Roy, Sudipa, 1999-
Visual Resistance: Women, Capitalist Commodification, and Artistic Defiance Across Cultural Contexts [rukopis] / Sudipa Roy. -- 2025. -- 57 : plány, portréty, tab. -- Oponent Lenka Sýkorová. -- Ved. práce Barbora Hájková. -- Abstrakt: This diploma thesis explores how capitalism commodifies women's bodies, labor, and identities through a sensory and affective counter-archive-based case study of Indian women workers in the sugarcane sector whose histories have been systematically erased from the mainstream narratives in post-postcolonial contexts. Through a political, creative, and community-based process of resistance - using art as the point of activism - the purpose of this work is to challenge mainstream national narratives and to inscribe difference into public histories. The work concentrates on mediating the experiences of the women sugarcane laborers to the audience and building a care practice of co-presence and affective entanglement between the subjects and the audience. The artwork is composed of three interconnected parts: a symbolic sculpture of clay producing visceral sensations; hanging razor blades referring to visceral memories of sterilizations and domination; and a documentary projection recounting an intimate biography of the women portrayed, such as their lives, resilience, and ambitions. Image and sound appear in waves as the visitor moves through the space, inducing slowness, unease, and contemplation. Rather than being a linear narrative, the work becomes a space for ethical witnessing - where memory, intimacy, and testimony converge together, forming a whole - highlighting visual culture as an important platform that can stimulate dialogue on women's issues and act as catalysts for social change.. -- Abstrakt: This diploma thesis explores how capitalism commodifies women's bodies, labor, and identities through a sensory and affective counter-archive-based case study of Indian women workers in the sugarcane sector whose histories have been systematically erased from the mainstream narratives in post-postcolonial contexts. Through a political, creative, and community-based process of resistance - using art as the point of activism - the purpose of this work is to challenge mainstream national narratives and to inscribe difference into public histories. The work concentrates on mediating the experiences of the women sugarcane laborers to the audience and building a care practice of co-presence and affective entanglement between the subjects and the audience. The artwork is composed of three interconnected parts: a symbolic sculpture of clay producing visceral sensations; hanging razor blades referring to visceral memories of sterilizations and domination; and a documentary projection recounting an intimate biography of the women portrayed, such as their lives, resilience, and ambitions. Image and sound appear in waves as the visitor moves through the space, inducing slowness, unease, and contemplation. Rather than being a linear narrative, the work becomes a space for ethical witnessing - where memory, intimacy, and testimony converge together, forming a whole - highlighting visual culture as an important platform that can stimulate dialogue on women's issues and act as catalysts for social change.
Sýkorová, Lenka. Hájková, Barbora, 1987 -. Univerzita J.E. Purkyně v Ústí nad Labem. Katedra fotografie
capitalist commodification. Indian sugarcane women laborers. erased histories. alternative narratives. counter-archive. care practice. ethical witnessing. documentary film. video art. extreme close-up. projection. memory. capitalist commodification. Indian sugarcane women laborers. erased histories. alternative narratives. counter-archive. care practice. ethical witnessing. documentary film. video art. extreme close-up. projection. memory. diplomové práce
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