Thiane Nunes
Thiane Nunes é Doutoranda em Artes Visuais, com ênfase em História, Teoria e Crítica pelo Programa de Pós-Graduação da Universidade Federal do Rio Grande do Sul. Autora do livro Configurações do Grotesco: da Arte à Publicidade (ISBN 85-89344-03-7). Desde o Mestrado, pesquisa as questões de presenças e ausências na arte, bem como os diferentes regimes de representação. Também atua na investigação das poéticas e registros de arqueologia urbana (URBEX). Como artista, é integrante do grupo EX, participa de projetos coletivos, envolvendo performances musicais e intervenções urbanas interdisciplinares. Atualmente desenvolve tese que analisa a misoginia, o patriarcado cultural e a invisibilidade da mulher artista, com interesse em registros historiográficos e revisionismo, em especial no período que compreende as Vanguardas Históricas e os modernismos díspares. Trabalha sob uma perspectiva social e feminista da arte, apontando questionamentos em relação ao cânone e praticando a perturbação dos discursos e narrativas feitas pela historiografia oficial. Possui livro, traduções, entrevistas e artigos publicados, no país e exterior. Currículo Lattes: http://lattes.cnpq.br/6863554229175795
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In the scope of the broad question of misogyny in the field of art, this article reflects on the residual heritage of the constructions that patriarchal historiography has made of woman and her body structure as subject, from gaps or absences, artistic representations and linguistic act. The exploration of news perspectives is here used as hypotheses, in the investigation of the historical dimension in the face of assumptions that silently silence or stigmatize the female figure.
ABSTRACT: The beauty, in your vernacular sense or postmodern, or even referring to the construction of what is perceived, is something that has intrigued me, not only with respect to the outward appearances of things, but mainly, and also for what we understand when we take interest in this concept. My research, in fact, came to resemble a constellation, tried to draw lines where they could, somehow, connect multiple and different points of intersection, about the look, the feel, the imagine, create and the reshape. What is considered normal or anormal, what is commonly understood and accepted as beautiful or ugly, enabled or disabled. It extends and connects it to other discussions, which migrate to broader, historical, political, philosophical, social and even biological contexts, beyond the ordinary Western perspectives.
Abstract: In cultures of all times and territories, people depend on structures built to organize their lives in order to understand themselves and others. These regulatory narratives, a term used by the theoretical and cultural critic Gayatri Chakravorty Spivak (2010), will legitimize and establish what is acceptable to be or do. The identities that individuals assume and are convinced to represent are infinitely multiple and are saturated with power relations. In the scope of the broad question of misogyny in the field of the arts, this text reflects on the residual inheritance of the constructions that patriarchal thought made of women and their corporeal structure as a subject, based on artistic representations in various languages. The exploration of the concepts of monster, misshapen, dangerous, meat and animal is used here as a way of investigating the socio-historical dimension, in the face of the most diverse perspectives that negatively stigmatize the female figure, starting from an analysis about the transformations that occurred in the transition from fin-de-sécle culture for modern and, finally, for contemporaneity. Seeking to understand different modes of interpretation, other relevant languages and subjects, as well as possible ethical and political positions, this article aims to suggest new views and interpretations about the images, experiences and information to which we are exposed, in order to document and illustrate new historiographies and knowledge, considering the different visibility regimes and their possible social consequences.
ABSTRACT: Evaluating the period of modernity and the concept of flâneur, this bourgeois urban observer, I try to promote a critical space for discussion about a woman who also wanders, travels, wanders and wanders, understanding her gender peculiarities and her subversion strategies. Considering the experiences of women artists in this perspective leads us to understand the tensions and nuances of historical ideologies that continue to affect cultural production, as we can see in the trajectories of Virginia Woolf, Lee Miller, Marianne Breslauer, Ruth Orkin, Sophie Calle, Agnès Varda and others, in questions about urban wandering, space and place, thus showing how a woman walking - a flâneuse - claims subjectivity.
Partindo da análise acerca do seminal ensaio Por que não houve grandes artistas mulheres?, publicado por Linda Nochlin em 1971, o artigo em questão tentará intensificar o debate em relação a invisibilidade das mulheres na história da arte, considerando a produção cultural através de uma abordagem social. Romper com os conceitos de autonomia do objeto de arte e linearidade histórica, é também assumir que não podemos ignorar o fato de que os terrenos da prática artística estruturam e estão estruturados sob relações de poder. Ainda que as diferenças de gênero não aparentem ser ponto essencial nos estudos visuais, devemos compreender que o arcabouço social que posiciona as pessoas do sexo masculino e feminino de forma assimétrica em relação à linguagem, aos significados e ao poder social e econômico, são extremamente relevantes. // ABSTRACT / RESUMEN / SOMMAIRE
Starting from the analysis of the seminal essay Why Have There Been No Great Woman Artists?, published by Linda Nochlin in 1971, the article will attempt to intensify the debate on the invisibility of women in the history of art, considering cultural production through a social approach. To break with the concepts of object of art autonomy and historical linearity, it is also to assume that we can’t ignore the fact that the lands of artistic practice structure and are structured under power relations. Although gender differences do not appear to be an essential point in art studies, we must understand that the social framework that positions the male and female people asymmetrically in relation to language, meaning and social and economic power are extremely relevant.
in the field of arts, at a time when they challenged the misogynist panorama of modernity. The triumph of the Russian vanguard is unthinkable without the participation of female artists. However, when we will appreciate the works, read or hear about the rescue of the folk art of Natalia Davidova, Nina Genke-Meller's suprematist compositions, Alexandra Exter's illuminations, Natalia Goncharova's artist's books, costumes and ballet scenarios, the painting of Liubov Popova, the neoprimitivism of Olga Rozanova, the engravings of Kseniya
Boguslavskaya, the visual poetry of Varvara Stepanova, the ornaments of Nadezhda Udaltsova, among others? I intend to approach here a basis of critical studies in relation to the artistic practices of the period that competes to the Russian vanguard before and immediately after the Revolution of 1917, from the perspective of the female artists. Thus, I propose an understanding of modes of interpretation and differentiated languages, an anamnesis of relevant subjects, in order to document and illustrate a history of art within different regimes of visibility and
conditions of cultural production.
