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Condiciones De Producción Y Prácticas De Recepción Del Arte Feminista

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Condiciones De Producción Y Prácticas De Recepción Del Arte Feminista Rui Pedro Fonseca1 Condiciones de Producción y Prácticas de Recepción del Arte Feminista Departamento de Escultura Facultad de Bellas Artes Universidad del País Vasco/EHU 2013 1Tesis doctoral. Directora: Dra. Ana Arnaiz Gómez, Director: Dr. João Teixeira Lopes. Con la ayuda de la Fundação para a Ciência e Tecnologia e con la colaboración del Instituto de Sociologia Faculdade de Letras Universidade do Porto. Índice Preámbulo y Agradecimientos1 I – Introducción3 II – Estado de la Cuestión7 III – Objetivos generales 19 IV – Objetivos específicos 21 V – Metodología (Marco Teórico) 25 VI – Metodología (para Trabajo de Campo) 31 VII – Descripción Capitular 45 1 El Movimiento Feminista 65 1.1 Consideraciones generales sobre el feminismo..... 65 1.1.1 Los géneros sexuales en cuanto construcciones culturales.................... 68 1.1.2 La condición de la mercantilización/culturiza- ción para la formación de la identidad..... 73 1.1.3 Sobre la (des)igualdad de género........ 83 1.2 Preludio del Feminismo (la Primera Ola)........ 85 1.3 Feminismos de la Segunda Ola............. 90 1.3.1 La transnacionalidad de los feminismos en la contemporaneidad............... 93 i 1.3.2 Las tipologías del movimiento feminista en la Segunda Ola.................. 98 1.4 El movimiento feminista portugués tras la segunda mi- tad del Siglo XX: estudio de caso............ 107 1.5 La globalización del movimiento feminista. Rusia: es- tudio de caso...................... 115 1.5.1 Breve abordaje al periodo pre y post-soviético bajo una perspectiva de género......... 115 1.5.2 La Perestroika y los Feminismos en Rusia... 120 2 Los Feminismos Artísticos 123 2.1 Cuestiones de género y apropiación artística. Medía, identidad y códigos sociales: el caso de la Pop Art ... 123 2.2 El arte feminista: contornos históricos e ideológicos.. 130 2.3 El arte prefeminista................... 139 2.4 Algunas de las obras de referencia del feminismo artístico144 2.5 Los feminismos artísticos en Portugal: Estudio de caso 167 2.5.1 Los pre-feminismos portugueses........ 168 2.5.2 La consolidación de los feminismos artísticos en Portugal................... 176 2.6 Los feminismos artísticos en Rusia: Estudio de caso.. 192 2.6.1 Perestroika, un factor fundamental para el sur- gimiento de los feminismos artísticos..... 193 El Feminismo Estético 211 2.7 Introducción: feminismo estético vs arte feminista... 211 2.8 Intervención social del proyecto “Mudanças com arte” (UMAR): estudio de caso................ 215 2.9 El mural de Ondarroa: estudio de caso......... 219 2.10 El activismo estético feminista de Nikki Craft: estudio de caso......................... 223 2.10.1 Influencias en el activismo de Nikki Craft... 224 2.10.2 Campañas contra la violación......... 226 2.10.3 Protesta contra la cosificación y violencia en la representación de los cuerpos de las mujeres en el campo del arte................ 229 ii 2.10.4 Protestas contra la estandarización de la belleza femenina.................... 232 2.10.5 Campañas contra la industria pornográfica... 235 3 Condiciones de Poducción de los Feminismos Artísticos 245 3.1 La historia (masculina) del arte............. 245 3.2 Espacios alternativos y espacios institucionales: las po- tencialidades y las restricciones............. 255 3.3 El creciendo de la legitimación del arte feminista y la perpetuación de asimetrías de género en las principales zonas del mercado artístico mundial.......... 261 3.4 Condiciones de producción de los feminismos artísticos en Portugal: Estudio de caso.............. 270 3.4.1 Campo artístico portugués, un campo integrado e integrante de asimetrías de género...... 272 3.4.2 Representatividad por género en la enseñanza y campo artístico portugués........... 275 3.4.3 Obstáculos para el feminismo artístico portu- gués fundados en mecanismos discriminatorios de género históricamente consolidados.... 281 3.5 Condiciones de producción de los feminismos artísticos en Rusia......................... 286 3.5.1 Los bajos índices de inclusión de mujeres artis- tas en el circuito artístico ruso......... 286 3.6 La creciente importancia de la formación artística... 295 3.7 Costes de producción y inversión............ 296 3.8 El culto del individualismo como condición para la in- tegración de uno/a artista en el mercado de concurrencia 298 3.9 La producción artística (feminista) bajo la tutela del me- cenazgo: un abordaje a la dimensión económica.... 304 3.10 La inclusión del feminismo artístico en el principal mer- cado del arte....................... 311 3.11 La lucha por las causas feministas Vs: la lucha por la profesión artística.................... 317 4 Práticas de Recepción del arte Feminista 325 4.1 Consideraciones iniciales................ 