Many contemporary painters use photographic images as source material for their paintings. When using images from someone else, they borrow the look of this author. By transfering the photographic image to the painting in time (retrospect) and space, the reading of the image changes.
THE BORROWED GAZE- in dialogue with time is a feminist essay with the Rückenfigur as a guide and motive. While we examine the appropriation of images over time and its consequences, the Rückenfigur changes from the figurant into the protagonist. Movement and counter-movement or reversal is what this essay is all about. In the first chapters, Penetration, that movement is male voyeuristic, from foreground to background, with the gaze at the passive Rückenfigur in the distance. In the last part Emancipation, that movement is feminine, from background to foreground, from small to large. Penetration becomes emancipation, the passive woman as a bearer of meaning, becomes an active maker of meaning.
In addition, interviews are held with Charlotte Mullins about the different versions of Onkel Rudi and a conversation with Luc Tuymans is recorded in the film In dialogue with Luc Tuymans (2013).
Promotoren: Kurt Vanhoutte (UA) & Johan Pas (KAA)
(c) Karin Hanssen, A Room of Her Own
