Caça às Bruxas | Susana Francisco, 3190245

DA

INQUISIÇÃO

a à ç s ac

Issue #0

MEDIEVAL

Junho de 2020

bruxas

({}) AO

PATRIARCADO

CONTEMPORÂNEO

a à ç s ca bruxas

Nos últimos anos, discussões sobre identidade de género tornaram recorrente, em protestos e manifestações, a frase “nós somos as netas das bruxas que vocês não conseguiram queimar”, uma provocação face ao patriarcado, elemento inquisidor da atualidade.

Ser bruxa sempre foi associado a coisas más.

A bruxa é a vilã de todos os contos.

A bruxa tem que morrer. Foi o que aconteceu no passado. As mulheres acusadas de bruxaria eram “caçadas”: denunciadas, detidas, interrogadas, torturadas, julgadas e, se condenadas, queimadas na fogueira.

Caça às Bruxas é uma publicação que pensa o feminismo, questões de género e de raça, dando destaque às “bruxas” que enfeitiçam os nossos corações: mulheres poderosas, rebeldes, contra as regras machistas e misóginas da sociedade.

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Rosa

“The stereotype of pink-for-girls versus blue-for-boys may be ubiquitous today, but it only gained traction in the mid-twentieth century.”

Steele, 2018

Real men wear pink

PARA

MENINA

Think pink.

If you’re picturing ballerina shoes or a flouncy sundress – pretty, girlie, feminine things – then you’re way behind the times.

These days, pink is popping up in the most unlikely places. Over hairy chests. Covering bulging biceps.

Atop a buzz cut.

This is the summer of the masculine pink. Rappers, politicians, business types – all dressed in bubble gum, cotton candy, sunset pinks. For them and other confident men, pink is the new white.

“Pink is just fly,” said Kenny McAllister, who studies lifestyle trends at the New York- based marketing company AMPdi. “It’s big everywhere. Especially on men.”

The springy color choice is surprising – not just because for ages, men have been prisoners to the dark, drab latter half of the color spectrum, but also because pink has long been stereotyped as only for girls.

Today’s fashion-forward man is rejecting that idea.

“I think it actually shows confidence in your masculinity,” said “The Apprentice” runner- up Kwame Jackson, who more than once this winter was shown across the boardroom table from The Donald wearing a natty pink shirt. “It shows you have like a subtle flair.”

Jackson likes the look so much, he’s including at least two pink or pink-accented shirts in a line of men’s clothing he hopes to launch in the fall – a sign that the color isn’t just for summer apparel. In fact, experts say, pink is only going to get hotter – figuratively and literally.

At the recent men’s fashion shows in Milan, observers noticed much brighter colors – hotter pinks as well as brighter oranges, purples and yellows. Passion fruit for the manly man. “I’m expecting pink to be a trend for the next year,” said Stan Williams, fashion editor at Maxim. “And I think it’ll be even bigger next summer than this summer.”

The pastel trend may have started with the flashand-dash hip-hop crowd, McAllister said – a daring group that often takes its cues from over-the-top fashionistas, such as the ultra-bold Donatella Versace.

In the last several months, rap star and fashion award-winner P. Diddy has turned heads sporting palepink suits to see-and-be-seen events. Hip-hop mogul Russell Simmons has been photographed in striped pink polos and pink baseball caps. Rappers Fat Joe and Cam’ron

8

PARA

MENINO

9

pink has become‘the color of sexual difference’

unabashedly rock pink from head to toe; even Cam’ron’s tricked-out SUV is pink.

Now, the ubiquitous white T-shirt worn by every inner-city teenage boy in America is being replaced with Pepto pink tees or pink polo-style shirts. Baggy jean shorts, unlaced Timberland boots and a crisp, pink three-button polo. Go figure.

“The pink trickled down from the fashion heads to the fly guys to the masses,” McAllister said. But pink isn’t confined to R&B crooners and corner boys.

In just the latest reminder that the ‘80s have returned, preppy pink has become about as hot now as it was during the heyday of Miami Vice and The Breakfast Club.

Political observers have spotted Democratic presidential candidate John Kerry in pink ties on the campaign trail. Former President Bill Clinton has worn a pink tie at book signings and interviews across the country – most notably on a recent Oprah segment, where he and the show’s pretty-in-pink host were color-coordinated.

