Basia Sliwinska – författare

This book examines contemporary feminist visual activism(s) through the lens of embodiment(s). The contributors explore how the arts articulate and engage with the current sense of crisis and political concerns (e.g. equality, decolonisation, social justice, democracy, precarity, vulnerability), negotiated with and through the body. Drawing upon the legacy of feminist art historical critique, the book scrutinises activist strategies, practices and resilience techniques in intersectional and transnational frameworks. It interrogates how the arts enable the creation of civil and political resilience, become engaged with politics as a response to disaster capitalism and attempt to reform and improve society. The book will be of interest to scholars working in art history, visual culture, fine arts, women’s studies, gender studies, feminism and cultural studies.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

This book examines contemporary feminist visual activism(s) through the lens of embodiment(s). The contributors explore how the arts articulate and engage with the current sense of crisis and political concerns (e.g. equality, decolonisation, social justice, democracy, precarity, vulnerability), negotiated with and through the body. Drawing upon the legacy of feminist art historical critique, the book scrutinises activist strategies, practices and resilience techniques in intersectional and transnational frameworks. It interrogates how the arts enable the creation of civil and political resilience, become engaged with politics as a response to disaster capitalism and attempt to reform and improve society. The book will be of interest to scholars working in art history, visual culture, fine arts, women’s studies, gender studies, feminism and cultural studies.

Focusing on art practices that advocate, raise consciousness, and educate about the human right to reproductive health, this book analyses and compares forms of feminist artivism to interrogate bodily rights while closely examining the lived experiences of women and their right of free choice.The transnational framing engages with resurgent imperialist and colonial ambitions across global politics and with the attempts at disrupting these positionings by prioritising feminist care as instrumental for democracy and social justice. Key foci of this book include the ways in which arts activism operates, and its strategies and methods related to, for example, the types of artistic practice employed, approaches to dissemination and reach, and engaging the public. The analysis of these topics interrogates the potential of arts activism to work while other forms of activism may stumble, leading social change in thinking, practice and, finally, legislation. Countries covered include Finland, Poland, Portugal, Latvia, the United Kingdom, Chile, Brazil, the United States, and Australia.The book will be of interest to students and scholars studying art history, art theory and practice, gender studies, and women’s studies.Chapters 2 and 3 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.Chapter 4 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution (CC-BY) 4.0 license.

Focusing on art practices that advocate, raise consciousness, and educate about the human right to reproductive health, this book analyses and compares forms of feminist artivism to interrogate bodily rights while closely examining the lived experiences of women and their right of free choice.The transnational framing engages with resurgent imperialist and colonial ambitions across global politics and with the attempts at disrupting these positionings by prioritising feminist care as instrumental for democracy and social justice. Key foci of this book include the ways in which arts activism operates, and its strategies and methods related to, for example, the types of artistic practice employed, approaches to dissemination and reach, and engaging the public. The analysis of these topics interrogates the potential of arts activism to work while other forms of activism may stumble, leading social change in thinking, practice and, finally, legislation. Countries covered include Finland, Poland, Portugal, Latvia, the United Kingdom, Chile, Brazil, the United States, and Australia.The book will be of interest to students and scholars studying art history, art theory and practice, gender studies, and women’s studies.Chapters 2 and 3 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.Chapter 4 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution (CC-BY) 4.0 license.

This book illuminates arts activist interventions that raise consciousness and advocacy for women’s right to a life free from violence.In a context where gender-based violence (GBV) has continued to intensify across the globe, the international range of essays focuses on violations of bodily integrity and autonomy, reproductive, domestic and sexual violence, femicide and feminicide. Comparing and interrogating arts activist strategies and visual methods, the book also explores tactics employed by arts activists attentive to effects and lived experiences of GBV, and imagining potential solutions founded in feminist thinking to change behaviours and raise awareness generating systemic change. The case studies of feminist transnational contemporary arts activism include examples from Australia, Austria, Brazil, Canada, Croatia, Ghana, Guatemala, Hong Kong, Iraq, Japan, Kuwait, Mexico, Nepal, Poland, South Africa and the United States. Arts engaged include textile work, crafts-making, performance art, clay work, protest art, and documentary art, indicating the breadth and richness of the work of feminist political artists. At a time when, according to the UN Women’s estimates, almost one in three women has been subjected to violence, it is critical to understand how feminist politics catalyses social, cultural, and political changes.This book will be of interest to scholars working in art history, women’s studies, gender studies, and visual culture.

