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PAULA REGO, a Prospective Retrospective

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PAULA REGO, a Prospective Retrospective PAULA REGO, a prospective retrospective: Bodies, Visuality, Becoming Love , 1995 Paper mounted on aluminium, 120 x 160 cm Vera Fonseca Promotor: Prof. dr. P. de Medeiros Prof. dr. R. Braidotti This thesis was accomplished with financial support from the Fundação para a Ciência e Tecnologia (FCT-Portugal), co-financed by POPH/FSE. VERA FONSECA PAULA REGO, a prospective retrospective: Bodies, Visuality, Becoming PAULA REGO, een prospectief retrospectief: Lichamen, Visualiteit, ‘Becoming’ (met een samenvatting in het Nederlands) Dit onderzoek analyseert het visuele werk van Paula Rego, een Portugese kunstenares die in Londen woonachtig is. Het visuele corpus dat genomen was als onderzoeksmateriaal bestaat uit haar creaties sinds de jaren tachtig tot het heden. Toch is in de jaren tachtig, namelijk met haar series G irl and Dog (1986), dat de vrouwelijke subjectiviteit het middelpunt van haar creatieve activiteit wordt. Dit project beweegt zich in twee richtingen. De ene laat ons specifieke en essentiële momenten in het werk van Paula Rego herleiden. Deze richting levert ons ook een gereedschap om haar werk met een kritische blik aan te kunnen nemen. De tweede richting reveleert verschillende andere richtingen van haar werk ten opzichte van de visuele herformulering van de vrouwelijke subjectiviteit. Het voornaamste argument van dit onderzoek is dat het Rego’s werk functioneert als een visueel lichaam van feministische theorie. Zonder de expliciete intentie om te illustreren, en de determinisme van een invloedrijk mechanisme, het werk van Rego stelt essentiële vragen ten opzichte van een definitie van de vrouwelijke subjectiviteit in het terrein van het visueel. Haar werk traceert specifieke wijzen en momenten waardoor deze kunstenares een bijzonder en gevarieerde visuele representatie van de vrouwelijke subjectiviteit herleidt. Rego gaat van het belemmeren van de mechanismen van representatie, door het ontmaskering van onderwerping en mogelijkheden van weerstand naar het transformeren van het concept van subjectiviteit. Via deze route maakt Paula Rego de macht relaties zichtbaar tussen het beeld en de spectator. Zij formuleert andere mogelijkheden binnen het scopische regime. Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. G.J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 31 augustus 2012 des ochtends te 10.30 uur door Vera Fonseca geboren op 12 december 1980 te Setúbal, Portugal “Somos o quê? Mulheres recíprocas, mínimas e extensas, escutando o tempo enquanto a carne se torna flácida. Estamos num atalho entre obscuridades e fitamo-nos porque, com mais ou menos peso nos transformamos.” “What are we? Recyprocal women, minimal and extensive, listening to time while flesh becomes flacid. We are in a shortcut between obscurities and we eye each other because, with more or less weight we transform ourselves.” Ana Marques Gastão, 25 poemas sobre Paula Rego TABLE OF CONTENTS Pages Acknowledgments i. List of figures ……………………1 Introduction ……………………2 Chapter 1: state of the art : ……………………11 Chapter 2: visual displacement of subjects: the productive-look : ……………………50 2.1. introduction; ……………………51 2.2. scopic displacements: the productive look; ……………………62 2.3. ‘no sleeping beauty’ or resistance to subject-as-spectacle ……………………67 2.4. no turning back; ……………………71 2.5. ‘are you looking at me?’ ……………………75 2.6. the role of focalizers; ……………………82 2.7. mirrors; ……………………84 2.8. memory; ……………………89 2.9. conclusion. ……………………95 Chapter 3: fake it until you unmake it: productive mimesis : ……………………97 3.1. introduction; ……………………98 3.2. productive mimesis; ……………………99 3.3. woman as wife; ……………………105 3.4. woman as saint; ……………………119 3.5. woman as artist; ……………………134 3.6. conclusion. ……………………144 Chapter 4: making a spectacle: power, violence and female subjects : ……………………145 4.1. introduction; ……………………146 4.2. women as spectacle; ……………………148 4.3. abortion and birth; ……………………149 4.4. rape; ……………………166 4.5. female genital mutilation ; ……………………177 4.6. conclusion. ……………………186 Chapter 5: female subjectivity and becoming Other : ……………………189 5.1. introduction; ……………………190 5.2. becoming animal; ……………………193 5.3. becoming monster; ……………………213 5.4. conclusion. ……………………230 Conclusion ……………………232 List of references ……………………239 Acknowledgments During the four years of this project, many have been the connections between me and other segments and individualities. Such connections are wide and intricate; they are spatial, chronological, academic but also affective. They are rooted in several circumstances: I am a Portuguese scholar who conducted her research in The Netherlands about the work of an artist with whom I share geographical origins and the circumstance of displacement. And I have traversed distinct areas of knowledge throughout my academic life – Classical Studies, the Philosophy of Art and