Analysis of a »resurgence« based on three exhibition catalogues
Bojana Pejic
Charles Esche has recently discussed a cult feminist artwork, Laura Mulvey and Peter Wollen ’s film, »Riddles of the Sphinx« (1977) and formulated the title of his essay as a question: »What does it mean to say that feminism is back?« He remarks: »The current rush to recall, and even restage first-way feminism in the art world is at least gratifying. Yet it is also somehow tragic that it has taken until recently to remember what we choose to forget so deliberately over twenty years before. To help to understand why feminism is again suddenly en vogue, it is probably essential to think through whatcaused it slip out of fashionable art discourse for the last decades.«[1] (see Springerin)
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