MPP Rosalie Oakman

MAJOR PROJECT PROPOSAL ROSALIE OAKMAN / MA TEXTILE DESIGN / CHELSEA COLLEGE OF ART AND DESIGN / FEBRUARY 2021

note: I will be using the spelling “WomxnÂť; it is a spelling of "women" that is a more inclusive, progressive term that not only sheds light on the prejudice, discrimination, and institutional barriers womxn have faced, but to also show that womxn are not the extension of men but their own free and separate entities.

RESEARCH FOCUS

DESIGN IDENTITY

My research focus is around the expression, identity, and sexuality of womxn. I am trying to find a way to express and share their individualities and stories through the medium of textiles. Highlighting some of the joys of being a womxn, but also the physical and emotional hardship that comes with it. Acting as a testimony of our time, being a support and a legacy.

During my fine art bachelor’s degree, I was searching for ways to express my story and the physical and emotional hardship I went through. The discourses around sexuality when I was a teenager were absent and often surrounded with shame. There has since been an evolution; people are more eager to listen as you can see with social movements such as #metoo; #balancetonport; #metooincest. In the continuity of that line of work, my designs will cast a light on the issues surrounding the female body and sexuality and give womxn the opportunity to share their experiences and knowledge. Giving other womxn different ways of understanding things about themselves, away from the western male gaze, in a positive, non-judgmental, empathetic way. Fighting against some of the violence and aggressions womxn are facing today.

SUSTAINABLE DESIGN Two directions are possible, although not yet fully decided as they could both work together. The project itself, being flexible, would depend on the conversations had with the womxn I interview.

Initially, I was wondering if I could upcycle a piece of textile or garment used by the womxn that I interview. It could be interesting to turn something that already belongs to them into a personal artefact relating to their story. I also have a collection of fabrics and garments my mother has accumulated over the years that I could upcycle. It has been my practice to recover and give a new life to objects and materials. This aspect should be integrated as a part of my final project. For my project I intend to work with British and French small businesses to source my material.

Creating artefacts or garments that will be made as an interpretation of those womxn’s’ stories should create an attachment to the object and promote emotional durability. The textile outcome will be both useful and wearable, but also be a statement and art piece; opening discussions and raising questions about our contemporary society, body politics and social change.

PURPOSE I want to centre my project around the transmission of the legacy that is passed on from womxn to womxn and create a way for storytelling through objects/garments.

On the technical side, I am trying to learn as many techniques as I can to be able to utilise those skills for the purpose of sharing others’ stories. Using my crafts and abilities as a tool for art and expression.

This MA is helping me to understand various rapports to textiles and sustainability, teaching me to consider every aspect and to try and make the best choices possible.

FUTURE AMBITIONS I aim to become a textile Artist and Designer, questioning social behaviours, body politics and conceptions around our way of living. I will start working in the industry and as a freelancer to acquire skills, knowledge, and experience.

In the near future, I intend to create an Atelier in France. I would like to keep restoring my family property and invest in creating a hybrid between an eco-retreat and an art and textile studio. It would be a learning and sharing space. Enabling people to unplug from their routines, learn new skills, share ideas, create together. Giving the opportunity for people to experience a different rapport to themselves compared to the one that our capitalist and consumerist society has imposed on us. Living in a different rhythm, reconnecting to nature, art, and themselves.

The story will be engraved in the artefact, in a visible or invisible way depending on the womxn. I want to question the rapport to identity, sexuality, and the question of how we share it. Hopefully, breaking taboo or shame, liberating dialogue and creating a subversive way of expression and transmissibility.

I want my design practice to be ethical, and question some of our social behaviours and the rapport womxn have to their bodies.

METHODOLOGIES

AIMS

For the MA project, I intend to create a sound / image / textile base from the testimonies of the womxn I will interview.

• Opening and inspiring dialogues around the female body and sexuality • Showing a diverse variety of examples of womxn’s stories • Investigating the question of transmissibility of womxn to womxn’s knowledge • Creating a system to work through the issues presented in the project • Bringing awareness around sustainability, design and making • Gaining a better understanding of materials and sustainability Establishing discussions and showing a variety of examples of womxn’s embodiment, how they consider their sexuality, what makes them, them. I would like to give an opportunity for womxn to share their stories in a unique way, and lead though storytelling to inspire younger womxn. It is an area of investigation that is in perpetual change and still has a long way to go. Female artists, designers, and theorists such as Mona Hatoum, Jenny Holzer, Judy Chicago, Sarah Lucas, Griselda Pollock, and many others have taken part in acting and speaking around womxn’s issues and labour. I believe I must act and speak too, and continue that process, bringing my own contribution into breaking womxn’s silence.

My project relates to those ambitions as it is one of the first big steps into that frame of work.

First, defining my angle of questions, making it the most open to interpretation for the womxn. I will need to give them a consent and ethics form. Then deciding what will need to be sent and shared by the interviewees and why it is relevant. Considering the current pandemic, the interviewees will play a more active part in some of the processes, for example they will have to take pictures of their textiles and environment to have visual references. This will give more strength to the womxn’s statements as it will make it even more personal and express their point of view. Through discussion we will then decide together what they would like their piece/ object to say. From this outcome I will start preparing moodboards, samples, and experiments towards the piece that will be created for them. The entire process will be recorded and documented through social media and journaling, available to all and hopefully starting to open discussions around womxn’s issues, bringing awareness to the subjects of sustainability and making.

