Selfportrait

[pdf de últimas pruebas de imprenta, sin correcciones finales]

Esta publicación corresponde con el catálogo de la exposición "Vecinos de la ciudad. Retratos en San Cristóbal de La Laguna (siglos XV-XIX)", organizada por el Ayuntamiento de La Laguna y el Gobierno de Canarias en 2018.

Warum zeigt Dürer im Münchner Selbstporträt mit seiner Hand auf den Marderpelz? Auf der Suche nach einer Antwort auf diese Frage geht die vorliegende Untersuchung der Bedeutung der Kleidung in Dürers Selbstdarstellung nach. Der Blick auf weitere Bildzeugnisse der Epoche sowie zeitgenössische Schriftquellen wie Kleidervorschriften und Luxusgesetze eröffnet eine neue Sichtweise auf das berühmte Gemälde. Die Analyse des Bildes unter Heranziehung der Kleiderforschung führt nicht nur zu einer neuen Datierung des Selbstporträts, sondern auch zu einer innovativen Deutung im Kontext rechtshistorischer Zusammenhänge. Ein methodischer Ausblick auf eine Kunstgeschichte, welche die Kulturgeschichte der Kleidung als visuelles System der Zeichen und Symbole einbezieht, rundet den Band ab.

Birey olarak öne çıkan otoportrelerin ortaya çıkışı 14. yüzyıl itibariyle gerçekçi bir eğilimle Güney Hollanda’da ortaya çıkar. İnsan fizyolojisinin birebir tasvirlerini ise 15. yüzyıl örneklerinde görmekteyiz. Orta çağın sonlarından 15. yüzyıla geçişte fark edilen önemli bir değişiklik; profilin temsilinden 3 çeyrek ve önden görünüm pozisyonuna kademeli bir geçiştir.

This short essay about Schjerfbeck's self portraits included in the exhibition  Les clefs d'une passion/Keys To a Passion(curator: Suzanne Pagé) at the Fondation Louis Vuitton  (2015). It was included in the exhibition's catalogue. This is the french version.

The awareness of 'living inside the eyes of others' and the related desire of 'seeing themselves through their own eyes', have traversed the history of art, taking shape into the centuries-old tradition of the self-portraiture and, recurrently, in more recent artistic practices, such as happening and performance, which aim to interchangeably involve the artist, the spectator and the outer word using mirrors or technological substitutes of them, primarily the video camera. Taking into account the topic of narcissism and the concerns about the physical, psychological and relational space of the work of art that have become main issues in the artistic research from the Fifties to the present, the essay examines the function of mirrors in the work of some already historicized artists, such as Jackson Pollock, Allan Kaprow, Robert Morris, Joan Jonas, Marina Abramović, and in a selection of performances by the Italian artist Cesare Viel, who has lead in the last three decades a coherent and intense research on the Self-representation as a mise en abîme of his own identity.

I was twelve years old when a relative warned me by pulling me aside when I was going down to the beach with the t-shirt I was wearing. Why didn't I wear shorts?

As the object of pleasure of masculine gaze, the woman begins to be imprisoned in her own body since their early childhood. Many behaviors that women do unwittingly, such as trying to cover their breasts while bending down or feeling forced to button the third button of their shirt etc. are based on the warnings that they begin to internalize from their early childhood. Women are taught that they should be ashamed of their sexuality, their pleasures, their fluids... In his book “The Way of Sight”, John Berger mentions that woman’s self-existence is split into two. A woman must continually watch herself, always wandering around with her own image. Even when she walks in a room or cries at her dead father’s bedside, she inevitably sees herself walking or crying. From earliest childhood she begins to see the observing and being observed personalities within herself forming her as two separate elements but identifying her as a woman. According to Luce Irigaray, the gaze and vision of the masculine subject brings with it the suppression of the female body. The male gaze objectifies the female body and fixes its meaning. Since women cannot integrate with their own body, they live in a mirror where they watch themselves constantly.

“Put Something On!” is a voice about liberating every part of women’s own body that they cannot integrate...

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Bikinimin üzerine giydiğim t-shirtle sahile inerken, bir akrabamız beni kenara çekerek uyardığında on iki yaşındaydım. Neden altıma şort giymemiştim?

Eril bakışın haz nesnesi olarak kadının kendi bedenine hapsedilmeye başlaması çocukluk yıllarından başlar. Eğilirken acaba göğüs çatalı görünür mü kaygısıyla elini göğsüne götürmesi, gömleğinin üçüncü düğmesini iliklemek zorunda hissetmesi gibi farkında olmadan yaptığı bir çok davranışın temelinde çocuk yaşlarından itibaren içselleştirmeye başladığı uyarılar yatar. Cinselliğinden, hazlarından, sıvılarından utanması gerektiği öğretilir. John Berger, “Görme Biçimleri” kitabında kadınların öz varlıklarının ikiye bölündüğünden bahseder. Kadın hiç durmadan kendisini seyretmek zorundadır, her zaman kendi imgesiyle dolaşır. Bir odada yürürken ya da babasının ölüsünün başucunda ağlarken bile ister istemez kendini yürürken ya da ağlarken görür. Böylece kadın içindeki gözleyen ve gözlenen kişilikleri, kadın olarak onun kimliğini oluşturan ama birbirinden ayrı iki öğe olarak görmeye başlar. Luce Irigaray’a göre eril öznenin bakışı ve görmesi kadın bedeninin bastırılmasını da beraberinde getirir. Eril bakış kadın bedenini nesneleştirir, anlamını sabitleştirir. Kadın kendi bedeniyle bütünleşemediği için kendini sürekli seyrettiği bir aynayla yaşar.

