Maternities in tension. A project that jumped from the archive to the street.

A picture by artist Ana Victoria, part of her archive, records a feminist demonstration in 1977 in which we demanded the right to an abortion covered by the public healthcare system. Her archive documents my memories. This image made me question how much the situation in Mexico has changed since the...

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Autor principal: Mayer, Mónica
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2020
Materias:
archives
feminist art
reactivation
abortion
archivos
arte feminista
reactivación
aborto
Acceso en línea:https://revistas.unc.edu.ar/index.php/ART/article/view/30020
Aporte de:
Artilugio de Universidad Nacional de Córdoba
id I10-R361-article-30020
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-361
container_title_str Artilugio
language Español
format Artículo revista
topic archives
feminist art
reactivation
abortion
archivos
arte feminista
reactivación
aborto
spellingShingle archives
feminist art
reactivation
abortion
archivos
arte feminista
reactivación
aborto
Mayer, Mónica
Maternities in tension. A project that jumped from the archive to the street.
topic_facet archives
feminist art
reactivation
abortion
archivos
arte feminista
reactivación
aborto
author Mayer, Mónica
author_facet Mayer, Mónica
author_sort Mayer, Mónica
title Maternities in tension. A project that jumped from the archive to the street.
title_short Maternities in tension. A project that jumped from the archive to the street.
title_full Maternities in tension. A project that jumped from the archive to the street.
title_fullStr Maternities in tension. A project that jumped from the archive to the street.
title_full_unstemmed Maternities in tension. A project that jumped from the archive to the street.
title_sort maternities in tension. a project that jumped from the archive to the street.
description A picture by artist Ana Victoria, part of her archive, records a feminist demonstration in 1977 in which we demanded the right to an abortion covered by the public healthcare system. Her archive documents my memories. This image made me question how much the situation in Mexico has changed since then in terms of the control we have over our bodies. With this in mind, I summoned a group of feminist artists and activists to develop a collaborative piece titled Abducted Maternities. Given the complexity of the issue, each one of us convened a group of women we shared the same concerns with to, in small groups, deepen our ideas. We also launched the hashtag #UnaMaternidadSecuestradaEs (#AnAbductedMotherhoodIs) through social networks to open up to broader experiences.  Out of these meetings grew the idea to make La Protesta del Día Después (The Day After Protest), a performance/demonstration at the Zócalo of Mexico City on May 11, 2012. In 2019, inspired in the exhibition “Obras, procesos y pedagogías” (Works, Processes and Pedagogies) at Walden Gallery in Buenos Aires with the curatorship of María Laura Rosa, we decided to reactivate Maternidades Secuestradas (Abducted Maternities). Via e-mail and video calls, we started working, contacting each other to build what in we Argentina call Maternidades en Tensión (Maternities in Tension). Throughout this reactivation, I became an advisor and collaborator. This kind of projects only flourishes by growing its own roots. 
publisher Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
publishDate 2020
url https://revistas.unc.edu.ar/index.php/ART/article/view/30020
work_keys_str_mv AT mayermonica maternitiesintensionaprojectthatjumpedfromthearchivetothestreet
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first_indexed 2024-09-03T22:28:05Z
last_indexed 2024-09-03T22:28:05Z
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spelling I10-R361-article-300202023-03-02T18:37:13Z Maternities in tension. A project that jumped from the archive to the street. Maternidades en Tensión. Un proyecto que brincó del archivo a la calle. Mayer, Mónica archives feminist art reactivation abortion archivos arte feminista reactivación aborto A picture by artist Ana Victoria, part of her archive, records a feminist demonstration in 1977 in which we demanded the right to an abortion covered by the public healthcare system. Her archive documents my memories. This image made me question how much the situation in Mexico has changed since then in terms of the control we have over our bodies. With this in mind, I summoned a group of feminist artists and activists to develop a collaborative piece titled Abducted Maternities. Given the complexity of the issue, each one of us convened a group of women we shared the same concerns with to, in small groups, deepen our ideas. We also launched the hashtag #UnaMaternidadSecuestradaEs (#AnAbductedMotherhoodIs) through social networks to open up to broader experiences.  Out of these meetings grew the idea to make La Protesta del Día Después (The Day After Protest), a performance/demonstration at the Zócalo of Mexico City on May 11, 2012. In 2019, inspired in the exhibition “Obras, procesos y pedagogías” (Works, Processes and Pedagogies) at Walden Gallery in Buenos Aires with the curatorship of María Laura Rosa, we decided to reactivate Maternidades Secuestradas (Abducted Maternities). Via e-mail and video calls, we started working, contacting each other to build what in we Argentina call Maternidades en Tensión (Maternities in Tension). Throughout this reactivation, I became an advisor and collaborator. This kind of projects only flourishes by growing its own roots.  Una foto de la artista Ana Victoria, parte de su archivo, registra una manifestación feminista en 1977 en la que exigíamos aborto libre y gratuito. Su archivo documenta mis recuerdos. Esta imagen me hizo cuestionarme qué tanto ha cambiado la situación en México en términos del control que tenemos sobre nuestros cuerpos. Pensando en esto, convoqué a un grupo de artistas y activistas feministas para desarrollar una pieza en colaboración que nombramos maternidades secuestradas. Ante la complejidad del asunto cada una convocó a un grupo de mujeres con las que compartían sus mismas preocupaciones para, en pequeño grupos, profundizar nuestras ideas. También lanzamos el hashtag #UnaMaternidadSecuestradaEs por redes sociales para abrirnos a más realidades. De estas reuniones surgió la idea de hacer La Protesta del Día Después, un performance/manifestación que se llevó a cabo el 11 de mayo de 2012 en el Zócalo de la Ciudad de México. En 2019 a partir de la muestra “Obras, procesos y pedagogías” en Walden Gallery en Buenos Aires con la curaduría de María Laura Rosa decidimos reactivar Maternidades Secuestradas. Por correo electrónico y por videollamadas empezamos a trabajar, a contactarnos para construir lo que en Argentina llamamos Maternidades en Tensión. A lo largo de esta reactivación yo me situé como asesora y colaboradora. Este tipo de proyectos sólo funcionan y crecen cuando tienen raíces propias. Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2020-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Single blind peer-reviewed work Trabajo revisado por pares ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/30020 10.55443/artilugio.n6.2020.30020 ark:/s2408462x/p0wn4fdu2 Artilugio; No. 6 (2020): Archive and Memory; 215-225 Artilugio; Núm. 6 (2020): Archivo y Memoria; 215-225 Artilugio; n. 6 (2020): Archivo y Memoria; 215-225 2408-462X 10.55443/artilugio.n6.2020 ark:/s2408462x/u7erw86zt spa https://revistas.unc.edu.ar/index.php/ART/article/view/30020/30943 https://revistas.unc.edu.ar/index.php/ART/article/view/30020/30779 https://revistas.unc.edu.ar/index.php/ART/article/view/30020/30944 Derechos de autor 2020 Mónica Mayer https://creativecommons.org/licenses/by-nc-sa/4.0

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