Мотив хвороби в історії літератури і культури посттоталітарних країн Центрально-Східної Європи

The article is dedicated to the issues considered during the international conference “The motive of the disease in the history of literature and culture of post-totalitarian states of Central and Eastern Europe”, which took place on November 6, 2020. The main topics of the speakers were focused on the disease as a weakness in the literature, the trauma of loss, the theme of illness and healing in world literature from its beginning to the present, including the periods of Kyiv Rus, Renaissance, Baroque and Modernism and the traumatic experience in the narratives of the Holodomor, Ukrainian women’s prose and the ability of Ukrainian sacred and decorative, as well as modern women’s art to visualize the disease and help artists overcome their injuries.

Gifting a Healing Education Through Writing Life and Art: A Paris Studio Residency

We are two Canadian arts-based educational researchers who collaborated during a studio residency in Paris, France, during May 2015, for ten days. Our residency curriculum included study of feminist poet-thinker Hélène Cixous, taking walks in Paris locales, viewing women’s art, and engaging arts-based inquiry methods such as journaling, life writing and creative embodied practices, as a way to pay attention to and document our daily experiences. We practiced what we call companion pedagogy, with a feminist focus on mothering and gifting relations. We find that arts-based, restorative practices strengthen our wellbeing and resiliency as educators, and also support our desire for a more nurturing, mothering humanity to come forward for gifting a healing education. Healing education begs the question of how to address the resiliency of educators over time through what are increasingly challenging and depleting conditions of institutional cultures and economies. We thus offer creative practices such as studio residencies for collective care and gifting that can nurture a restorative pacing of life, while supporting the resiliency of educators to gift their energies towards creative curriculum visioning and enacting of social change.

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

Continuous Weave: Feminist Experimental Filmmaking Genealogies

In the year before her death in 2019, Barbara Hammer gave footage from four incomplete projects as well as funds she had procured from the Wexner Center for the Arts to four fellow filmmakers to use as they wished. Her footage of a Guatemalan marketplace and women weaving was given to Deborah Stratman, whose film Vever (for Barbara) (US, 2019) combines the work of two of her artistic predecessors, Hammer and Maya Deren. Making use of the footage Hammer shot in 1975 as well as passages, images, and sound from Deren's work, Stratman creates a film that underlines several tendencies of feminist experimental art and continues the legacy of all three women's art. Cooperative, collaborative, and productively fragmented, it honors the creative lineage of which it is a part.

Eating Bananas Outside the National Museum

The banana protest, a mass reenactment of Consumer Art (1972), a series of photographs by Natalia LL that was removed from the National Museum in April 2019, was staged as a grassroots protest against this act of censorship and the Polish conservative government’s “decency” policy as well as the underrepresentation of women’s art in museums and galleries.

Inhabiting the threshold: the Women's Gallery as liminal space in New Zealand's feminist art history

<p>In the four years between January 1980 and January 1984, a gallery was run in Wellington by a collective of women to display the work of female artists only. This feminist space sought to provide an educational, supportive and inclusive environment, free from the obstacles which were perceived to prohibit women from displaying their work in mainstream art spaces. This thesis tackles the history of this gallery’s reception and seeks to address its absence in the writing of New Zealand’s art history. In reassessing its history, I assert the Women’s Gallery deserves a place within critical accounts of art in New Zealand. Chapter one locates the Women’s Gallery within the cultural and political context of New Zealand society by tracing the development of the women’s art movement, and feminism as a grassroots political movement. An examination of the gallery’s Opening Show serves as an example of the way in which the ideology of the Women’s Gallery shaped its organisational structure. Chapter two pinpoints the time of the gallery’s existence at a point of transformation within feminist thinking. This chapter problematises the evolution of feminist thought from ‘essentialism’ to a critique informed by poststructuralist strategies. A close analysis of artworks demonstrates that the Women’s Gallery was simultaneously occupied by artists who exhibited both tendencies. By proposing Victor Turner’s model of liminality as a framework upon which to base a discussion of the Women’s Gallery, chapter three reframes the gallery as a liminal space. I argue the temporary existence of the gallery allowed women a space – removed from patriarchal power structures – in which to experiment both politically and creatively.</p>

WOMEN ARTISTS OF THE LATE 19TH CENTURY: CONTINUITY AND CHANGE AT THE SUNSET OF IMPERIAL CHINA

Increasing attention to the history of Chinese women artists gives further impetus to re-evaluation of their artistic contribution. Here I focus on developments in women’s art in the later part of the 19th century, entering into an interrogation of the assumption that the century had witnessed its decline in tandem with the decline of the Imperial China itself. A focus of the article is the 2017 Zhejiang exhibition, which has served to further intensify the imperative for research. Adopting a perspective based on gender and class, this paper examines the work of the female Chinese artists of the late 19th century both in the traditional Jiangnan area, which had been the epicentre of culture and economy, and in the newly developing trade areas, most notably Shanghai. There a vibrant art market emerged, bringing significant opportunities for women artists from broader social strata. This dynamic is illustrated by the particular example of Ren Xia. In these circumstances significant changes took place in the context of the presence of continuity in women’s aesthetic production, while a traditional male discourse remained hegemonic.