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Feminist Revolt in the Museum. Digital projects
REINA SOFIA MUSEUMImage: Natalia Iguiñiz, Cuerpos libres (en homenaje a Josep Renau), 2007 | Depósito indefinido Fundación Museo Reina Sofía, 2019
A museum that wants to be feminist does not only claim to be so for such a pivotal date as 8 March. Rather, it recognises, on a daily basis, that it is a territory of struggle for conflictive positions that neither appease nor stabilise. A museum that seeks to be feminist constantly reviews its ways of doing, judging and seeing, addressing a place of bodies, affection and care, the uses and scope of language, knowledge, practices and feminist methodologies, among other aspects.
Therefore, this programme sees the Museo Reina Sofía bring together an ensemble of initiatives encompassing the wide-ranging forms of feminist revolt present in our day-to-day. An unremitting and unstoppable force that irreversibly transfigures the idea and practice of the political, opening the door to emancipated subjectivities and the cracks of a(nother) future.
DIGITAL PROJECTS
Interview with Natalia Iguiñiz
Since the start of her career, Natalia Iguiñiz (Lima, 1973) has worked closely with different women’s collectives and feminist movements in Peru. In these projects, she studies how the containment of women’s sexual and reproductive rights creates major tensions inside a Peruvian cultural and social context.
Interview with Miriam Cahn
The artistic production of Miriam Cahn (Basel, Switzerland, 1949) materialises with a strong influence from 1960s feminist and pacifist movements. For the artist, her work with drawing and painting is a bodily act with a performative quality, and since the start of her career in the 1970s the centrality of the body has been related to a growing awareness of feminism. For Cahn, art is politics and the imprint of issues related to contemporary society can be discerned in her oeuvre. Each gesture, movement and thought is “just as important” as the rest. The breadth of her work is traversed by her interest in important issues: feminist defence, war, violence, sexuality, family and death.
Outside the Canon. Pop Artists in Spain
In the late 1960s and the decade that followed, feminism became an international lingua franca around which the work of many artists revolved. In Spain, despite the dictatorship, these radical discourses incorporated a Pop Art with a local flavour and an anti-Francoist discourse. If, however, during those two decades the work of artists was disseminated widely, the same could not be said for the work of recently recovered, same-generation female counterparts. This microsite, therefore, contextualises and places these women artists’ work, seeking to counteract a male-art-dominated historiography.
Research project and texts by Isabel Tejeda, professor at the University of Murcia.