“There’s a larger kind of preppy revitalization coming on across the board, and pink is sort of a staple within that fashion palette,” said Peter Hyman, author of an upcoming book called “The Reluctant Metrosexual: Dispatches from an Almost Hip Life.”

Beyond the closet, Pink isn’t just for clothes. Liz Kennedy, a spokeswoman for jewelry.com, said that men are buying more exotic stones in shades of pink. A pink stone set in pink gold has become the height of fashion, she said. Soccer great David Beckham – the ultimate metrosexual – is known for experimenting with pink in his jewelry, and rapper Jay-Z has added some rose colored ice to his bling. Last month, Seagram’s beverage company launched a new flavored malt drink aimed at men. Its name, Pink Dragon, gives away the research-based color.

The Baltimore Sun, 2014

“The soberness of men’s apparel is a significant historical development, related to the rise of capitalism and democracy and to a heightened emphasis on gender differences.”

AZUL

PUNK

PINK

–

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ugh perspex window panes at the a c r y d thro li c eere r o np

X-Ray Spex, The Day the World Turned Day-Glo, 1978

The

I ad w

curtains back as far as they n o l y n e h t woul d e h dg c n e o r

“The punk reveled in ‘bad taste’.

Bands such as The Clash, the Sex Pistols, the Ramones, X-Ray Spex, and the Jesus and Mary Chain all used Ultra pink on their album covers.”

10

“BAD

TASTE”

Ultra

Pink

Steele, 2018

“In the 1970s, the invenction of fluorescent colors – Ultra pink for example – appealed to a generation attracted to their artificiality and garishness (...)In 1978 the punk band X-Ray Spex released a single titled ‘The Day the World Turned Day-Glo’.”

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CLOSER

YOU

MOVE

Véronique Hyland’s influential 2016 article ‘Is There Some Reason Millenial Women Love This Color?’ led to the recognition of Millennial pink and suggested that its popularity was related to ‘a moment of ambivalent girliness’.

Millennial pink represents a kind of ironic prettiness, or post-prettiness. It’s a way to be pretty while retaining your intellectual detachment. It’s a wish that prettiness could de-problematised.

The Guardian, 2017

Steele, 2018

THE

Except no one can agree on the actual colour.

THIS IS THE PINK, WE THINK.

Millenial pink was ‘cool and androgynous’ until it became ‘a hyper-commercialized trend’ and ‘lost is cool’. By 2017, the shade was ‘officially dead’. Yet, perhaps it is not important if pink is no longer the ‘in’ color if it has, at least in past, accomplished its gender-bending mission.

THE 12

Pinker

TO

MILLENIAL

GENERATION,

By Véronique Hyland

Or maybe I’m, like, overthinking it.

IT

GETS. 13

Hyland, 2016

(...)

Imagine you were an aesthetically discriminating alien exploring our strange planet. Your first question -- other than the whole “Bachelor franchise” issue and the whole “that guy is really the Republican nominee?” thing -- might be why everything that is marketed to a certain segment of the female population -- 25- to 40-year-olds, say, who live in cities, have disposable income, and are artistically inclined -- has been slowly turning this BandAid-ish color, like something out of the Rapture.

Remember when pink was déclassé? Pink used to be Malibu Barbie and Bubble Yum and all the bright plastic items that many of us in this particular group were steered away from as kids. And that specific shade of pink is not the one that’s resurfaced. Instead it’s ironic pink, pink without the sugary prettiness. It’s a noncolor that doesn’t commit, whose semi-ugliness is proof of its sophistication.

A cohort raised to distrust pink has turned contrarian and embraced a muddied, faded version of the color. This summer, we’re conspicuously reading Sweetbitter, drinking a matching glass of frosé, and Instagramming it all with our rose-gold iPhones. Instead of the minimalism that’s dominated fashion for the past few years, we’re firmly into maximal, ruffled, not-pink pink from the Gucci resort collection (or its Zucci equivalent).

We’re in a moment of ambivalent girliness -- a moment in which we celebrate, say, Hillary cracking the glass ceiling but can’t quite get into the human embodiment of magenta, Katy Perry, stumping for her, themed nail art and all. We’re embracing our girlier impulses: our vocal fry, the “likes” and “ums” we were told would hold us back, our #girlboss-ness. (Want to take a guess as to the color of that book cover? Yes, it was not-pink pink.) But we’re not quite there yet. We still have to hold something back. There’s still an implicit divide between women who lean into honest-to-God pink and all that it implies, and women who are allergic to that kind of thing.

By all means, enjoy whatever color you like -- revel in mustard or taupe or chartreuse if that’s what makes you happy. Dress like Barbie or Fran Drescher or Fran Lebowitz, if you want. But ask yourself: Do I like this because I like this or because I’m buying back my own re-packaged childhood in the form of blush-toned lip gloss and stickers? Because the Pantone industrial complex is direct-marketing to my generation?

The Guardian, 2017

‘THE

GRAND

BUDAPEST

Some say it [Millennial pink] started in 2014, with Wes Anderson’s movie The Grand Budapest Hotel, which embodies a kind of arch retro-kitsch and is centred on a building painted several kinds of pink.

Anderson’s fealty to all things analog might seem defiant, borderline selfdefeating. How else to explain why

Wes Anderson didn’t just tell a storywithin-a-story about murder, purplesuited lobby boys, and prison breaks–he created an entire universe.

the trains in the film were actually made of cardboard; the majestic Pepto-Bismol pink Grand Budapest Hotel itself, was a 9-foot-tall model; and the pastry boxes from the fictional Mendl’s Bakery didn’t magically fall open as they appeared to; rather, somebody hiding under a table pulled them open with a fishing line?

The fictional Eastern European land called Zubrowka has its own original architecture, money, fashions, and government documents.

And all this was, for the most part, built by hand, without much computer manipulation.

14

HOTEL’

DIY

AESTHETICS

“Wes prefers to do things in an analog or handmade way whenever he can,”

Seitz tells Co.Design. “It’s one thing that makes him so unique. He’s got the sensibility of a graphic illustrator.

No other major American filmmaker is working in that vein.”

It fell to production designer Adam Stockhausen (Moonrise Kingdom) to create the elaborate mirages of The Grand Budapest Hotel, which he likens to those of a science fiction film. His strategy was a painstaking one: to design the movie frame by frame, shot by shot.

It’s this loyalty to old-fashioned methods instead of slavery to technology’s convenience that lends the production design of The Grand Budapest Hotel its idiosyncratic charm and ultimately makes the film more believable.

15

Dunne, 2015

“Tricks like that create a different sort of energy when you use them in a film,” Seitz says. “There’s something enchanting about them.” They convey the great care being taken with each tiny detail in the film, which invites the audience to care more.

RIOT

GRRRL:

‘LIKE

GIRL

Riot Grrrl, the feminist punk movement born in the early 1990s in Washington state, was the perfect storm of time and place.

Riot Grrrl was a reaction to this, as well as a way for young women to express their feelings at the sexism they faced in a supposedly postfeminism world.

The 1970s and 1980s saw the success of female punk singers – such as Siouxsie Sioux and Patti Smith –

And in the world of Riot Grrrl, young women had more power than they realised.

Defined by a feminist agenda and expressed through music, zines and a DIY philosophy, bands Bikini Kill and Bratmobile were at the heart of the movement. Allegedly, Bratmobile member Jen Smith used the phrase ‘riot girl’ in a letter to bandmate Allison Wolfe, to reflect the growing feminist mood.

Wolfe then collaborated with Kathleen Hanna of Bikini Kill on a zine and called it Riot Grrrl – adding the extra ‘r’s to angrily reclaim the word.

and yet punk itself was often rife with misogyny, with women at gigs nicknamed ‘coathangers’, as they were expected to stand holding their boyfriend’s coat.

16

GERMS,

IT’S

INFECTIOUS’

Riot Grrrl bands and zines encouraged women to have a voice in the male world of punk and beyond.

On and off stage, they trackled issues of rape, domestic violence, sexuality, female empowerment and slut shaming.

Bate, 2018

It was also a form of consciousness raising, with collectives encouraging women to meet and share their experiences.

The moment has been criticised for being made up of almost exclusively white women and ignoring the experiences of women of colour.

But Riot Grrrl mus also be remembered for what they did achieve, namely igniting a feminist movement that listened to the needs of young women.

