Genealogías Feministas en el Arte Español: 1960-2010

Collective Exhibition

June 23, 2012 – January 31, 2013, Castile and León, Spain

Credits

Artists: Pilar Albarracín, Xoán Anleo/Uqui Permui, Pilar Aymerich, Eugènia Balcells, Cecilia Barriga, María José Belbel, Miguel Benlloch, Itziar Bilbao Urrutia, Esther Boix, Cabello/Carceller, Mónica Cabo, Mar Caldas, Carmen Calvo, Nuria Canal, Anxela Caramés/Carme Nogueira/Uqui Permui, Ana Casas Broda, Castorina, Mari Chordà, Montse Clavé, María Antonia Dans, Lucía Egaña Rojas , Itziar Elejalde, Equipo Butifarra, Erreakzioa-Reacción, Eulàlia (Eulàlia Grau) , Esther Ferrer, Alicia Framis, Carmela García, Ángela García Codoñer, María Gómez, Miguel Gómez/Javier Utray, Marisa González, Gabriela y Sally Gutiérrez Dewar , Yolanda Herranz, Juan Hidalgo, ideadestroyingmuros, María Llopis/Girlswholikeporno, Eva Lootz, LSD, Cristina Lucas, Jesús Martínez Oliva, Chelo Matesanz, Medeak , Miralda, Fina Miralles, Mau Monleón, Begoña Montalbán , Paz Muro, Paloma Navares, Ana Navarrete, Carmen Navarrete, Marina Núñez, Itziar Okariz, Isabel Oliver, O.R.G.I.A, Carlos Pazos, Uqui Permui, Ana Peters, Olga L. Pijoan, Núria Pompeia, Post-Op, Precarias a la deriva, Joan Rabascall , Amèlia Riera , Elena del Rivero, María Ruido, Estibaliz Sadaba, Simeón Saiz Ruiz, Dorothée Selz, Carmen F. Sigler, Diana J. Torres AKA Pornoterrorista, Laura Torrado, Eulàlia Valldosera, Video-Nou/José Pérez Ocaña, Azucena Vieites, Virginia Villaplana, Isabel Villar.

Commissioners: Juan Vicente Aliaga and Patricia Mayayo

Coordination: Koré Escobar, Carlos Ordás

The exhibition stems from the need to restore the erased memory of feminist knowledge, practices and genealogies in our country: it is important to recover and make visible the work of artists (some men, but especially women) who were unfairly shunned or forgotten; but it is even more important to reread the recent history of Spanish art from a different stance, with other keys and viewpoints. Not only has the legacy of feminisms been underestimated in the most traditional historiography, but also in many of the accounts of art creation in Spain that are supposed to be more ground-breaking or renovating.