In the scope of the broad question of misogyny in the field of art, this article reflects on the residual heritage of the constructions that patriarchal historiography has made of woman and her body structure as subject, from gaps or absences, artistic representations and linguistic act. The exploration of news perspectives is here used as hypotheses, in the investigation of the historical dimension in the face of assumptions that silently silence or stigmatize the female figure.
ABSTRACT: The beauty, in your vernacular sense or postmodern, or even referring to the construction of what is perceived, is something that has intrigued me, not only with respect to the outward appearances of things, but mainly, and also for what we understand when we take interest in this concept. My research, in fact, came to resemble a constellation, tried to draw lines where they could, somehow, connect multiple and different points of intersection, about the look, the feel, the imagine, create and the reshape. What is considered normal or anormal, what is commonly understood and accepted as beautiful or ugly, enabled or disabled. It extends and connects it to other discussions, which migrate to broader, historical, political, philosophical, social and even biological contexts, beyond the ordinary Western perspectives.
Abstract: In cultures of all times and territories, people depend on structures built to organize their lives in order to understand themselves and others. These regulatory narratives, a term used by the theoretical and cultural critic Gayatri Chakravorty Spivak (2010), will legitimize and establish what is acceptable to be or do. The identities that individuals assume and are convinced to represent are infinitely multiple and are saturated with power relations. In the scope of the broad question of misogyny in the field of the arts, this text reflects on the residual inheritance of the constructions that patriarchal thought made of women and their corporeal structure as a subject, based on artistic representations in various languages. The exploration of the concepts of monster, misshapen, dangerous, meat and animal is used here as a way of investigating the socio-historical dimension, in the face of the most diverse perspectives that negatively stigmatize the female figure, starting from an analysis about the transformations that occurred in the transition from fin-de-sécle culture for modern and, finally, for contemporaneity. Seeking to understand different modes of interpretation, other relevant languages and subjects, as well as possible ethical and political positions, this article aims to suggest new views and interpretations about the images, experiences and information to which we are exposed, in order to document and illustrate new historiographies and knowledge, considering the different visibility regimes and their possible social consequences.
ABSTRACT: Evaluating the period of modernity and the concept of flâneur, this bourgeois urban observer, I try to promote a critical space for discussion about a woman who also wanders, travels, wanders and wanders, understanding her gender peculiarities and her subversion strategies. Considering the experiences of women artists in this perspective leads us to understand the tensions and nuances of historical ideologies that continue to affect cultural production, as we can see in the trajectories of Virginia Woolf, Lee Miller, Marianne Breslauer, Ruth Orkin, Sophie Calle, Agnès Varda and others, in questions about urban wandering, space and place, thus showing how a woman walking - a flâneuse - claims subjectivity.
Partindo da análise acerca do seminal ensaio Por que não houve grandes artistas mulheres?, publicado por Linda Nochlin em 1971, o artigo em questão tentará intensificar o debate em relação a invisibilidade das mulheres na história da arte, considerando a produção cultural através de uma abordagem social. Romper com os conceitos de autonomia do objeto de arte e linearidade histórica, é também assumir que não podemos ignorar o fato de que os terrenos da prática artística estruturam e estão estruturados sob relações de poder. Ainda que as diferenças de gênero não aparentem ser ponto essencial nos estudos visuais, devemos compreender que o arcabouço social que posiciona as pessoas do sexo masculino e feminino de forma assimétrica em relação à linguagem, aos significados e ao poder social e econômico, são extremamente relevantes. // ABSTRACT / RESUMEN / SOMMAIRE
Starting from the analysis of the seminal essay Why Have There Been No Great Woman Artists?, published by Linda Nochlin in 1971, the article will attempt to intensify the debate on the invisibility of women in the history of art, considering cultural production through a social approach. To break with the concepts of object of art autonomy and historical linearity, it is also to assume that we can’t ignore the fact that the lands of artistic practice structure and are structured under power relations. Although gender differences do not appear to be an essential point in art studies, we must understand that the social framework that positions the male and female people asymmetrically in relation to language, meaning and social and economic power are extremely relevant.
in the field of arts, at a time when they challenged the misogynist panorama of modernity. The triumph of the Russian vanguard is unthinkable without the participation of female artists. However, when we will appreciate the works, read or hear about the rescue of the folk art of Natalia Davidova, Nina Genke-Meller's suprematist compositions, Alexandra Exter's illuminations, Natalia Goncharova's artist's books, costumes and ballet scenarios, the painting of Liubov Popova, the neoprimitivism of Olga Rozanova, the engravings of Kseniya
Boguslavskaya, the visual poetry of Varvara Stepanova, the ornaments of Nadezhda Udaltsova, among others? I intend to approach here a basis of critical studies in relation to the artistic practices of the period that competes to the Russian vanguard before and immediately after the Revolution of 1917, from the perspective of the female artists. Thus, I propose an understanding of modes of interpretation and differentiated languages, an anamnesis of relevant subjects, in order to document and illustrate a history of art within different regimes of visibility and
conditions of cultural production.