Eso que llaman amor: work, art, and resistance in the urban space
The present work reflects on the effects of meaning established from the artistic production of Ailén Possamay on the walls of Buenos Aires. The author’s interventions are composed of an image of a woman involved in some domestic activity on which the statement “Eso que llaman amor es trabajo no pag...
| Autores: | , , |
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2022 |
| País: | Brasil |
| Recursos: | Universidade Estadual de Campinas (Unicamp) |
| Repositório: | Rua (Campinas. Online) |
| Idioma: | português |
| OAI Identifier: | oai:ojs.periodicos.sbu.unicamp.br:article/8670056 |
| Acesso em linha: | https://periodicos.sbu.unicamp.br/ojs/index.php/rua/article/view/107-124 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Reproductive work Divided utterance Ailén Possamay Silvia Federici Materialist discourse analysis Trabalho reprodutivo Enunciado dividido Análise materialista de discurso |
| Resumo: | The present work reflects on the effects of meaning established from the artistic production of Ailén Possamay on the walls of Buenos Aires. The author’s interventions are composed of an image of a woman involved in some domestic activity on which the statement “Eso que llaman amor es trabajo no pago” by Silvia Federici is written. Based on the Materialist Discourse Analysis, we discuss the discursive functioning of these interventions, paying attention to the political in the process of dispute for hegemonic meanings about what is considered work. Reproductive work is discussed, which, in the capitalist and patriarchal social formation, is not considered work, but, as the statement says, is seen as the love of women (mother, wife, sister, friend). |
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