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This project was born from friendship, passion, hope, optimism and a strong belief that we are the architects of our future. Last


winter Jenny Saville and I were seated next to each other at a Women for Women International lunch party at the House of Lords in London. We had both been invited as a way of saying thanks for our participation — she as an artist, me as a producer — in a project that raised money for the organization. Jenny and I knew we wanted to be more involved. Listening to Women for Women’s impetuous founder, Zainab Salbi, it came to us naturally that another art auction should be organized this year to support what WFWI is doing to help women in war-torn countries

Artists for Women for Women International Exhibition 27th September — 1st October 10.00 am — 6.00 pm

rebuild their lives and their communities. We decided to organize it together and wrote letters to artists we both admire to invite them to participate. It might feel sometimes that the world is falling apart and we don’t

6-24 Britannia Street WC1X 9JD

know what to do about it, or where to start. There are so many good causes to fight for. If I feel so committed to WFWI it is because there is no question that for a shift to happen, the situation of women must

Post-War & Contemporary Art Day Auction

be the starting point. While half of humanity is denied basic human

8 King Street, SW1Y 6QT

rights just because of its gender, how can we evolve as a civilization

Auction Saturday 15 October Viewing Sunday 9th October Monday 10th October Tuesday 11th October Wednesday 12th October Thursday 13th October Friday 14th October

Noon Noon – 5pm 9am – 8pm 9am – 5pm 9am – 5pm 9am – 6pm 9am – 3.30pm

Contacts Carolyn Hodler +44 (0)20 7389 2723 Edward Tang +44 (0)20 7389 2194

and make this world a better place to live? Women’s rights are the source of the solutions. And they concern all of us. As I’m writing, America is commemorating the anniversary of September 11th. What we westerners learned from this tragedy is that what happens in remote mountains on the other side of the world can have a dramatic impact on our lives. We believe that in places of war and violence, sustainable peace won’t be achieved without equality of rights for women. So let’s get involved! Nadja Romain, London, September 11th, 2011

Enquiries about Artists for Women for Women International Nadja Romain +33 (0) 6 84 64 99 97 Press Julia Huff, Purple PR +44 (0)20 7434 7082 Information about Women for Women International Philippa Halliday +44 (0) 20 7922 7765

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“Swarovski is honoured to support Artists for Women for Women International. This project is a wonderful means of raising funds, and of raising awareness for the exemplary work the charity carries out in making a difference to the lives of women affected by conflict.� Nadja Swarovski

Member of the Executive Board Swarovski Crystal Business

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I’ve been working in international development for seven years, and for the last two with Women for Women International. I’ve been fortunate to be able to spend time visiting projects and see how aid and development are delivered in many countries across Africa and Asia. Whilst I’ve always been happy to call myself a feminist, I felt that women’s equality had largely been achieved – other than in really extreme cases – until I started travelling with my development work. More often than not it was the women I met who were doing everything – not just the household and caring jobs, which are huge in communities without services and torn apart by HIV/ AIDS, but also the heavy-duty work on the land. And yet at meal times, I saw that the women and girls would always be the last to eat. And when it came to rights, forget it. That’s where the women were especially vulnerable. If they were widowed or separated from their husbands, then it was very rare, and often legally impossible, for them to inherit land. I spent the best part of a month in Nepal, working alongside Sumitra, who lives in a remote village in the foothills of the Himalayas and was campaigning – for the first time ever – for her right to have a say in how the land in her community is managed. Sumitra had never even seen a bus before, but she became her community spokesperson and joined with other women who travelled to the capital to demand their land rights. It was at this point that I met Zainab Salbi, and when she told me about Women for Women International and the way the organization worked, I felt that I had to be a part of it. I’m not alone in feeling this way. Every day I meet new supporters who feel equally moved by the Women for Women mission and the work we do. I know this is how Jenny Saville and Nadja Romain also feel. The power of this feeling and the compulsion to do something to act on it so we all can make a real difference in helping women in war-torn countries is quite staggering, and very inspiring. What is most striking about the work of Women for Women is that it makes such sense. A woman’s life is much better if she has an income; it gives her independence. That’s the same whether you’re an Afghani, British or Congolese woman. For most of us, it means having a job, with a reliable, sustainable source of income. So, the first thing that we do with women who enrol on one of our year-long programmes is to identify what market opportunities are open to them that also match their interests. These are usually in the informal local economy and, of course, vary from region to region, but agricultural and manufacturing work, such as food production or making bricks or clothes, are often key income sources. Sometimes they are more servicerelated, such as setting up a restaurant or hairdresser’s. Another favourite of mine is bee-keeping, which is big in the Balkans and Afghanistan. Women for Women provides specialized vocational training which more or less ensures that all women will go on to have a longterm sustainable income source and will no longer be reliant on aid or handouts.

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This is what we call ‘economic empowerment’. It’s an important part, but not the only part of the equation. Once underway with her job training, a woman can start to engage with the more emotional aspects of her healing and recovery. Violence against women is a scourge in most of our societies and in war-torn countries – where stress levels are very high and the fabric of society is being pulled apart – it can be horrific. Rape is commonplace. The women we help are in groups of seven to ten and, with a trained facilitator, have the safe space and support around them to share their experiences and draw strength from each other. It is quite humbling how much the women hold in, and they stay strong because they have to for their children and their families. But for them to be able to turn their lives around, our support is critical. We also provide rights awareness training. Sometimes, when a woman has been raped, her husband and his family will turn their backs on her as they say that she brings shame on them. Sometimes they will keep her children against their mother’s will. In most countries, this is illegal – but still it happens. So, to know that this is illegal can be the first step a woman can take to regain custody of her children. And then we provide useful wellness advice – such as hygiene and how to stay strong and healthy – which helps her to take back the power over her body, and to feel so much better about herself. This work makes a huge difference to each individual woman who goes through our programme – and since 1993 there have been 316,000 of them. We have a saying at Women for Women that ‘one woman can change anything and many women can change everything’. I find this so inspiring, and it’s this spirit that has driven the hugely successful Join Me on the Bridge campaign, which has been going for two years now and happens on International Women’s Day, 8 March. This year, 75,000 women and men met together on 464 bridges in 70 countries, all saying ‘No to War’ and ‘Yes to Peace’. This started as a grain of an idea between our Country Directors from Congo and Rwanda, who thought that it would be amazing to bring together women on the small bridge that connects their two nations, to show that by uniting, women can build the bridges of peace for our future. This is going to be the women’s century, and by being the women’s century I think it will also be the men’s century. This project, Artists for Women for Women International, is going to enable thousands more women to rebuild their lives. The power of each one of those women – and of all of us – to change the world is what we strive to unlock every day. Thank you so much to everyone who is supporting this project to make it happen.

Kate Nustedt UK Executive Director Women for Women International

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zainab Salbi

“Women’s rights are the bellwether for the direction of a society.”

Nadja Romain

a tertiary phase that was about striking a balance

What is your personal history with violence?

between expanding our operations and refining the

Zainab Salbi

original model. That is where we currently stand

The idea behind women for women goes beyond just

with the programme.

violence against women. It is about violence created


in war: the explosions, the casualties and the fear

content added to and enhanced?

that war generates. Besides the displacement and


the killing of loved ones, women during wartime

conflicts and post-conflict areas. We create

are specifically targeted and often abused or raped.

women’s centres, or places that I call women’s safe

My own experience with violence stems for my first

havens. At our centres are women who are largely

marriage; it was an arranged marriage that lasted

socially and economically excluded. We provide two

only three months. I married a verbally and sexually

kinds of training to classes of 25 women per class.

abusive man, which is my personal connection

One of our training classes teaches women about

to rape. The reason and spirit behind ‘Women

their rights and touches on subjects including

for Women’ is to understand war from a female

economy and politics, health, education and

perspective. I felt that I needed to acknowledge

society. We discuss everything from nutrition to the

women affected by war; to empower women by

importance of voting or sending their children to

helping them find a vehicle for their stories and

school. This type of training is predominantly about

assist them with the rebuilding of their lives.

raising women’s awareness and teaching them


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Women for Women started in reaction to the

How would you like to see the programme’s We work with women survivors of wars in

about their rights.

atrocities perpetuated against women during the

A second training we provide teaches women

war in Bosnia, such as the infamous rape camps of

vocational and business skills such as where they

Milosevic. You started the organisation in the United

can acquire compensated employment and sustain

States and brought it to Bosnia where you opened an

their income. In this training we teach skills like

office to assist women survivors. The organisation

commercial farming, soap production and the

has since grown rapidly. How did you develop the

manufacturing of various commercial goods. We

programme and what were the different stages?

teach basic business skills, including how to open

ZS During the first four years of the organisation

a bank account, write a business plan, and basic

I focused on the content and the model of the

numeracy, with the expressed aim of providing them

programme: what we do, how do we do it. Once

with the rudimentary skills necessary for obtaining

that was established the next steps happened

work at the end of the programme. A global

organically and were much more outward looking.

sponsorship initiative makes this training possible.

We needed to find a way to generate attention and

Women from around the world sponsor one woman

we were fortunate enough to catch the attention

by donating $30 per month, or £22 per month. The

of Oprah Winfrey, which generated enormous

sponsorship includes a regular exchange of letters

public awareness of our organisation. We reached

and pictures between women as a gesture of support

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during the one-year training programme. This is

NR Over the years, have you seen a shift in

a basic summary of our services. So far we have

consciousness in the places you’ve been working?

helped 300,000 women, affected positive change

ZS I see a shift of consciousness in the women

in the lives of 1.4-million family members, and

themselves. There is also a shift in consciousness

distributed $95 million to outreach programmes for

for some of their husbands. Often husbands come

women. Job accessibility is another aspect that can

to us saying “thank you so much for helping my

always be improved. Women, in my opinion, learn very

wife; she’s happier” or cleaner or working, so we’re

fast about their social, political, health and education

finding out—which is, I would say, basic knowledge—

rights. It is much harder, not only for woman but

the happier the woman is, the cleaner, the more

for men, to create job opportunities, particularly in

independent she might be, which is ultimately better

economies that are static. Now we’re working on

for marriages. This feedback lets us know that we

public and private sector partnerships. In Rwanda,

have an impact on the women and their families.

for example, we’re looking into possible partnerships with home construction in the country. We can teach women to make bricks that they can supply housing developers with to build homes in Rwanda.

NR What’s the profile of your female country directors? ZS These women have each gone through their own journeys. None of them are women who have been cut off from society or who are a part of the elite.

NR Do you get any support from local governments?

