Feminist Art

Faith Wilding, 1972 yılında gerçekleştirilen Womanhouse projesi kapsamında Waiting (Bekleyiş) isimli bir performans gerçekleştirmiştir. Wilding bu çalışmasında, kendi yazdığı şiirsel bir metin eşliğinde bir kadının yaşamı boyunca evlilik, annelik, aşk ve yaşlanma gibi temalar etrafında toplumsal normlara bağlı olarak sürekli olarak “beklemeye” zorlanmasını ve bu kurgusal bekleyişini gözler önüne sermektedir. Monoton bir tonda ve ritmik bir hareket eşliğinde aktardığı metin, kadının edilgenliğini ve nesneleştirilmiş konumunu güçlü biçimde yansıtmaktadır. Performans ile metin birlikteliği sonucunda patriyarkal kültürün kadını zamansal ve bedensel olarak nasıl bastırdığı ve eril toplumsal normların kadını nasıl biçimlendirdiği görünür kılınmaktadır. Bu bağlamda Hélène Cixous’nun Le Rire de la Méduse isimli makalesinde yer verdiği “kadının kendi bedenini ve yazını geri kazanması” çağrısı, performansın alt metniyle kesişimsellik göstermektedir. Cixous’nun dişil yazı (écriture féminine) kavramı, Waiting’in temsil ettiği patriyarkal söyleme karşı bir direniş ile kanonik kurguyu bozma girişimiyle örtüşür. Bu bağlamda çalışma, Waiting’i yalnızca bir performans olarak değil, aynı zamanda kadınlığın yeniden yazılmasına dair bir çağrı olarak ele almaktadır. Çünkü performans yalnızca bireysel bir deneyimi değil; kadınlık kurgusunun farklı boyutlarını, kadın kimliğinin inşasını, kadına suni olarak yüklenen rollerin içselleştirilmesini de sahneye taşır. Bu noktada bu çalışma, Cixous’nun poetik-politik yaklaşımıyla başta olmak üzere çeşitli bakış açıları ekseninde çözümleyerek feminist sanatsal ifade aracılığıyla kadınlık kurgusunun yıkımına dair eleştirel bir tartışma önermektedir.

Yasemin İnceoğlu was born in 1961 in Istanbul to law professor İsmet Giritli and attorney Suna Giritli. She began her education in Istanbul and continued her studies in the U.S. and Scotland due to her father's academic assignments abroad. She graduated from Istanbul University with a degree in English Language and Literature and conducted research in Italian literature in Italy with a scholarship from the Vatican Embassy. Between 1984 and 2004, she served at Marmara University's Faculty of Communication, where she earned her M.A., Ph.D., and later her associate and full professorships. Since 2004, she has been a faculty member at Galatasaray University, where she served as dean between 2015 and 2016. She has participated as an expert in Council of Europe meetings and has been invited as a visiting scholar at institutions such as Columbia University and the Salzburg Seminars. A founding member of the Media Watch Platform, she is actively involved in various NGOs and editorial boards. She speaks English, Italian, and French.

The article is an essay discussing the work of painter Karolina Jablonska from the perspective of feminist autotheory (L. Fournier). Using second- and fourth-wave strategies of establishing female subjectivity in art, the author of the text introduces the category of pastiche as a feminist way to play with the category of mimesis and the artist's presence. She also refers to the “semiotics of the kitchen” and gender tropes hidden in the motif of preserves, widespread in Jabłońska's works.
Available in English (trans. by Soren Gauger) and Polish.


Artykuł jest esejem omawiającym twórczość malarki, Karoliny Jabłońskiej, w perspektywie feministycznej autoteorii (L. Fournier). Wykorzystując drugo- i czwarto-falowe strategie ustanawiania kobiecej podmiotowości w sztuce, autorka tekstu wprowadza kategorię pastiszu jako feministycznej gry z mimesis i obecnością artystki. Odwołuje się również do "semiotyki kuchni" i genderowych tropów, tkwiących motywie przetworów, obecnych w pracach artystki.

Catherine Hoffmann'sFree Lunch with the Stench Wenchis a performance of abjection and self‐abjection through poverty with an apotropaic aspiration: to shed the shame through sharing, and to create opportunities for a common social subjectivity that refuses to be silent about the struggle of its own creation and maintenance. Despite its title,Free Lunchdoes not come with a free lunch for the audience but creates an olfactory situation, through the onstage cooking of hot chocolate and the presence of a dead rat, which complements Hoffmann's narration and stage presence into a synaesthetic portrait of poverty and its psychosocial fallout. Drawing on the psychological foundations of shame studies, sociological approaches and social‐theoretical responses to austerity and social division, I propose to examine the gendered embodiment of shame and its exorcism in Hoffmann's performance, focusing on its physical codification in and beyond the visual. I explore the potential of sh...

