Exhibition

The exhibition stems from the need to restore the erased memory of feminist knowledge, practices and genealogies in our country: it is important to recover and make visible the work of artists (some men, but especially women) who were unfairly shunned or forgotten; but it is even more important to reread the recent history of Spanish art from a different stance, with other keys and viewpoints. Not only has the legacy of feminisms been underestimated in the most traditional historiography, but also in many of the accounts of art creation in Spain that are supposed to be more ground-breaking or renovating.

The term “genealogies” alludes to the diversity of ideological sensitivities and positions that traverse the feminist, transfeminist, transgender and queer universe. It also refers to the peculiarities and singularities of the development of feminist policies in the Spanish state, which cannot be interpreted by mechanically extrapolating Anglo-Saxon models. While the emergence of the so-called “feminist art” in the United States and Great Britain is customarily situated in the late 1960s, in Spain it was not until the 90s that the gender discourses began to get mainstream attention in art galleries and institutions (which does not mean that they did not exist, but that they had been neglected or overlooked). In addition, as opposed to their contemporaries inBritainand theU.S., the feminist artists “of the 90s” inSpainwere fundamentally influenced by foreign references: their artistic and theoretical models mainly came from French and Anglo spheres and they rarely had the opportunity to engage in a dialogue (whether intellectually or personally) with their Spanish predecessors. How can this generation gap be explained? Why do we face a history riddled with omissions, faults and discontinuities?

Some hypotheses can be suggested to explain why the artists who emerged in the decade of the 90s were unaware of the work of the pioneers from the sixties and seventies. With the arrival of democracy inSpainartistic discourses were increasingly depoliticized: the official culture promoted the oblivion of artistic practices that had, toward the end of Franco’s regime and the beginning of the Transition, articulated a criticism of the social and sexual norms of the dictatorship, particularly those that questioned machismo and patriarchy. Throughout the 80s, the incipient art institution’s need to equate itself with the European and international context facilitated the surge of formalist and commercial manifestations adapted to market demands, in detriment to a more critical art in which the feminist viewpoint could have been inserted.

CREDITS
Title: Feminist Genealogies in Spanish Art: 1960-2010
Curators: Juan Vicente Aliaga y Patricia Mayayo
Coordination: Koré Escobar y Carlos Ordás
Coordination Assistants: Lidia González Alija, Kristine Guzmán, Josefina Manzanal Manrique
Documentation: Raquel Álvarez, Jennifer Calles, Araceli Corbo, Lidia González Alija, Josefina Manzanal Manrique
Web: Raquel Álvarez, Araceli Corbo
Dates: From June 23rd, 2012 until January 6th, 2013
Venue Salas 3 a 6 del MUSAC
Artists: Pilar Albarracín, Xoán Anleo/Uqui Permui, Pilar Aymerich, Eugènia Balcells, Cecilia Barriga, María José Belbel, Miguel Benlloch, Itziar Bilbao Urrutia, Esther Boix, Cabello/Carceller, Mónica Cabo, Mar Caldas, Carmen Calvo, Nuria Canal, Anxela Caramés/Carme Nogueira/Uqui Permui, Ana Casas Broda, Castorina, Mari Chordà, Montse Clavé, María Antonia Dans, Lucía Egaña Rojas , Itziar Elejalde, Equipo Butifarra, Erreakzioa-Reacción, Eulàlia (Eulàlia Grau) , Esther Ferrer, Alicia Framis, Carmela García, Ángela García Codoñer, María Gómez, Miguel Gómez/Javier Utray, Marisa González, Gabriela y Sally Gutiérrez Dewar , Yolanda Herranz, Juan Hidalgo, ideadestroyingmuros, María Llopis/Girlswholikeporno, Eva Lootz, LSD, Cristina Lucas, Jesús Martínez Oliva, Chelo Matesanz, Medeak , Miralda, Fina Miralles, Mau Monleón, Begoña Montalbán , Paz Muro, Paloma Navares, Ana Navarrete, Carmen Navarrete, Marina Núñez, Itziar Okariz, Isabel Oliver, O.R.G.I.A, Carlos Pazos, Uqui Permui, Ana Peters, Olga L. Pijoan, Núria Pompeia, Post-Op, Precarias a la deriva, Joan Rabascall , Amèlia Riera , Elena del Rivero, María Ruido, Estibaliz Sadaba, Simeón Saiz Ruiz, Dorothée Selz, Carmen F. Sigler, Diana J. Torres AKA Pornoterrorista, Laura Torrado, Eulàlia Valldosera, Video-Nou/José Pérez Ocaña, Azucena Vieites, Virginia Villaplana, Isabel Villar.

One Comment

  1. maia creus

    Salutaciones, he realizado mi tesis doctoral sobre arte conceptual en Cataluña, en concreto la Sala Tres de Sabadell, uno de los espacios alternativos de referencia.
    Realicé una primera aproximación al tema con una exposición al Museo de Arte de Sabadell. El catálogo de la muestra puede ser de vuestro interés en la formación de una genealogía y estudio contextual del conceptual en nuestro país
    En éstos momentos estoy investigando la trayectoria de Fina Miralles, en concreto, la intertextualidad en su obra además de su relación con la idea de archivo. Dispongo de diverso material de archivo oral y gráfico. Si necesitáis alguna información estoy a vuestra disposición

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