Global Feminisms Remix
- Dates: August 3, 2007 through February 3, 2008
- Collections: Contemporary Art , Elizabeth A. Sackler Center for Feminist Art
- Location: This exhibition is no longer on view in Elizabeth A. Sackler Center for Feminist Art, 4th Floor
- Description: Global Feminisms Remix. [08/03/2007 - 03/03/2008]. Installation view.
- Citation: Brooklyn Museum Digital Collections and Services. Records of the Department of Digital Collections and Services. (DIG_E_2007_Remix)
- Source: born digital
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May 2007: Forty-four works selected from Global Feminisms are once again on view at the Brooklyn Museum in the Elizabeth A. Sackler Center for Feminist Art. Like its widely praised predecessor, Remix seeks to challenge the dominance of European and American contemporary art and explore such issues as racial and gender identity, politics, and oppression.
Remix assembles works by 40 women artists, who represent countries that are seldom involved in the contemporary art discourse such as Guatemala, Kenya, Pakistan, Thailand, Korea, India. The wide range of media employed in the exhibition includes paintings, sculpture, photography, works on paper, and video.
In this exhibition, many of the artworks are infused with political activism. From Afghanistan, Lida Abdul is represented by a single-channel video White House (2005), which shows the artist white-washing a building in bombed-out Kabul. Sigalit Landau, an Israeli video artist, swings a barbed wire hula-hoop around her naked, bloody stomach in which pain symbolizes the geographical barrier created along the West Bank. Regina José Galindo is seen making a bloody footprint with each step as she walks from the Court of Constitutionality to the National Palace in Guatemala City in memory of murdered Guatemalan women, in her performance video Who Can Erase the Traces? (2003).
While other exhibiting artists’ themes are not as politically charged, they do create intense, emotive works that celebrate social freedoms or confront oppression. From Japan, Miwa Yanagi’s photograph from My Grandmothers series, depicts an elderly model with flaming-red hair riding sidecar on a motorcycle driven by her young lover. Japanese artist Ryoko Suzuki contributes a mural-sized installation of three photographs in which her face is bound tightly by pig’s intestines, where she is bullied into a kind of mute, anonymous submission.
Among the artists represented are Ghada Amer (Egypt), Arahmaiani (Indonesia), Pilar Albarracín (Spain), Pipilotti Rist (Switzerland), Tracey Moffatt (Australia), Lilibeth Cuenca Rasmussen (Denmark), and Tracey Rose (South Africa).
The specific works have been chosen by Co-Curators Maura Reilly, Curator of the Elizabeth A. Sackler Center for Feminist Art, and Linda Nochlin, Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University