A range of commentators associated drug use with decadence in the late nineteenth century. 1 According to Fraser Harrison in his study of decadent male artists associated with the Yellow Book in the 1890s, "The threats and demands represented by the ever accelerating movement towards female emancipation on all fronts, seem to have unnerved and unbalanced this group of men and driven them to seek comfort and oblivion in homosexuality, prostitution, addiction to alcohol and opiates, sterile relationships with children, and, in some cases, forlorn celibacy." 2 Max Nordau famously linked drug use with degeneration, and degeneration with decadence, pointing to Oscar Wilde as evidence that decadence led to racial degeneration. 3 Both Harrison and Nordau focused exclusively, as was typical in the late nineteenth century, on the relationship between decadence and nonnormative masculinity generally, or in relation to specific male individuals, and Harrison's statement in particular demonstrates that at least some male decadents felt threatened by the suffrage movement. Harrison therefore positions decadence as a male style or approach to life that was inextricably tied to the perception of certain women as threatening to gendered norms. I open with a discussion of decadence and drugs, because one of the artists discussed in this chapter, Orly Cogan, has produced textile artworks depicting women consuming cocaine. I also want to underscore the fact that decadence was historically associated with male artists who represented (and felt threatened by) women. Radical Decadence departs from this vision of decadence in focusing primarily on women artists who are themselves transgressing various gendered, sexed, and raced norms. 4 This chapter explores intersections between current fiber art practices and social practices, as well as the concomitant desire for community. Through the case studies of Israel-born, New York-based artist Orly Cogan's work, and Belgian artist Shane Waltener's participatory workshops involving both knitting and cake decorating, I want to suggest that

This article takes a closer look at a selection of body-oriented art practices by two artists-Mona Hatoum and Amal Kenawy-to unearth how women artists render female corporeality as a topographical map. Interdisciplinary in nature, these artists' earlier practices explore corporeality to underscore how their gender, far from being a static phenomenon, is in fact a series of processes that are co-constituted via a multitude of material, sociopolitical or geographical contexts. Drawing upon Elizabeth Grosz's theory of corporeal feminism, along with her reiterations of Deleuze and Guattari's 'Body without Organs', I argue that these two artists delineate their own and other women's bodies as corporeal topographies that encapsulate the fluid carnality or porous surfaces of the female body. Moving beyond representational paradigms that approach female bodies as fixed constructs, this article foregrounds the ontologically fluid and non-representational nature of corporeal feminism to understand how these women conceptualize the female body as an open-ended composition that always remains in ceaseless flux.

Esta entrevista es la cuarta de una serie de conversaciones que desde la Facultad de Artes Escénicas de Bellas Artes, se entabla sobre las salas de teatro de la ciudad de Cali, para reconocer sus trayectorias y aportes en el desarrollo del sector cultural y académico de Cali. En esta ocasión, nos acompaña Pilar Restrepo Mejía del grupo teatral La Máscara, que este año celebra 52 años de vida escénica.
La sede y la sala están ubicadas en San Antonio en la Carrera 10 No. 3 - 40.

"On the Hidden Women from Nowhere" (על הנשים הסמויות - מאין).


המאמר של יהודית מליק שירן, על ספר השירה והאומנות של ד"ר נורית יעקבס צדרבוים '




This book by Nurit Jacobs Cederboum gives voice to "hidden women"- figures who are both real women the author has met and imagined characters. The common thread among them is that they are unseen and their stories are unheard, sometimes to the point where they don't even hear their own voices. The book is a collection of their stories, memories, and thoughts, creating a mosaic of experiences that blurs the line between reality and imagination. It serves as a call for the reader to listen to the inner voice of these women, as well as to their own.



The book's title and concept are inspired by Italo Calvino's 'Invisible Cities', Just as Calvino used metaphorical cities to explore universal human truths, Cederboum uses the stories of these women in a poetic and metaphorical way. Both books deal with themes of concealment and revelation, showing how looking closely at what is often ignored can reveal profound truths. Each woman's story is a world unto itself, but together they form a human mosaic that reflects universal experiences and the deep-seated need to be seen and heard.



