#awomansplace

[adinaochea]

Costumes de la maternité / Motherhood Costumes / Costumele maternității

travail en cours / work in progress

[adinaochea]

FR

La performance a eu lieu au festival INACT de Strasbourg en mai 2024. Les pièces de verre gravées étaient projetées sur un écran à l'aide d'un rétroprojecteur et lues à voix haute. De nouveaux exemples de sacrifices ont été collectés anonymement tout au long de l'événement.

Photos : C. de Barry.

EN

The Small Sacrifices performance took place at the INACT Festival in Strasbourg from the 2nd to the 4th of May 2024. The engraved glass sheets were projected onto a screen using a transparency projector and read out loud and more examples were collected from the audience.

All photos after the 1st image are by C. de Barry.

RO

Performance-ul Sacrificii mici a avut loc la Festivalul INACT de la Strasbourg, în perioada 2-4 mai 2024. Bucățile de sticlă gravate au fost proiectate pe un ecran (cu ajutorul unui proiector de folii transparente) și citite cu voce tare. Pe parcursul evenimentului au fost colectate exemple noi în mod anonim.

Foto: C. de Barry.

[adinaochea]

FR

Le projet des Petits Sacrifices a été traduit en roumain et publié sous forme de livre d’artiste, en exemplaire unique, sur papier aluminium et calque. L’ouvrage a été exposé à la galerie Whitecuib de Cluj, en Roumanie, dans le cadre de l’exposition collective intitulée « Si la guerre éclate demain, je laisserai cela derrière moi ». L'exposition a eu lieu en septembre et octobre 2024.

EN

Small Sacrifices was translated to Romanian and published as an artist's book printed on thin aluminum foil and bound with tracing paper. The book was exhibited in a group show at Whitecuib Gallery in Cluj, Romania, from September 12 to October 14, 2024.

RO

Proiectul Sacrificii Mici a fost tradus în limba română și publicat sub formă de carte de artist în exemplar unic pe folie de aluminiu și hârtie de calc. Cartea a fost expusă la galeria Whitecuib din Cluj în cadrul expoziției de grup intitulate "Dacă de mâine va începe războiul, în urma mea o să las asta" între 12 septembrie și 14 octombrie 2024.

Image copyright: Alina Andrei, Whitecuib.

[adinaochea]

FR

Petits sacrifices

en cours depuis 2023, cette œuvre comprend actuellement 49 pièces de verre gravées, de dimensions allant de 8x8 cm à 18x24 cm

Cette œuvre interroge les sacrifices que nous faisons tous pour autrui, leur nécessité et leur ampleur, ainsi que leur capacité de nous définir en tant qu’êtres humains. Elle aborde un sujet parfois douloureux et se veut participative : à chaque exposition, je demande au public de contribuer de manière anonyme en partageant des exemples personnels, que j’utilise ensuite pour enrichir le projet. Les discussions suscitées par les visiteurs autour de la notion de sacrifice, ainsi que les objets eux-mêmes, constituent cette œuvre.

EN

Small Sacrifices

currently 49 pieces of glass with text engravings, sizes range from 8x8 cm to 18x24 cm, objects and performance ongoing since 2023

This work adresses the sacrifices we all make for those around us, whether they are necessary and to what extent, whether making them is what makes us human. It addresses a somewhat painful topic and is participative, in that every time it is exhibited I ask people to contribute giving their own examples anonymously, which I then use to further the project. Both the discussions created among visitors about sacrifices as well as the objects themselves comprise this work.

RO

Sacrificii mici

În prezent, 49 de bucăți de sticlă cu texte gravate, dimensiuni variabile între 8x8 și 18x24 cm

Am vrut să atrag atenția asupra sacrificiilor pe care le facem cu toții pentru cei din jurul nostru, întrebându-mă dacă sunt necesare și în ce măsură, dacă realizarea lor este ceea ce ne face umani sau nu neaparat. Lucrarea abordează un subiect oarecum dureros și este participativă, de fiecare dată când o expun le cer oamenilor să contribuie anonim cu propriile exemple, pe care le folosesc apoi pentru a continua proiectul. Atât discuțiile care se crează între vizitatori pe această temă cât și obiectele în sine alcătuiesc această lucrare.

