Αυτή τη συνέντευξη της Carrie Mae Weems, της οποίας την ύπαρξη και το έργο αγνοούσα και το ομολογώ, τη διάβασα σήμερα ολόκληρη και μονορούφι στο Lenny Letter, όρθια δίπλα στο τραπέζι της κουζίνας -και να ξέρετε ότι τελευταία δεν μπορώ να σταθώ όρθια δίπλα σε τίποτα για πάνω από τρία λεπτά. Ωστόσο.
Μου άρεσε τρομερά το The Kitchen Table series.
Μου άρεσε τρομερά ο τρόπος που η Weems μιλούσε για την τέχνη (της).
Usually your work is much more forward-thinking than you are. Half of what we do, we’re doing almost intuitively. It’s later that we really understand what we’ve actually done or why we’ve done something a certain way or for that matter what something even needs.
For example, spaces are very unique. Not every space can provide you with the richness of the subject that you need or the background, the ambience, the feeling, the mystery. Places, spaces really carry weight with them. Often women use their homes as their site of production as opposed to men, who rarely do, which is very interesting. I think that often women work in this way.
Μου άρεσε τρομερά ο τρόπος που σκέφτεται τις γυναίκες, το σώμα, το φεμινισμό.
The assignments that I often gave my students, I always asked them to make a portrait of somebody else and then a portrait of themselves, because I wanted them to see the differences in terms of how they represented themselves as opposed to how they represented others. The way in which men photographed themselves was deeply frontal. Women always photographed themselves turned to the side and slightly obscured. Their faces were never quite open and flat to the camera. They were always hidden behind hair, hidden behind objects, hidden behind things. It’s sort of a vulnerability of revealing the self.
Μου άρεσε τρομερά ο τρόπος που τοποθετεί το θέμα (την πραγματικότητα) της προκατάληψης.
I realized at a certain moment that I could not count on white men to construct images of myself that I would find appealing or useful or meaningful or complex. I can’t count on anybody else but me to deliver on my own promise to myself. I love Fellini. I love Woody Allen. I love the Coen brothers, but they’re not interested in my black ass. They’re simply not interested. They have no sense that … We don’t even occur to them as subjects. We don’t even occur to them as a viable fucking subject. Not to even say hi to. That’s how distant we are from their fucking imaginations. I can’t count on them to do my job. I just can’t count on them. I can’t count on them to play fair. I can’t count on them to think about me in any sort of serious way, because it’s clear that they don’t.
I look at it as unrequited love. You know? I love them, but they ain’t thinking about me. It’s not really a complaint. It’s just the reality.
Πρώτα απ’ όλα μου άρεσε μια φράση της συντάκτριας που πήρε τη συνέντευξη, στην αρχή της.
I’ve never had my own kitchen, but I’ve always had a relationship to the themes explored in Weems’s series.
Δεν ξέρω εμείς εδώ, στα δικά μας σπίτια, στις δικές μας κουζίνες, με τα δικά μας αυτοκίνητα, τι κάνουμε τον κόπο να σκεφτούμε απ’ όλα αυτά.