritica.534https://doi.org/10.21814/diacritica.534Diacrítica; Vol. 34 N.º 2 (2020): WOMANART - Mulheres, Artes e Ditadura: Os casos de Portugal, Brasil e Países Africanos de Língua Portuguesa; 107-131Diacrítica; Vol. 34 No. 2 (2020): WOMANART - Women, Arts and Dictatorship: The cases of Portugal, Brazil and Portuguese speaking African countries; 107-1312183-91740870-896710.21814/diacritica.34.2reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://revistas.uminho.pt/index.php/diacritica/article/view/4984https://revistas.uminho.pt/index.php/diacritica/article/view/4984/5605Direitos de Autor (c) 2023 Gillian Sneedinfo:eu-repo/semantics/openAccessSneed, Gillian2023-07-28T07:47:41Zoai:journals.uminho.pt:article/4984Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T18:34:37.613564Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 O disciplinar e o doméstico: Imagens domésticas nos vídeo-performances de Letícia Parente, 1975–1982 |
title |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
spellingShingle |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 Sneed, Gillian Letícia Parente Brasil Video Art Feminism Household Chores Dictatorship Letícia Parente Brasil Vídeo Arte Feminismo Tarefas Domésticas Ditadura |
title_short |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
title_full |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
title_fullStr |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
title_full_unstemmed |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
title_sort |
The disciplinary and the domestic: Household images in the video performances of Letícia Parente, 1975–1982 |
author |
Sneed, Gillian |
author_facet |
Sneed, Gillian |
author_role |
author |
dc.contributor.author.fl_str_mv |
Sneed, Gillian |
dc.subject.por.fl_str_mv |
Letícia Parente Brasil Video Art Feminism Household Chores Dictatorship Letícia Parente Brasil Vídeo Arte Feminismo Tarefas Domésticas Ditadura |
topic |
Letícia Parente Brasil Video Art Feminism Household Chores Dictatorship Letícia Parente Brasil Vídeo Arte Feminismo Tarefas Domésticas Ditadura |
description |
This essay focuses on Letícia Parente (1930–1991), a Brazilian video artist and scientist, whose works associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration. Throughout the 1970s and 1980s, she created a series of video performances, an approach to performance art in which she performed for the video camera, rather than for a live audience. Though Parente did not self-identify as a feminist, this essay interprets her work through a feminist reading, arguing that she navigated the multiple pressures of motherhood, housework, and her professional career by devising experimental tasks exploring her domestic chores and testing their limits to address both the gendered and racial divisions of labor and the state-sponsored violence of the Brazilian military dictatorship (1964–1985). These works include In (1975), which centers on the act of hanging up clothes in a closet, Marca Registrada(1975), which depicts sewing/embroidery, and Tarefa I(1982), which tackles ironing, all of which she performed in her own home. In thesevideos, Parente performs quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship.By enacting disciplinary ‘punishments’(or the threat of such punishments) on herself, cloaked as daily domestic tasks, she demonstrates the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-07-31 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/article |
format |
article |
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publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.21814/diacritica.534 https://doi.org/10.21814/diacritica.534 |
url |
https://doi.org/10.21814/diacritica.534 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.uminho.pt/index.php/diacritica/article/view/4984 https://revistas.uminho.pt/index.php/diacritica/article/view/4984/5605 |
dc.rights.driver.fl_str_mv |
Direitos de Autor (c) 2023 Gillian Sneed info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Direitos de Autor (c) 2023 Gillian Sneed |
eu_rights_str_mv |
openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
CEHUM |
publisher.none.fl_str_mv |
CEHUM |
dc.source.none.fl_str_mv |
Diacrítica; Vol. 34 N.º 2 (2020): WOMANART - Mulheres, Artes e Ditadura: Os casos de Portugal, Brasil e Países Africanos de Língua Portuguesa; 107-131 Diacrítica; Vol. 34 No. 2 (2020): WOMANART - Women, Arts and Dictatorship: The cases of Portugal, Brazil and Portuguese speaking African countries; 107-131 2183-9174 0870-8967 10.21814/diacritica.34.2 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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