This is not about feminism Or about parity, or about normalising artistic practices signed by women
It is about showing the plurality of proposals of the female artists in the MACBA Collection, with their differences and compatibilities, with their multiplicity and complexity. The works we share in this itinerary stand out for their experimentation and formal investigation, for their denunciation and social memory, for their collective communication and political practice. Their objects of exploration are not only space and materials, but also the voice, the body, absence and the idea of the group. With great freedom, the female artists in the Collection show us their vitality. May every day be like 8 March.
Silvia Gubern, Sense títol, 1965-1973
Silvia Gubern
Born in Barcelona in 1941, she was one of the first to train at the Elisava Design School and, by the end of the sixties, had become a pioneer of Conceptual art in Catalonia. She formed an active group with artists such as Jordi Galí, Antoni Llena and Àngel Jové, with whom she presented ‘poor’ and ephemeral proposals together with actions in the Jardí del Maduixer, the house they shared in Barcelona and a key starting point for Conceptualism in Spain.
Kristin Oppenheim, Hey Joe, 1996
Kristin Oppenheim
Kristin Oppenheim was born in Honolulu, Hawaii, in 1959, and lives and works in New York. Her audiovisual installations use her own melancholy, mysterious voice to create specific ambient moods. Her work fits within the minimalist movement, and she is one of the visual artists who have used the human voice as material for experimentation.
Valeska Soares, Sinners, 1995
Valeska Soares
Sinners is a relatively early work by Brazilian artist Valeska Soares. It suggests the absent body through the imprint of a person’s knees in the wax surface of a bench. Soares’ sculpture combines an evocation of Catholicism with Brazil’s tradition of experimental art, which has frequently taken the form of a reflection on the body, sensuality and the sensory.
Magdalena Jitrik, El fin, el principio, 2013
Magdalena Jitrik
Born in 1963 in Buenos Aires, the city where she both lives and works. In her geometric abstraction, she unites or links the tradition of Malevich and Kandinsky with that of Native American cultures and peoples. In her pictorial work, Jitrik often incorporates messages from the modern revolutionary tradition that refer to historical facts.
Lucia Nogueira, ..., 1992
Lucia Nogueira
Born in Goiânia, Brazil, in 1950, but established in London since 1975. In a very personal way and with great freedom, her work unites objects and constructive elements with a sense of the body and the idea of fragmentation, linking her with the Brazilian tradition of the seventies.
Teresa Margolles, 40 km, 2014
Teresa Margolles
Born in Mexico, after collaborating as a forensic volunteer in a morgue, Margolles knew that she wanted to focus her work on making the killings visible in Mexico, most of which go unpunished. Some of the topics she has covered throughout her career include pain, violence, mistreatment of women, and social inequality.
Danica Dakic, Tauber Tanz / Deaf Dance, 2003
Danica Dakic
Danica Dakic was born in Sarajevo in 1962, and lives and works in both Sarajevo and Düsseldorf. Her work explores the scope of cultural, person, political and geographical identity. The artist questions the subject of building an identity and of the "home” resulting from the impact of social change, globalisation and war, based on her own experience as an emigrant.
Cristina Iglesias, Políptico VII, 2002
Cristina Iglesias
Cristina Iglesias belongs to the generation of Spanish artists who came to prominence in the late eighties, and who repositioned Spain’s artistic production on the international scene. Iglesias is interested in the relationship between objects and space, and her body of work includes objects that create moods and open up impossible, illusory or contradictory spaces.
Anne-Lise Coste, There, 2010
Anne-Lise Coste
Anne-Lise Coste was born in Marseille, France, in 1973. Her drawings and texts have the immediacy of graffiti, and allow her to express subjective moods mixed with social and political criticism. She creates seemingly decorative compositions that actually offer us a catalogue of contemporary anxieties.
Helena Almeida, Desenho habitado, 1977
Helena Almeida
She studied Painting in the School of Fine Arts in Lisbon, where she currently lives and works. Almeida picks up on the conceptualist tradition that combines photography, painting, drawing and performance in an artistic practice that centres on self-representation.