17

RIOT

GRRRL:

‘LIKE

GIRL

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HELLO DADDY, HELLO MOM tay aCH I'M YOUhCH CH t schoCH an’t sCH c , e ol m o t a Old y a t s CHERRY BOMB fol t ’ n HELLO WORLD I'M YOUR WILD GIRL I'M YOU CH CH CH CH CH the girl next door m ’ I t e e r BOMB CHERRY I’ he st

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I'M YOU CH CH CH CH CH CHERRY BOMB HELLO WORLD I'M YOUR WILD GIRL I'M YOU CH CH CH CH CH CHERRY BOMB

do w

Bratmobile, Cherry Bomb, 1993

Ge t

GERMS,

IT’S

INFECTIOUS’

HELLO DADDY, HELLO MOM I'M YOU CH CH CH CH CH CHERRY BOMB HELLO WORLD I'M YOUR WILD GIRL I'M YOU CH CH CH CH CH at’s your style h w l r i g t BOMB CHERRY You aigh tr s y

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HELLO DADDY, HELLO MOM I'M YOU CH CH CH CH CH CHERRY BOMB HELLO WORLD I'M YOUR WILD GIRL I'M YOU CH CH CH CH CH CHERRY BOMB 19

RIOT

GRRRL:

‘LIKE

GIRL

She I am her siamese twin connected is me I am her She is me

ut gg un nl rai rt b hea in bra art He t cun the at

I want to kill her But I’m afraid it might kill me

feminist dyke, whore i'm so pretty alien

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She wants me to be like her

She wants me To put the pretty, pretty red lipstick

She wants me to be like her 20

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INFECTIOUS’

Who was me and who is she I guess I’ll never know

21

Bikini Kill, Alien She, 1993

IT’S

GERMS,

BLACK

WOMEN

“The Second Wave, for many women of colour, black women, lesbian women, disabled women, was a movement for a whit, straight, middle-class women, not for them.�

22

AND

FEMINISM

Bate, 2018

23

NOVAS

CARTAS

PORTUGUESAS

No sentido literal, a roda remete para a ‘roda dos expostos’. Partindo do sentido negativo de orfandade associado à roda, as autoras investem ainda o vocábulo de um sentido lúdico, que alude ao ‘jogo da roda’, um jogo tradicional infantil geralmente praticado por meninas. A roda sugere uma atitude provocadora de exposição e de autonomia.

sa aI ri Ma

es aT er ri Ma

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no

Brandão, 2018

Em 1972, ainda sob a ditadura salazarista, são publicadas as ‘Novas Cartas Portuguesas’, onde são reveladas muitas situações discriminatórias e lesivas para a mulher em Portugal. O título da obra é inspirado na obra francesa “Lettres Portugaises”, de Claude Barbin, a partir das cartas escritas pela freira portuguesa Mariana Alcoforado, após ser deixada pelo seu amado, o cavaleiro francês Noel Bouton, no contexto da Guerra da Restauração no século XVII.

Beja remete para a localização do Real Mosteiro da Nossa Senhora da Conceição, o convento onde Soror Mariana foi enclausurada, sendo esta referência reforçada pela palavra ‘cal’, que sugere a típica arquitectura alentejana.

Lisboa e as suas calçadas, por oposição, remetem para o contexto espacial de produção da obra.

Alusão ao cavaleiro amado de Soror Mariana Alcoforado e o destinatário de “Lettres Portugaises”.

24

–

AS

TRÊS

MARIAS

Terceira Carta I (...)

(...)

Só que Beja ou Lisboa, de cal ou de calçada – há sempre uma clausura pronta a quem levanta a grimpa contra os usos: freira não copula mulher parida e laureada escreve mas não pula (e muito menos se o fizer a três) com a Literatura, LITERATURA, não se faz rodinhas – porém, ledores, haveis comprado Mariana e nós, tendo ela montado o cavaleiro e bem

25

Novas Cartas Portuguesas | Edição anotada

Considerai a cláusula proposta, a desclausura, a exposição de meninas na roda, paridas a esconsas da matriz de três. Moças só meio meninas bem largadas da casa de seus pais e arrematadas já seus dotes em leilão de país. Nem vai ser isto, pois não é?

EM

m co

ABRIL

o

QUE

a r i e p u o t a

AS

TOUPEIRAS

Que e sbu rac a

Penitência, diz a hidra Quando à seca

Bárbara Assis Pacheco, Teresa Dias Coelho, Margarida Dias Coelho e Piedade Gralha são ‘As Toureiras’ e, desde 2014, desfilam pela Avenida da Liberdade no 25 de Abril.

Em 2014, celebravam-se 40 anos da revolução e a Esquerda necessitava que se lhe levantasse a moral.