The book is structured as a "duet" between poetic prose and the author's own paintings. Throughout the book, portraits of women are featured, which resonate with the text. The author, who is also the artist, uses a unique process: she paints, photographs the painting, cuts it up, and then stitches it back together with a sewing machine, and embroidery as well, creating a new piece. This act of "sewing" the paintings is symbolic, often representing the scars of life and the process of healing and mending wounds.



The book documents an 'internal journey of healing and self-discovery', much of which was written during the COVID-19 pandemic. The lockdowns forced a period of introspection, allowing the narrator to look inward and get to know herself better. This journey is depicted as a process of making decisions and finding the determination to heal. For example, one passage describes the courage it takes for a widow to remove her mourning clothes and chooses to wear white, symbolizing renewal and a new beginning.



The narrative voice itself reflects this journey of transformation. The speaker often begins by using the third person "she" to describe a woman's experience, which creates distance. However, as the journey progresses, the voice shifts to the first-person "I," signifying that the author has integrated these experiences, found her voice, and is no longer hiding. This transition from "she" to "I" is a key station of self-revelation, placing the narrator at the center of her own stage.

Ultimately, the book is an invitation to embark on a journey of listening. It highlights how every personal story contains a universal echo, connecting the experiences of one woman to those of many others. The creative process, the dialogue between writing and painting- becomes a healing tool for the artist-poet, allowing her to explore her past and create a profound change in her soul, representing the victory of the spirit.

Wyman is a Palawa woman who was born in Sydney and raised in North Queensland (Dysart, Moranbah, Tolga and Mackay). Her own visual sense of identification and what would emerge in the public sphere as a question of both indigeneity and authenticity, were perplexing, challenging, and unresolved growing up—a matter further complicated by living in a diasporic context. Attending the Queensland University of Technology, Wyman’s initial desire to pursue painting was met with defiance. In the early noughts, art schools were navigating the politics of post-modernity and modernist disambiguation.  The jargon around the open studio practice of environmental art and transdisciplinary new media was used to discourage female painters from pursuing what was perceived as decorative, leaving the ‘history painting’ to the men.  Wyman eventually resurrected the act of painting through her own distinct language. Using a Turkey baster—the mythologised phallus perceived to be a tool for individually performed female insemination, was used by the artist to create drip paintings on canvas. Claiming this instrument was as an act of queering.

This framework presents feedback and questioning as embodied, participatory practices that nurture cultural regeneration. Rooted in ecosomatic principles, it encourages participants to begin from felt, somatic responses, to ask open and generative questions, and to share reflections and resources with care. By shifting from judgment to curiosity, feedback becomes a form of perception, care, and alliance-building. In this way, the framework cultivates a regenerative culture of knowledge exchange, where dialogue itself becomes an act of ecological participation and collective imagination — applicable  across symposiums, conferences, artistic practices, and other contexts of learning and exchange.

Artículo en el marco del Simposio Tradición y Contemporaneidad. II Congreso Nacional de Investigación en Danza, Colombia. El texto explora las relaciones, tensiones y preguntas en torno a la danza tradicional y su estar en la contemporaneidad, así como las fronteras entre lo que se supone contemporáneo en relación - tensión con lo nombrado como tradicional.

This paper analyses visual narratives within cultural studies, focusing on selected artworks by Siji Krishnan. Krishnan's works challenge conventional perceptions of masculinity by portraying paternity through tenderness and nurturance, using the female breast as a metaphor to destabilise deeply imbibed notions on masculinity. However, the representation of paternity through male anatomy can reinforce traditional notions on gender roles. This counter reading highlights the reliance on stereotypical portrayals of motherhood to depict paternal instincts, perpetuating binary gender constructs. The portrayal of fathers within domestic settings further complicates gender dynamics, offering multifaceted insights into masculinity, paternity, and cultural meanings of the male body.

On view October 4, 2025-February 8, 2026 at the Menil Drawing Institute, Houston, this exhibition highlights a period known as the "network era," from the 1950s to the 1980s, when television became more pervasive in society and reached its apex as a tool for cultural control, while also seeding acts of political dissent and artistic experimentation.

This display will feature more than fifty works on paper, video, mixed media sculpture, and an immersive installation, created by twenty-five artists from ten countries. he title of the exhibition—"Lines of Resolution"—refers to the amount of detail a television or video system can reproduce, while highlighting artists’ unwavering commitment to these emergent media. In the second half of the 20th century, electronic screens became a source of imagery, a surface for inscription, and a device that could be manipulated to generate entirely new kinds of drawing.