[adinaochea]

FR

2023, 10 sculptures de 25 à 35 cm de hauteur, réalisées à partir d'objets trouvés (poupées en porcelaine à tête/torse de serpillière)

Les Mop Ladies sont nées de mon admiration pour l'œuvre de Louise Bourgeois. Ces sculptures, à l'instar des Vénus, rendent l'individualité féminine pratiquement invisible ou inaccessible, tandis qu'un objet ménager symbolique met en lumière la monotonie des tâches ménagères souvant releguées aux femmes. Au même temps, les ficelles de la serpillière leur confèrent une dimension punk et rebelle, sans doute nécessaire au dévéloppment du changement.

EN

Mop Ladies

11 sculptures, porcelain doll lower bodies with mop heads

The Mop Ladies have also resulted out of my admiration for Louise Bourgeois' work. These sculptures, just as the Venuses, keep women's individuality de facto invisible or at least inaccessible while that which is usually invisible, work needed to keep a household hygienic and running, becomes quite obvious but also literally responsible for their invisibility. Another aspect I like is that the strings of the mops gives them a punk, rebellious edge which is probably needed in order for change to take place.

[adinaochea]

RO

Postere pe mușama

mușama și vopsea aerosol, mărimi variabile între A2 și A1, 2022-2023 postere în engleză, franceză și română

Posterele pe mușama au un rol simplu, acela de a provoca discuții pe teme feministe. Majoritatea mesajelor sunt preluate de pe stradă și au fost scrise de membre și membri ale Collages Feminicides, un grup de activiste și activiști care lipesc afișe cu sloganuri pe străzile din Franța pentru a crește gradul de conștientizare al violenței împotriva femeilor și a altor forme de discriminare împotriva grupurilor minoritare (LGBTQIA+, migranți). Unele mesaje sunt preluate din publicații și, în acest caz, autorii sunt citați.

Mesajele sunt pulverizate pe mușama pentru că aceasta face aluzie la teritoriul casnic, perceput în continuare ca fiind exclusiv feminin, dar și pentru că mușamaua este un material puternic și durabil. Afișele grupului Collages Feminicides sunt îndepărtate de pe stradă foarte rapid, adesea chiar în ziua în care au fost lipite. Aceste postere pot rezista ceva mai mult dacă oamenii aleg să le ia acasă și poate reușesc chiar și să provoace niște discuții incomode.

Posterele au fost expuse la Galeria Whitecuib, Cluj în 2023 și la Dia de Las Muertas în Paris în 2022, atelierul pt public a avut loc la Cluj și la Festivalul INACT din Strasbourg în 2023

[pmcguffin]

The women in the kitchen…

The Wednesday night Bible study was moved to Thursday nights. We boarded the “home-groups” train that was trending in those days, and we were grouped according to which Elder’s house was proximal to ours.  Logistics, naturally -the Elders were engineers.

I was impatient for that first meeting.  This Catholic girl gets a little unnerved by those Sunday services where the preacher reads a Bible verse, then fiercely expounds on it, sometimes with an intensity that yanks him out of his jacket in his frenzy over all that hellfire and damnation. Nope, all that fired-up hollering from the pulpit never edified my spirit.  I longed for a calm, contemplative study where exchanging ideas and perspectives would enrich our spirits and foster closer friendships among this earnest little band of Bible scholars.

Thursday came.  I stepped into a spacious living room, settled on a large floor pillow, and rested against an ottoman.  The atmosphere was casual and subdued; it felt pretty good.  After the initial prayer, we opened our Bibles to the chapter of focus in the study, and before I knew it, I was happily engaged in a lively discussion.  One deacon leaned my way as he spoke, inviting me into a dialogue. He was erudite and eloquent, with a keen intellect and a wonderful sense of humor -I genuinely liked him.  Never condescending, he offered his perspectives while validating mine as we looked to the practical applications of the scriptures at hand, and I appreciated his wisdom.  It was good, to feel connected and valid. The moment was short-lived.

Once the meeting was over, the women retreated to make coffee. The men remained. I stayed until I noticed a raised brow with a directional glance toward the kitchen. Oh. I got it. I stood and slipped through the door to find the Women in the Kitchen caught up in animated chatter about diaper rash ointment and -I kid you not- whether it is worth the effort to wash and reuse plastic sandwich baggies. It was made clear that my input was irrelevant when I was told that until I have a baby, I "can’t possibly understand..." anything apparently.  I understood this:  the Women in the Kitchen were not my tribe.

Easing back into the living room, I sidled onto the sofa armrest.  The men were discussing the current socio-political climate, the Church’s place in the world at large, practical ways we could best minister to our community, and whether to address our need for more space by expanding or moving... the big picture. 