26

Eu

Botelho & Pescada, 2018

Eu vo u

s er

É

vo u

ser

com o

a gibóia

COMEÇAM

A

VOLTAR

À

SUPERFÍCIE

Nao há luz que nao se veja Da charneca E não me digas agora Estás à espera

ec

Zeca Afonso, Eu vou ser como a toupeira, 1972

às

a

a t n e m r o t a e u Q

n Pe

a hidra Q z i d , a uan i c n do itê

E se não te enfias na toca És como ela “Trazer a Esquerda à rua e lembrar que a Esquerda tem muito para dar e que deu muito. Porque eu acho mesmo que há uma lavagem ao cérebro às pessoas, a nível dos meios de comunicação, ao nível dos comentadores, de quem vem fazer comentário político. Aquilo é sempre mais do mesmo.”

– Piedade Graça

27

Ephemera - Biblioteca e Arquivo de José Pacheco Pereira

Celebrar a liberdade em casa

AS

TOUPEIRAS

ESTE ANO, ERA DIFÍCIL FUGIR AO TEMA DO VÍRUS

28

–

CARTAZES

25

DE

– Piedade Graça

29

2020

Nogueira, 2020

SOBRETUDO ÀS QUESTÕES ÉTICAS, SOCIAIS E POLÍTICAS QUE ESTA PANDEMIA LEVANTA.

ABRIL

DIREITOS

DOS

O QUE IMPLICA, EM CONCRETO, SER UM HOMEM, UM HOMEM VERDADEIRO?

­Repressão das emoções.

Calar a sua própria sensibilidade.

Ter vergonha da sua fragilidade, da sua vulnerabilidade.

Deixar a infância bruscamente e de uma maneira definitiva: os homens-criança não têm boa imprensa.

Ter angústias com o tamanho da pila.

Saber fazer gozar as mulheres sem que elas saibam ou queiram indicar a maneira de lá chegar.

Não mostrar fraqueza.

Amordaçar a sua sensualidade.

Vestir-se com cores neutras, usar sempre os mesmos sapatos pesadões, não brincar com os cabelos, não usar demasiadas jóias, nem nenhuma maquilhagem.

Dever dar o primeiro passo, sempre.

Não ter nenhuma cultura sexual para melhorar o seu orgasmo.

Não saber pedir ajuda.

Dever ser corajoso mesmo que não se tenha nenhuma vontade de o ser.

Valorizar a força seja qual for a sua natureza.

Dar provas de agressividade. Ter um acesso restrito à paternidade.

Triunfar socialmente, para conseguir as melhores mulheres.

Temer a homossexualidade, porque um homem, um verdadeiro, não deve ser penetrado.

Não brincar com bonecas quando se é pequeno, contentar-se com carrinhos e armas de plástico horrorosas.

Não cuidar do seu corpo.

Estar sujeito à brutalidade dos outros homens sem se queixar.

Saber defender-se, mesmo que se seja pacífico.

Estar cortado da sua feminilidade, simetricamente às mulheres que renunciam à sua virilidade, não em função das necessidades de uma situação ou de uma personalidade, mas em função do que exige o corpo colectivo.

30

?

HOMENS

17

17

A virilidade tradicional é uma disposição tão mutiladora como uma fixação na feminilidade.

The Red Pill, Cassie Jaye, 2016

31

Despentes, 2006

PARA QUE, SEMPRE, AS MULHERES DÊEM OS FILHOS PARA A GUERRA, E OS HOMENS ACEITEM DEIXAR-SE MATAR PARA SALVAR OS INTERESSES DE TRÊS OU QUATRO IMBECIS DE VISTAS CURTAS.

s, re m e lh e co o u m m m das e co r. a í n la gi clu o qu do a im , ex s, d eio e s o c s s uta ent o a n p d e m om omo ovi sas h os is c de m cio o a nd e ma ade íli a s Qu m- erd fam b e vê li s de e mã

“FEMINIST

de rí a d ca e mo ss ca s fi o da c do v a tr ez r t ab qu od al e as ho fo de As , d de a e m u o mo ve os l li s, nt ho her be qu al me es ra e n ns s li is a c tã ão sm so oz o tã o, nã in to put o pa do as ti do o ha m sn e fe e Qu qu cr ud a f a mãe s c and me il is ar az o con os sm s co mo íb ti ia er e t a e a m de ra a afir l co o e es rio ni em mi sm um m a am nf la , u ec smo na údo ane lher que a us s, ol o da s pr ira es’, ão óg u o . ger é pa osti tui ra ic do al tud que ção o. oo é e que sque uma sup çamo ‘vio vio orta s que lênci ae lên mos éo que x q c fabr c i u ( a . ..) é ac ec sam ercid ica a o o as m en a ntr n elho violaçã a a stitu to e res o , sm puta ulh i uma s. ere s.

fr a

Po

Despentes, 2006

TEORIA KING

32

KONG

Este King Kong não tem pila, nem colhões, nem mamas.