Each director faced the horrors of war in different

ZS We receive different types of support from

ways. From the Bosnian director who was living in

different governments. It’s rarely cash, and mostly

besieged Sarajevo for four years, worrying about

government endorsements. This could mean

food and surviving, to the Congolese director who

anything from allowing us to operate independently

became a refugee herself. Then there is the Rwandan

in their countries to not interfering with our

director who lost her entire family to genocide.

programmes. This is immensely helpful, especially

Every director’s story is different. Their commonality

in places like Rwanda, where the government

is that they all have heart and soul, leadership

leased us land for a $100 an acre or sometimes a

and business skills. I feel so committed to their

$100 a year for two hundred acres. It’s a symbolic

determination to build their business and develop

payment and that’s how they are supporting us.

their leadership skills. Absolute commitment to our

Most countries don’t have access to cash, but can

cause and to the issue that we support is critical to

help us get access to land; or they pave a road to

them. They are concerned with much more than just

make land accessible to us and so on. That’s the

building their business skills. They carry the torch of

kind of support that we get from governments.

our organization and for that, I love them

NR Do they realize the importance of your work in

NR Which country are the most in need?

terms of educating the population and building better

ZS African countries: Congo, Rwanda, Southern


Sudan and Nigeria. Those are the places where we

ZS They usually don’t get it. I will never forget the

need the most support and where the support has

time that I was sitting next to an Iraqi Prime Minister,

the highest and most immediate impact.

who, when I told him that I run an international

NR How is the situation in Iraq after the war? Did the

group called Women for Women, looked at me and

conditions of women improve or get worse?

laughed. Men usually make a lot of jokes about the

ZS Legally speaking it is better. Now there are

name Women for Women. But in this particular case

women in the parliament, they have more equal

with the Iraqi Prime Minister, I had a report with me

rights and they can be part of the diplomatic

based on a survey of women that detailed what they

proceedings. Where fighting is worse, because of

thought of his current government and the changes

insufficient security and continuing violence, we

they wished to see. In a second he transformed from

see women retreating back into their homes. In

someone who makes jokes about our organisation

efforts in Rwanda to find and create work for 10,000

these places fewer women are working. Socially speaking, things are worse. Again, because of continued violence, the vast majority of women are being more socially conservative in their attire by wearing headscarves. Iraq was a country that was always accepting of both, but right now, if you are a woman that does not wear a headscarf, you are part of the minority. When I grew up in Iraq, which is only twenty years ago, women that wore headscarves were part of the minority. I don’t take issue with

women a year is very significant for the country.

this decision, but I do take issue when there is no

to someone who was actually interested. I presented our research to him, reminding him that these were his constituents that can put or remove him from office. I reminded him that, at a grassroots level, women do have power. Some governments are supportive. Rwanda’s government knows that we are helping build their economic development. Our

space for women to express themselves in the way

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“We have been running the world from a very male oriented perspective for the longest time.” space for women to express themselves in the way

running the world from a military perspective. If

they want to. So in that sense, since the American

you take the U.S. in Afghanistan for example; the

invasion of Iraq, life for women has became more

predominant discussion is about the military. I am

socially conservative and that is due in part to

not a military expert, but I do know that we have been

economic hardship and violence.

seeing things and solutions purely from a military

NR Does Afghanistan seem to be the worst place though? ZS Afghanistan breaks my heart. Women are really

other ways of addressing difficult social issues.

trying to stand on their feet and work hard. I met

The military doesn’t bother to think about women.

women who rebuilt their lives while our governments

They have a very linear approach to social

made compromises on women’s issues. It breaks my

governance and it is about killing and damage.

heart because the starting point in Afghanistan is very

The military doesn’t necessarily think about how

different from the one in Iraq. Iraq’s starting point

woman actually play a major role in society. They

was actually decent for women. In Afghanistan, the

are a major asset to be tapped into and we have to

starting point was really bad but slowly progressed.

activate them. We have been running the world from

We are not certain if they can hold off and continue

a very male oriented perspective for the longest

that progression or not.

time. Unless we wake up we will destroy ourselves,

There is a debate right now about how long NATO can stay in Afghanistan. The debate is about how to compromise with the Taliban. A lot of the politicians that I speak with say women will have to compromise but that their compromise will be marginal, concerning things like dress and social mobility. For any compromise is a problem. Women’s rights are a bellwether for the direction of a society.

especially if we continue to run the world from a purely male perspective. We must incorporate a woman’s perspective into the agenda and we must look into alternative solutions to the ones that we have. Media coverage about Afghanistan or Iraq is from a military perspective on the frontline. There is rarely any serious discussion about women’s stories behind the frontline. Frankly, I spend as much of my time as possible raising awareness about what it

NR It is shocking that NATO and our governments are

means to be a woman in conflict and post-conflict

ready to compromise on women’s rights. What kind of

countries. I raise awareness about the implications

equality and peace can be achieved that way?

of making compromises on women’s rights, and

ZS Precisely! It is actually impossible to gain peace and

the benefits of energising women by giving them

equality agreements, or stability, if we compromise

economic opportunities.

on women’s rights. The compromise will start with women but it will not end there. It’s very hard to argue that one can happen without the other.

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perspective. We don’t allow room for examining

NR What is the project If You Knew Me You’d Care? ZS Where war is concerned, we usually see woman portrayed as victims. And in my experience of being

NR You are a key campaigner for raising awareness

in a war myself and working with women that

about the discrimination of women in places where

survived wars, I can say, in a manner of speaking,

issues like equal salaries are less important than

yes they are victims. But also there is a whole other

rights like access to food, healthcare, education. Why is

aspect to their identity. These women have hopes,

it still so difficult to raise awareness about these basic

dreams, courage, resilience, accomplishments,

issues? What you are saying about Afghanistan does

and amazing power and strength. They love, hate,

not even make headlines and it should, it does affect

forgive, become furious, have mercy, and dream of

us. There is a ripple effect to the situations created by

peace. When we narrow down their identity to one

violence against women in a country like Afghanistan.

aspect we are missing out on who they are and not

ZS There is a Talmudic saying that goes “we see

connecting with them in a comprehensive way. If I

things as we are, we do not see things as they are,”

told you about, let’s say, an Afghan or a Congolese

and for a very long time in history we have been

woman who has been raped by a soldier, and if I

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told you that she doesn’t know when she became

raped and all of her children and her husband were

HIV positive or how she got pregnant and lost her

killed. She was pregnant when she was raped, and

child in the middle of the pregnancy; or that she lost

the soldiers left her with her stomach cut and the

everything in her life because she spent it on her

baby killed when she woke up. She miraculously

healthcare, it would be hard for you to identify with

survived and was dancing on the bridge saying,

that woman. Women in the western world rarely

‘Enough is enough. I am done with all the rape,

get raped by a soldier or encounter any of these

whether it is against Rwandan women or against

life chances, but they might have more of a support

Congolese women. It does not matter.’ So it

network than the Congolese woman ever had.

started with this very beautiful feeling in the first

What if I gave you a fuller picture of this Congolese woman’s life? What if I told you that she wanted to be a doctor when she was a child but her father died when she was 13 and she had to leave school to work and support her family? Or what if I told you about a woman who, at the age of 19, fell in love with a nice boy, married him, and had many children. They lived happily for many years until her husband started drinking too much and beat her so violently that she had to go to the hospital. Is the story then

year. Women from twenty countries organized on their own and some of them we knew, some of them we helped organize. Others we did not know, but the following year women from 76 countries started organizing themselves in 468 cities. We only organized ten ourselves. The spirits of these women are wonderful, especially when they get together on bridges and speak up. It is time with a capital T. This is the time for women to rise, unite and speak up, not tomorrow, but today!

more understandable if the information about the

NR What advice would you give to anyone that wanted

rape follows a more relatable background about

to become an actor in a new global society where

the woman?

women’s rights are respected?

There are all these points of suffering. There are many women who wanted to be a doctor and could not. There are many women who fell in love and there are many women who were abused by their husbands. We can relate better and assist better when we know a complete story about a person. The whole spirit of If You Knew Me You’d Care is actually through portraits and interviews. I worked with the photographer Rennio Maifredi to create a link among women from different parts of the world, even though the circumstances are different. NR You have initiated the global campaign ‘Join me on a Bridge’ which is now becoming a worldwide movement for women’s rights and sustainable peace.

ZS I would say that the journey always starts with you. I would ask what is the action in your life that makes you feel truer to yourself, your values, and your happiness? You can’t save others if you are not saving yourself first, and you cannot help others if you are not helping yourself first. So my first advice is start with yourself. When the self is healthy then it is easier to reach out to others, and this does become about serious giving. There are so many ways of helping others in your communities or different places throughout the world. At Women for Women I ask women to sponsor a woman and that is one way of going about helping another woman from far away. But that’s only one

How was it started?

way. How can we connect with other women in our

ZS I was in the Congo and Rwanda a couple of

own communities and meet on our own bridges

years ago with both our Congolese and Rwandan

for raising awareness? Again, for me, it starts

directors. I asked them how they felt about getting

with yourself, then your community and then the

together on a bridge that links the two countries and

world. And you can do it all at the same time but

together announce, ‘enough violence!’ It started

you can’t do anything if you have not taken care of

from the simple idea for Congolese and Rwandan

yourself. It’s like a relationship between a mother

woman to connect with each other and to build

and child on a plane. Put the seatbelt on first and

bridges of peace by speaking up about what is

then go to the world. If it’s the opposite way around

happening to them. The first year was beautiful.

then it is unhealthy.

One of the women from Rwanda was dancing on her way to the border to that bridge. She was gang

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DRAWING RESTRAINT 17: Evelyn McHale cast polycaprolactone on May 12, 1945 edition of Life Magazine in artist’s high density polyethylene frame 16 1/2 x 13 1/2 x 3in. (41.9 x 34.3 x 7.7cm.) Executed in 2011, this work is number one from an edition of ten plus two artist’s proofs £7,000-9,000 / US$11,000-14,000

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in Japan featuring Barney and his partner Bjork, who also wrote the soundtrack. Between 1994 and 2002 Barney developed another film epic that explored the process of creation: the Cremaster Cycle. The series also unfolded through

Born in San Francisco, 1967; lives in New York.

photographs, drawings, sculptures and installations.

Matthew Barney hit the artworld like a meteorite at

The cremaster is the muscle which controls testicular

the begining of the ’90s. The Yale graduate, whose

response to external stimuli and ‘the project is rife

ongoing series Drawing Restraint was first staged

with anatomical allusions to the position of the

at the university’s athletics complex, fascinates

reproductive organs during the embryonic process

with an enigmatic body of work, a universe of

of sexual differentiation … As the cycle evolved over

hybrid creatures and singular cross-media fusions

eight years, Barney looked beyond biology as a way

of film, performance and installation that have

to explore the creation of form, employing narrative

established him as one of the most important

models from other realms, such as biography,

American artists of his generation.

mythology, and geology.’ (Nancy Spector).

Barney’s entire artistic practice investigates the

Barney received the Europa 2000 prize in 1993 and the

development of form, and the Drawing Restraint

Hugo Boss Prize in 1996. He has exhibited worldwide,

series has its origins in the idea that form

including at the San Francisco Museum of Modern

emerges through struggle against resistance.

Art (1991 and 2005); the Solomon R. Guggenheim

This concept is based on Barney’s athletics

Museum, New York, Musée d’Art Moderne, Paris

experience. The body is seen as a metaphor for

and Museum Ludwig, Cologne ( 2002–3); and the

the creative process, a productive state based

Serpentine Gallery, London (2007). He conceived the

on unresolved tensions between desire, stored

performance piece Guardian of the Veil for the 2007

potential and repression. If the earliest works

Manchester International Festival; and collaborated

in the series were performance-based actions

with Elizabeth Peyton on Blood of Two, performed on

applying athleticism to aesthetic purpose, in 2005

the Greek island of Hydra in 2009. He is represented

Drawing Restraint 9 appeared as the high point

by Barbara Gladstone, New York and Brussels, and

of the series, a feature-length narrative film shot

by Sadie Coles, London.

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There is a Land of Pure Delight signed and dated ‘Cecily Brown 2011’ (on the reverse) oil on linen 23 x 31in. (58.4 x 78.7cm.) Painted in 2011 Donated by the artist. £40,000-60,000 / US$90,000-120,000

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Born in London, 1969; lives in New York. Graduating in 1993 from the Slade School of Fine Art in London, Cecily Brown quickly established herself as a key figure in the resurgence of painting of the late ’90s. Each painter has to deal with the history of the medium and Brown — the daughter of major British art critic David Sylvester, whose writings were very influential in promoting the careers of Lucian Freud and Francis Bacon — demonstrates a breathtaking talent for looking at and understanding the work of her colleagues and predecessors. Her art celebrates painting itself as an essentially sensual and physical process and her erotic imagery, which combines figuration and abstraction, derives from sources as diverse as the paintings of Poussin, Rubens, Bacon, Willem de Kooning and Philip Guston, pornographic magazines, comic books and Hollywood movies. Painting is often seen as a macho practice: Renoir used to say he was painting with his penis and Cézanne claimed his painting was ‘couillarde’ (ballsy). Cecily Brown reveals the power of female energy. Many critics underline the teasing, almost flirtatious, aspect of her work, the frenzy of the brush always struggling with restraint. ‘Her paintings are about looking; looking to discern an image, a story, a narrative; but also looking as a form of voyeurism, transgression and violation and the mutual perversion this implies. Sex is the most obvious subject matter to tease the guilty viewer and … has provided a perfect subject for her early explorations into painterly narrative.’ (Suzanne Cotter) In 1997 Brown made a spectacular debut in New York – where she had moved in 1994 – with a solo show at Deitch Projects. She joined Gagosian Gallery in 1999 and has had solo exhibitions in major museums including the Hirshhorn Museum and Sculpture Garden, Washington, DC (2002), Museo Reina Sofía, Madrid (2004), Museum of Fine Arts, Boston (2006), IA and Modern Art, Oxford (2005), and GEM (Museum of Contemporary Art), The Hague (2010). She is represented in the US and UK by Gagosian Gallery and in Germany by Contemporary Fine Arts, Berlin.

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Cecily signed and dated ‘Chuck Close 2011’ (lower edge) colour digital pigment print overall: 55 x 47in. (139.7 x 119.4cm.) image: 48 1/2 x 40in. (123.2 x 101.6cm.) Executed in 2011, this work is from an edition of ten Donated by the artist. £10,000-15,000 \ US $16,000-23,000

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“No culture can truly be free as long as more than fifty percent of its population is denied equal opportunity. Nor can that community progress and grow without seeking and incorporating the opinions, knowledge, advice and the brain power of half of its citizens. Gender inequality remains our greatest challenge and ending it our greatest opportunity.”

Born in Monroe, Washington in 1940; lives in Bridgehampton, New York. Chuck Close has been a major figure of contemporary art for the past four decades. A University of Washington, Seattle and Yale graduate, he gives up what he calls “virtuoso brushmanship” to develop a system made of self imposed limits to build

“painting experiences for

the viewer“. Close typically begins with a photograph of a face, creating a painting or print through a complex grid-based reconstruction of the image that he accomplishes by hand through one of many techniques that are unique to his work. A hyperrealist, his works are usually portraits of himself, his family or friends produced on a very large scale. He first exhibited at the Museum of Modern Art, New York in 1973. Two years later the public discovered what is now one of his most famous image Linda (1975-76), a 9-foot-tall blow-up of a color photograph of the subject’s face, with every wrinkle, hair and pore rendered in merciless detail. “My art has been greatly influenced by having a brain that sees, thinks, and accesses information very differently from other people’s. I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me twenty years after the fact when I looked at why I was still painting portraits, why that still had urgency for me” The work figured here is a portrait of the artist Cecily Brown. Close’s paintings are labor intensive and time consuming, so are his prints that can occupy him for many months. Close has complete respect for, and trust in, the technical processes — and the collaboration with master printers — essential to the creation of his prints. The creative process is as important to Close as the finished product. He is represented by Pace Gallery.

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All/Ball signed, titled and dated ‘Michael Craig-Martin 2011 ALL’ (on the reverse) acrylic on aluminium 78 3/8 x 78 3/8in. (199 x 199cm.) Donated by the artist. Executed in 2011 £15,000-20,000 / US$23,000-31,000

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“I believe that the only certain way to raise living conditions amongst the poor across the world, to improve heathcare and education, and to reduce the possibility of war and conflict is by supporting women in every society — helping to raise their conditions and social and economic status. More than any other charity I know, Women for Women International works directly to realize this basic hope for all humanity.”

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Born in Dublin, Ireland, 1941; lives in London. Michael Craig-Martin grew up in the United States and graduated from Yale University School of Art. He came to Britain in 1966 and has lived there ever since. His early works made deliberate reference to the American artists he admired most: Donald Judd, Jasper Johns, Robert Morris. Convinced of the supremacy of the artist’s intention over the object itself he began to use everyday items to make conceptual artworks such as An Oak Tree (1973) but, prompted by a growing frustration with the limitations inherent in the use of actual objects, soon began to make drawings of them instead. In the 1980s, Craig-Martin was a tutor in the Department of Art at Goldsmiths College, University of London, and became a key figure in the emergence of the generation of Young British Artists, including Liam Gillick, Damien Hirst, Gary Hume, Sarah Lucas, Julian Opie and Fiona Rae. Craig-Martin’s work is in many public collections, including the Museum of Modern Art, New York, and Tate, London. In the past fifteen years he has made site-specific installations and held exhibitions in numerous museums and public galleries including the Kunsthaus Bregenz, the Centre Georges Pompidou, Paris, the Kunstverein Hannover, and the National Art Center, Tokyo. He is represented by Gagosian Gallery and Alan Cristea Gallery.

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Goddess-In-Reverse signed, titled and dated ‘“GODDESS-IN-REVERSE” Tacita Dean 2011’ (on the reverse) embroidery in artist’s frame 8 x 6 x 1in. (21 x 15.2 x 4cm.) Executed in 2011 Donated by the artist. £1,500-2,500 / US$2,300-3,800

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Born in Canterbury, England, 1965; lives in Berlin. After graduating from Falmouth School of Art in 1988, Dean pursued her Masters degree at the Slade School of Fine Art where she studied between 1990 —1992. Though Dean is known for utilizing a wide range of media, including sound, photography and drawing, she is best known for her work with 16mm film. Her highly original films capture moments in ways that paintings or photography cannot. In Craneway Event (2009), Dean explores latemodernist culture near the edge of extinction in an Albert Kahn building from the 1930s. She looks at a moment in time lost by filming three afternoons of choreographer Merce Cunningham (1991 — 2009) and his dance company practicing in a disused Ford assembly plant in Richmond, California. In 1998 Dean was nominated for the Turner Prize for her film, Disappearance at Sea. The collection of stories about personal encounters with the sea was inspired by the 1969 disappearance of Donald Crowhurst, an amateur sailor who went missing during a Sunday Times Golden Globe Race. The film follows a revolving beacon in the St. Abb’s Head Lighthouse in Berwickshire. Sounds of the sea and the clunking beacon are heard in the background as the day turns to evening, conjuring a sense of departure. The sea has been a recurring theme in Dean’s work since the mid-1990s. Her more than 40 films and other works have appeared in solo shows in museums throughout the world, including: Witte de With Center for Contemporary Art, Rotterdam

(1997); Institute

of Contemporary Art, Philadelphia, with US tour (1998);





(2000), MACBA, Barcelona (2001); Tate St Ives (2005); Schaulager, Basel Tacita Dean. Analogue: Films, Photographs, Drawings 1991–2006 (2006); Guggenheim Museum[The Hugo Boss prize 2006 Tacita Dean 23 February – 6 June (2007); Still Life, Palazzo Dugnani, Nicola Trussardi Foundation, Milan (2009). She is represented by Frith Street Gallery.

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Untitled (woman lying down and insect) monoprint on calico 13 x 15in. (33 x 38cm.) Executed in 2005 Donated by the artist. ÂŁ3,000-5,000 / US$4,600-7,500

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Tracey Emin

“A lot of women need protecting and looking after in this world and women understand that more than anyone.”

(1993). Entitled My Major Retrospective, the show told her life story, mostly set in Margate. The piece that brought her to fame was Everyone I’ve Ever Slept With 1963-1995. In it, Emin used the process of appliqué to inscribe the names of lovers, friends and family onto a small tent into which the viewer had to crawl, becoming both voyeur and confidante. This piece was bought by Charles Saatchi and included in the successful Sensation show at the Royal Academy of Arts, London (1997). In 1999, her work, My Bed, was shortlisted for the Turner Prize. Here, she exhibited her own bed covered with objects and traces of her struggle with depression during relationship difficulties. The piece generated much controversy due to the presence of bodily fluids on the sheets and the

Born in Croydon, 1963; lives in London. Emin is one of the leading figures of the group known as the YBA (Young British Artists) and recognised for her deeply confessional art. Emin’s work is known for its raw honesty and often sexually provocative attitude that firmly locates it within the tradition of feminist discourse. She uses a wide range of media in her exhibitions, from appliquéd blankets and needlework to videos, animations, photographs, watercolours, sculptures and intensely personal drawings and paintings. Her interest in the work of Edvard Munch and Egon Schiele particularly informs Emin’s paintings, monoprints and drawings.

items strewn on the floor, such as empty bottles, cigarette packets and a pair of knickers. Emin has exhibited extensively all over the world. She represented Britain at the 52nd Venice Biennale in 2007. In the same year, she was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, London, a Doctor of Philosophy from London Metropolitan University and a Doctor of Letters from the University of Kent. The first major retrospective of Emin’s work was held at the Scottish National Gallery of Modern Art in Edinburgh in 2008. In 2011, a major survey exhibition at the Hayward Gallery in London consisted of work from all aspects of Emin’s art practice and rarely seen early works.

She graduated in fine arts from Maidstone College

She also made a new series of outdoor sculptures

of Art in 1986, before moving to London to study

especially for this solo show. Shortly before Louise

at the Royal College of Art, where she obtained an

Bourgeois’ death, Emin collaborated with the artist

MA in painting. In 1989, she decided to destroy the

on a series of paintings, the result of which was

majority of her art, beginning to work again only

the exhibition Do Not Abandon Me at the Hauser &

several years later, producing confessional letters

Wirth gallery, London (2011). She is represented by

and combining them with mementos from her

White Cube, London and Lehman Maupin New York.

youth. Emin presented this work at her first solo exhibition at the White Cube Gallery in London

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Nocturnal (Neon Miniature) signed, titled and dated ‘Teresita Fernández Nocturnal (Neon Miniature) 2011’ (on the reverse) solid graphite and acrylic on panel 6 x 8 x 2 1/2in. (15.2 x 20.3 x 6.4cm.) Executed in 2011 Donated by the artist. £4,000-6,000 / US$6,000-9,000

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Teresita Fernández

in 2000 and “Bamboo Cinema”, a project for the Public Art Fund, installed in Madison Square Park, New York, in 2001. Fernández has been the recipient of numerous fellowships and awards both in the U.S. and

Born in Miami, 1968; lives in Brooklyn. Fernández is a

abroad, including the 2005 MacArthur Foundation

sculptor and artist whose work is characterized by an

Fellowship, a 2003 Guggenheim Fellowship, and

interest in perception and the psychology of looking.

the 1999 Louis Comfort Tiffany Biennial Award.

The work presented here is made of graphite, a

Fernández has also completed residencies in

material that has become part of Fernández’s unique






Lehmann Maupin Gallery, New York, in 2009.

and in 2011 was announced as the first artist to take part in the John Hardy Artist Residency

Referring to Borrowdale, in Cumbria, England,

Program in Ubud, Bali, Indonesia.

where graphite was first discovered and mined in

She has been featured in numerous solo

the 1500s, Fernández pushes the boundaries of

exhibitions internationally and abroad including

the medium. Re-imagining the graphite landscape

the Corcoran Gallery, Washington, D.C. (1997),

of Borrowdale, the works challenge the notion of

the Institute of Contemporary Art, Philadelphia,

what constitutes a drawing and feature optical

PA (1999), the Witte de With, Rotterdam (2001),

illusions, a signature of Fernández’s style.

Castello di Rivoli, Torino, Italy (2001), the Miami

The Nocturnal Series, to which this piece belongs,

Art Museum, Miami Florida (2002), Lehmann

is a group of landscapes that are at once painting, conventional drawing and sculptural relief. From afar, they suggest dark, monochrome minimalist paintings. As the viewer moves closer, they slowly reveal detailed and lustrous romantic landscapes. Like a drawing over a drawing, the

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Japan, Italy, and at ArtPace in San Antonio, Texas

Maupin Gallery, New York (2009), and the Setouchi International Art Festival, Naoshima, Japan (2010). Recent solo exhibitions include Blind Landscape, Contemporary Art Museum, University of South Florida Tampa; Blanton Museum of Art, Austin, TX; Teresita Fernández will have a solo exhibition at the

graphite – carved, polished, layered and drawn

Metropolitan Museum of Art.

on – reflects light to depict luminous night scenes

Teresita Fernández’s work is included in many

of oddly familiar but mysteriously displaced sites.

significant private collections as well as in the

In this piece, the artist adds a bit of color in her

permanent collections at the St. Louis Art Museum;

exploration of landscape.

the Museum of Contemporary Art, Miami, FL; the

Fernández had her first solo exhibition in 1995

Miami Art Museum, Miami, FL; the Walker Art

at the Museum of Contemporary Art, Miami,

Center, Minneapolis, Minnesota; the Sammlung

and since then has regularly exhibited her work

Goetz, Munich; and Albright-Knox Gallery Buffalo,

worldwide. The artist’s recent projects and

New York. Teresita Fernández lives and works

commissions include a commission for the Seattle

in Brooklyn, New York. She is represented by

Art Museum’s Olympic Sculpture Park, a special

Lehmann Maupin Gallery and Almine Rech,

project for the Museum of Modern Art, New York


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BODY XXIII signed, titled, dated and inscribed ‘Body Antony Gormley for Artists for Women 2011’ (on the reverse) carbon and casein on paper 30 x 22in. (77 x 56cm.) Executed in 2011 Donated by the artist. £8,000-12,000 / US$12,000-18,000

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Born in London, 1950; lives in London. Since attending Central Saint Martin’s College of Art and Design and Goldsmiths College in London, over the past 25 years Antony Gormley has become a dominant figure in contemporary art. He revitalized the human form in sculpture through a radical investigation of the body as a place of memory and transformation. “I am interested in the body”, he says, ‘because it is the place where emotions are most directly registered. When you feel frightened, when you feel excited, happy, depressed somehow the body registers it.’ The drawing shown is part of a series simply called BODY. “Drawing is a way of thinking and feeling beyond the body. A drawing is the trace of a movement of vitality but might help in imagining spaces that the body can never experience (perhaps deep in the darkness of the lower oceans or in space beyond the reach of human time). To experience the body we have to test and be aware of its limitations. We, as material beings in a material world, are bound to base our intellectual horizons on perceptual ones: drawing can be a means of transcending this limitation.” Gormley was awarded the Turner Prize in 1994 and received the Order of the British Empire (OBE) in 1997. He is an Honorary Fellow of the Royal Institute of British Architects and has been a Royal Academician since 2003. In March 2011, Gormley received the Laurence Olivier Award for Outstanding Achievement in Dance for the set design for Babel (Words) at Sadler’s Wells in collaboration with Sidi Larbi Cherkaoui and Damien Jalet. He has participated in major group exhibitions including the Venice Biennale (1982 and 1986), Documenta VIII, Kassel, Germany (1987), the Sydney Biennale (2006) and the International Sculpture Biennale of Carrara (2008 and 2010). Solo exhibitions include those at the National History Museum, Beijing (2003), Fundaçao Calouste Gulbenkian, Lisbon (2004), MADRE, Naples (2005), Hayward Gallery, London (2007), Kunsthal, Rotterdam (2008) and the Kunsthaus Bregenz (2010). Antony Gormley is represented by White Cube.

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Isobel Coleman is a senior fellow at the Council on Foreign Relations (CFR) in New York, where she directs CFR’s Civil Society, Markets, and Democracy Initiative and the Women and Foreign Policy Programme. Her areas of expertise include democratization, civil society, economic development, regional gender issues in the Middle East and South Asia, educational reform, and microfinance. Her writing has appeared in publications such as Foreign Affairs, the Financial Times and the International Herald Tribune. She is the author and co-author of numerous publications including, Restoring the Balance: A Middle East Strategy for the Next President (Brookings Institution Press, 2008), and Strategic Foreign Assistance: Civil Society in International Security (Hoover Institution Press, 2006). In her latest book Paradise Beneath Her Feet: How Women Are Transforming the Middle East (Random House, 2010) Isobel Coleman shows how Muslim women and men are fighting back with progressive interpretations of Islam to support women’s rights in a growing movement of Islamic feminism

Nadja Romain Was it a special interest in Middle

Women really didn’t have any rights before that point.

Eastern culture that first brought you to the region?

If you read the history of Islam, there were many very

Isobel Coleman I was brought to the region through

strong, important, powerful women within the early

politics rather than culture. This is a part of the world

days of the Islamic faith who played a very major

that is very important strategically and, of course,

role in establishing the religion. The Koran contains

the region has many challenging issues. As my

certain rights for women that they didn’t previously

background is development economics and political

have. Many Islamic feminists will say that, for the

science, I find the Middle East very compelling, but

time, it was very progressive, if not revolutionary.

I really started looking at it because it’s such an

The problem is that it didn’t keep up with the times.

important part of the world strategically.

So what they’re trying to do now is, in effect, to

NR Zainab Salbi says about your book, Paradise Beneath Her Feet, ‘It is a page turner, I am coming

NR In a conference, I heard you talking about a TV show

at this from a Muslim woman’s perspective, as well

in the Middle East, inspired by an American TV show

as from the perspective of a woman from the Middle

called The View, where women talk about their situation

East. For once we have someone talking about

and every issue concerning their daily lives. You said

Muslim women with such integrity’. In the book,

that the show attracts a large male audience. It’s quite

what you establish is that in a very conservative

paradoxical, how there can be this kind of conversation

Islamic environment, we Westerners can’t impose the

on TV yet so many limitations placed on women in the

empowerment of women. It has to be found within the

outside world.

community itself, which is common sense, but when

IC I think the reason so many men watch a show like

you talk about Islamic feminism, at first glance, it

that is because they have limited opportunities to talk

seems like an oxymoron. Is there an Islamic feminism?

to women in real life, and so for them it is a window

IC Well, I think that Islamic feminism is exactly that. It

into women’s worlds. I mean, certainly they can speak

does sound to many ears like an oxymoron but, really,

with their mothers and sisters, but in many countries,

it is a combined effort between women and men that

gender relations are very constrained and there’s

will help achieve greater rights for women within

a real difficulty for men and women to just talk to

an Islamic framework. And it is very important for

each other if they’re not directly related or they’re not

women’s movements there to have something much

pursuing marriage. It’s a very constrained society so I

more local and indigenous. It is important for them

think that’s part of the reason why young women and

to know that they’re not simply adapting something

men really take to new forms of social media, whether

wholesale from a foreign culture and a foreign region

it’s texting or Twitter or Facebook. It’s a way to connect

with all the baggage that entails. They actually have

to people in what is still a traditional society, where

their own reasons and their own justifications for

there aren’t many opportunities to do that.

women’s rights and women’s empowerment. NR It is hard to believe that when Islam arrived in the

NR Your book is helping us to understand culture in the Middle East and it shows how a clash of culture can have

7th century, it established the most feminist progressive

dramatic consequences. For instance, in Afghanistan,

laws of the time, but this is what the Islamic feminists

when the Soviets wanted to empower women, to

claim. In the current Muslim world, are there any

educate them, they made the mistake of having men

accusations of religious texts being exploited to promote

teach them, so suddenly conservatism about gender

a feminist point of view? IC It’s very hard to believe that Islam was so

equality became a sign of resistance against the enemy.

progressive in the 7th century, but it’s all relative, right?! I mean, there was really very little that was

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modernize Islam.

Do you think that the same kind of thing is happening now in Afghanistan and Iraq?

progressed in the 7th century so the fact that Islam

IC I think you have had some examples of that in

arrived and gave women rights was revolutionary.

Afghanistan and Iraq, but they are very different

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places now to what they were back when the Soviets

are not part of the negotiations but Afghan women

were there in the 1980s. There are many different

are very conscious of the risk of being left out and are

currents going through society today in Afghanistan.

doing what they can to make sure it won’t happen.

