Basia Sliwinska is an art historian and theorist working as a Research Fellow at the NOVA University Lisbon, Portugal. Recent books include Feminist Visual Activism and the Body, editor (2021), The Evolution of the Image: Political Action and the Digital Self, co-editor (2018) and the monograph The Female Body in the Looking-Glass: Contemporary Art, Aesthetics and Genderland (2016).Catherine Dormor is Reader in Textile Practices and Head of Research Programmes at the Royal College of Art, UK. A practicing artist and researcher, her recent publications include the co-edited book The Erotic Cloth: Seduction and Fetishism in Textiles (2018) and A Philosophy of Textile: Between Practice & Theory (2020). She is Regional Editor (Europe) for Textile: the Journal of Cloth & Culture and her artworks feature in a number of international collections.

Transnational Belonging and Female Agency in the Arts is highly accessible. Using interdisciplinary methods, the authors synthesize key theorists... and theoretical concepts in ways a student-reader will find familiar and useful in informing their own related practices, including research, writing, and art-making

• List of PlatesList of Figures AcknowledgementsIntroduction, Transnational Belonging and Female Agency in the Arts, Catherine Dormor (Royal College of Art, UK) and Basia Sliwinska (NOVA University Lisbon, Portugal)1. Frayed & Fraying: textile actions and the edges of belonging, Catherine Dormor (Royal College of Art, UK)2. Species of Space: Marisol, Marta Minujín and Nicola L on Party-going, Domestic Mayhem and Nomadism, Flavia Frigeri (National Portrait Gallery, London)3. ‘With my portapak on my back’: Identity and Belonging in Shigeko Kubota’s Broken Diary, Helena Shaskevich (CUNY, USA)4. Patty Chang: Body, Performance, and Transnational Border Crossings, Jane Chin Davidson (Board Member of Art Journal)5. Borderless and Undocumented: Day by Day in Southeast Asia, Cristina Nualart (IE University, Spain)6. Suspended: Bahar Behbahani’s Displacement and Longing in the Persian Garden, Aliza Edelman (independent curator, art historian, and editor)7. Through Walls and Windows: Irene Buarque ´s work in the 1970s, Margarida Brito Alves and Giulia Lamoni (NOVA University Lisbon, Portugal)8. Disrupting Subaltern Geographies: The Artistic Intersections of Belkis Ayón, Samantha A. Noël (Wayne State University, USA)9. Keren Anavy’s Garden of Living Images: Transnational Landscapes as Spaces of Ecological Order, Aliza Edelman (independent curator, art historian, and editor) and Ketzia Alon (independent academic, social activist, art curator and critic)10. Collective Agency: Creative Communities in Australian Feminist Art, Rachael Haynes (QUT, Australia) and Courtney Pedersen (Queensland University of Technology, Australia)11. Woman Writing’ as a Curatorial Method: Narratives of Belonging in the Art Practices of Chantal Peñalosa and Bridget Smith, Caroline Stevenson (London College of Fashion, UAL, UK)12. A Smuggler, a Butcher, and a Fairy: Doing Things with One’s Body, Jana Kukaine and Janis Taurens (Art Academy of Latvia)13. Nieme Szaty Królowej (Queen’s Silent Robes): a collective walk re-claiming female bodily agency through transnational solidarity, Basia Sliwinska (NOVA University Lisbon, Portugal)Notes on ContributorsIndex

Basia Sliwinska is an art historian and theorist working as a Research Fellow at the NOVA University Lisbon, Portugal. Recent books include Feminist Visual Activism and the Body, editor (2021), The Evolution of the Image: Political Action and the Digital Self, co-editor (2018) and the monograph The Female Body in the Looking-Glass: Contemporary Art, Aesthetics and Genderland (2016).Catherine Dormor is Reader in Textile Practices and Head of Research Programmes at the Royal College of Art, UK. A practicing artist and researcher, her recent publications include the co-edited book The Erotic Cloth: Seduction and Fetishism in Textiles (2018) and A Philosophy of Textile: Between Practice & Theory (2020). She is Regional Editor (Europe) for Textile: the Journal of Cloth & Culture and her artworks feature in a number of international collections.

Transnational Belonging and Female Agency in the Arts is highly accessible. Using interdisciplinary methods, the authors synthesize key theorists... and theoretical concepts in ways a student-reader will find familiar and useful in informing their own related practices, including research, writing, and art-making

