1 de jan de 2009

Corpos e porcos


MONSTRUAÇÕES


Adriana Peliano, 2008

Adriana Peliano, 2008

Adriana Peliano, 2008

Adriana Peliano, 2008


Monstruações. 60 X 80 cm. 

Segundo o filósofo português José Gil, se os monstros proliferam em nossa cultura, é sinal da grande dúvida que assaltou o homem contemporâneo quanto a sua própria humanidade. O homem ocidental já não sabe distinguir com nitidez o contorno de sua identidade na perda dos diferentes pontos de referência que tradicionalmente lhe davam uma imagem estável de si próprio.

Na série de imagens Monstruações, convivem uma imagem formatada da feminilidade com máscaras de monstros num encontro inesperado. A presença monstruosa aparece aqui como um desafio e a sugestão de que a subjetividade não é mais o lugar seguro que costumávamos crer.

O conto de fadas é ameaçado por corpos mutantes, causando um misto de atração e repulsa. O grito de horror se transforma em riso gerando uma ambigüidade que intensifica a instabilidade de figuras femininas fragmentadas, imperfeitas e estranhamente familiares.

Monstruações (Monstruations)

According to the portuguese philosopher José Gil, if monsters proliferate in our culture, it’s a sign of the great doubt that has struck contemporary man as to his/her own humanity. Western man no longer knows how to distinguish clearly the outline of his own identity, with the loss of those different points of reference that traditionally gave him/her a stable image of him/herself.

In the series of images Monstruaçoes, a formatted image of femininity keeps company with masks of monsters in an unexpected encounter. The monstrous presence appears here as both a challenge and suggestion that subjectivity is no longer the safe place we used to believe it to be.

The fairy tale is threatened by mutant bodies, causing a mixture of attraction and repulsion. The cry of horror is transformed into laughter creating an ambiguity that intensifies the instability of fragmented female figures, imperfect and strangely familiar.


FLUXO ANFÍBIO


Adriana Peliano, 2007

Adriana Peliano, 2007

Adriana Peliano, 2007

Adriana Peliano, 2007

Fluxo Anfíbio. 45cm X 60cm. 

Em um conto de fadas do séc. XVII de Marie Jeanne L’Héritier, a irmã malvada foi amaldiçoada e acabou cuspindo sapos, lesmas e caracóis, enquanto rosas e pérolas caíram dos lábios de sua irmã boa. No livro “Da Fera à Loira”, Marina Warner interpreta o conto atribuindo poder à fala feminina, na luta da autora por um ideal aristocrático e precioso de linguagem apropriado às mulheres. Nesse sentido, o feminino precisava se amoldar a certos princípios elevados de doçura cortesã: os sapos eram magia negra, fala coloquial, grosseria; as pérolas, refinamento, sinceridade e bondade. O conto mostra portanto como a mulher precisava manobrar entre as imagens negativas e positivas de seu sexo para argumentar a favor de seu valor e aceitação.

Integramos aqui as pérolas e sapos num mesmo fluxo oral, superando o maniqueísmo marcante no conto. Dessa forma a imagem se potencializa ao descolar-se da narrativa, como cartografia do desejo feminino, transbordando novos sentidos.

Fluxo anfíbio. Fotografias. Coletiva “Living Room”,Galeria Emma Thomas. São Paulo, SP. [2007]


English Version

In a 17th century fairy tale by Marie Jeanne L’Héritier, the wicked sister was cursed and ended up spitting toads, slugs and snails, while roses and pearls fell from the lips of her good sister. In the book “Da Fera à Loira” (From the Beast to the Blond), Marina Warner interprets the tale as attributing power to female speech, in the author’s struggle for an aristocratic and precious ideal of language suitable for women. In this sense, the female needed to conform to certain elevated principles of courtesan sweetness: the toads were black magic, colloquial speech, foul mouthed; the pearls, refinement, sincerity and goodness. The tale shows however how the woman needed to maneuver between the positive and negative images of her sex to argue in favor of her worth and acceptance.

Here both the pearls and toads are integrated within the same oral flow, overcoming the pronounced Manichaeism in the tale. In this way the image takes on more power in detaching itself from the narrative, mapping female desire as spilling out new meanings.


TRANSFORMATIONS


All those girls
Who wore the red shoes
Each boarded a train that would not stop


Anne Sexton’s "The Red Shoes"



Adriana Peliano


Beware of your stepmother,
they said.
She will try once more.



Adriana Peliano

"She domesticate my terror, examines it and describes it, teaches it some tricks which will amuse me, then lets its gallop wild in my forest once more". 
Kurt Vonnegut about Anne Sexton


Adriana Peliano

Transformations. 30cm X 20cm. 



PENETROPIAS



Into the red velvet of your belly

Into the blackness of your secret cries
I have ventured…
Joyce Mansour



Adriana Peliano, 2003

Adriana Peliano, 2003

Adriana Peliano, 2003

Adriana Peliano, 2003

Adriana Peliano, 2003

Adriana Peliano, 2003
Adriana Peliano, 2003
Penetropias - 23 cm X 75 cm. Caixa de Luz e imagem digital.


Dealing with the objective chance, the proposal was progressing through the idea of transforming objects into bodies, while in my laboratory strange anatomies began to emerge. The rigid and functional forms of bottles and glass containers were recreated, proposing new territories of desire, which blurred the boundaries between the inner and the outside world.

Now the beauty comes from the encounter of a glassy object and a cropped body. New anatomies are brought into the light in the encounter of the objects and the objectif, dazzling their borders and challenging their recognition according to the frame and each point of view. The boundaries between the objects and the bodies are blurred and these encounters witness strange transpositions of things to a different register. We see the bodies redefined through successive acts of displacement.

The straight body is transformed due to the effect of the glasses, which threaten its boundaries and stabile identity, making it suffers a process of metamorphosis. The operation disrupt the image of the desirable, natural and harmonious female body, forging a sense of ambiguity that convey the body in a fragmented, emerging, uncertain, and changing state. The images portrait formal configurations that promote a dialogue between the reality transformed through photography and the erotic symbols produced in the eyes of the viewer, conciliating attractive and compulsive forces.

Paradoxical objects of desire, dualities like inside and outside, male and female, dead and alive are disrupted by uncontrolled convulsions, which mix images of desire and death. The part becomes a whole, the object becomes a body, the body is turned into an(other). Emptiness and overflowing, lack and excess, mixtures and penetrations crisscross boundaries, bodies and fixed and unequivocal identities. In a dynamic of hiding and revealing, displacing and re-signifying, the images hide and reveal fetishist and uncanny and surrealist connections. It is what it isn’t.


 MA in Media Arts and Communication Design | Kent Institut of Art and Design. [2002 - 2003]
‘Compulsive Bodies’ General Education Centre. Londres, UK.[2003]
‘Compulsive Bodies’ Kent Institute of Art and Design. Maidstone, UK.[2003]

Nenhum comentário: