Künstlerinnen International (1877-1977): a ghost exhibition in the German feminist historical memory
On 9 March 1977, 'Künstlerinnen International (1877-1977)' opened in Charlottenburg, Berlin, a survey of international women's art over the last hundred years, inspired by the 1976 exhibition in Los Angeles. The political, social and economic situation in West Germany in these years w...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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2024
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| Schlagworte: | |
| Online-Zugang: | Volltext Abstract |
| Zusammenfassung: | On 9 March 1977, 'Künstlerinnen International (1877-1977)' opened in Charlottenburg, Berlin, a survey of international women's art over the last hundred years, inspired by the 1976 exhibition in Los Angeles. The political, social and economic situation in West Germany in these years was very complex, both because of the still looming presence of the Wall, and because of social struggles, urban guerrilla warfare and the terrorism of the Rote Armee Fraktion In this complex climate, women were once again demanding the right to abortion, a law that had been passed in 1974 only to be declared unconstitutional again in 1975. In this context, one understands the importance of an exhibition such as Künstlerinnen International which, as the catalogue states, 'would not have come about without feminist struggles'. For the first time in the history of German criticism and curating, the exhibition was curated by a collective of feminist artists together with literary critic Silvia Bovenschen. The aim of this contribution is not only to investigate the figure of Silvia Bovenschen, especially in relation to the staging of the exhibition Künstlerinnen International, but also to analyse the international significance of the exhibition for feminist art in those years. In particular, an attempt will be made to understand the reasons that, paradoxically, led this exhibition and Boveschen's work to be forgotten after a short time by official German historiography. What is the role of Künstlerinnen International for collective and feminist historical memory in Germany? What consequences did the exhibition have for contemporary Italian feminist art, considering that both Mirella Bentivoglio (an artist invited to the Berlin exhibition in 1977 and curator of "Materializzazione del Linguaggio" at the 1978 Biennale) and Lea Vergine ("L'Altra metá dell'Avanguardia") were aware of Bovenschen's intellectual and critical |
| ISSN: | 2531-9876 |
| DOI: | 10.6092/issn.2531-9876/19612 |
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| 520 | 3 | |a On 9 March 1977, 'Künstlerinnen International (1877-1977)' opened in Charlottenburg, Berlin, a survey of international women's art over the last hundred years, inspired by the 1976 exhibition in Los Angeles. The political, social and economic situation in West Germany in these years was very complex, both because of the still looming presence of the Wall, and because of social struggles, urban guerrilla warfare and the terrorism of the Rote Armee Fraktion In this complex climate, women were once again demanding the right to abortion, a law that had been passed in 1974 only to be declared unconstitutional again in 1975. In this context, one understands the importance of an exhibition such as Künstlerinnen International which, as the catalogue states, 'would not have come about without feminist struggles'. For the first time in the history of German criticism and curating, the exhibition was curated by a collective of feminist artists together with literary critic Silvia Bovenschen. The aim of this contribution is not only to investigate the figure of Silvia Bovenschen, especially in relation to the staging of the exhibition Künstlerinnen International, but also to analyse the international significance of the exhibition for feminist art in those years. In particular, an attempt will be made to understand the reasons that, paradoxically, led this exhibition and Boveschen's work to be forgotten after a short time by official German historiography. What is the role of Künstlerinnen International for collective and feminist historical memory in Germany? What consequences did the exhibition have for contemporary Italian feminist art, considering that both Mirella Bentivoglio (an artist invited to the Berlin exhibition in 1977 and curator of "Materializzazione del Linguaggio" at the 1978 Biennale) and Lea Vergine ("L'Altra metá dell'Avanguardia") were aware of Bovenschen's intellectual and critical | |
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| spelling | Della Ventura, Francesca Verfasser (DE-588)1199294098 aut Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory Francesca Della Ventura 2024 txt rdacontent c rdamedia cr rdacarrier On 9 March 1977, 'Künstlerinnen International (1877-1977)' opened in Charlottenburg, Berlin, a survey of international women's art over the last hundred years, inspired by the 1976 exhibition in Los Angeles. The political, social and economic situation in West Germany in these years was very complex, both because of the still looming presence of the Wall, and because of social struggles, urban guerrilla warfare and the terrorism of the Rote Armee Fraktion In this complex climate, women were once again demanding the right to abortion, a law that had been passed in 1974 only to be declared unconstitutional again in 1975. In this context, one understands the importance of an exhibition such as Künstlerinnen International which, as the catalogue states, 'would not have come about without feminist struggles'. For the first time in the history of German criticism and curating, the exhibition was curated by a collective of feminist artists together with literary critic Silvia Bovenschen. The aim of this contribution is not only to investigate the figure of Silvia Bovenschen, especially in relation to the staging of the exhibition Künstlerinnen International, but also to analyse the international significance of the exhibition for feminist art in those years. In particular, an attempt will be made to understand the reasons that, paradoxically, led this exhibition and Boveschen's work to be forgotten after a short time by official German historiography. What is the role of Künstlerinnen International for collective and feminist historical memory in Germany? What consequences did the exhibition have for contemporary Italian feminist art, considering that both Mirella Bentivoglio (an artist invited to the Berlin exhibition in 1977 and curator of "Materializzazione del Linguaggio" at the 1978 Biennale) and Lea Vergine ("L'Altra metá dell'Avanguardia") were aware of Bovenschen's intellectual and critical Künstlerinnen International, Silvia Bovenschen, Berlin, historical memory, feminist exhibition volume:8 number:2 year:2023 pages:251-268 Piano b Bologna, 2024 Vol. 8 n. 2 (2023), Seite 251-268 (DE-604)BV047137981 2531-9876 (DE-600)3053559-1 https://pianob.unibo.it/article/view/19612/18025 Verlag kostenfrei Volltext https://doi.org/10.6092/issn.2531-9876/19612 Verlag kostenfrei Abstract |
| spellingShingle | Della Ventura, Francesca Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory |
| title | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory |
| title_auth | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory |
| title_exact_search | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory |
| title_full | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory Francesca Della Ventura |
| title_fullStr | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory Francesca Della Ventura |
| title_full_unstemmed | Künstlerinnen International (1877-1977) a ghost exhibition in the German feminist historical memory Francesca Della Ventura |
| title_short | Künstlerinnen International (1877-1977) |
| title_sort | kunstlerinnen international 1877 1977 a ghost exhibition in the german feminist historical memory |
| title_sub | a ghost exhibition in the German feminist historical memory |
| url | https://pianob.unibo.it/article/view/19612/18025 https://doi.org/10.6092/issn.2531-9876/19612 |
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