• List of PlatesList of Figures AcknowledgementsIntroduction, Transnational Belonging and Female Agency in the Arts, Catherine Dormor (Royal College of Art, UK) and Basia Sliwinska (NOVA University Lisbon, Portugal)1. Frayed & Fraying: textile actions and the edges of belonging, Catherine Dormor (Royal College of Art, UK)2. Species of Space: Marisol, Marta Minujín and Nicola L on Party-going, Domestic Mayhem and Nomadism, Flavia Frigeri (National Portrait Gallery, London)3. ‘With my portapak on my back’: Identity and Belonging in Shigeko Kubota’s Broken Diary, Helena Shaskevich (CUNY, USA)4. Patty Chang: Body, Performance, and Transnational Border Crossings, Jane Chin Davidson (Board Member of Art Journal)5. Borderless and Undocumented: Day by Day in Southeast Asia, Cristina Nualart (IE University, Spain)6. Suspended: Bahar Behbahani’s Displacement and Longing in the Persian Garden, Aliza Edelman (independent curator, art historian, and editor)7. Through Walls and Windows: Irene Buarque ´s work in the 1970s, Margarida Brito Alves and Giulia Lamoni (NOVA University Lisbon, Portugal)8. Disrupting Subaltern Geographies: The Artistic Intersections of Belkis Ayón, Samantha A. Noël (Wayne State University, USA)9. Keren Anavy’s Garden of Living Images: Transnational Landscapes as Spaces of Ecological Order, Aliza Edelman (independent curator, art historian, and editor) and Ketzia Alon (independent academic, social activist, art curator and critic)10. Collective Agency: Creative Communities in Australian Feminist Art, Rachael Haynes (QUT, Australia) and Courtney Pedersen (Queensland University of Technology, Australia)11. Woman Writing’ as a Curatorial Method: Narratives of Belonging in the Art Practices of Chantal Peñalosa and Bridget Smith, Caroline Stevenson (London College of Fashion, UAL, UK)12. A Smuggler, a Butcher, and a Fairy: Doing Things with One’s Body, Jana Kukaine and Janis Taurens (Art Academy of Latvia)13. Nieme Szaty Królowej (Queen’s Silent Robes): a collective walk re-claiming female bodily agency through transnational solidarity, Basia Sliwinska (NOVA University Lisbon, Portugal)Notes on ContributorsIndex

Basia Sliwinska is an art historian and theorist working as a Research Fellow at the NOVA University Lisbon, Portugal. Recent books include Feminist Visual Activism and the Body, editor (2021), The Evolution of the Image: Political Action and the Digital Self, co-editor (2018) and the monograph The Female Body in the Looking-Glass: Contemporary Art, Aesthetics and Genderland (2016).Catherine Dormor is Reader in Textile Practices and Head of Research Programmes at the Royal College of Art, UK. A practicing artist and researcher, her recent publications include the co-edited book The Erotic Cloth: Seduction and Fetishism in Textiles (2018) and A Philosophy of Textile: Between Practice & Theory (2020). She is Regional Editor (Europe) for Textile: the Journal of Cloth & Culture and her artworks feature in a number of international collections.

Transnational Belonging and Female Agency in the Arts is highly accessible. Using interdisciplinary methods, the authors synthesize key theorists... and theoretical concepts in ways a student-reader will find familiar and useful in informing their own related practices, including research, writing, and art-making

• List of PlatesList of Figures AcknowledgementsIntroduction, Transnational Belonging and Female Agency in the Arts, Catherine Dormor (Royal College of Art, UK) and Basia Sliwinska (NOVA University Lisbon, Portugal)1. Frayed & Fraying: textile actions and the edges of belonging, Catherine Dormor (Royal College of Art, UK)2. Species of Space: Marisol, Marta Minujín and Nicola L on Party-going, Domestic Mayhem and Nomadism, Flavia Frigeri (National Portrait Gallery, London)3. ‘With my portapak on my back’: Identity and Belonging in Shigeko Kubota’s Broken Diary, Helena Shaskevich (CUNY, USA)4. Patty Chang: Body, Performance, and Transnational Border Crossings, Jane Chin Davidson (Board Member of Art Journal)5. Borderless and Undocumented: Day by Day in Southeast Asia, Cristina Nualart (IE University, Spain)6. Suspended: Bahar Behbahani’s Displacement and Longing in the Persian Garden, Aliza Edelman (independent curator, art historian, and editor)7. Through Walls and Windows: Irene Buarque ´s work in the 1970s, Margarida Brito Alves and Giulia Lamoni (NOVA University Lisbon, Portugal)8. Disrupting Subaltern Geographies: The Artistic Intersections of Belkis Ayón, Samantha A. Noël (Wayne State University, USA)9. Keren Anavy’s Garden of Living Images: Transnational Landscapes as Spaces of Ecological Order, Aliza Edelman (independent curator, art historian, and editor) and Ketzia Alon (independent academic, social activist, art curator and critic)10. Collective Agency: Creative Communities in Australian Feminist Art, Rachael Haynes (QUT, Australia) and Courtney Pedersen (Queensland University of Technology, Australia)11. Woman Writing’ as a Curatorial Method: Narratives of Belonging in the Art Practices of Chantal Peñalosa and Bridget Smith, Caroline Stevenson (London College of Fashion, UAL, UK)12. A Smuggler, a Butcher, and a Fairy: Doing Things with One’s Body, Jana Kukaine and Janis Taurens (Art Academy of Latvia)13. Nieme Szaty Królowej (Queen’s Silent Robes): a collective walk re-claiming female bodily agency through transnational solidarity, Basia Sliwinska (NOVA University Lisbon, Portugal)Notes on ContributorsIndex