Global Feminisms Remix
On View August 3, 2007 – February 3, 2007
Forty-four works selected from Global Feminisms will once again be 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), Adriana Varejão (Brazil).
(Images top to bottom: Miwa Yanagi, Yuka, 2000; Lida Abdul, White House, 2005)
Dr. Maura Reilly is the Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, the first museum exhibition space of its kind in the world. Prior to assuming the position as Curator, Reilly taught art history and women's studies at Tufts University, as well as courses at Pratt Institute, Vassar College, and at her alma mater, The Institute of Fine Arts, New York University, where she received her Ph.D. in 2000 in Modern and Contemporary Art with a concentration in feminist and queer theory. Reilly has curated, lectured, and published extensively, both nationally and internationally, and has been a regular contributor to Art in America since 1998. In 2005, in celebration of ArtTable's 25th year Anniversary, she received one of their prestigious Future Women Leadership Awards; and in 2006, she received a Lifetime Achievement in the Visual Arts Award from the Women's Caucus for Art. She is an active member of the National Organization for Women, International Association of Art Critics, ArtTable, and is on the National Committee of The Feminist Art Project. Most recently, Reilly curated, Ghada Amer: Love Has No End,, and co-curated with Linda Nochlin, a major exhibition of international contemporary feminist art, titled Global Feminisms, which inaugurates the Brooklyn Museum's new Center for Feminist Art in March of 2007. Reilly is the author of a monograph on Ghada Amer (New York: Gregory R. Miller & Co., 2007).