Erato's Version.pdf

Ikonotheka

In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture...

2024

"CROSSING BORDERS: Central European Women in the Arts" International Symposium in context of the exhibition STARS, FEATHERS, QUASSELS: The Wiener Werkstätte Artist Felice Rix-Ueno (1893–1967) (MAK, January 25-26, 2024) Concept and Organization: Elana Shapira (University of Applied Arts Vienna) and Anne-Katrin Rossberg (MAK) in cooperation with Barbora Kundračíková (Olomouc Museum of Art – Central European Forum)

Working With Feminism: Curating and Exhibitions in Eastern EuropE, 2012

Ab Imperio , 2012

INTERNATIONAL CONFERENCE ART READINGS 2021OLD ART MODULE Institute of Art Studies,Bulgarian Academy of Sciences,SofiaPersonalia16–18 April 2021 After holding successfully the 2018 Marginalia International Conference, the Institute of Art Studies, BAS, is now putting forth a proposal for a 2021Personaliaevent, where ‘personalia’ means not only information about the life and oeuvre of an artist (painter, sculptor, woodcarver, jeweller, architect, master builder, illuminator, man of letters, musician, etc.), but also a number of other relevant aspects associated with a wide range of meanings applied to the term as follows: The role a personality plays in art processes; The personality-art-ideology relationship; Man in art: portraits and self-portraits; Issues of authorship/attribution; Visualisation and versions of literary characters; Unknown facts about artists’ personal lives; Inspirers, patrons, opponents of artists; Principles of association of and/or competition among artists; Master-apprentice/apprentice-master relationships: aspects of imparting knowledge and passing on experience in art, etc.

Studio of Her Own – a Space for Young Female Artists in Jerusalem was founded by Ziporah Mizrachi in 2011 as her final project in the Gender Studies Program’s field activity track at Bar-Ilan University. It is the only association of young female artists in Israel today, artists who create and present their works at group exhibitions in public art spaces. The Studio brings together young religiously observant female artists by giving them a working space for a period of two years as well as offering them professional support. In the group’s early exhibitions, the direct engagement with body and sexuality stood out. The direct and explicit engagement of these young women artists with body and sexuality can be associated with the 1970s American feminist radical art. However, the singularity of their works derives from the meaningful revision they have introduced into the modern Orthodox world: apparently, they produce a radical feminist artistic discourse similar to that of the past (even the forming of creative groups of women brings to mind a prevalent feminist practice of the 1970s’ American feminist artists); but, actually, they pick up former feminist discourse, transplant it into the present and link it to their Jewish-Orthodox world thus shifting it to a particular, cultural, new place. In this essay, I shall argue that even though their creation, as they perceive it, is not meant to produce a critical discourse of resistance, it does, in fact, constitute a subversive feminist act. All in all, my aim here is to highlight, explain and culturally contextualize a significant phenomenon transpiring in Israeli modern Orthodox society’s field of art.