{"id":1262,"date":"2021-11-01T16:18:30","date_gmt":"2021-11-01T16:18:30","guid":{"rendered":"https:\/\/ghadaamer.com\/?p=1262"},"modified":"2022-08-21T14:55:13","modified_gmt":"2022-08-21T14:55:13","slug":"reconfigured-portraits-reconfigured-subjects","status":"publish","type":"post","link":"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/","title":{"rendered":"Reconfigured Portraits, Reconfigured Subjects"},"content":{"rendered":"\n<p>In <em>Portrait #1<\/em> (2013), the woman&#8217;s face emerges <em>through<\/em> the mantra \u201cI am just a person trapped inside a woman\u2019s body.\u201d The portrait is composed of both thinly drawn lines that outline the subject as well as letters which are superimposed onto the face. <em>Portrait #1 <\/em>is the first superimposition of text and figures in Amer\u2019s portraits. In fact, the series <em>Portraits of the Women that I Know<\/em> began in 2013 with this portrait and all subsequent works in that series show Amer\u2019s development of this technique.&nbsp;<\/p>\n\n\n\n<p>The subject of this portrait has been represented frequently in Amer\u2019s paintings: she is one of the many characters from the pronographic magazines that Amer has painted throughout her artistic trajectory. While in earlier paintings, the female characters were painted in rows and repetitions, with&nbsp; portraiture, Amer is asserting the character\u2019s personhood. The mantra becomes part of the woman\u2019s face and hair as the letters are part and parcel of the different elements of the portrait. In <em>Portrait #1<\/em> the superimposition technique gains a particular significance because of the meaning of the slogan itself.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/392Iviya7JLY-_6B6KwJfD4eGlqP3ZmXjOObV1yoKSRto10luPWTdrFsIYxdo1T_2g67PsuOsxLbnl6xIOPYxm9d8VNXHcZDuFTo6EKgf37dGEBUiNhNGga0YtSAbQ\" alt=\"\"\/><figcaption><em>Figure 1. Ghada Amer, \u201cPortrait #1,\u201d 2013.<\/em><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Feeling Trapped by Identity<\/strong><\/h2>\n\n\n\n<p>\u201cI am just a person trapped in a woman\u2019s body\u201d says the subject in the portrait. Latent in this enunciation is the realisation that \u201cperson\u201d and \u201cwoman\u201d are not synonymous. All the more, being \u201cjust a person\u201d supersedes being a woman, and their forced correspondence makes a person feel trapped or mis-represented. The mantra problematizes the fact that identity is fixed and assigned. In this enunciation lies an act of disidentification, of becoming \u201cjust a person.\u201d&nbsp;<\/p>\n\n\n\n<p>The problem of identification is a recurrent theme of Jacques Ranci\u00e8re\u2019s work. For the contemporary French philosopher, identification is the forced assignment of titles or roles, whereby the roles falsely claim to fully render visible the people but in fact only serve to fix them to these very roles. This process of identification is defined as \u201cthe allocation of ways of doing, ways of being, and ways saying, and sees that those bodies are assigned by name to a particular place and task.\u201d (<em>Disagreement,<\/em> 1998). For Ranci\u00e8re, the process of identification, which he dubs the police order, is what fixes the \u201cperson\u201d to the role of \u201cwoman.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/2HykN5xBqeriyReYrK_6CshpU_oUjxSia8Bd86nFy6o0avf6pN_IPKp58FPMcOWzeMCODYNHkKRBYrzFI1OJDpzRE34ISNnBhkMBKIcaTvjOPxfyRtaZh3Qxt8CxhA\" alt=\"\"\/><figcaption><em>Figure 2. Close-up of \u201cPortrait #1\u201d showing Amer\u2019s superimposition.<\/em><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Superimposition Tackles Identification<\/strong><\/h2>\n\n\n\n<p>How would Ranci\u00e8re account for the mantra in <em>Portrait #1<\/em>? The mantra points to the undoing of the \u201cnatural\u201d association between the person in the portrait and her classification or status as a woman. For Ranci\u00e8re, this undoing involves the subject moving beyond the limits and allocations given by the fixed identity. What occurs is a deregulation or a challenge set to that police order. This produces a reconfiguration whereby we come to understand that identities are not fixed, that \u201cperson\u201d and \u201cwoman\u201d are not co-exchangeable.<\/p>\n\n\n\n<p>Here, Amer\u2019s painting technique is in dialogue with Ranci\u00e8re. Indeed, her superimposition technique highlights a visual disturbance whereby neither can the face be distinguished properly nor can the mantra be read clearly. This is not a purely figurative portrait. The resulting visual distortion&nbsp; manifests the gap between \u201cperson\u201d and \u201cwoman\u201d. <em>Portrait #1<\/em> is a challenge to both figuration and&nbsp; identification. This reconfiguration is transferred onto the viewer as a challenge to the society perpetuating such modes of identification. Amer pushes us to ask whether assigned roles are truly representative.<\/p>\n\n\n\n<p>There is no natural or fixed correspondence between being a person and having a woman\u2019s body. The portrait, the distortion it produces in terms of aesthetic experience, highlights the dissociation present in the slogan. That dissociation is Ranci\u00e8re\u2019s subjectification. That reconfiguration is Amer\u2019s superimposition.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Portrait #1 (2013), the woman&#8217;s face emerges through the mantra \u201cI am just a person trapped inside a woman\u2019s body.\u201d The portrait is composed of both thinly drawn lines that outline the subject as well as letters which are superimposed onto the face. Portrait #1 is the first superimposition of text and figures in [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":1263,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[52,84,50,54,55,14],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Reconfigured Portraits, Reconfigured Subjects - Ghada Amer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reconfigured Portraits, Reconfigured Subjects - Ghada Amer\" \/>\n<meta property=\"og:description\" content=\"In Portrait #1 (2013), the woman&#8217;s face emerges through the mantra \u201cI am just a person trapped inside a woman\u2019s body.\u201d The portrait is composed of both thinly drawn lines that outline the subject as well as letters which are superimposed onto the face. Portrait #1 is the first superimposition of text and figures in [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\" \/>\n<meta property=\"og:site_name\" content=\"Ghada Amer\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/GhadaAmerStudios\" \/>\n<meta property=\"article:published_time\" content=\"2021-11-01T16:18:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-08-21T14:55:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/10\/MAIN-IMAGE-Ghada-Amer-Portrait-1-2013-.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1123\" \/>\n\t<meta property=\"og:image:height\" content=\"395\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Farida Youssef\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Ghada_Amer\" \/>\n<meta name=\"twitter:site\" content=\"@Ghada_Amer\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Farida Youssef\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\"},\"author\":{\"name\":\"Farida Youssef\",\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/person\/9696704b1c0af9db71de2e7daac5fa87\"},\"headline\":\"Reconfigured Portraits, Reconfigured Subjects\",\"datePublished\":\"2021-11-01T16:18:30+00:00\",\"dateModified\":\"2022-08-21T14:55:13+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\"},\"wordCount\":622,\"publisher\":{\"@id\":\"https:\/\/ghadaamer.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2021\/10\/MAIN-IMAGE-Ghada-Amer-Portrait-1-2013-.jpeg?strip=all&lossy=1&ssl=1\",\"keywords\":[\"identity\",\"MUCEM\",\"portrait\",\"Slogan\",\"Superimposition\",\"women\"],\"articleSection\":[\"Paintings\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\",\"url\":\"https:\/\/ghadaamer.com\/paintings\/reconfigured-portraits-reconfigured-subjects\/\",\"name\":\"Reconfigured Portraits, Reconfigured Subjects - 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