POWER SHIFT

We wish to actively participate in an ongoing conversation about role of a woman in art
and social life.

Taking Manet’s painting as an example of a woman being at first an object of
observation, we analyse the role of a woman in social sphere and the art in the
1850’s. Here we have Olympia that just like Venus of Urbino from 1532 stares
straight at the viewer, unconcerned with her nudity. Although, it was her gaze and
details identifying her as demi- mondaine or prostitute that shocked contemporary
audience, the immodest and flashy behavior is something this woman takes pride in.
Yes, she poses nude and yes, she is a courtesan but with her gaze she demonstrates
that she is above it and here she is simply a product of feudal society where
possessing a right to women’s body was men’s residence.

With the work of Martha Rossler and her parody on Semiotics of the Kitchen we are
participating and questioning the role of SHE in domestic environment. Her gestures
demonstrate frustration with the language of domesticity, as she uses the domestic
space of the kitchen as a backdrop for resistance and change. This is because
Women are always teetering on the brink of liminal space between public and a
private. Society sets strict rules about women and their image in public. It's taken for
granted that women own the domestic sphere . They most definitely do not own the
public sphere or the public space. Public sphere and space in 1975 is dominated by
men and masculism.

It's time to look back at display and reinterpret what's given at the end of 2000s
when feminism is irrelevant. With the performance of Marina Abramovic that is
there to challenge our preconception of art and how we react to it, we reveal the
ugly side of human nature covering the relationship between man and woman that
were and are often having have to live in the clutches of the history and
expectations. Abramovic’s courageous and fearless act, discards her as a famous
artist- celebrity and instead focuses on seeing her as a woman behind the legend.

Text by Marta Marszalek