[Closed] INA Supports your Super Powers 2

[GeminiRising]

thank you for providing the info

[nararosetto]

Hey Ina peeps!
As suggested, I’m going to post @eusouatoa , carmen and mine proposition here as a manner to not get lost <3

http://gov.near.org/t/proposal-porto-palavra-residencia-para-artistas-ancoradas-na-lingua-portuguesa

[Mailza]

portfólio: https://mailzabernardmb.wixsite.com/portfolio
instagram: https://www.instagram.com/mailzabernard/

Hello I’m MailzaBernard, 31 years old, multimedia artist. I was born in São Paulo and raised in Minas Gerais. since 2019 I reside in the city of Tiradentes, MG. I studied Fashion Design and Arts Applied to Ceramics. In my creations I question from decolonial feminist perspectives, in a cut about identity, maternity and ecofeminism. I mix several languages as a way to experiment transdisciplinarity and disobedience to artistic traditionalism. I revisit traditional knowledge such as ceramics and embroidery and associate them with contemporary, hybrid, digital and performative art in an attempt to reclaim the place of the artisans as artists.

A year ago I started the work Unsustainable Structures that developed in Puerperium on the Island of Bones which is a practical/theoretical research that welcomes the poetic and plastic unfoldings of performative and transmedia sculptures, elaborated from symbols that represent motherhood. Based on representations of bones, wombs, and umbilical cords I ponder critical reflections on feminism, the basis of my questionings being my experience as a postpartum woman. I use historical perspectives and decolonial references to analyze artistic manifestations about motherhood that somehow share my anguish as a woman-mother. The main goals of this research are to investigate the performativity and co-dependent relations with the performative body of ceramic objects, from sculptures and their poetic unfoldings, exploring transmedia aspects. The disruption of patterns in ceramic production and discuss micropolitics of maternal resistance, such as breastfeeding and economy of care.

The fatigue and high-demand of caring for a newborn will naturally fall on the mother, due to biological factors such as breastfeeding and a greater need for the baby’s affection coming from the intra-uterine bond. However, some social factors contribute to make motherhood even more exhausting, which according to this research revolves around three axes: lack of public policies, organization in nuclear families, and devaluation of pro-creative work.

Women are socialized from childhood to have motherhood with the full realization of femininity, these symbols reinforced by jokes, tales, myths and the hegemonic media that show an idealized motherhood are confronted when the reality of becoming a mother reflects in “loss of financial independence, loss of individual space and time, loss of status and extreme restrictions of freedom in addition to changes in the body; often irreparable scars and physical trauma.” (Eti Wade, 2013). These idealized mother roles cause distortions of reality and generate guilt, compulsory motherhood, and devaluation of maternal labor.

In view of these discussions I would like to address in this paper problematic issues about motherhood, such as frustrations, social abandonment, and exhaustion. Despite the widespread myth of the village taking care of the child, what prevails in the experiences with other mothers is the overload of all the responsibility that weighs on the mother’s or grandmother’s back. The mother’s work is heavy and made invisible in the name of love. In fact, it is part of an oppressive project of the patriarchal system to tie women to the reproductive and care sphere while “the verdict of oppression and multiple workdays, which justified in the female capacity to concentrate on multiple things at the same time, taught and attributed to her as a natural condition, denies the condition of overexploitation” (Mother’s child! Feminist Contradictions of Motherhood Laiany Rose Souza Santos Carla Apenburg Trindade).

In this work we also intend to include a decolonial perspective from the idea that motherhood in other societies and cultures can be seen as a central expression of women’s identity, in a collective way, without associating it to gender relations or marriage, as seen in Oyèrónké Oyěwùmí’s book about the Yoruba society of southwestern Nigeria, The Invention of Women: Making an African Sense of Western Gender Discourses (1997).

How to think of motherhood from a Latin American decolonial feminism incorporating symbols from the original communities and Afro-Brazilian culture, ignoring the rational logic that impregnates the aesthetics, following an intuitive and autobiographical model, that in the methodology of experience narrates the learnings of the process and frees itself from certain academic ties to broaden the poetic discourse.

Here are some photos of the work in development and an excerpt from the performance video I am developing, I should mention that I could not finish editing the video in 4K, and interrupted the studies of video performance, because my computer could not edit such a heavy file. Besides repairs in my ceramics studio I would use the grant to improve my equipment and thus be able to work on editing the video.

Budget:
Ceramic kiln repair - $200
Notebook repair - $100
External hard drive - $60
Purchase of Clay - $100
Surviving Artist Payment - $350

Trecho do processo de desenvolvimento da performance Puerpério na Ilha dos Ossos

[LulucaL]

Wow!!! Amayzing work.