MANIFESTO

– ­ VIRGINIE

DESPENTES

, as u lhas as e que e a’. v e s , o s a u ad or ei s, me aah feia infodív de merc m só d e s o m a t o an ra aa as mh o gr s, pa didas, de u r em cas d a o s i s a e i te.

Prec ncontra diferen fas f as malfo excluíd ‘ a r , s o er ae da t rígidas todas a poss a soa log o v e , f s Escr nas, as taradas A coi o s h a mac ricas, Nunca nenhuma sociedade exigiu tantas provas de submissão é s. hist jas boa às imposições estéticas (...) ao mesmo tempo que nunca nenhuma ga das sociedade permitiu tanto a livre circulação corporal e intelectual das mulheres. (...) essa m ulher bra nca que n do nariz, os agitam aquela qu constant e nos dev ter ar de emente à íamos esf se chatea frente o r çar por c r a fundo maneira n opiar, à p por tudo unca me c arte e por nad ruzei com que não e a, de qual ela, em la xiste. q u er do nenhu m. Acho m e s m o Eu so u des s e de se calar sexo, aque , aque le qu e le qu e cala tem m.

King Kong funciona aqui como a metáfora de uma sexualidade anterior à distinção de género, tal como foi imposta politicamente por volta dos finais do século ���. King Kong está para além da fêmea e para além do macho. Encontra-se na charneira entre o homem e o animal, o adulto e a criança, o bom e o mau, o primitivo e o civilizado, o branco e o negro. Híbrido, anterior à obrigação do binário.

A ilha deste filme é a possibilidade de uma forma de sexualidade polimorfa e hiperpotente.

OR

HARDCORE 33

PORN?”

Edwards, 2012

(...)

Guerrilla Girls, s.d.

REINVENTING

“We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture.

Our anonymity keeps the focus on the issues, and away from who we might be: we could be anyone and we are everywhere. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair.�

34

THE

‘F’

WORD:

FEMINISM”

AS GUERRILLA GIRLS SÃO ARTISTAS ATIVISTAS FEMINISTAS.

17 20

18

7

8

4

1

2

6

20

20

19

1 The U.S. Senate is more progressive than Hollywood, update.

2 Guerrilla Girls’ code of ethics for art museums monument.

3 Advise to the Museum of Modern Art. 4 After 96 years, Kestnergesellschaft discovers women artists.

5 A Thai language version of our poster for the Bangkok Biennial, 2018.

6 Women do have to be naked to get into MASP. Guerrilla Girls’ classic with figures for the exhibition of our Portfolio Compleat at MASP, The São Paulo Museum of Art. 7 A poster for the exhibition of our Portfolio Compleat at MASP, The São Paulo Museum of Art. 8 Departamento de Reclamações at Frestas, at the Trienal de Artes, Sorocaba, Brazil.

9 Trump Months, Women’s March Los Angeles 10 Do women have to be naked to get into the Met. Museum? in Spanish for our project at Centro Cultural Metropolitano Quito, Ecuador.

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21 “Do women have to be naked to get into music videos?” – In 2014 Pharrell invited Guerrilla Girls to be in his exhibition “G I R L” at Galerie Perrotin Paris.

22 “Bus companies are more enlightened than art galleries” – In 2014 Pharrell invited Guerrilla Girls to be in his exhibition “G I R L” at Galerie Perrotin Paris.

23 “Do women have to be naked to get into the MET museum?”, 2012 24 Michelle Bachmann’s own words to help defeat an amendment on the 2012 ballot in Minnesota that would ban same-sex marriage.

25 Yoko Ono Meltdown Festival, Southbank Center Street Project, June 2013, with Guerrilla Girls presentations and workshops.

26 Trouble le repos / Disturbing the peace 27 I’m not a feminist but if I was, this is what I would complain about - Project Irland 28 “Let’s toast irish art, lads!”- Project Irland

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11 From Guerrilla Grils’ project at Whitechapel Gallery, London. 2016 12 The U.S. Senate is more progressive than Hollywood, update.