This exhibition explored the role of Maurice de Vlaminck as a key figure of early 20th-century French painting. With over 80 loans from more than 50 international collections, it gave a thorough overview of the artist's entire career - from his powerful early Fauvist paintings towards works created in the 1950s. It was one of the most substantial retrospectives on Vlaminck ever stages and the first substantial show of such scale in a German-speaking country.

This chapter demonstrates the ongoing legacy of the feminist artistic pedagogy of artist Mónica Mayer (b. 1954) and its contributions to more expansive and intergenerational accounts of feminist histories, both in Mexico and beyond its borders. Mayer’s work has been central to the intersections of contemporary art and the women’s movement in Mexico City since the 1970s. Part of a generation of women whose histories, artistic practices and feminist concerns were openly denigrated within traditional educational spaces, Mayer sought out alternative models and spaces of feminist education that would influence her artistic practice for nearly five decades. This chapter traces the development of Mayer’s approach to feminist artistic pedagogy evidenced in the workshop La Mujer en el Arte [Woman in Art, 1982], the art collective Tlacuilas y Retrateras [Women Scribes and Portraitists, 1983–1984], the participatory artwork El tendedero [The Clothesline, 1978-ongoing] and the workshop El Taller de Arte y Activismo Feminista [The Feminist Art and Activism Workshop, 2011–2012]. I define these workshops and their resulting artistic projects as “generative pedagogical spaces,” those capable of producing unanticipated and ongoing sites of feminist exchange and artistic activism. Drawing Mayer’s early projects into conversation with their contemporary resonances and reactivations, I assert the potential for feminist artistic pedagogies to teach across and beyond the waves, revealing the classroom as a space of intergenerational connection and possibility where feminist futures might be brought into being.

En este trabajo, Natalia Cocciarini rastrea, exhuma y conecta materiales culturales ligados a las instancias de activismo sexo-genérico entre la irrupción/interrupción del sida y la segunda mitad de los 90, es decir, durante un período marcado por la latencia de la asociación del sida a la muerte, abordando aspectos centrales sobre la construcción discursiva contrasexual y su proyección en la cultura argentina.
Construye un corpus de textos heterogéneos de distinto tenor y registro que circularon en una órbita no hegemónica –muchos de ellos aún no transitados–: ensayos de Néstor Perlongher y Marcelo Benítez, las publicaciones periódicas de la Comunidad Homosexual Argentina (El Boletín de la CHA y Vamos a Andar), revistas contraculturales de la época (El Porteño, Fin de Siglo y Cerdos&Peces) y literatura intimista-autobiográfica (Vivir con SIDA de Sergio Núñez publicada en 1994). Transita por estos materiales guiada por su hipótesis de lectura: qué discursos se construyen para disputar frente a los sentidos dados (el estigma, el disciplinamiento sexual, la re-territorialización de subjetividades y prácticas sexuales y la certeza de algún fin inminente ¿de la vida, del sexo?); de qué modo se ha politizado la sexualidad, se ha renegociado la vida erótica y se ha manifestado concretamente el sexo ante al “acontecimiento sida” durante los años del período.

U radu su na osnovu arhivske građe i literature proučeni slučajevi seksualnog nasilja koje su počinili predstavnici bugarskih okupatorskih snaga na teritoriji Jugoslavije tokom Drugog svetskog rata. Analizirani su metodi i struktura okupacionih vlasti, uticaj ratnih zbivanja na seksualno nasilje, kao i konkretni primeri seksualnog nasilja i njegove glavne karakteristike. Izvršen je pokušaj numeričkog određivanja izvršenih zločina na osnovu postojećih arhivskih materijala i prikupljenih statističkih podataka.

Breve ensayo sobre una experiencia estética colectiva. Vísceras vacunas en el centro de un espacio vacío colocadas escultóricamente sobre una banqueta de madera y fondo negro, debajo una luz tenue proyectada con un dispositivo móvil. Contorneando la escena principal, silenciosas sillas esperando por sus espectadores a modo de "Live Art". El sonido recurrente de "ruidos estomacales" que acompañaban la escena y configuraban una atmósfera de estímulo al "sensorium corporal". Proyecciones de imágenes en movimiento sin sonido, individuales, personales, "particulares del yo", ensambladas en una misma historia por contar. ¿Falta algo? Que más… una entrada cubierta de telas que genere incertidumbre y misterio en el espectador, pero claro, el tacto… ¿se animarán a tocar? Aseguremos la experiencia con "tripas de telas" suspendidas. Que la experiencia sea completa. Para terminar, démosle un toque final, luces de colores y humo; si nos imaginamos estar dentro de un estómago, quizá sea más o menos así. ¡Ah! Un pequeño detalle, "las mariposas" …que estén por todas partes, y que sean de papel. Al fin y al cabo, todo comenzó en una hoja en blanco.

