Domesticity and motherhood as poetic-political subversion

analyzing Clarice Gonçalves' work

Abstract

This article aims to establish a dialogue with feminist academic production, dealing with propositions by historians Griselda Pollock on the relationship between the gender-based knowledge-power system and the cultural construction of the concepts of femininity and domesticity, as well as, the invisibility and the silencing of women artists in art history. Simone de Beauvoir's notes on being and becoming a woman and female sexuality will be considered, as well as domesticity as subversion in Luana Tvardovskas and motherhood as a political condition in Bell Hooks and Roberta Barros. From the investigation and selection of artistic production and interviews with the artist Clarice Gonçalves, we approach the concepts of domesticity and motherhood as a subversion strategy in contemporary artistic production and its poetic-political consequences.

KEYWORDS: Domesticity. Motherhood. Contemporary Art. Clarice Gonçalves.