International Exhibition of Modern Art at the Brooklyn Museum of Art

Boryana Rossa (Bulgarian, b. 1972). Jubilant the Next Twinkling (Praznuvane na sledvascia mig), 1999. Single-channel video, Edition of ii, 2 min. 45 sec. Private collection. Photograph courtesy of the artist

Boryana Rossa (Bulgarian, b. 1972). Celebrating the Next Twinkling (Praznuvane na sledvascia mig), 1999. Single-channel video, Edition of 2, ii min. 45 sec. Private drove. Photo courtesy of the artist

Ryoko Suzuki (Japanese, b. 1970). Bind, 2001. Lambda impress. Tokyo Metropolitan Museum of Photography. (Photograph: Courtesy of Zeit-Foto Salon, Tokyo)

In her Bind series, Ryoko Suzuki wraps her head with tightly wound pigskin that has been soaked in blood. The pigskin refers to the creative person's childhood memories, specifically of an English fairytale, Three Niggling Pigs, written past Joseph Jacobs. Claret symbolizes female sexuality and the artist's poignant transition from adolescence to womanhood. As the pare is tightly wrapped around her head, her features go warped, almost unrecognizable. Within the Emotions section of the exhibition, Bind stands as a symbol for pain, constriction, and the abject female body.

The idea of "pig is cute" was implanted in me by adults through a drawing, the "Three Picayune Pigs." However, convenance pigs I saw at a pig farm, when I was a child, were so huge and ferocious that I could never notice any cuteness in them. That was the first time I realized that the fairytale world was far from the reality, and I felt betrayed by adults. That is why I employ the "3 Little Pigs" as a symbol of lies and fictions given by adults, which become exposed sooner or afterwards in the process of a child's growth. The "Bind" serial expresses my inner cocky; a grown-up who left the globe given by my parents and other adults and caused my own thinking, and a woman who has to deal with the female sexuality. In the series, I leap myself with pigskin, which has been soaked in blood as a symbol of womanhood, as a symbol of the given world. I was thinking of my life, in which I had transformed from a kid who merely took what adults provided, to a woman who led her own life, while I wrapped up my eyes, nose, mouth, and ears with the pigskin. The series is a record of this action. —Ryoko Suzuki

Ingrid Mwangi (Kenyan, b. 1975). Static Drift, 2001. Two chromogenic prints mounted on aluminum, edition of v. Heather and Tony Podesta Drove, Falls Church building, Virginia. (Photograph: Courtesy of Galerie Anne de Villepoix, Paris)

In the photographic serial Static Drift, Ingrid Mwangi experiments with her own body, likening it to an open volume upon which her own national and racial lineage is both written and read. Here the artist transposes the borderlines of Germany and Africa onto her stomach by way of a stencil and exposure to the sun. National titles and geographic borders are displaced from their habitual contexts, causing one to contemplate what nationalism, skin colour, and ethnic identity hateful when physically inscribed on a body—especially a female body. Inside the dichotomy of Mwangi's personal biography (she was born in Nairobi and has lived in Germany for many years), the historical relationship between Deutschland and Africa, colonizer and colonized, oppressor and the oppressed, is also powerfully evoked.

Tania Bruguera (Cuban, b. 1968). Statistic (Estadistica), 1996. Material, human pilus of anonymous Cubans, thread, and fabric. Private collection, New York

From the Memoria de la postguerra serial, Estadistica was fabricated from homo hair nerveless from residents of Cuba. During a five-month collaborative project, Bruguera worked with artists and citizens from all over the isle who contributed their hair and assisted in the rolling or sewing of the work. After being rolled into cloth strips, the hair was then fastened to the piece of work'due south back up construction. The fabric is suggestive of the Cuban flag in its pattern and recalls the mourning flags flown outside homes on the isle. Its technique of fabrication recalls the role of women during the Cuban war of independence (1868–78), when they sewed what was at the fourth dimension a flag of liberation.

At the same time, Estadistica also represents Bruguera'south exploration of the mass exodus of Cubans to the United States in the 1980s. Of this she says: "What nosotros were left with looked like a landscape of trenches devastated by state of war, in which many of us who remained were exhausted, browbeaten, or disillusioned and changed our outlook or picked ourselves upward in a more personal, private style." Co-ordinate to Bruguera, each dodder of pilus in the work symbolizes an individual'southward state of being and contains a portion of their willpower and internal energy. In this manner, Estadistica stands as a powerful symbol of nationalism woven out of the collective daily being of ordinary people.

Pilar Albarracín (Spanish, b. 1968). Long Live Spain (Viva España), 2004. Production stills; video, 3 min. xxx sec., color, stereo sound. Lent by the artist. © Pilar Albarracín. (Photograph: Courtesy of the artist)

Global Feminisms

March 23–July 1, 2007

In celebration of the opening of the Elizabeth A. Sackler Center for Feminist Fine art, the Museum presents Global Feminisms, the get-go international exhibition exclusively dedicated to feminist art from 1990 to the present. The bear witness consists of work by approximately eighty women artists from effectually the world and includes work in all media—painting, sculpture, photography, film, video, installation, and functioning. Its goal is not just to showcase a large sampling of contemporary feminist fine art from a global perspective but also to movement across the specifically Western brand of feminism that has been perceived as the ascendant vocalisation of feminist and artistic practice since the early 1970s.This exhibition is arranged thematically and features the work of important emerging and mid-career artists.

The Brooklyn Museum presents exhibitions that give vocalisation to various points of view. Global Feminisms contains challenging subject field matter that some visitors may find disturbing or offensive. Children 17 and nether must be accompanied by an adult. Discretion is advised.

This exhibition is co-curated by Maura Reilly, Ph.D., Curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Linda Nochlin, Ph.D., Lila Acheson Wallace Professor of Modern Fine art, Institute of Fine Arts, New York University.

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Source: https://www.brooklynmuseum.org/exhibitions/global_feminisms/

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