This article explores the esoteric themes in Alicja Żebrowska’s work, emphasizing the motif of mystical wholeness. Żebrowska is remembered as a classic of so-called critical art. The article argues that this interpretation has been created in isolation from the artist’s intentions and the symbolism of her works. Starting from Silvia Federici’s concept of “re-enchanting the world,” the text analyzes the process of rewriting Żebrowska’s books as an element of the extraction of communal visions and imaginations, typical of capitalist modernization. The analysis covers Żebrowska’s most important works from the 1980s and 1990s. The canonical art history texts of the 1990s are also used as a point of reference.

keywords: Alicja Żebrowska, esotericism, New Age, transformation, critical art

It is often stated that conservation is rooted in artisan and artistic traditions and has evolved towards a scientific discipline at the intersection of science and humanities. In our research project History of Conservation in Austria: Tacit Knowledge and Disciplinary Professionalization, we took a closer look at these developments, exemplarily studying the establishment of a formal academic training in conservation at the Academy of Fine Arts in Vienna, whose first beginnings go back to the early 20th century. In doing so, we understood the concept of “scientific discipline” as constantly interacting forces of epistemic endeavours and cultural practices, fabricated and handed down by a scientific community which itself is constituted by a network of individual participants and institutional as well as social contexts. Adopting a mixed-methods approach of guided expert interviews, archive research and discourse analysis, we approached some of the fundamental questions of how we became what we are as a knowledge community: Who was permitted into the field, which selection mechanisms were applied, and how were students socialized into the community? Which behavioural patterns were encouraged, which were deemed inappropriate, and what was considered “good”, respectively “bad” conservation practice? How was conservation taught, where did controversies arise, and how were hierarchies demonstrated? In which way have other scientific disciplines shaped conservation and how were borders drawn? Where do our attitudes, activities and cognitive styles come from? And, finally, what do all these observations tell us about the self-perception of the scientific community, its implicit norms and core values and its place in society? In this contribution, we take a close look at ourselves and reflect on seemingly elf-evident facts, because we strongly believe that this determination of position may help us to more consciously continue our way into the future.

All submissions are guaranteed blind, and editors will review and either accept or reject such submissions without knowledge of authorship. Our publication shares innovative critical work biannually to foster intellectual discussion among an international network of students. As art historians, we are committed to diversifying the field and developing intersectional critical analyses of the artistic canon. see/saw is especially open to considerations of art and artists that have been historically erased and underemphasized. We would like to extend our gratitude to all of the authors and artists who contributed their work to our publication for this spring season. Special thanks to Gudny Gunnarsdottir, Faith Enemark, and Amy Tamayo for their administrative work in the art history department, along with our chair, Shannon Jackson.

Abstract
The concept of gender has become prevalent with the contemporary feminist movement and an important means of communication that motivates the demand for rights and cultural roles, which emerged from the complex and intertwined relationship between the concept of the biological body and the intellectual transformations that affected its contexts. The body is a vessel that carries the human spirit and a symbol of standards and taboos. It reveals thorny and complex beliefs and concepts that are difficult to penetrate, and reflects the positions of societies that are constantly dialectical towards breaching cautious borders around the body. Due to its importance, this research came under the title “Feminist Movement between Formal Manifestations and Gender Representations in Contemporary Art”. It is concerned with confronting male dominance, highlighting the important role of female artists and their creative works in history, and cooperating with public efforts to support women. The research is concerned with revealing the feminist movement and gender representations in contemporary painting. The descriptive approach is adopted in analyzing research samples and adopting research tools based on what was stated in the theoretical framework.

Abstract

La investigación titulada “Presencia de la mujer en el arte contemporáneo dominicano 1997-2010. Caso: Raquel Paiewonsky” tiene como propósito analizar el papel de la mujer dentro del arte contemporáneo de República Dominicana durante el período señalado, tomando como estudio de caso la obra de Raquel Paiewonsky. El trabajo parte de la problemática de la escasez de estudios teóricos y registros históricos que documenten de manera sistemática la participación de las artistas dominicanas.

