Modelos de mujer que soy, un accionar continuo.
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This investigation – creation begins with a question, how did I built myself and how did I imagine that I was going to be as a woman1, based on the relationship, analysis and experience form the two women that raised me? Thanks to this question I started having different private conversations with my mother and my “nana”. Through these conversations, I started building mental images, that became the categories in the project: work, education, sexuality and violence, also becoming the photographs that go along with the essay. This is important to recognize, due to the fact that some of the photographs from the family album and their conception, were key to develop the investigation – creation, this way the photographs build a path between the past and present, and also they allowed me to create images according to myself, stating a way of self-representation utilizing the photographic image. This final undergraduate essay contains two major parts, the first “the family past” that encompasses that first investigation-creation, that details the biographies of mi mother, my “nana” and mine, from each one there are presented the categories previously stated, that evidence the social context in our country, by the end of the 19th century and the 20th century and a part of the current movement, this compliments and constructs through the support of diverse collectives of arts like Las Zungas, Mujeres Creando, Las Tejedoras de Mampuján and Surcos en la Piel. Later and because of the current situation with Covid-19, the result of the creation presented at the end of the first section where the product was a installation- audiovisual, in which through a short film a story was told about sexual violence, that is one of the focal points of the projects and gave a turn that then became “have you ever been upset?, me too”, that gives way to the next part of the undergraduate essay, the “generational-present”, in this chapter there are sixteen conversations made with women coming from art backgrounds and other disciplines, where they introduced themselves, had a dialogue and reflect with the project categories, articulated to their life stories and work experiences, in conjunction there are three laboratories of creation. That granted the relation between adult and young women, through materials (wool, mud and soil) these materials made us able to talk about cultural trades and practices, that intertwine the life of these women, from generation to generation; to finish the creation results, an audiovisual was developed that through dancing, music and plastic arts, a visualization of the voices from the adult and young women are created, that tell and debated about the figure of the women today, and during the pandemic. To close the second chapter and the undergraduate essay, the “Mujeres artistas. Del inconsciente al consciente” is presented, a chapter that evidences the analysis of some of the photographs in the project, joint with the work of diverse artists, that went along with me in my college career, and that their work exposes a woman as a subject with rights. Finally, this undergraduate essay made me able to build dialogue with women in my family, and women that I never thought I was going to meet. The orality that goes through the project, being the first tool of creation, and the perfect instrument to rebuild myself as a woman, also was the connective string that made possible the artistic practices, the women of different disciplines and the materials, that constructed this investigation-creation that closes my college career, and also gives me a first step in my new educational process.