Creative ideas, some lofty goals, and a good measure of healthy debate were happening in that living room full of men, with me precariously perched on an armrest -the only woman not in the kitchen.  They didn’t miss a beat.  No one noticed.  None of the men moved to make room for me on that sofa.  Not one.  Yet, there I sat like a glaring neon sign blinking in the face of their purposeful disregard.  Refusing to take the hint, I remained, invisible, silently swallowing swells of rage as those men planned our future and decided our places within it without any input from us -the Women in the Kitchen, and me.

On the drive home, I was confronted with my behavior.  Why couldn’t I sit quietly like the other wives, refrain from joining the discussion, and stay with the Women in the Kitchen where, I suppose, I belonged?  I wanted to scream, “Why aren’t the Women in the Kitchen invited to stay and encouraged to participate in the discussion?”  Instead, I tightened my jaw and muttered, “They weren’t talking about anything interesting, and since I’m not a mother, no one cares what I have to say.”  He asked me to try.  I bit my lip.

He doesn’t get it:  no one wants me, but the exclusion by the men is more than oppressive; it is insulting.  The Women in the Kitchen are their wives, the mothers of their children, and the ones who keep life going forward against all that would interfere.  They are the anchors in their homes, the very hearts of their families. It will be the Women in the Kitchen, without voices, bearing the burden of the men’s decisions.  Although the Women in the Kitchen are not seated at the table for discussion, they will be expected to strategize sacrifices from their household budgets to finance the men’s plans (washing and reusing disposable sandwich baggies --do the men even know their wives do that?)  The Women in the Kitchen will be “holding down the fort” while the men devote their evenings away from their families to manage new and ongoing projects and church business.  After preparing breakfast to ignite the morning and ushering everyone to the day’s destinations, the Women in the Kitchen will be parenting solo until they get the children into bed.  Finally, once the men have returned home, these devoted wives (veiling their own weariness) shall cheerfully serve their husbands a carefully reheated dinner. 

Imagine.  Though they are the ones who create the very propulsion that provides the momentum to move the work forward, The Women in the Kitchen have no voices.

None, because the Women in the Kitchen are not invited to that table... except to serve it.      

[adinaochea]

FR

8 sculptures imprimées en 3D, hauteur environ 12 cm 

Hommage à Louise Bourgeois 

Les Vénus de ménage ont été créées à l’aide des nouvelles technologies afin de nous rappeler que certaines choses ne changent jamais, ou si elles changent, elles le font très très lentement.

 Les droits des femmes progressent mais leur libération implique actuellement une triple charge de travail. J’ai essayée de représenter cette charge visuellement ou, au moins, les deux-tiers.

 La série de peintures de Louise Bourgeois intitulée Femme-maison présentait de corps féminins nus en bas de nombril et composés de maisons dans la partie supérieure. Leur invisibilité et leur vulnérabilité restent toujours d’actualité. 

EN

8 small 3D printed sculpture collages

Hommage to Louise Bourgeois

The Venuses of Housework have been created using the latest technology in order to remind us that some things never change, or if they do, they do so very very slowly. Women’s rights are progressing but their liberation currently involves a triple workload. I have tried to represent this workload visually or, at least, two thirds of it. Louise Bourgeois’ series of paintings titled Femme-maison featured such female bodies composed of houses from the waist up. Their invisibility and vulnerability is still very relevant today.

RO

O serie de 8 sculpturi imprimate 3D Omagiu adus lui Louise Bourgeois Sculpturile Venus menajeră au fost create folosind o tehnologie foarte recentă pentru a ne reaminti că unele lucruri nu se schimbă niciodată sau, dacă se întâmplă, o fac foarte, foarte încet.

 Drepturile femeilor progresează treptat, dar realitatea lor implică în prezent un volum triplu de muncă: munca la serviciu, munca de menaj și de îngrijire a copiilor (adeseori invizibilă, pentru că societatea consideră că femeile când sunt acasă „nu lucrează”) și efortul depus pentru a fi cât mai atrăgătoare fizic. Am încercat să creez o reprezentare vizuală a acestui volum de muncă sau, cel puțin, a două treimi din el.

Seria de picturi a lui Louise Bourgeois din anii 40, intitulată Femme-maison, prezenta niște corpuri similare, goale de la brâu în jos și compuse din case de la brâu în sus. Invizibilitatea și vulnerabilitatea lor este și astăzi foarte actuală.