La investigación, de carácter exploratorio, descriptivo y cualitativo, combina el análisis documental con entrevistas a artistas, críticos y curadores. Se centra en la producción de Paiewonsky entre 1997 y 2010, examinando piezas clave como Muro: Tetas mentirosas (2009), Guardarropía (2010), Interludio (2012), Medium (2007) y One (2008).

Los resultados evidencian la trascendencia de las mujeres artistas dominicanas en la configuración del arte contemporáneo, aportando innovaciones estéticas y reflexiones críticas sobre género, cuerpo y sociedad. Sin embargo, también se señalan limitaciones estructurales derivadas de la desigualdad de género, la discriminación, la violencia y la precariedad socioeconómica que afectan el desarrollo de las creadoras.

La conclusión subraya que la obra de Paiewonsky representa un referente fundamental dentro de este panorama, al explorar la identidad femenina desde perspectivas críticas y experimentales. Asimismo, se destaca que la investigación aporta un marco teórico y documental novedoso para enriquecer el estudio del arte contemporáneo dominicano y servir de motivación a futuras generaciones de artistas y académicos.

Abstract
The research entitled “Presence of Women in Contemporary Dominican Art 1997-2010. Case: Raquel Paiewonsky” aims to analyze the role of women in Dominican contemporary art during the specified period, focusing on the work of Raquel Paiewonsky as a case study. The study addresses the lack of theoretical and historical documentation on the contributions of Dominican women artists.

This exploratory, descriptive, and qualitative research combines documentary analysis with interviews conducted with artists, critics, and curators. It examines Paiewonsky’s artistic production between 1997 and 2010, focusing on key works such as Muro: Tetas Mentirosas (2009), Guardarropía (2010), Interludio (2012), Medium (2007), and One (2008).

Findings highlight the significant impact of Dominican women artists in shaping contemporary art, providing both aesthetic innovations and critical reflections on gender, the body, and society. Nevertheless, the study also identifies structural limitations arising from gender inequality, discrimination, violence, and socioeconomic barriers that hinder women’s artistic development.

The research concludes that Paiewonsky’s work constitutes a key reference within this artistic context, as it explores female identity through critical and experimental approaches. Furthermore, it emphasizes that this study contributes a new theoretical and documentary framework to enrich the understanding of Dominican contemporary art and serves as inspiration for future generations of artists and scholars.

Lesch and Oldham are fiber and needle-based artists who work with material and cultural vernacular from Kentucky. But both artists also work at the intersection of representational-visual art and novel (sometimes even bewildering) technology in ways that are decidedly engaged with the most pressing visual problems of their moment.

In this essay represents a wide range of complex concepts of feminism, as well as the theoretical reasoning of some authors, which are
interpreted in contemporary visual art. The aim of the work is not to review feminism or feminist art, but to discuss the complex understanding of gender in contemporary art and the "I" identification issues via specific artists. This work has been developed and implemented within
the framework of the project "Integration and Identity". It presents an alternative feminist narrative, developed as a result of the study of work by immigrant Georgian female artists. It  attempts to interpret the involvement, concepts, and different creative approaches of immigrant
Georgian female artists abroad (in European and American countries), based on research. More specifically, the exhibition “12 Women Missing Gone” is the main inspiration for this essay. The project was displayed in Tbilisi, within the framework of the First International Art Fair in Tbilisi, under the curatorship of Elene Abashidze, in the State Silk Museum and the Writers'
House.

На материале критики, опубликованной в архитектурной периодике 1990-х гг. исследуются основные направления конструирования образов исторического прошлого и определяется их специфика, связанная с культурным контекстом «переломного» момента отечественной архитектуры.

This open access book presents new, empirically-based ethnographic and sociological studies of Kurdish women’s activism and its implications for their rights and the dynamics of citizenship across different social, cultural, and political fields. Organized into five sections, the book explores the ecological and cultural aspects of citizenship and activism; the interplay between activism and family life; the status of citizens and stateless people in marginalized conditions; and the historical development of Kurdish citizenship in various regions of Kurdistan and the diaspora. It offers an in-depth exploration of lived citizenship, social movements, and women activism in the Global South, as well as a comprehensive study of contemporary Kurdish society, politics, and culture. This book is an essential read for researchers in Kurdish studies, women’s and gender studies, family studies, peace and conflict studies, migration studies, environmental studies, and art and literary studies.

