Marina Grzinic 'A theoretical-political positioning of feminism in Eastern Europe: the case of performance and feminism in former Yugoslavia.'

Marina Grzinic

08 May. 2009

From the 1970s onwards, authors like Lucy Lippard, Laura Mulvey, Griselda Pollock and Linda Nochlin, with their critical approach to the male gaze and patriarchal art structures, set out to question the validity of the dominant historiography and created the opportunity to set up new narratives based on a position of difference. However, this critical undertaking to rewrite art history through multiple, decentred narratives seemed to become more complex when it came up against a new institutional context that absorbs its demands for representation, transforming them into multicultural fetishes and the spectacle of difference. How can we read the art institution's current recuperation of «feminism» as an art movement? What are the consequences of the «performative turn» on the redefinition of identity? And what effects does this denaturalisation have on the possibility of a feminist historiography of art? How can we rethink the relationship between history, visuality and feminism based on premises that take into account the intersectional constructions of race, class, sexuality and corporality?

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