"Who Cares - Love is its own reward"
Reproductive Labor in Performance Art

Thesis Research by Chantal Spapens

This thesis research project is the final stage in my Master of Fine Arts educational journey at the Rome
University of Fine Arts. As a researcher in Fine Arts I am looking for opportunities for exchanging
knowledge and potential interdisciplinary cross pollination and my goal is to establish a conversation
about this area of research.

Inspiration and motivation
The project originates from my encounter with the book « They Call it Love: The Politics of Emotional
Life » by Alva Gotby (2019). In this work, Gotby explores how reproductive labor is shaped and limited by
societal and political structures. Reproductive labor is a broad concept that encompasses all activities
necessary for sustaining life and, crucially, for maintaining people’s ability to work. Two main forms of
reproduction are highlighted: Social Reproduction, which includes motherhood (pregnancy, childcare) and
housework; and Emotional Reproduction, which involves caring for others (providing comfort, fostering
community, and maintaining social relationships).
From a Marxist feminist and materialist feminist perspective, reproduction plays a critical role in capitalist
societies and the contemporary organization of labor. It sustains capitalist value production by creating
and maintaining life, thereby ensuring the continual renewal of the workforce. As Gotby argues,
reproductive labor also fosters emotional attachment to the established social order, reinforcing and
legitimizing the capitalist system. Despite its fundamental importance, reproductive labor is largely
devalued, overlooked, and unpaid, with the burden falling predominantly on women.
Reading Alva Gotby’s « They Call it Love » was a transformative experience for me, as it gave me the
language and tools to better understand some of my own personal choices and experiences. The book
also offered a framework through which I could analyze my own performance art pieces. I strongly believe
that the personal is political, even though we often perceive it differently and despite what dominant
political narratives may suggest. Our emotional experiences, choices, and relationships are not purely
individual matters; they are deeply connected to power, labor, capitalism, and gender. For this reason, I
believe it is crucial to begin by examining and questioning ourselves—our choices, our lifestyles—in the
pursuit of a more inclusive and just society.
Elke Krasny, in « The Unfinished Feminist Revolution », argues that the feminist revolution remains
incomplete due to the way social reproduction is organized (Krasny, 2020:17). This idea further motivates
me to extend my research and analysis of reproductive labor within the context of performance art. Visual
arts, and especially performance art, offer a unique platform for critically engaging with this concept,
making them a vital space for feminist inquiry and activism.
Research question
This thesis will critically explore and investigate the representation of reproductive labor in contemporary
visual arts, with a focus on performance art from the 1960s to the present. As feminist theories have
developed from second-wave feminism to today’s fourth-wave, the central question is whether and how
the depiction and treatment of reproductive labor have shifted within this evolving framework.
I will use case studies of performance art pieces to examine if and how key concepts related to
reproductive labor are represented or absent in contemporary performance art, and how these
representations have changed alongside feminist theory’s evolution.
Given that reproductive labor is a global issue that affects all women and marginalized groups, I am
seeking input on performance art pieces, particularly from the 1990s onward, that engage with this theme.
While motherhood and pregnancy are significant subjects, I am also deeply interested in emotional
reproduction, specifically care work.
I believe that visual arts have a vital role in reflecting the spirit of the times, challenging it, and helping to
imagine new ways of living. My research aims to uncover whether the representation of reproductive labor
in performance art contributes to the disruption of the status quo and furthers the feminist movement’s
mission to reshape the underlying structures of society.
Lastly, I will present and describe two of my most recent performance pieces « Wax-Built Castles »
(performed in Rome in May 2024) and « Garland of Tears » (performed at the MaXXI in Rome in June
2024), which provide tangible embodiments of these philosophical concepts.

Questions and Needs:
As I am delving deeper into the subject of reproductive labor in Performance Art, I am looking for
exchanging knowledge on the following subjects in particular:

-Reading list suggestions:
I am in the process of compiling a reading list, which I plan to publish soon; I
would welcome any suggestions on additional resources that may be valuable for expanding my
understanding of the subject.

-Examples of Performance Artists (1990s onwards):
I am particularly interested in examples of
performance artists from the 1990s to the present who have worked on this topic. If you know of any
specific artists, performances, or collectives that might align with this focus, I would love to hear about
them.

-Expanding the Research Globally:
I aim to broaden my research to include a more global perspective.
Any sources, references, or key figures you could recommend to support this objective would be much
appreciated.

Feel free to reach out at chantal.spapens@unirufa.it