Dates: 12th of September to 30th of September
Time: Tue–Sun: 11:00 a.m.–6:00 p.m., Saturday: 11:00 a.m.–8:00 p.m.
Grand opening: 12th of September 20.00
Panel discussion: 12th of September 19.00
Location: Museum of Contemporary Art Zagreb
Curators: Lea Vene and Marina Paulenka
Assistant curator: Lovro Japundžić
In the time of post-capitalist global turmoil, technological advancements, strengthening of the right-wing extremism, the growing influence of the religion that limits women rights again, and the semblance of democracy in the 21st century, we are facing a situation in which women must fight anew for the rights that had been won long ago.
In the midst of initiatives such as #MeToo, Free the Nipple, The Future is Female, and phenomena such as the female gaze, it is necessary to re-examine the current role of photography in representing and articulating women’s experiences and to critically rethink how digital culture is transforming feminist approaches to the image.
How and why women protest and ignite change? Who are the heroines of our time? How are girls’ and women’s social roles and patterns of behaviour shaped? How do girls represent and self-represent on social media and how to think the new, so-called Instagram generation of artists? Psychoanalyst Joan Riviere in her essay Womanliness as a masquerade published in 1929 describes womanliness as a mask worn in the patriarchal society – a mask that actually forms an inherent part of the female identity. How is femininity as a mask reflected today? What is the role of our own bodies in a selfie-obsessed culture? Who are the viewers that we’re addressing?
In the last five years, the term the female gaze has become a ubiquitous buzzword in the art and fashion world. Many young artists have consciously adopted this term as a feature of their own approach, their activist and emancipatory engagement. The female gaze is juxtaposed with the dominant, patriarchal male gaze which objectifies the female body and defines the position of the woman as passive. Women artists purposefully take on an active role in order to articulate potential new perspectives on personal and direct female experiences that have, until now, remained invisible or been represented in a stereotypical manner. Can the female gaze be perceived as an intergenerational phenomenon? And has it been commodified and framed as merely a trend?
— Lea Vene and Marina Paulenka
Raphaela Rosella, You’ll Know It When You Feel It (2018); Australia
Julia Fullerton-Batten, The Act (2017); UK
Nausica Giulia Bianchi, ORDINATION (2015); Italy
Cemre Yesil & Alice Caracciolo, Piet[r]a (2017); Turkey
Gloria Oyarzabal, Woman Go No’Gree (2017); Spain
Catrine Val, FEMINIST (2013); Germany
Ilona Szwarc, Indeed a new woman (2018); Poland, USA
Ke Peng, Salt Ponds (2016); China
Mafalda Rakos, I want to disappear – Approaching Eating Disorders (2013); Austria, Netherlands
Silvia Bigi, The tree of milk (2017); Italy
Naghmeh Navabi, A home, no longer mine (2018); Iran, UK
Ashely Miller, Still Life Series (2018); USA
Karla G.Guerrero, Berta (2018); Mexico
Loulou d’Aki, Mother of choice (2017); Sweden
Jennifer Loeber, GYRLE (2017); USA
Nora Novak, The Nature of a Home (2018); Croatia, Germany
Roos Quakernaat, A Proper Dish (2016); Netherlands
Alice Mann, Drummies (2018); South Africa, UK
Alexa Vachon, Rise (2018); Canada, Germany
Sara Bennett, Life After Life in Prison: The Bedroom Project (2017); USA