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, PhD is Professor of Textile Practices and Feminisms at the University of Westminster, UK, where she is also Head of Westminster School of Arts. 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 (The University of Westminster, 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 (California State University, San Bernardino, USA)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, PhD is Professor of Textile Practices and Feminisms at the University of Westminster, UK, where she is also Head of Westminster School of Arts. 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 (The University of Westminster, 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 (California State University, San Bernardino, USA)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, PhD is Professor of Textile Practices and Feminisms at the University of Westminster, UK, where she is also Head of Westminster School of Arts. 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 (The University of Westminster, 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 (California State University, San Bernardino, USA)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