325 iii 4.2 Prácticas de recepción: mural feminista de la C. Artibai del grupo UXO..................... 328 4.2.1 Prácticas discursivas de transeúntes sobre el mu- ral (presentación de dados)........... 332 4.2.2 Prácticas de recepción (análisis de los datos). 336 4.2.3 Características discursivas del mural (recepción) 337 4.2.4 Conclusiones.................. 339 4.3 Prácticas de recepción: “Contraseñas 07” en el Centro Cultural Montehermoso................. 340 4.3.1 Preferencias e prácticas discursivas de los pú- blicos-receptores visitantes del CCM (Presen- tación de los datos)............... 345 4.3.2 Conclusiones.................. 351 4.3.3 Tres de las obras preferidas por los/as inquiri- dos/as de “Contraseñas 07”.......... 353 4.4 Prácticas de recepción: “The History of Gender and Art in Post-Soviet Space Žen d’Art” 2010 en Moscow Mu- seum of Modern Art ................... 356 4.4.1 Preferencias y prácticas discursivas de los pú- blicos-receptores visitantes del MMOMA (Presen- tación de los datos)............... 359 4.4.2 Índice de imágenes / preferencias por género y edad / comentarios............... 370 4.4.3 Preferencias y prácticas discursivas de los pú- blicos-receptores visitantes del MMOMA (aná- lisis de los datos y conclusiones)........ 385 4.5 Prácticas de recepción de arte feminista (Estudiantes del 1er año de Ingeniería Informática del ISEP)...... 391 4.5.1 Consideraciones generales........... 391 4.5.2 Las obras exhibidas a los/as estudiantes.... 393 4.5.3 Prácticas discursivas de los/as alumnas/os sobre las obras feministas: presentación de datos.. 395 4.5.4 Prácticas discursivas de los/as alumnos/as sobre las obras de arte feminista: análisis de datos.. 401 4.5.5 Conclusiones.................. 406 4.6 Las básicas variables en la recepción artística..... 407 iv 4.6.1 La estructura de la obra y los dos opuestos en comunicación: redundancia y entropía .... 412 4.6.2 El sistema de referencias ............ 415 4.6.3 El proyecto cultural ............... 416 4.6.4 La importancia de la estética de los mass media en la recepción artística (feminista)...... 418 Conclusiones Finales 425 Conclusiones finales sobre las condiciones de producción del arte feminista...................... 425 Conclusiones finales sobre las prácticas de recepción del arte /estética feminista.................... 434 Anexos 439 Anexo 1............................ 440 Anexo 2............................ 443 Anexo 3............................ 447 Anexo 4............................ 450 Anexo 5 – Entrevista a Eduardo Garcia Nieto........ 452 Anexo 6 – Entrevista a Aloña Intxaurrandieta........ 456 Anexo 7 – Entrevista a Ruth Addison............. 460 Anexo 8 – Entrevista a Nataliya Kamenetskaya....... 471 Anexo 9 – As dez exposições mais visitadas em Serralves.. 478 Bibliografia 479 v Preámbulo y Agradecimientos Una de las conquistas resultantes del proceso de trabajo de esta inves- tigación ha consistido en la toma de conciencia de las potencialidades de los lenguajes – concretamente el lenguaje escrito y la lengua oral. He comprendido, por ejemplo, tras un cambio de impresiones con la feminista Anabela Santos, que los lenguajes escritos y hablados, de los más variados idiomas, los que se usan en varios dominios de la comu- nicación (coloquial, erudita, científica, etc.), describen y categorizan una realidad que se demuestra discriminatoria en relación a las muje- res. El lenguaje tiene el poder de clasificar y posicionar los géneros simplemente a través de la locución, consiste en una de las formas más eficientes de discriminación de las mujeres y las deja relegadas en la posición de “otro”, mientras el masculino (Hombre) es tomado como el universal, como la “norma”1. Según Rosi Braidotti, «el corolario de esta definición es que el fardo de la diferencia sexual recae en las mujeres, marcándolas como el segundo sexo o el “otro”, mientras los hombres son definidos por el imperativo de simbo- lizar lo universal.»2 Algunas feministas han asumido una posición de autoridad respecto al derrumbe del sistema falocéntrico, hegemónico y compulsivo, pero que se presenta como neutro y natural. Dos de sus manifestaciones principales – los lenguajes escrito y oral tienen un papel decisivo en las formas de percepción porque legisla la realidad social en consonancia con el principio de la diferencia sexual. Comparto la idea de Sochana Felman3 de que es necesario reinventar el lenguaje, que es imperativo 1Cfr. “ Diferença Sexual como Objecto Político Nómada” de Rosi Braidotti (1994) citada por Macedo, 2002: 150, 151. 2Ibidem. 3“The Difference of View” de Mary Jacobus, citada por Macedo, 2002: 54. 1 2 Rui Pedro Fonseca descartar las convenciones lingüísticas de la estructura falocéntrica. Por lo tanto, intenté, a lo largo de este trabajo, emplear un lenguaje no se- xista. Por ejemplo, en el Capítulo III que hace referencia
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