“Git Üstüne Bir Şey Giy!” kadının bütünleşemediği kendi bedeninin her parçasına sahip çıkarak, kadın bedenini özgürleştirmek üzerine bir ses, paylaşarak çoğalan sesler bütünü...

A presente proposta de comunicação tem por intuito discutir a ideia de Almeida Júnior enquanto um pintor caipira, assentada pela crítica de arte em seu tempo e, em parte, corroborada pelo movimento modernista posteriormente. Para isso, parto de seu único autorretrato conhecido, de 1878, pertencente hoje à Pinacoteca Rubem Berta, em Porto Alegre. A curiosa tela sugere uma imagem de si não só bem contrária a uma ideia de caipira como se relaciona, por suas vestes, ao universo clássico. Apoio-me, para isso,  em alguns trabalhos que discutiram questões semelhantes, como a dissertação de mestrado de Tania Maria Crivilin, Almeida Junior: A afirmação de uma subjetividade moderna, de 2011, e a tese de Fernanda Mendonça Pitta, Um povo pacato e bucólico: costume e história na obra de Almeida Júnior, de 2013, assim como na historiografia que discute as imagens de artistas no século XIX. Assim, proponho algumas comparações iconológicas, hipóteses e sentidos para a escolha de tal tipo de representação, que foge dos parâmetros então estabelecidos, mas que informa uma orientação retratística igualmente moderna.

Sorti il y a plus de vingt ans, Demain et encore demain. Journal 1995 (1997) de Dominique Cabrera n’a rien perdu de son impact et interpelle toujours autant ses spectateurs. Il fait partie des films qui ont marqué durablement le paysage du cinéma autobiographique, comme ceux de Jonas Mekas, de Ross McElwee ou certains films d’Agnès Varda. Demain et encore demain. Journal 1995 s’inscrit également dans la lignée d’écrivains essayistes qui ont « peint » leur autoportrait, de Montaigne à Roland Barthes.

Le film de Dominique Cabrera parvient à toucher, à travers l’expérience personnelle de la cinéaste, des questions universelles relatives à la condition humaine d’une femme en France à la fin du XX e siècle. Tous les grands films défient les genres dans lesquels on a l’habitude de les penser. Les catégories que nous utilisons pour comprendre les œuvres nous aident à mieux les saisir, mais chaque création est unique et donne naissance à de nouvelles formes qui nous invitent à reconsidérer nos manières de les appréhender. Puisque nous avons hérité de la plupart de ces classifications à travers les théories littéraire et artistique, je chercherai à rendre compte de la manière dont Demain et encore demain. Journal 1995 s’apparente à certaines de ces pratiques - comme le journal et l’autoportrait - tout en les modifiant par le projet cinématographique.

It is probably lesser known that Edvard Much was a very gifted photographer, too, experimenting with double-exposures, new angels, excessive cropping and new ways of seeing. I think his photographs make more impression than his other works, to me at least with all due respect to all his other works.  He also made thoughts about this – at that time – new medium, ideas in line with another multimedia artist, August Strindberg. This approach is summarized by Aaron Siskind in this way: “Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything...” Munch wanted to remake the emotion, the touch tangible, and the unseen seen through the photographic image. And he did.

No presente ensaio, propõe-se uma leitura dos textos e das imagens mais explicitamente autorrepresentativos (ou nesse sentido titulados) da autoria de Mário Dionísio, acentuando uma modernidade que se reflete na sistemática tendência para viciar qualquer certeza sobre a ‘verdade’ autorrepresentada e sobre a ‘verdade’ do texto que supostamente a representa. Em vez de predicativa, a via de acesso ao ‘eu’ torna-se, em Dionísio, hipotética e reticente, i.e., necessariamente ‘criminosa’ ou ‘clandestina’.

No presente ensaio, propõe-se uma leitura dos textos e das imagens mais explicitamente autorrepresentativos (ou nesse sentido titulados) da autoria de Mário Dionísio,  acentuando uma modernidade  que se reflete na sistemática tendência para viciar qualquer certeza sobre a ‘verdade’ autorrepresentada e sobre a ‘verdade’ do texto que supostamente a representa. Em vez de predicativa, a via de acesso ao ‘eu’ torna-se, em Dionísio, hipotética e reticente, i.e., necessariamente ‘criminosa’ ou ‘clandestina’.

This article explores the pivotal role assumed by the depiction of Morland’s studio in his last self-portrait for the construction of a new type of artistic identity in Britain at the turn of the nineteenth century. The objects included in Morland’s painting room speak to modern ideas of art as the expression of a painter’s personality, and unravel the narrative of a new ‘art of living,’ as much a careful fabrication as the canvas itself. By drawing on multiple sources, as well as by playing with socially-acceptable moral values, academic rules on decorum, and the transgression of conventional artistic identities of the kind embodied by Reynolds, Morland offered a modern parable of artistic fall, to the profit of his own public profile. The canvas is rich in elements that mock the ideas of art and artist: by way of parody, Morland gestures at the viewer, revealing himself as author of all this, his own mythology.