The majority of people have access to mobile

They’re speaking to international policy makers, but

phones and television. Something like 55% of the

this is a very unpredictable time and I think there is

country watches Tolo TV, which has some relatively

a risk that women will be left out. But any process

progressive soap operas that deal with all sorts of

that excludes women will not, of course, be a good

issues. It’s a much less closed society than it was in

process. What I mean is that, today, you have women

the 1980s, and while there have been certain things

who have achieved a lot of gains in Afghanistan,

that have created a backlash, you also see a backlash

politically, economically and socially, and it’s really

against the Taliban. The Taliban has used terror

important that their voices are heard.

tactics against girls’ schools, burning them down to

NR Considering how 9/11 and the Arab Spring have

terrorize the population. And what do you see? You

changed the Middle East and the Western world’s

see families and villages and communities coming

relationship to it, what impact do you think these

together to rebuild those schools. There’s very strong

changes will have on the Muslim world as a whole and

support for girls’ education and for women to be able

on the issue of gender equality?

to work than there was back in the 1980s.

IC Well, the Arab Spring is a watershed in many

NR You’ve said that Afghanistan needs to find a way

respects, but I don’t like the phrase ‘Arab Spring’, I

to build a strong economy and that women can help.

think, overall, it’s too mystic.

Is there an awareness amongst the male population

NR So how would you phrase it?

in Afghanistan that women are needed to help achieve

IC I would call it the Arab Uprising, because what

economic growth?

you are seeing are uprisings across the whole

IC You certainly see that. There are very high poverty

region, some of which, I hope, will move in a positive

levels in Afghanistan and you do see many families

direction. Others have become violent, so I think some

relying on the income generated by wives and

countries will come out of this in a better position and

daughters. So there is that growing awareness. One

some will come out of it in a much worse position.

example I like to give is this: one of the few well-paid

This is a very fluid time for women and if this period

jobs in the Afghan countryside is that of a midwife.

leads to more freedom and democracy overall, then

At first, it was very difficult to get girls to sign up for

that is also good for women, but the question is

the training as parents, fathers, brothers and tribal

what kind of freedom and democracy? And how will

leaders were against it. But, today, eight years into

minority rights, such as religious-minority rights and

the programme, there are long waiting lists for that

women’s rights, be protected? And that’s not at all

training, not only because people recognise the value

clear. It is therefore a very precarious time, and over

of the service they’re providing – saving women’s lives

the past decade you’ve had very harsh authoritarian

during childbirth and delivering healthy babies – but also

leaders who have suppressed religion and religious

because being able to work and earn money and to help

parties. Now that suppression in some countries

your countrymen is very prestigious for a village girl.

is gone, you have religious parties that have moved

NR Do you think big corporations will help to increase the economic role of women in the near future? IC I think that one of the big drivers of change for women in the next several decades will be corporations. Corporations will work on a broad array of initiatives for women, not because they’re moved by human rights arguments, but because they’re moved by economic arguments. They see women as consumers, as employees and as important business

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firmly into the mainstream of the political system. How that translates into changes for women is not clear. I think, in some cases, religious parties will accept women’s rights as part of the fabric of culture and society. That’s true in a country like Tunisia, where women have enjoyed rights for many years... but in other countries that will be far more contested and women must be very careful that they don’t lose ground in this new fluid environment.

owners. They see economic opportunity there and my

NR Egypt is a good example of this. You used the world

feeling is that this in no way diminishes the human

‘unclear’ several times. For many of us, the situation in

rights argument, it’s just another perspective that can

Egypt seems very unclear. In terms of women’s rights

help move this much-needed revolution forwards.

and many other rights, it seems like it’s going backwards.

NR We are living through a turning point politically

What’s your point of view on the situation there?

in Afghanistan, with a new constitution, but it doesn’t

IC I would not say that women’s rights are going

appear that women are part of the negotiations. How

backwards, but there are clearly very strong voices

can we make sure the country will move forward with

in the Egyptian political scene today that are against

more consideration for women’s rights?

some of the laws that have been passed in recent years

IC I think we have reason to be concerned that women

that benefit women. They have stated their intention

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to roll back and change those laws, particularly in

the largest oil reserves, it’s just very difficult for

the sensitive area of family rights. There have been

countries to be prosperous when they do not invest

changes that have been made to family law over

in half their population. Again, that’s something we

recent decades that have given women more rights

should be concerned about. Countries that are on

in areas of divorce, custody and marriage, and these

a downward spiral that have high levels of poverty

types of things are contested on religious ground by

and instability and very high population growth rates

religious parties. With the rise of new political parties

that outstrip the natural resources of the countries –

and the discussions on constitutional reform, we’ve

these countries cannot sustain their own population

seen debates on whether women should be allowed

and it causes human catastrophes and enormous

to run for president, and there have been strong

dislocations. We’re seeing a famine in Somalia again;

voices within the Muslim Brotherhood, for example,

in the 21st century the world is experiencing a very

saying it is against Islam for a woman to be a leader.

severe famine, with upwards of maybe three million

But there have been other voices within the Muslim

people at risk of dying. That is a human catastrophe,

Brotherhood saying women can be leaders, that they

and the role of extremists in the horn of Africa has

fully support women having a role in society. So you

clearly exacerbated that situation.

can see there are deep tensions on these types of questions, even within the Muslim Brotherhood itself.

NR In what sense? IC Well, it’s exacerbated the situation because when

NR When it comes to Egypt, we hear that religious

people in Somalia are trying to go about their daily

parties are asking for Sharia law to be reinstated. The

lives, they are over-harassed from all sorts of activities

word ‘Sharia’ sounds scary for Westerners, it sounds

that are just part of the daily regime. For example,

like the next step is Jihad. Should we be afraid of Sharia.

women wearing bras, this is the type of thing they

What does it really mean?

have been focusing on and brutally enforcing on the

IC I think what’s important to understand is that

streets of Mogadishu and towns all around Somalia

Sharia has been part of the Egyptian legal and political

that they control. And while people are literally

system for centuries so it’s not something brand new

starving it’s also of course the fact that al-Shabab has

that’s been introduced. The question is what role will

engaged in terrorist activities that have complicated

Sharia have? There are very conservative Islamic

the delivery of aid and food aid, because NGOs are very

groups that say Sharia should define everything and

reluctant to be accused of letting aid get into the wrong

others that say it should be a source that we look to

hands. Again, this is not a new problem, this has been

as we always have but not the source of law. There

going on for decades in Somalia. Warlords and now

should be multiple sources of law. Really, what we’re

radical Islamist groups have controlled the flow and

talking about here, is not whether Sharia will be in

distribution of aid and it has tremendously hampered

the Egyptian system but what kind of Sharia and

humanitarian relief efforts.

how much Sharia, and there are, I think, some very radical voices today that want a theocracy and they are talking about setting up Sharia councils that base every single law on religious grounds. That’s what you have in a country like Saudi Arabia or Iran. Polls show that Egyptians are very wary of theocracy and that’s not what they’re looking for. They do look for a system that includes Sharia but that’s not necessarily dominated by it, and that’s a very important distinction. And I’m going to use the word unclear again – it is unclear how the Egyptian system will evolve and how this will play out. But there is reason to be nervous because there are some forces that are pushing in that direction. It is important for the Western world to understand that in Africa, and in the Middle East, and more specifically in countries like Iraq or Afghanistan, where we’re very involved,

NR You established a link between gender inequality and extremism. The more women are denied basic rights, the more religious extremism develops. Shall we look at women’s rights as an indicator of the development of extremism in the Muslim world? IC Well, what I like to say is that extremist views on women go hand-in-hand with extremism. And by that I mean, anybody who thinks that it’s OK to burn down a girls’ school to stop girls from being educated is an extremist. Somebody who thinks it’s OK to assassinate a woman because she’s in public office is an extremist. Yes, those are examples of violence, but then there are the extremist attitudes – the very harsh gender segregation, where women are not allowed to be in public places, they’re not allowed to be seen by a doctor if the doctor’s not a woman. And the fact is, there aren’t any female doctors in a lot of these places

the situation of women is actually something we’re

so it’s really a death sentence for women if they’re

concerned about, because it also concerns the

not allowed to be seen by a male doctor. These are

security of our territories. It concerns security, it

extremist attitudes that I think give rise to broader

also brings us back to economics. I mean, countries

extremism and so, in many respects, attitudes towards

that deny a full role for half of their population are

women are like the canary and the coal mine. They’re

never going to be prosperous, thriving countries, it’s

an indicator, a marker, of where a society is going.

impossible. Unless of course you’re blessed with

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19/09/2011 10:17

Rentierkopf (Reindeer Head) signed, numbered and dated ‘Carsten Höller 2010 e.d. II/X’ (lower margin) colour screenprint image: 21 1/2 x 19 1/2 in. (54.5 x 49.5cm.) sheet: 30 5/8 x 27in. (77 x 68.5cm.) Executed in 2010, this work is number two from an edition of ten Donated by the artist. £1,000-2,000 / US$1,600-3,000

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“It’s in the village where your mother has been killed by the poison, that you have built your house with.” — Ancient proverb from Bas-Congo

Born in Brussels, 1961; lives in Stockholm. Höller holds a doctorate in agricultural science and only started to produce art in the late 1980s. His training as a scientist is reflected in his work as an artist, which often allows the viewer to become the subject of an experiment. Höller is probably best known for his ongoing series of slides, which he started in 1998 and includes Test Site (2006), a massive installation for The Unilever Series at Tate Modern, London. What interests him regarding this work is the visual spectacle of watching people sliding and the ‘inner spectacle’ of simultaneous excitement and anxiety experienced by the sliders themselves. In 2008, Höller, in collaboration with Fondazione Prada,





nightclub, The Double Club, in London. Open only for six months, the club combined Western and Congolese culture and fifty per cent of its profits were donated to the City of Joy charity, which generates specialized projects to help abused women and children in the Democratic Republic of Congo. At his 2010/11 show at the Hamburger Bahnhof in Berlin, visitors could pay 1,000 euros for a night on an exposed circular platform perched above 12 castrated reindeer, 24 canaries, eight mice and two flies. His quest with this show, entitled Soma, was to recreate the mystic, elusive elixir of soma, which – according to Hindu scriptures – grants access to the kingdom of the gods and untold happiness and wealth. Höller has exhibited internationally over the last two decades, including at Fondazione Prada, Milan (2000), the ICA Boston (2003), Musée d’Art Contemporain, Marseille (2004) and Kunsthaus Bregenz, Austria (2008). In 2006, he represented Sweden (with Miriam Bäckström) at the 51st Venice Biennale. He is represented by Gagosian and Air de Paris.

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Hotel (Ten Thousand Waves) Endura Ultra print 7 70 7/8 x 94 1/2in. (180 x 239.8cm.) Executed in 2010 Donated by the artist. ÂŁ20,000-30,000 / US $31,000-45,000

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ISAAC JULIEN “My recent work Ten Thousand Waves, explores the plight of the Fujian workers who came to England in search of a better life and died just struggling to survive. I fully support the aims of Women for Women who help members of communities have the freedom to create a better life for themselves and reach their full potential.”

