The image of a woman with her underpants down around her ankles, awkwardly waddling is one that conveys vulnerability and the complete loss of dignity. And that was the image that Pinochet's guards meant to convey when they did not allow revolutionary women leaders to pull them back up after being flogged. They suffered the humiliation of having to shuffle back to their comrades with them around their ankles, like a punished schoolgirl. Guards would mockingly taunt how they would lead The Revolution if they couldn't even pull their panties back up in fear.
Coming from this background of Chilean history in which sexual humiliation was such a poignant weapon of the patriarchal capitalist dictatorship, Cheril Linett has worked hard to reclaim these symbols of degradation as symbols of empowerment. While her tactics are controversial the are a decisive refutation of the misogynist ideology of Pinochet. That a woman in her panties that has been sexually humiliated and abused is no longer to be taken seriously. That she is no longer a dignified revolutionary guerilla leader. She is helpless, pathetic, ridiculous. The Yeguas take the very symbols of humiliation that the Junta used and turn it into empowerment. Can a naked woman or a woman in panties be a revolutionary? They scream yes! It is a powerful challenge against the most dangerous weapon used on revolutionary leftist women.
The figure of “underpants down” is in the imagination. How is it presented in your work?
Cheril Linett: It is proposed as an exercise of imagining to complete. We know that it is an intimate garment in direct contact with the vagina and vaginal discharges that are not usually visible, the image of the underwear below can be read from different perspectives. The first time we incorporated this resource we asked certain people to take down our pants and they were very careful to do so; For the following actions I decided that we should lower our pants ourselves. The mother of one of the girls told me that when she saw us with our underwear down, she had the sensation of seeing our underwear at half mast and her way of interpreting it made sense to me.
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Artist Research
Janine Antoni
Janine Antoni is a Bahamian–born American artist, who creates contemporary work in performance art, sculpture, and photography. Antoni's work focuses on process and the transitions between the making and finished product, often portraying feminist ideals.
Works of Antoni that I found interesting:
'Lick and Lather'
Lick and Lather comprises fourteen self-portrait busts that Janine Antoni cast in two materials, with seven in chocolate, and seven in soap. Each cast was identical until the artist undertook the task of licking the chocolate busts and bathing with the soap busts, hence the playful title, Lick and Lather. Antoni's labor in making the work resulted in two sets of fourteen: seven autonomous soap-chocolate pairs and the Gallery's fourteen busts. The number seven is significant for it represents the average number of heads measuring a full female figure, a metric used in drawing classes. In this sculpture, the artist's self-effacing erasure differentiates her self-portrait from her self, thus Lick and Lather reflects on the inherent nature of cast sculpture as a reproductive medium. It also riffs on the idealizing representations in classical sculpture, which over time have become worn. Materially, the chocolate has a textured patination, akin to bronze, while the soap busts are smooth, resembling a cross between marble and wax. As the only extant full grouping, the Gallery's set of Lick and Lather is the fullest iteration of Antoni's concept.
'Saddle'
For Saddle, the artist made a cast of herself on all fours and then draped it with a soaked sheet of cowhide. After the skin hardened she removed the cast, so that the cowhide became a freestanding entity that delineated the outline where her body had vacated. Forming a sort of womb-like glove or membrane between where her own body met the borders of the exterior world without and the delineating line between the absent space her body occupied and the discreet world into which it inhabits. In a room it presents as something tactile, mortal skin, a sort of yellowish-brown and luminous rind, tracing the articulation between toes or hip, shoulders, but in other places more abstract, drapes that obscure the original lines, a general outline like the inhabitants of Pompeii—which comprise an entire life and sum, all the choices an individual may have made in an entire duration, but ultimately rendered as a human form only in the most general sense.
Every choice put into action makes something concrete, trace and congealed, giving it form and fitting as perfect glove between these intangible desires or considerations that are fleeting and the decisions we choose to make through physical choices. Giving decisive weight to these impulses, tendencies, and experiences; giving them form and a vantage for our experience. Taking an irresolute lack, giving form and stepping forward as the tangible that reveals.
'To Compose'
The common gesture of learned femininity, crossing one leg over another, is an act of modesty and grace. In this work the interior bone of the right leg has been embedded into the flesh of the left leg. The successful fusion makes it impossible to unlearn this act of femininity.
The crossed legs hover on their absent chair. In classical Roman statuary the strut, a support often disguised as a tree trunk, helps the figure to stand upright. This tree trunk tethers the ungrounded gesture.
The culture tends to narrow the base of women. Again and again, we see this in crossed legs, high heels, and toe shoes. Because of these, and other, imposed experiences, we associate the feminine with weightlessness, poise and the ethereal. Yet, we know that the most stable forms come from the broadened base, the grounded, the rooted.
My Reaction:
I find Janine Antoni's work to be quite haunting in how she chooses to portray herself and her idea of femininity. It is a raw and personal portrayal as opposed to the mainstream ideals of femininity. She uses a wide variety of mediums, from conventional, to unconventional, such as chocolate and soap. I also like how she uses her own body to make her pieces.
I am looking to cast items from my bedroom using different materials as antoni did in "Lick and Lather"
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