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Discriminació de la dona, 1977

Discrimination against Women, 1977
Graphic work (editions), 24.8 x 15.6 cm

Eulàlia Grau is a very critical artist toward the socio-historical situation of women. Her series Discriminació de la dona, 1977, deals with the condition of women in a society that sees them as subordinates and confines them to the family and home. While this type of denunciation is implicit to all her works, the images in this series address in a more direct and cruel manner women's issues of frustration, tiredness, subjugation and despondency. Far from being the prerogative of the home, the work place and everyday life, inequality vis-à-vis men is apparent at all levels of society, including the legal and judicial worlds.

In this series, women's working conditions are seen through housemaids, secretaries, workers and pin-ups, while female depression is expressed through images of smokers and bulimic women. The comparisons between scenes indicate that women are confined to unqualified jobs. In this context, pornography and human trafficking are but the last step in a chain of female exploitation. Eulàlia writes: 'Men in their everyday milieu (football, bars…), and women in theirs (subordinate roles, children…). The series of prison images demonstrates that the discrimination of women is even worse, if that's possible, in prisons where children share the punishment imposed on their mothers. Ultimately, though, loneliness afflicts both men and women, whether in prison or outside.


Technical details

Original title:
Discriminació de la dona
Registration number:
2799
Artist:
Grau, Eulàlia
Date created:
1977
Date acquired:
2006
Fonds:
MACBA Collection. MACBA Foundation
Object type:
Graphic work (editions)
Media:
Printed ink on paper - Publisher: Proyecto Arte, Barcelona
Dimensions:
24.8 x 15.6 cm (height x width)
Credits:
MACBA Collection. MACBA Foundation. Gift of the artista
Copyright:
© Eulàlia Grau, VEGAP, Barcelona
It has accessibility resources:
No

The MACBA Collection features Catalan, Spanish and international art and, although it includes works from the 1920s onwards, its primary focus is on the period between the 1960s and the present.

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The objects are intended to have the objective character of industrial products. They are not intended to represent anything other than what they are. The previous categorization of the arts no longer exists.
Charlotte Posenenske