Ultramodern: The Art of Contemporary Brazil

Amaral, Aracy A.; Herkenhoff, Paulo

doi:10.2307/1358584

Cited by 1 publication

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…While middle-class women were still largely responsible for managing their households in their roles as wives, mothers, and homemakers, new activities also became available to them, including increased opportunities for higher education, and access to technical and professional occupations outside the home. However, these opportunities were made possible to them with the help of low-paid domestic servants, who were usually women of color (Amaral 1993). It was against this conflicted historical, racial, and economic backdrop that Parente reflected on the shifting attitudes toward women and their roles in the home and the workplace in their video performances.…”

Section: Brazilian Feminism and Women's Roles During The Dictatorshipmentioning

confidence: 99%

“…When Heloneida Studart (1974) writes in Mulher: Objeto da cama e mesa that in order to gain equality, Brazilian middle-class women should reject their domestic duties and join the workforce alongside men, she also acknowledges that to do so, they would need to rely on domestic servants. Writing much later, art historians Aracy Amaral (1993) and Simone Osthoff (2010) have also highlighted the widespread reliance of middle-and upper-class, often lighter-skinned Brazilian women on cheap domestic labor by poorer women of color, pointing out that it was precisely this system that enabled many white women artists to balance their family responsibilities with their careers. The Afro-Brazilian feminist Lélia Gonzalez (1982) also addressed this inequity in her essay, "A Mulher negra na sociedade brasileira" (The black woman in Brazilian society), which 39 Brazilian feminist activists and scholars did not fully address the intersections of racial and gender discrimination until the 1980s.…”

Section: Tarefa I (1982)mentioning

confidence: 99%

See 1 more Smart Citation

O disciplinar e o doméstico: Imagens domésticas nos vídeo-performances de Letícia Parente, 1975–1982

Sneed¹

2020

dia

View full text Add to dashboard Cite

This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and 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, her works demonstrate the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. I propose that she positions domestic space as a zone of containment and imprisonment, and that her resistance occurs not in the space itself but through the absurdity and ironic bathos of their bodily performances, as well as her actual or implied self-harm and violence, themes I address by engaging Kathy O’Dell’s theorization of “masochistic performance art,” and Hal Foster’s concept of “mimetic adaptation.”

show abstract

Section: Brazilian Feminism and Women's Roles During The Dictatorshipmentioning

confidence: 99%

Section: Tarefa I (1982)mentioning

confidence: 99%