Born in London, 1960; where he currently lives. Julien is an installation artist and filmmaker. Drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, he is famous for breaking down the barriers that exist between different artistic disciplines. After graduating from St Martin’s School of Art in 1984, where he studied painting and fine art film, Isaac Julien founded the Sankofa Film and Video Collective and co-founded Normal Films. He came to prominence in the film world in 1989 with Looking for Langston, a poetic documentary about Langston Hughes and the Harlem Renaissance, a cultural movement spanning the 1920s and ’30s. Julien was nominated for the Turner Prize in 2001, for his films The Long Road to Mazatlán (1999), made in collaboration with Javier de Frutos, and Vagabondia (2000), choreographed by Javier de Frutos. Other works include Frantz Fanon: Black Skin, White Mask (1996) and Young Soul Rebels (1991), which was awarded the Semaine de la Critique prize at the Cannes Film Festival the same year. The piece presented here belongs to his series Ten Thousand Waves a 9 screen video installation that features Maggie Cheung, Yang Fudong and Zhao Tao represented in this image. Julien was the recipient of both the prestigious MIT Eugene McDermott Award in the Arts (2001) and the Frameline Lifetime Achievement Award (2002). In 2003, he won the Grand Jury Prize at the Kunstfilm Biennale in Cologne for his single-screen version of Baltimore. Most recently, he has had solo shows at the Pompidou Centre in Paris (2005), Museum of Contemporary Art, Miami (2005) and the Kerstner Gesellschaft, Hanover (2006). Julien is represented in the Tate Modern, Centre Pompidou, Guggenheim and Hirshhorn Collections. He is represented by Victoria Miro Gallery.

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15/09/2011 18:22

Untitled (Woman with Net) pigment printed silk 80 x 58 1/2in. (203.1 x 148.5cm.) Executed in 2011 this work is number one from an edition of two Donated by the artist. ÂŁ5,500-7,500 US$8,300-11,000

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‘There is still a lot of work to be done to improve the condition of women around the world, and I am supportive of organizations like Women for Women International that make this work central to their mission.’

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Born in 1972; lives in New York. Servane Mary has emerged as one of the most promising figures in the revival of painting in the New York art scene. While her work is part of the dialectic around the use and translation of photographic imagery in painting, its content usually refers to women: as icons, objects of contemplation and desire, as figures of survival when captured in the turmoil of war and history. Servane Mary is a supporter of Women for Women International, whose mission echoes the personal concerns of the artist and the topic of her paintings. This portrait is part of a series of twenty-two depicting iconic female figures. It portrays an English spy from World War II. The series wonders about the role of women who have left the prescribed route and become involved in political action and/or madness and its depictions of female figures are related to concepts of life, death and beauty. The image was drawn from the internet and pigment-printed on silk. A second layer, merging with the black-and-white photograph of the woman, is a net that has been soaked in coloured inks. It hangs from its top corners pinned directly to the wall, the stress lines of the soft material becoming part of the composition. She is represented by Martos Gallery.

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French Carpet 2010 Ballpoint pens on canvas 79.9 x 55.5 in. / 203 x 141 cm. This piece will be sold privately out of the Christie’s auction. Please contact us

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19/09/2011 10:18


Born in Boui, Russia; 1966; lives and works in Paris. After completing his studies at the Special School of Arts-Plastiques in Boiu in 1980, Molodkine continued his education at the College of Arts, Krasnoie-sur-Volga from 1981 and 1985. Following his studies he entered into military service for two-years, a period when he assisted with delivering crude oil shipments to the northern reaches of Siberia. His military tasks undoubtedly influenced his later work, which are sculptures and installations made from acrylics, crude oil and ball point pen on canvas. Molodkine’s work generates dialogue and talking points about the role of crude oil in societies, particularly western societies national dependency and identification with this natural resource. His massive canvas drawings and acrylic installations also





religious images and conflicts between economies, politics and religion. In his 2009 exhibition, Oil Evolution, Molodkine commemorates the 200th anniversary of Charles Darwin with installations of Primate, Australopithecine and Homo Sapien acryliccast skulls joined together by tubes that circulate crude oil. The installation attempts to reconstruct the descent of man suggesting that oil and not DNA now transmits the virtues of generations and is the new symbol of national identities. Since 1999, Molodkine’s ballpoint pen drawings and acrylic and crude oil installations have arrested art critics and admirers the world over. He has exhibited works in galleries including: The Marble Palace, Russian State Museum, St. Petersburg (2001); Kashya Hildebrand Gallery, New York (2003); Orel Art Gallery, Paris (2006); Orel Art Gallery, London (2009). His work also appears in the permanent museum collections, such as The Rosenblum Collection, Paris, France; Collection of The State Russian Museum, Saint Petersburg; Collection of Schusev State Museum of Architecture, Moscow; Collection of S. Freud Museum, Saint Petersburg. He is represented by Orel Galerie, Paris, Art Sensus, London.

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Women on their farm in Mwandiga afwfw_15-9_FINAL_A.indd 42

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Extracts from Half the Sky: Turning Oppression into Opportunity for Women Worldwide By Nicholas D. Kristof and Sheryl WuDunn

In the nineteenth century, the central moral challenge was slavery. In the twentieth century, it was the battle against totalitarianism. We believe that in this century the paramount moral challenge will be the struggle for gender equality in the developing world. ‘I don’t know why I was released and my sister killed, said Claudine Mukakarisa, a genocide survivor from Butare, Rwanda. When [Rwandan President] Kagame’s army defeated the genocidaires, the Hutu militia fled to Congo – but took thirteen-year-old Claudine and her sister along as well. Militia members killed her sister but finally let Claudine go...Probably it was because she was pregnant. Claudine was puzzled by her swelling belly, as she still had no idea about the facts of life. ‘I had thought I could not get pregnant, because I had been told that a girl becomes pregnant only if she is kissed on the cheek. And I had never been kissed.’ Claudine’s overriding characteristic is the determination to survive with her child. Over time, she found that she could get jobs gardening or washing clothes, typically earning about 60p for a day’s work. [Women for Women supporter] Murvelene’s sponsorship gave new hope to Claudine and her child. Women for Women classes are devoted to vocational training, to teach women skills that will bring them an income for the rest of their lives. And, the women attend classes on health, literacy, and human rights. One aim is to make the women more assertive and less accepting of injustices. Murvelene, a forty-one year-old woman from Brooklyn, said of her commitment to Claudine, ‘If I’m lucky enough to be able to help her, and she can lift herself out of the position she’s in, and lift up her family members or other people around her, to me that’s really important. And for me, it was a way to get out of myself. A lot of times, you forget how fortunate you are here, never really needing anything.’ Women for Women International is effective because it touches people at the grassroots level. This kind of bottom-up approach in development work has repeatedly shown its superiority in bringing about economic and social change. Nicholas D. Kristof and Sheryl WuDunn are the first married couple to win a Pulitzer Prize in journalism; they won for their coverage of China as New York Times correspondents. Mr. Kristof won a second Pulitzer for his op-ed columns in the Times. He has also served as bureau chief in Hong Kong, Beijing, and Tokyo, and associate managing editor. At the Times, Ms. WuDunn worked as a business editor and as a foreign correspondent in Tokyo and Beijing. They live near New York City.

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Color of God signed, titled and dated in Farsi; signed, titled and dated ‘2011  Farhad Moshiri “COLOR OF GOD”’ (on the reverse) hand embroidered beads and acrylic on canvas laid down on board 67 1/4 x 59in. (171 x 150cm.) Executed in 2011 Donated by the artist. £40,000-60,000 / US$61,000-90,000

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FARHAD MOSHIRI ‘I believe in the power of Hope. It is this very Hope which Women for Women International provides to thousands of women, survivors of conflict, around the world. Hope translates into enablement and opportunity. That is all that counts.’

Born in Shiraz, Iran, 1963; lives in Tehran. A graduate of the California Institute of the Arts, where he studied art and filmmaking, Farhad Moshiri is now one of the major figures in the art world to have emerged from the Middle East. He first rose to international acclaim with his series of jar paintings, followed by a series of highly textured works incorporating both calligraphy and abdjad, an ancient Arabic clerical code correlating letters and numerals. Moshiri has since been constantly pushing his materials, using cake-icing dispensers, Swarovski crystals and knives to make paintings that incorporate increasingly textural and sculptural approaches. But it is not Moshiri’s technique that has earned him the attention that he currently attracts; rather, it is his mastery of Iranian visual vernacular, as well as his acute awareness of popular culture and art history. The inspiration for the piece shown here came when he was stuck in one of the legendary Tehran traffic jams, facing the back of transportation trucks bearing multi-coloured decals, many of which had religious quotations. This made him think of a famous verse in the Koran, which debates whether or not God has a colour. ‘Of course I start devising this piece in my head, applying the “Farhad cynical signature” to the debate in question!!’ He is represented by the Third Line Gallery, Dubai.

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Untitled signed and dated ‘Louise Nevelson 1956’ (lower right) wood and cardboard collage on board 36 x 24in. (91.4 x 61cm.) Executed in 1956 Donated by Milly and Arne Glimcher. £8,000-12,000 / US $12,000-18,000

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LOUISE NEVELSON “Milly & I fully support the work of Women for Women International as until there is gender equality, there is no freedom for anyone.” —Arne Glimcher

Born in Kiev, 1899; died in New York, 1988. Nevelson was a sculptor whose career spanned over 60 years. Influenced by Marcel Duchamp’s foundobject sculptures, she created wooden wall pieces, consisting of multiple boxes and compartments that hold abstract shapes and found objects. She is credited with expanding debate in the feminist art movement, thanks to her large-scale, edgy work, which was associated with masculinity at the time. Nevelson emigrated to America with her family in 1905. In the late 1920s, she attended art classes at the Art Students League of New York, before travelling to Munich in the early 1930s to study Cubism under Hans Hofmann. This greatly influenced her later totemic monuments. Her first solo exhibition was at the Nierendorf Gallery, New York, in 1941. In 1959, Nevelson took part in her first big museum exhibition, Sixteen Americans, at the Museum of Modern Art, New York, and the Martha Jackson Gallery gave her a solo show. Three years later, she was included in the 31st Venice Biennnale. Nevelson was elected president of the National Artists Equity in 1965 and became vice-president of the International Association of Artists in 1966. Her first major museum retrospective took place in 1967 at the Whitney Museum of American Art, New York. Hailed as one of America’s foremost artists, Nevelson was a prolific figure in the international art scene and her work is found in major museums and private collections around the world. The Louise Nevelson Estate is represented by Pace Gallery.

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19/09/2011 12:00

Untitled signed and dated ‘M Odenbach 2011’ (lower right); signed, inscribed and dated ‘”Frauen für Frauen” Marcel Odenbach 2011’ (on the reverse) paper collage and ink on paper 14 1/4x 18 7/8in. (36.2 x 48cm.) Executed in 2011 Donated by the artist. £1,000-2,000 / US$1,600-3,000

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Born in 1953; Cologne, Germany, where he also currently lives, Marcel Odenbach studied architecture, art history and semiotics. In the late ’70s, he started using moving images in his work, alongside installations, performances and drawings, to examine the cultural identity of his native country. Between 1992 and 1998, Odenbach was a very influential figure as a professor of media art at the Karlsruhe University of Arts and Design. He created this collage especially for the Artists for Women for Women International auction and this is what he says about his practice :‘For me, a German, collage as a form of expression is particularly interesting. First of all, I am returning in formal terms, as well as subject matter, to the tradition of the 1920s and ’30s in Germany, represented by artists such as Kurt Schwitters, George Grosz and John Heartfield. Secondly, I refer back to my early experiences of reminiscences and public memory, of the almost traumatic confrontation with post-war Germany. As a child in the early 1950s, I acquired a feeling for the past based on individual pictures, photos and film sequences and, later, I developed a vision of past events. I discovered only scraps of information, scraps not connected to each other in any way, since not only had the majority of the material not been published at that point, much of it was prohibited. As an artist, I was left to confront the past on my own. Like a detective, I put together the fragments that I found, and had to tie the private stories told to me together with the official pictures. Relatively early on, I realized that aside from the facts and interpretations, various realities also existed. Collage at that time made it possible for me to construct my own manner of understanding history.’ Odenbach is one of Germany’s most important artists. His work has been shown in museums around the world, including the Museum für Moderne Kunst, Frankfurt, the New Museum, New York, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and The Institute of Contemporary Art, Boston. He is represented by Anton Kern Gallery.

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The Stein’s Collect and Flowers signed, titled, inscribed and dated ‘The Stein’s Collect and Flowers, Berlin (Catalog) Elizabeth Peyton AUGUST 2011’ (on the reverse) pastel and coloured pencil on paper 11 5/8 x 8 1/4in. (29.7 x 21cm.) Executed in 2011 Donated by the artist. £10,000-15,000 / US$16,000-23,000

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“Even in the developed world it can be a struggle for a woman to feel her own strength and have an equal chance in moving forward in the world… I know in my own life it is very important to feel like I am being treated equally and have the same opportunities... It is very nice to think that some work of mine by making money could help someone attempting to do the same under much harsher circumstances.”

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Born in Danbury, CT, 1965; lives in New York and Berlin. She studied at the School of Visual Arts, New York City, before achieving recognition in the 1990s. She is now among the most celebrated painters of her generation. Though the subjects in Peyton’s paintings vary, the main focus of her art remains remarkably consistent. Her interest is in people who, whether through their actions, their art or their lives, mark their time and shape our culture. In the drawing The Steins Collect and Flowers, 2011, Peyton overlays an image of Henri Matisse’s Woman with a Hat with a large vase of flowers. Framed and partly obscured by the flowers, Amélie, Matisse’s wife, looks out to us. Peyton’s drawing captures a moment that is at once historical and absolutely present, allowing its audience to access a figure from the past whose fierce gaze meets and returns our own. The inspiration for the drawing emerged when Peyton read in the Autobiography of Alice B Toklas by Gertrude Stein about Gertrude and her brother buying the painting that is on the cover of The Steins Collect catalogue from Matisse. It is one of the first paintings he sold and it is of his wife. ‘I went to see The Steins Collect show in San Francisco and saw the painting. Later I was thinking about the life of that painting, the moment between his wife and him, and then the Steins seeing it at the Salon and buying it and having it on their walls, and on and on and ending up on the cover of the catalogue that was sitting on my table in Berlin with some flowers. I was thinking about time and painting.’ She is represented by Gavin Brown, New York and Sadie Coles, London.

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Infection 5Y2F velcro, neon, cable and transformers 129 7/8 x 27 5/8 x 33Ωin. (330 x 70 x 85cm.) Donated by the artist. £12,000-18,000 US$19,000-27,000

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TOBIAS REHBERGR “Tout pour les femmes”.

Born in Esslingen, Germany, 1966; lives in Frankfurt and Berlin. Rehberger is known for his sculptures, environments, furniture and ceiling installations. Drawing from the everyday, he alters ordinary situations and objects with which we are familiar to explore the relationship between function and aesthetics. After studying at the Staatlichen Hochschule für Bildende Kunst – Städelschule in Frankfurt am Main, Rehburger started to develop his unique style in the early 1990s. For an installation at the 50th Venice Biennale in 2003, he created a canopy of glass lamps that were activated from locations around the world, including a pumpkin field in Romania and a derelict Burger King in Kyoto. At the 53rd Venice Biennale in 2009, he was awarded the Golden Lion for best artist, for a visually disorienting cafeteria made up of a complex scheme of geometric forms and contrasting colours. As a prominent artist of his generation, he has received international critical acclaim and exhibited at major galleries around the world, including the Friedrich Petzel Gallery, New York, the Stedelijk Museum, Amsterdam, the Whitechapel Art Gallery, London and the Museo Nacional Centro de Arte Reina Sofia, Madrid. He is represented by Friedrich Petzel Gallery, New York.

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Rose Rose 10 signed, titled and dated ‘ROSE ROSE 10 Riley 2011’ (on the stretcher) oil on linen 32 1/4 x 27in. (81.8 x 68.5cm.) Painted in 2011 Donated by the artist. £60,000-80,000 / US$90,000-120,000

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Born in London, 1931; lives in London. Riley is one of the most significant painters of our time and one of the foremost proponents of Op Art, a style of visual art that makes use of optical illusions. Her artistic education began at Goldsmiths college in 1949 and she continued her training at the Royal College of Art, where her fellow students included Peter Blake and Frank Auerbach. In the late 1950s, she started to hone the style for which she is best known – blackand-white paintings that explore the dynamic effects of optical phenomena. This work made up her first solo exhibition at Gallery One in London (1962). In 1965, she exhibited in New York, at the Museum of Modern Art’s show, The Responsive Eye, which propelled Op Art into the media spotlight. In 1967, Riley began experimenting with colour, inspired by the colourful hieroglyphic decoration she came across during a trip to Egypt. Since then, her practice has examined the perception of nature through colour and form. Riley has stated, ‘the eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift... One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.’ Riley is noted for constructing a plastic pictorial space between the canvas and the viewer, creating spatial relationships using a distinctive palette and a vocabulary of shapes that is continually evolving. In 1968, she became the first woman to win the International Prize for Painting, while representing Great Britain at the Venice Biennale. She holds honorary doctorates from universities including Oxford and Cambridge. Riley was made a CBE in 1974 and, in 1999, was awarded the Companion of Honour. In 2009, she received the Goslar Kaiser Ring, one of the world’s most prestigious art prizes. Major exhibitions have included the Hayward Gallery, (1970 and 1992–94); a British Council touring retrospective in the USA, Australia and Japan (1978–80) and retrospective exhibitions at Tate Britain (2003), the Museum of Contemporary Art, Sydney (2005), and the Musée d’Art Moderne de la Ville de Paris (2008). She is represented by Karsten Schubert.

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Umbilical signed and dated ‘Saville 2011’ (lower right) charcoal on paper 51 3/4 x 77 7/8in. (131.5 x 198cm.) Executed in 2011 Donated by the artist. £80,000-120,000 / $120,000-180,000

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“The ability to feel the right to make a decision about the future of your life is in itself empowering and lies at the heart of the work of Women for Women International. A human culture where all it’s citizens have access to knowledge, can freely express themselves and can participate in shaping it’s future must be a richer one.”

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Born in Cambridge, England, 1970; lives in Oxford. During her BA studies at the Glasgow School of Art in 1990 Saville exhibited at the Royal College of Art. As a young graduate in 1992 she showed paintings at Critics Choice in Edinburgh and at London’s Cooling Gallery. Between 1992 and 1993 she studied at the Slade School Of Fine Art where her senior show caught the attention of the prolific English art collector, Charles Saatchi. Saatchi purchased her entire collection, and for the next two years commissioned work from her for his collection. Many believe this to have catapulted her burgeoning career. Since her debut in 1992, many have become familiar with Saville’s larger-than-life paintings of bulky women, transsexuals and transvestites, and traumainflicted naked figures. Much of her early inspiration is believed to originate from her six-month stay at the University of Cincinnati, where she observed the physicality and skin of ‘large women’. She also spent time in New York observing plastic surgery operations. Saville credits her interest in large or grotesque physicality to Pablo Picasso’s bulky, short figures, and combines similar contours, angles and sensuous surfaces to the distressed bodies that fill her canvases. Her current exhibition at Gagosian Gallery at Madison Avenue entitled, Continuum, is her first in New York since 2003. Other sensational world-wide exhibitions include: Memorial Art Gallery, University of Rochester, Rochester, NY in (2010); Museo d’Arte Contemporanea, Rome (2005); The Nude In 20th Century Art, Kunsthalle Emden, Germany (2002). She is represented by Gagosian Gallery.

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Transversal #1 etching on paper 90 x 48in. (228.6 x 121.9cm.) Executed in 2004, this work is number three from an edition of five Donated by the artist. ÂŁ5,000-7,000 / US$7,600-11,000

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Born in San Francisco, 1939; lives in New York and Nova Scotia. Serra is known for his large-scale, immediately identifiable sculptures of sheet metal. Before pursuing a career in art, he studied English literature at the University of California, in Berkeley and Santa Barbara, graduating in 1961. Serra went on to study with Joseph Albers at Yale University School of Art and Architecture, before receiving scholarships and grants to continue his training in Paris, Florence and Rome. To support himself through his studies in California, Serra worked in the West Coast’s steel mills and shipyards. This experience strongly influences his work, much of which focuses on industrial materials. Many of Serra’s huge, site-specific installations challenge the viewer’s perception of his or her body in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures. Serra has made a number of films concerning the manufacture and use of steel, and since 1971, he’s also produced largescale drawings using the paintstick, a large crayon comprised of a mixture of pigment, oil and wax. Recent projects include the eight-part permanent installation The Matter of Time at the Guggenheim Bilbao (2005) and a retrospective at the Museum of Modern Art, New York (2007), 20 years after his first major exhibition there in 1986. In 2008 he installed Promenade, a course of five massive vertical steel elements, each towering more than 50 feet high, at the Grand Palais in Paris for the Monumenta exhibition. In the same year, a survey of his drawings from 1989 to 2008, entitled Richard Serra: Drawings – Work Comes Out of Work, was exhibited at the Kunsthaus Bregenz, Austria. A drawing retrospective organized by the Menil Collection opened at the Metropolitan Museum of Art, New York, in April 2011. The exhibition will travel to the San Francisco Museum of Modern Art, where it will open in October 2011, as well as the to the Menil Collection, Houston, in 2012. He is represented by Gagosian Gallery.

