Who is the other woman? How I can address it? How she manages to
me?
Gayatri Spivak, 1986
THE OTHER (2001)
Maria Andrea and Charles, Rosario Charo and Veronica and Norberta.
Maria Andrea and Charles, Rosario Charo and Veronica and Norberta.
I started when I moved with my boyfriend and the division of labor ended up doing things for him, I thought how it would do the same things for love but not as work. Always in my house there was a maid, and now I live with my partner and my youngest daughter also hired a domestic worker. And although labor regimes increasingly better, to me I still generates contradiction. I think more than one issue is a problem: domestic work in many parts of the world continues servile characteristics, which specifically cross Peru problems of racism and sexism [1] .
Iguiñiz makes us ask ourselves: Who is the other?, "The employee?, Does the employer?, Is the photographer? That depends on who ask the question of social class, place of origin, etc.
The other is a series of photographic portraits of twenty pairs of employer and employee to express the problem
the other viewed from the privacy of home Lima middle class. For the maid, the other is the employer and his family. For the employer, the other is obviously used. The fact that the photo is entitled only the names of those depicted, without distinguishing who owns which tends to reinforce the supposedly neutral position and parallel to each of them. In fact, tends to dismantle and show that neutrality does not exist, supposedly from the professional distance and disaffection, a reality marked by the economic, social and ethnic. They are careful portraits of composition, all sofa in front of the house employer, the place of privacy where it receives, which shows the position of its owner, which contextualizes the relationship between the couple portrayed.
the other viewed from the privacy of home Lima middle class. For the maid, the other is the employer and his family. For the employer, the other is obviously used. The fact that the photo is entitled only the names of those depicted, without distinguishing who owns which tends to reinforce the supposedly neutral position and parallel to each of them. In fact, tends to dismantle and show that neutrality does not exist, supposedly from the professional distance and disaffection, a reality marked by the economic, social and ethnic. They are careful portraits of composition, all sofa in front of the house employer, the place of privacy where it receives, which shows the position of its owner, which contextualizes the relationship between the couple portrayed.
The domestic world of the world as the other groups, or as other pioneering photographers at the beginning of photography. In the text included in Iguiñiz websites, Antonio Ramos puts on the series The other magical with portraits of Julia Margaret Cameron, one of these pioneers, who used as models to several of her maids, Mary Hiller and Mary Ryan, who sat for her as madonnas, fairies and nymphs, and the questioning attitude of Diane Arbus, who explored as no human condition through his portraits of "others" in this society.
The artist herself chose the lines from Octavio Paz to accompany the exhibition of his series in a previous sample:
for it to be I be another
out of me, find me among the others,
others who do not are if I do not exist,
others who do not are if I do not exist,
others give me full existence
It states in its work from its own contradictions, not to judge but to delve into the reality through exacerbate these contradictions. Photos of Natalia Iguiñiz produce and the representation of its own contradiction, embodying the contradiction of a female subject crossed by social class, ethnicity, etc. Following Teresa de Lauretis would not only differences and divisions among women, but also and equally important, differences and divisions in the same woman, that is, that arise as effect of differences and divisions in the subjectivity of each woman. To Lauretis, the subject of feminism is both inside and outside the ideology of gender and realizes he is aware of this dual voltage, in this division and its double vision, which seeks its place among the cracks and crevices of the apparatus of power and knowledge, seeking some way what the representation becomes law excludes or unrepresentable.
Iguiñiz has also worked as a poster with the union of domestic workers in Peru.
Iguiñiz has also worked as a poster with the union of domestic workers in Peru.
[1] Iguiñiz Natalia Statements in Carmen Vallejos, "De homely Página 12, Argentina, August 18, 2006
Peruvian writer Rocío Silva also linked the mistreatment of workers with private institutionalization of racism and refers to how the practice of subservience as a survival mechanism for poor social sectors can not only political client of populist governments, but also preservation of degrading situations. In his words, in a society terribly unfair as Peru, discrimination and segregation are learned from the cradle: racism and exclusion are naturalized. His story "It takes girl" in the Peruvian magazine Ideele , No. 180, March 2007, aware of this situation in which abuse is combined with the exploitation of children and also includes the alternatives proposed by domestic workers organized in unions domestic workers and other associations.
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