The correlation of student teachers' religiosity with their views on the religious education course that they are called on to teach in Greek public schools is the subject treated in the present survey. The five main features of religiosity, that is, (1) religious faith, (2) religious knowledge, (3) religious experience, (4) participation in a religious group or community, and (5) daily practice and conduct, were assessed for 1009 student teachers. With the help of data processing and cluster analysis, a causal relationship was found between their religiosity and their views on religious education.

This paper looks at how the female body and the notion of womanhood have been shaped by patriarchal conventions and what it might mean to break away from these constraints. The paper was written as part of an ongoing practice-led research project that seeks to challenge traditional patriarchal representations of the female body and womanhood.

The article presents Posthuman Genetic Legacies a practice-based research project that investigates avenues of producing an alternative non-human and ongoing genetic legacy via biotechnological intervention. The project aims to establish cell lines (immortalised cells) from benign tumour (fibroid) tissue removed from the artist’s uterus following abdominal surgery in 2020. Rather than simply advocating for the uptake of biotechnological reproduction, the project aims to use this provocation to interrogate gender expectations and the desire for immortality via genetic continuance. It invites consideration on how a posthuman Xenofeminist positioning that disrupts biological norms and embraces the emancipatory and world-building potential of new technologies may offer an empowered conceptual space for rethinking the anguish of situational childlessness.

Die Kunst von Mehtap Baydu ist ein Wechselspiel zwischen Distanz
und Nähe. Mit Baydus poetischer Soloschau „Lass deinen Regen regnen!“
verabschiedet sich die Kunsthalle Baden-Baden nun ins Ungewisse

Mehtap Baydu's art is an interplay between distance
and closeness. With Baydu's poetic solo exhibition "Let Your Rain Rain!"
the Kunsthalle Baden-Baden now bids farewell to the unknown.

Starting with Freud's concept of the psychic machine (Entwurf; Interpretation of Dreams; Beyond the Pleasure Principle) I will discuss Lacan's effort to elaborate this view with the help of 20 th-century research areas (computer science, linguistics, cybernetics, molecular biology, etc.), resulting in the famous theorem that the unconscious is structured as a language. Subsequently, two closely related questions will be addressed, resulting from a mutual encounter between psychoanalysis and AI, namely: How can psychoanalysis contribute to coming to terms with AI and to what extent does AI allow us to update psychoanalytic theories of the unconscious?

Автор на основе атрибуции памятников текстиля из коллекции «Ткани культовые» НХМ РБ выявляет французские шелка XVIII в. фазы натурализма. В зависимости от способа воспроизводства прослеживается эволюция технологических приемов и средств художественной выразительности. Ключевые слова: фаза натурализма; французское шелкоткачество XVIII в.; стилистика Ф. Куртуа; стилистика Ж. Ревеля; техника ткачества broche΄; техника ткачества broche΄ с приемом points rentres΄.

REPRESENTATIONS OF VIOLENCE IN EARLY MODERN ART: INTERPRETATION, O BSERVATION, MEMORIALIZATION
Thе paper analyzes three interrelated discourses concerning the visualization of violence during the early modern period. The first discourse refers to the methodologies employed in the study of such visualizations. It delineates the foundational principles and the evolution of methodological approaches, while also addressing the challenges inherent in interpreting this complex subject. Among the various analyses offered by social and humanistic discipline, the significance of body culture studies emerges prominently, from which the concept of the duality and simultaneous inseparability of the image and its body is derived. While the image is situated within the specific context of its creation, the body of the image frequently diverges from it, thereby dislocating its own framework more than organizing it. Furthermore, the performative potential of the body of image also elicits the most intense psychosomatic responses from the beholder, which is the focus of the second section of the paper. The beholding of images of violence is elucidated as a
complex phenomenon contingent upon the context of the represented act, the narrative presented with which the observer may identify or fail to comprehend, the structural mechanisms that visualize it, as well as the personal history of the beholder, who may recognize their own experiences of pain within, rendering their response both unconditional and timeless. This intricate mechanism is not static; its dynamism prompts inquiries into the variability of perception and reception of violent scenes across altered temporal, spatial, and cultural frameworks. Numerous examples illustrate this variability, including the retrospectiv e reassessment of once-celebrated frescoes of Jesuit colleges in Rome, or the painting Massacre of the Innocents by Tripo Kokolja (c. 1680), which was removed from the Church of Our Lady of the Reef in Perast (Montenegro) during the 19th century. Additionally, this variability is reflected in the ambivalent attitude towards the representation of violence at that time, situated within the indeterminate realm of the Orient. Nevertheless, despite significant divergences in religious, ceremonial, and behavioral practices across specific chronological and spatial contexts, the process of memorialization in early modern European culture has consistently been predicated upon the body, particularly that which has endured violence for higher goals, a theme explored in the third section of this text.
Key words: representation of violence, early modern period, methodology, interpretation, beholding, memorialization