This book illuminates arts activist interventions that raise consciousness and advocacy for women’s right to a life free from violence.In a context where gender-based violence (GBV) has continued to intensify across the globe, the international range of essays focuses on violations of bodily integrity and autonomy, reproductive, domestic and sexual violence, femicide and feminicide. Comparing and interrogating arts activist strategies and visual methods, the book also explores tactics employed by arts activists attentive to effects and lived experiences of GBV, and imagining potential solutions founded in feminist thinking to change behaviours and raise awareness generating systemic change. The case studies of feminist transnational contemporary arts activism include examples from Australia, Austria, Brazil, Canada, Croatia, Ghana, Guatemala, Hong Kong, Iraq, Japan, Kuwait, Mexico, Nepal, Poland, South Africa and the United States. Arts engaged include textile work, crafts-making, performance art, clay work, protest art, and documentary art, indicating the breadth and richness of the work of feminist political artists. At a time when, according to the UN Women’s estimates, almost one in three women has been subjected to violence, it is critical to understand how feminist politics catalyses social, cultural, and political changes.This book will be of interest to scholars working in art history, women’s studies, gender studies, and visual culture.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

Transnational Belonging and Female Agency in the Arts interrogates the politics of space expressed via womxn’s artistic practices, which prioritise solidarity and collaboration across borders, imagining attentive geographies of difference. It considers belonging as a manifestation of processes of becoming that traverse borders and generate new spaces and forms of difference. In doing so, the book aims to catalyse mutual social relations founded upon responsibility and response-ability to each other. The transnational framework activates concerns around belonging at a time of intensified divisions, partitioning global narratives, unequal trajectories and increasing violence against bodies of the most vulnerable, largely founded on Eurocentric paradigms of political, economic and cultural superiority. The contributors engage in a conversation signalling transversal thinking and artmaking in order to articulate and activate ‘in-between’ spaces. This is to welcome co-affective models of belonging that question versatile embodiments of subjectivity as both agentic and as interrelational. Organised around the triangulation of modes of belonging: spatial, affective and collective, overarched by a transnational lens that acknowledges non-hierarchical, local and socially relevant genealogies against universalising politics of globalisation, these essays consider afresh ways in which female agency disrupts borders and activates concerns around different forms of belonging, citizenship and transnationalisms.Cover Image credit: Keren Anavy, Garden of Living Images (2018), general installation view (detail). Courtesy of the artist and Wave Hill. Photographer: Stefan Hagen

This book builds new visions of belonging and new articulations of place and space through various models of artistic practice by women. Exploring how these practices reclaim and renegotiate space - institutional, urban, or natural - it interrogates the politics of artistic practice as a means of creating transnational networks of solidarity. Presenting a collection of case studies detailing the practices of womxn artists from China, Europe, North America and Latin America, the book considers relationships between artmaking, process and belonging. This transnational framework activates solidarity at a time of intensified divisions, partitioning global narratives, unequal trajectories.The contributors engage in a conversation signalling transversal thinking and artmaking in order to articulate and activate ‘in-between’ spaces. Organised around the triangulation of modes of belonging: spatial, affective and collective, these essays consider ways in which female agency disrupts borders and activates concerns around different forms of citizenship. Considering the current time of rising nationalisms and erecting borders, this book offers new narratives that build bridges across cultures; it's wide coverage will inform new directions in interdisciplinary research in visual culture, feminism, transnationalism, and cross-cultural anthropology.Cover Image credit: Keren Anavy, Garden of Living Images (2018), general installation view (detail). Courtesy of the artist and Wave Hill. Photographer: Stefan Hagen

In his theory of the 'mirror stage', the psychoanalyst and psychiatrist Jacques Lacan argued that the female body is defined by its lack of male attributes. Within this framework, he described female sexuality primarily as an absence, and assumed female subordination to the male gaze. However, what happens if one follows Jean Baudrillard's advice to 'swallow the mirror' and go through the 'looking-glass' to explore the reflections and realities that we encounter in the cultural mirror, which reflects the culture in question: its norms, ideals and values? What if the beautiful is inverted and becomes ugly; and the ugly is considered beautiful or shape-shifts into something conventionally thought of as beautiful? These are the fundamental questions that Basia Sliwinska poses in this important new enquiry into gender identity and the politics of vision in contemporary women's art.Through an innovative discussion of the mirror as a metaphor, Sliwinska reveals how the post-1989 practices of woman artists from both sides of the former Iron Curtain - such as Joanna Rajkowska, Marina Abramovic, Boryana Rossa, Natalia LL and Anetta Mona Chisa and Lucia Tkacova - go beyond gender binaries and instead embrace otherness and difference by playing with visual tropes of femininity.Their provocative works offer alternative representations of the female body to those seen in the cultural mirror. Their art challenges and deconstructs patriarchal representations of the social and cultural 'other', associated with visual tropes of femininity such as Alice in Wonderland, Venus and Medusa. The Female Body in the Looking-Glass makes a refreshing, radical intervention into art theory and cultural studies by offering new theoretical concepts such as 'the mirror' and 'genderland' (inspired by Alice's adventures in Wonderland) as critical tools with which we can analyse and explain recent developments in women's art.