13 Unchain the Woman directors billboard.

14 The anatomically correct Oscar.

15 In 2016 Guerrilla Girls re-examined a 1986 poster (It’s Even Worse in Europe) to find out how things were going for women and artists of color in Europe.

16 Pop Up Quiz (update).

17 Poster about the mfc - michèle didier gallery itself.

18 Advantages of owning your own art museum-Deutsh for the 40th anniversary of the museum Museum Ludwig, founded by chocolate baron Peter Ludwig.

19 “Why has 87% of Icelandic film centre funding gone to men?”

20 “Dear Art Collector” stickers.

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29 In Istanbul, coffee grounds are used to tell people’s fortunes. This is one of seven posters in an exhibition that opened in October, 2006 at Istanbul Modern Museum, curated by Rosa Martines.

30 “Museums cave in to radical feminists”.

31 “Museums unfair to men!”.

32 Dearest Eli Broad.

33 “Do women have to be naked to get into the MET museum?”, 2005 34 “Where are the women artists of Venice?”, one of six posters shown in the 2005 Venice Biennale “Always a Little Further,” curated by Rosa Martinez.

35 “Bienvenuti alla Biennale Femminista!”, one of six posters shown in the 2005 Venice Biennale “Always a Little Further,” curated by Rosa Martinez.

36 April 25, 2004 march for women’s lives in Washington DC.

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44 Prochoice march on Washington D.C., urging right-to-lifers—and the Catholic Church—to repent their sinful, modern ideas.

45 “10 trashy ideas about the environment”.

46 “Republicans do believe in a woman’s right to control her own body”. This was done especially for the Republican Convention.

47 Guggenhein protest with women’s action coalition.

48 Guerrilla Girls response to a New York Times Magazine cover of October 3, 1993, which featured Arne Glimscher of Pace Gallery, art dealer to the movie moguls, with his “art world all-stars”—all middle-aged white males.

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37 “Sende a message to those body obsessed guys in Hollywood”. Too-skinny actresses are just part of the problem in Hollywood.

38 Sundance stickers.The Guerrilla Girls and Alice Locas invade the Oscars! The number of women and people of color working behind the scenes in Hollywood as directors, writers, sound engineers, editors and cinematographers is really pathetic.

39 “The birth of feminism” satirical movie poster.

40 Things are improving a little for women and artists of color. Just a little. This poster was created to help us handle our new role.

41 Battle of the sexes. Guerrilla Girls bring battling Amazons to The New Yorker.

42 “The internet was 84,5% male and 82,3% white”.

These were the statistics for the internet in 1995 when we first launched our website.

43 This poster was inspired by William Kennedy Smith and all the other guys who get away with it.

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49 “I’ve begged”. Project in collaboration with residents of N.Y.C’s Women’s Shelter and The Artist & Homeless Collaborative.

50 “I can survive on the street”. Project in collaboration with residents of N.Y.C’s Women’s Shelter and The Artist & Homeless Collaborative.

51 “What I want for Mother’s Day”. Project in collaboration with residents of N.Y.C’s Women’s Shelter and The Artist & Homeless Collaborative.

52 “What’s the difference between a prisoner of war and a homeless person?”

53 Guerrilla Girls unanimously opposed the Gulf War and wanted to send George Bush a bill for his New World Order.

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62 Documenta, a presitgious international exhibition, is held every five years in Kassel, Germany. Guerrilla Girls passed out this calling card.

63 In response to the Whitney Biennial in 1987, the Guerrilla Girls exposed the museum’s pathetic and worsening record on women and artists of color in this exhibition at The Clocktower.

64 “John Russell thinks things are getting better for women artists”.

65 Women have never gained economic equality by just working hard and being good girls. Women artists earn only 1/3 of what men do. With this poster Guerrilla Girls wanted to make women artists angry as hell and not willing to take it anymore.

66 Guerrilla Girls have been invited to speak all over Europe and have noticed that women artists hardly ever get shown there. Nearly all the money their governments spend on art and it’s a lot more than the US government spends goes to less than half the population....the white male part.

67 Women of color know that, as a group, they have an even harder time than white women. These statistics shocked and embarassed the world.

68 “How many women had one-person exhibitions at NYC museums last yeas?”, 1984.