Los discursos entretejidos en cada uno de los cinco capítulos que
componen Est(é)ticas de lo abyecto. El cuerpo como horizonte narrativo
aspiran a refrescar la percepción del cuerpo humano en la sociedad
contemporánea, teniendo un lugar preponderante la sociedad
mexicana actual. Bajo el entendido de que muchas de las obras artísticas
y mediáticas del siglo XX son portadoras de claves esenciales
para entender la relación que existe entre la sociedad, el cuerpo y el
discurso; el libro se dedica a explicar las obras con el fin de comprender
las interacciones sociales productoras de subjetividad, una
subjetividad radical.

Chiara Fumai's performative work has had a wide resonance in the contemporary art world; however, scholars have largely overlooked her early involvement with music as a DJ, while it was a lecture-performance based on vinyl records that brought Fumai international recognition. The artist combined her knowledge of the development of italodisco with the biography of the singer Nico Fumai (the name of her actual father). I first examine Chiara Fumai's efforts as a DJ and founder of a record label. Then, the entirely fictional (but plausible) story of Nico Fumai will be explored in depth. The music and visual materials produced by Chiara Fumai as evidence of Nico Fumai's career will be traced back to their original sources, showing the actual songs and record covers that Fumai appropriated and attributed to her father, leveraging the relationship between the inauthenticity of italodisco and the verisimilitude of her lecture.

O que há por trás de uma tese? Neste ensaio publicado no Livro Alumni do Colégio das Artes da Universidade de Coimbra, partilho o percurso afetivo, político e académico que me levou a investigar mulheres artistas sob regimes autoritários no Brasil e em Portugal.
Mais do que resultados, falo de escolhas, deslocamentos e heranças, cruzando teoria feminista, história da arte e memórias familiares.
Um contributo que articula arte, género, política e luto como práticas epistemológicas. Porque pensar é também lembrar. E criar é, muitas vezes, sobreviver.

Splinter group from the American, male-dominated Art Workers' Coalition (AWC), which refused to expand its protests on behalf of minority artists to include women. The Art Workers' Coalition was a loose collective of progressive artists, filmmakers, writers, critics and museum workers started in January 1969 in New York. They wanted art institutions such as the Museum of Modern Art (MOMA) to restructure, reform and become more politically involved. The artist Takis (b 1925) wanted a work removed from a MOMA exhibition because he didn't feel it represented his current work. Several artists met to discuss the political and social role of the artists. These meetings evolved into political activism with protests, letters and demonstrations. However, women artists felt increasingly marginalized by the male-dominance of the group and splintered off to form their own collective as Women Artists in Revolutions (WAR). Many women artists had no gallery affiliation, which made museum exhibition more difficult. They were especially annoyed by the Whitney Museum of American Art's 1969 Annual which included only eight women among the 143 artists in the show. WAR generally agitated to draw attention to women's isolation in the art world, lack of market status and ignorance of the contributions of women to the art world. They wrote fake press releases, demonstrated and picketed. Several of the women artists had participated in the activities of the radical feminist group The Redstockings. Members included Nancy Spero ,

Many disabled artists have used imagery or literal examples of medical or medical-adjacent technology in their works, invoking and evoking a range of significations, connotations, and effects. In turn, the antiseptic anti-aesthetic of the hospital, as well as other hygienic spaces of short- or long-term incarceration, has resonated in various ways with the equally blank and institutional but highly aestheticized space of the modern and/or contemporary gallery or museum. In implicitly or explicitly linking the hospital and the gallery, work by disabled artists participates in the tradition of institutional critique in a manner that has meaningful but underexplored connotations that touch on ideas of embodiment, display, imperfection, and control. Disabled artists, in a range of ways, undertake a penetrating critique of operations by which disability is both hidden and ubiquitous in the visual landscape, physical infastructure, and ideological sensibilities of industrialized modernity.