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Beans (Prohibited) archival Inkjet prints, in five parts 9 1/4 x 37 1/4 x 2 1/2in. (23.5 x 94.6 x 6.4cm.) Executed in 2010, this work is from an edition of four plus two artist’s proofs £3,000-4,000 / US$4,600-6,000

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Born, New York, 1975; She was educated at Brown University and is a Guggenheim Fellow. In 2003, Simon released a collection of photos entitled, The Innocents, which surveyed the role of photography in the criminal convictions process. In this major work she documented stories of people that spent time in prisons for crimes they were

1000 items detained or seized from passengers and from express mail entering the U.S. from abroad. Simon used a labor-intensive, forensic photographic procedure to document a broad array of forbidden items, including the active ingredient found in Botox, counterfeit clothes and designer accessories, pharmaceuticals, jewellery, overproof Jamaican rum, drugs, items made from endangered species, Cuban cigars, animal parts, pirated DVDs, khat, gold dust, GBL (date rape drug), cow-manure tooth powder and steroids.

wrongfully convicted of committing. Between

Simon has been a visiting artist at Columbia

2008-2011, Simon travelled around the world from

University, Bard College, School of Visual Arts,

Bosnia to Brazil, Iraq and India, researching and

Parsons School of Design and Yale University. She

recording bloodlines and their related stories.

is also a regular photo contributor to publications

The body of work A Living Man Declared Dead

like The New York Times Magazine, The New Yorker,


NPR and the BBC.





between violence, chance, blood, and other fatal components and features Saddam Hussein’s son, Uday’s body double, feuding families in Brazil, victims of genocide in Bosnia, and the living dead in India. The work is both arbitrary and cohesive.

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Contraband includes 1075 photographs of over

Collections of Simon’s work can be found in museums around the world, including: the J. Paul Getty Museum, Los Angeles; Metropolitan Museum of Art, New York: Victoria and Albert Museum, London; Centre Pompidou, Paris; Media Museum,

The work presented here belongs to the series

Bradford, United Kingdom; Museum of Fine Arts,

Contraband. For five days in November 2009, Simon

Houston, TX; San Diego Museum of Contemporary

lived at John F Kennedy International Airport,

Art, CA; Whitney Museum of American Art, New

which processes more international passengers

York; Los Angeles County Museum of Art; Tate

than any other airport in the United States. The

Modern, London; Goetz Collection, Germany; High

exhaustive pace at which she photographed

Museum of Art, Atlanta, GA; Museum für Moderne

paralleled the twenty-four hour rhythm by which

Kunst, Frankfurt, Germany. She is represented by

goods move across borders and time zones.

Gagosian Gallery and Almine Rech, Paris/Brussels.

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Black humor (2 parts) woodcut on paper, in two parts (i) 28 3/4 x 22 3/4in. (73 x 57.8cm.) (ii) 19 x 15in. (48.2 x 38.1cm.) Executed in 2004, this work is number one from an edition of three Donated by the artist. ÂŁ2,500-3,500 / US$3,800-5,300

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Born in Schwerte, Germany, 1952; lives in Cologne, Germany. After training at the Kölner Werkschulen from 1974-1978, Trockel went on to become one of the most important and influential players in Germany’s contemporary art movement. Much of her drawings, videos, installations and fabrics identify and examine women’s place in society, particularly women in the world of art. Her 1985 work, Knitting Pictures garnered her international attention and fame for sardonically countering the hand-made, home-spun women’s crafts of the 1970s by replacing them with machine-produced knitting pictures with repeated logos or patterns like a hammer and sickle and Playboy bunnies. As a public figure Trockel is a professor at Staatliche Kunstakademie Düsseldorf where she has been teaching interdisciplinary art since 1998. In 1995, she was invited to create the Memorial Frankfurter Engel in Frankfurt am Main, Germany; and on multiple occasions she has represented Germany at the Venice Biennale in 1999, 2003 and again in 2011. Her work has been praised in particular in New York City, where she has had several exhibitions including Metamorphoses and Mutation (2001) organised by the Musée National d’Art Moderne, Centre Georges Pompidou, Paris for at The Drawing Center in New York; and her 2003 video installation, Spleen for the The Dia Art Foundation in New York City. Of the many videos shown at this exhibit was Manu’s Spleen III (2001), alluding to the idea of female hysteria as the camera pans on several women laughing uncontrollably. Trockel’s






the world in private and public galleries and museums, including the Sprüth Magers in Berlin and London; The Museum of Fine Arts, Boston; National






Pont Foundation for Contemporary Art, Holland; Dia:Chelsea, New York City; Harvard University Art Museums, Massachusetts; Kunstmuseum Basel, Switzerland; Staatsgalerie Stuttgart; Tate Gallery, London; and the Walker Art Center, Minnesota. She is represented by Gladstone Gallery, New York and Sprueth Magers, Berlin/London.

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Who’s Afraid of Virginia Woolf? (Double Portrait After Man Ray) Inkjet print on canvas with metallic embroidery in artist’s frame 11 7/8 x 11 7/8 in. (30 x 30cm.) Executed in 2011, this work is unique Donated by the artist. £18,000-25,000 US$28,000-38,000

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FRANCESCO VEZZOLI “I think that the female presence in my works is linked to the very strong — and very protective— relationship I have with my mother. The presence of the mother figure is very intense, and I believe that in every work I am trying to recreate this pattern. It could be an unresolved Oedipus Complex and all these women I represent in my works embody “the mother” every single time. I always think about figures like Cassandra, a very specific archetype of femininity within the Greek tragedy, where the women were a symbol of pain, vengeance and truth at the same time. These are my roots, that’s what I studied the most.”

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Born in Brescia, Italy, 1971; lives in Milan. The provocateur par excellence of his generation, Vezzoli was educated at the Central St Martin’s School of Art in London. His work reflects the mythological and grandiloquent aspects of his Italian heritage and is characterized by glamour and extravagant mise-en-scène. Vezzoli explores the role of cultural icons in the popular psyche. His films, performances, photographs and embroidered paintings usually feature celebrities – Natalie Portman, Cate Blanchett, Catherine Deneuve, Lady Gaga, Claudia Schiffer – treated as the goddesses of our postmodern, media-dominated era. ‘I think that the female presence in my works is linked to the very strong – and very protective – relationship I have with my mother. The presence of the mother figure is very intense, and I believe that in every work I am trying to recreate this pattern. It could be an unresolved Oedipus Complex and all these women I represent in my works embody “the mother” every single time. I always think about figures like Cassandra, a very specific archetype of femininity within the Greek tragedy, where the women were a symbol of pain, vengeance and truth at the same time. These are my roots, that’s what I studied the most.’ (from Germano Celant, ed., Francesco Vezzoli, exh. cat., Fondazione Prada, Milan, 2004) For his last exhibition, Sacrilegio, at Gagosian Gallery in New York City (2011) he transformed the space into a chapel filled with Renaissance paintings of the Mother and Child embellished with needlepoint, featuring actresses and supermodels adorned with make-up and tattoos and crying large, elongated tears. His work has been exhibited at many institutions including the New Museum of Contemporary Art, New York (2002), Fondazione Prada, Milan (2004 and 2005) and Tate Modern, London (2006). Past performances include Right You Are (If You Think You Are) at the Solomon R. Guggenheim Museum (2007) and Ballets Russes Italian Style (The Shortest Musical You Will Never See Again) at the Museum of Contemporary Art, Los Angeles (2009). He is represented by Gagosian Gallery.

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by Mary Katrantzou atelier SwarovSKi preSentS cutting-edge acceSSorieS celebrating innovative deSign froM the world of faShion, jewelry and architecture buy online at atelierSwarovSKi.coM +44 ( 0 ) 20 7255 8 40 0

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ARTISTS WOMEN WOMEN INTERNATIONAL Nadja Romain and Jenny Saville gratefully thank... ...the artists for their commitment to our efforts to empower the lives of women in war-torn countries Matthew Barney, Cecily Brown, Chuck Close, Michael Craig-Martin, Tacita Dean, Tracey Emin, Teresita Fernández, Antony Gormley, Carsten Höller, Isaac Julien, Servane Mary, Andrei Molodkine, Farhad Moshiri, Louise Nevelson (from the collection of Arne Glimcher), Marcel Odenbach, Elizabeth Peyton, Tobias Rehberger, Bridget Riley, Jenny Saville, Richard Serra, Taryn Simon, Rosemarie Trockel, Francesco Vezzoli

...the Christie’s Team Lock Kresler, Zoe Ainscough, Masa Al-Kutoubi, Alexandra Hain Carolyn Hodler, Sarah Patrick, Chris Petre, Louisa Roberston, Alexandra Robinson, Suzanne Shelley, Edward Tang, Nayrouz Tatanaki

...Gagosian London Gary Waterston, Henry Blackshaw, Cristina Colomar, Valerie Blair, Kate Brownbill, Hanna Freedberg, Zoë Santa-Olalla

...Gagosian New York Eugenia Ballve, Emma Cole, James McKee

...Gagosian Paris Serena Cattaneo

...the Honorary Committee to help us raise awareness Vanessa Arelle, Serena Cattaneo, Cristina Colomar, Barbara von Bismarck, Raphaëlle Bischoff Mollie Dent-Brocklehurst, Meredith Dunn, Maryam Eisler, Tania Fares, Christine Fisher, Donna Karan, Emily Lansbury, Joyce Ma, Pilar Ordovas, Almine Rech Picasso, Lauren Prakke, Nadja Swarovski, Natalia Vodianova, Dasha Zhukova, Mercedes Zobel

...Purple PR Gillian McVey, Julia Huff

...Act IV Rebecca King Lassman, Clarissa Bain, Bryony Harris, Juliet Simmons

...all the gallery representatives Rosalie Benitez, Molly Epstein, Caroline Luce, Gladstone Gallery Rachel Boyle, Emily Lambert, Jessica Pepe, Pace Gallery Corinna Durland, Lisa Williams, Gavin Brown Becky Haghpanah-Shirwan, Art Sensus Hiroki Haraguchi, Stephanie Smith, Lehmann Maupin Christiane Hardt, Grieger Marc Hartmann, Iris Scheffler, Friederike Schuler, Sprueth Magers Toby Kress, Dale McFarland, Frith Street Gallery Jose Martos, Martos Gallery Karsten Schubert

...the artists’ studio assistants Bryony McLennan, Laura McNamara, Antony Gormley Alan Murrin, Eimear O Raw, Tracey Emin Molly Taylor, Isaac Julien Maria Von Schantz, Carsten Höller Beth Zopf, Chuck Close Louie Lane, Cecily Brown Amanda Sim, Bridget Riley Luca Corbetta, Franceso Vezzoli Boris Raisin, Xavier Mazzarol, Elizabeth Peyton Trina McKeever, Richard Serra Women for Women International Kate Nustedt Brita Fernandez Schmidt Philippa Halliday Kaelan Sullivan Danielle Mason


...and special thanks to

Book designed by

Larry Gagosian

Vincent William Gagliostro

for hosting the exhibition Artists for Women for Women International ...and to

Swarovski who have made this book possible ...and

Maryann Eisler

Printed by

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Catalogue of art works donated to help women survivors of war.