Abstrakt: | In the House and Space2 photographic series, Francesca Woodman captures the environments
that may be considered disruptive; still, it is a female model—in her inconstant
poses, always partially blurred or hidden—that holds the viewer’s attention. The pictures
therefore evoke a twofold sense of obscurity, since their unfriendly interiors are occupied
by the uncanny, semi-absent yet ceaselessly present, dis-appearing woman, who turns out
to be Woodman herself. Woodman’s spectral presence and the unhomely locations she
haunts—being simultaneously the photographer and the object of her photographs—are
examined in this article by means of Bracha L. Ettinger’s matrixial theory. Ettingerian
psychoanalysis, juxtaposed with Roland Barthes, Sigmund Freud, and Jacques Lacan, provides
the tools to challenge the dominant non-affirmative understanding of Woodman’s
self-portraits as works of disappearing and failing subjectivity: an understanding whose
obvious point of support is found in the artist’s biography. Instead, Ettinger’s system
makes it possible to look at this oeuvre through the prisms of fragility, homeliness, and
the potential emergence of blurry, ghostly subjectivity. Moreover, the article examines the
ways in which Woodman resists the divisions imposed on her and the medium she uses
(such as the Barthesian triad of Operator, Spectator, and Spectrum, and the dichotomies
of me / the Other and subject / object). |