69 Guerrilla Girls’ first press release, May 6, 1985 70 “Deares art collector,...”

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58 Is this or isn’t this a real list of Guerrilla 54 Advice to female soldiers in the U.S. Army stationed in Saudi Arabia during the Gulf War. 55 “George Bush, ‘The Education President’” 56 “Do women have to be naked to get into the MET museum?”, 1989 57 By 1990 “multiculturalism” was a buzzword, accompanied by the perception that things had gotten better for women and artists of color.

Artforum asked Guerrilla Girls to do one of their “Artist’s Projects,” and in it they announced the conditions for their retirement.

Girls? Only the people on it know for sure.

59 “You’re seeing less than half the picture”.

60 It’s not unusual, but big-time collectors like Andy, Emily and Burton bought virtually no work by women. If the courts would declare art collectors employers of artists, we’d sue for discrimination.

61 Art galleries are stores, and in New York, all they sell is white bread. Hundreds of these peel-off stickers got slapped on gallery windows and doors.

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BATE, M. (2018). The Periodic Table of Feminism.

London: Pop Press.

BOTELHO, L. & PESCADA, C. (2018, 25 de abril).

A Triumph, a cultura, os despejos: é por isso que As Toupeiras saem da toca. Público.

Consultado a 15 de junho de 2020, em: www. publico.pt/2018/04/25politica/videos/a-triumpha-cultura-os-despejos-e-por-isso-que-astoupeiras-saem-da-toca-20180424-221633 BRANDÃO, L. (2018, 29 de julho). As Três Marias: O antes, o depois e o impacto das ‘Novas Cartas Portuguesas’. Comunidade Cultura e Arte.

Consultado a 15 de junho de 2020, em: www. comunidadeculturaearte.com/as-tres-marias-oantes-o-depois-e-o-impacto-das-novas-cartasportuguesas/ DESPENTES, V. (2006). Teoria King Kong. Lisboa: Orfeu Negro.

DUNNE, C. (2015, 20 de fevereiro). How Designers Built The World of “The Grand Budapest Hotel”

By Hand. Fast Company. Consultado a 19 de junho de 2020, em: https://www.fastcompany. com/3042014/how-designers-built-the-world-ofthe-grand-budapest-hotel-by-hand EDWARDS, N. (2012). Feminist Manifesto or Hardcore Porn? Virginie Despente’s Transgression.

University of Adelaide EPHEMERA (s.d.). As Toupeiras – cartazes do 25 de abril 2020. Ephemera – Biblioteca e Arquivo de José Pacheco Pereira. Consultado a 14 de junho de 2020, em: oficialjpp.com/as-toupeiras--cartazes-20-25-de-abril-de-2020.html

GUERRILLA GIRLS (s.d.). Posters, Stickers, Billboards, Videos, Actions: 1985-2019.

Guerrilla Girls. Consultado a 15 de junho de 2020, em: www.guerrillagirls.com/projects HYLAND V. (2016, 8 de agosto). Is There Some Reason Millennial Women Love This Color?. Huffpost.

Consultado a 19 de junho de 2020, em: https:// www.huffpost.com/entry/is-there-some-reasonmill_b_11413326 NOGUEIRA, M. (2020, 24 de abril). 25 de Abril: ideias para celebrar a liberdade (em casa).

Visão. Consultado a 14 de junho de 2020, em: visao.pt/visao7e/sair/2020-04-24-25-de-abrilideias-para-celebrar-a-liberdade-em-casa/ NOVAS CARTAS (2011, 4 de maio). Novas Cartas Portuguesas. Consultado a 15 de junho de 2020, em: https://issuu.com/novas_cartas_novas/docs/ novas_cartas_portuguesas STEELE, V. (2018). Pink: The History os a Punk, Pretty, Powerful Color. New York: Thames & Hudson.

THE BALTIMORE SUN (2004, 27 de julho). Real Men Wear Pink. Chicago Tribune. Consultado a 14 de junho de 2020, em: https://www.chicagotribune. com/news/ct-xpm-2004-07-27-0407280242-story.html THE GUARDIAN (2017, 22 Mar). ‘Millennial pinn’ is the colour of now - but what exactly is it?.

The Guardian. Consultado a 19 de junho de 2020, em: https://www.theguardian.com/artanddesign/ shortcuts/2017/mar/22/millennial-pink-is-thecolour-of-now-but-what-exactly-is-it

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ARRANJO GRÁFICO SUSANA FRANCISCO https://www.behance.net/susanafrancisco