Aesthetics, Gender and Visual Studies. It has been a journey of intellectual and emotional enrichment; a privileged one, for looking at images which generate an embodied and material reflection about female subjectivity has necessarily and quite positively influenced the fluxes and metamorphosis of my own subjectivity. This project has multiplied the stories that are contained inside me and has helped me to solidify the lucidity, agency and empathy that I wished to extend to Others – places, people, animals, bodies, nature. Even if my journey has not always been logical and linear, I will continue to pursue the gesture of carrying something that is glittering and radical in my hands. Several ‘others’ have made this project possible. I would like to express my gratitude to the Fundação para a Ciência e Tecnologia (FCT-Portugal) for the financial support of the entire project; to The Research Institute of History and Culture (OGC-Utrecht) for its support; to the Graduate Gender Programme and Portuguese Studies at Utrecht University; to Marborough Gallery, Mary Miller in particular, and of course Paula Rego for kindly allowing me to include the images which have been the Mater of this project; to Casa das Histórias for the interest in this project. I would like to thank both my supervisors for their commitment and support. Professor Rosi Braidotti’s work is a great inspiration and I would like to thank her for her enthusiasm and guidance. Professor Paulo de Medeiros combines knowledge and insight in a motivating way. I want to express my sincere appreciation for his constant support, from the moment I arrived in the Netherlands almost seven years ago. Their professionalism, knowledge, enthusiasm and kindness have been of great value. It is reassuring to verify how practice can accompany theoretical models through knowledge and affect. My deepest thanks to several people who have been involved in this project: José van Aelst for her professionalism and genuine kindness in listening to my doubts and questions; to Christien Franken, the best editor I could possibly have found, for her professionalism and dedication. Revising the text became a pleasure. To Lurdes Meijer, Marian Schoenmakers and Paula Jordão, who will always remain 'my great colleagues'; to the Atgender board for having shared with me their desire to install good practices in the field of women’s rights, gender equality and diversity across different generations and spaces within Europe. The different layers that constitute me and were present when I wrote these pages have different identities, all cherished. I am grateful to my family for the roots that still live inside me and to my grandparents who, without ever having learned how to read and write, have taught me long lasting and immaterial “characters”. To Cynthia for sharing with me this experience of being a researcher with its challenges, uncertainties and ambitions. To Cristina for showing me how distance does not constitute an obstacle to a friendship that is celebrated daily. To Karina for her constant smile, friendship and determination. Meeting you has been a true blessing. To Nico for the friendship which continues across the globe. To Ulisses, Diana, Dani and Jari for having made me embrace a cause and for growing along with me. To my wonderful friends Nivard, Catherine, Hans, Max and Alex, who have become my family. My days in The Netherlands were filled with your laughter, words and gestures. I am certain that our paths will keep on crossing. To São for her sensibility and generosity; for truly listening with compassion and wisdom; Vanda with whom I share the love for the Homeric light and the Latin language. Your cool with the unexpected surprises of image formatting was reassuring. To Francisco for his cheerful spirit and wit. To Miguel Tomás and D. Maria for having shared many good moments with me. My suitcases and my individuality were filled and well-nourished with good memories. To Carlos, my good and solid friend, who has danced and walked with me across the here and there, then and now, always with reassuring words and endless dedication. This journey will continue. To Cyber Bach for sharing with me a special path of an ethereal substance; where stars, philosophy, poems and notes fluctuate in harmony; with whom I have read, seen and listened to some of the most beautiful figurations of art. Per aspera ad astra … List of figures : Cover: Love Chapter 1: Chapter 4: 1.1. Girl with Dog series 4.1. Girl with Foetus 1.2. The Fitting 4.2. Down the Well 1.3. The Maids 4.3. Down the Well II 1.4. Time: Past and Present 4.4. Well 1.5. First Mass in Brazil 4.5. The Overseer 1.6. Caritas 4.6. Birth 1.7. Iberian Dawn 4.7. Pregnant Girl Disposing of the 1.8. Salazar Vomiting the Homeland Evidence 1.9. Untitled 9 4.8. Stretched 4.9. Small Rape Chapter 2: 4.10. Rape 4.11. Penetration 2.1. Olga 4.12. Lullaby 2.2. The Interrogator’s Garden 4.13. Mother Loves You 2.3. Sleeper 4.14. Night Bride 2.4.
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