The final outcome still cannot be defined as it is likely to evolve and change throughout the process. But if possible, at the end of the year the interviewees will be involved in the presentation of their “object”/ garment whilst demonstrating how it is linked to the fragment of their story. If we have to navigate more throughout the pandemic, an alternative will be to have a picture or video of them with their object and the possibility to listen to their story at the same time.

/ research

I have asssembled most of my research here. I have included some of my notes, which are personnal and express some of my ideas, opinions and thoughts. They are not considered as general truths, and I am not trying to impose them on anyone. I thought I should include them to give more understanding on the whys and the hows I am working on this project.

Visual thesaurus for “woman”:

As you can see, the word “woman” does not have much meaning other than the fact that it is related to the word “man”, that carries all “humankind” on its “shoulders”. The word “woman” is only defined by her position according to the adult male human and to the position that “woman” may occupy in a “mans” life.

Etymologically the word “woman” comes from the old English “wiffmon” coming itself from Germanic roots meaning “wife of man”.

I have included some notes in French too as I work in both languages and depending on the language in which I’m reading my notes vary. I have the intention to translate them for the final major project if it is of use, but will leave them as they are for now.

In France, the word “woman” is “femme”; it comes from the Latin noun “femina” close to a verb that means to suckle, breastfeed - note that the word “female” comes from there too.

Women are not “of man,” woman are not defined only by their reproductive functions neither are they defined by their position and relation to men. For this reason, I will now speak of them as Womxn. It is a term that is now used for more inclusivity and progressivity and I adhere to this. The ‘x’ has been used by Descartes to represent ‘unknown quantities,’ or ’speculation’ in Maths and is nowadays used in Language to modify and create gender-neutral words.

It has come to my attention that some of the language use in English and French are different, and lead to different ways of apprehending the meaning of the words and the political and social behaiours that «come of them». For example as the French artist ORLAN point out is that in a lot of american texts they use the terminology «human beings», which erases the problem of using «Homme» in french to define «all humans».

She says that our languages, our ways of life are evolving, and so should our use of language, to offer more inclusivity.

Those differences in the etymology and variety of the word woman underlines how alienated Womxn are and how much work still must be done in the 21st century for Womxn. The feminist fight for equality that started a 100 years ago is still not over.

WOMxN./ S3XUALITY / FEMINISM Woman, /ˈwʊmən/

Visual thesaurus for “man”:

Definition of woman 1a: an adult female person

“Womxn : is a spelling of "women" that is a more inclusive, progressive term that not only sheds light on the prejudice, discrimination, and institutional barriers womxn have faced, but to also show that womxn are not the extension of men but their own free and separate entities.”

b: a woman belonging to a particular category (as by birth, residence, membership, or occupation) —usually used in combination councilwoman

Urban dictionary; December 24, 2015

2: WOMANKIND

I am writing as a white Franco Britannic cisgender womxn in my mid-twenties –think it is important to know for the record.

3: distinctively feminine nature: WOMANLINESS

We are in 2021, most of us have not known any wars, neither have most of our parents. We are one of the lucky generations. Of course, we can speak about climate change, wars in other countries that we barely hear of, famines and illnesses. Most of those things except that pandemic do not really touch us neither do they really “matter” from the comfort of our homes. I am here today to speak about Feminism, but also about us, Womxn in our twenties and thirties now. And how we perceive our world, make it our own and most of all exist.

4: a woman who is a servant or personal attendant 5: a: chiefly dialectal: WIFE b: MISTRESS

I am shocked. It is an aberration for me to see that Womxn still only exist in association with men, or for men, not for who we are of for what we can do. the representation of us as an entity expresses “so little” and yet we now have positions like men in the social-cultural and economic places, and we think we own the same power they have. But clearly, we still do not.

c: GIRLFRIEND sense 2 Synonyms of woman DAUGHTER GIRL MOTHER

SHE WIFE

MATRONE FAIR SEX CREATURE

AUNT GIRLFRIEND GRANDMOTHER

ADULT FEMALE

Antonyms of women MAN

ADULT MALE

We were born and raised to believe and dream of equality. And yet, a closer look to the salary gap, to how life in general is divided, how men get the best jobs, more promotion, how little we are invested in the political sphere, and how little we are allowed in it, how childcare is still mostly assigned to us, how sexual harassment, abuse, and domestic violence hurt us more. We are far from that equality that all those womxn movements have been and are still fighting for.

A few problems seem to appear on the journey to our liberation. The first problem is linked to memory. How do we transmit our memories, our fights, how do we share those legacies?

How do we subvert the power? How do we dismantle Capitalism? Colonialism? And above all Patriarchy?

May I try and shock you visually? Here are two diagrams from the English Thesaurus. One is for the word “woman” and the other one is for the word “man”.

As Griselda Pollock says, womxn need to reclaim embodiment, to reclaim having the right to be the subject of rights and have them.

From the beginning of the 20th century onwards, Womxn were trying to be self-sufficient, fight for a job, a living … existing. Nowadays it is shocking to see how many of us have forgotten or are unaware of that battle womxn undertook then and before that. It seems like a distant memory.

• in 1918 in the UK the womxn got the right to vote but will have equal right to men in 1928 – in France we will have to wait until 1944.

• in the 1920’s womxn were fighting for the right to work, the scholar programs became the same for boys and girls.

• in 1944 in the UK access to secondary education is made free.

• in the 1960’s womxn were fighting for the right to have an equal pay.

• in 1961 contraception became legal.

• in 1965 in France, womxn can open their own bank account they will have to wait 1975 for the UK.

• in 1967 abortion was starting to become legal – this is still a fight happening nowadays in a lot of countries.

• in 1985 prohibition of female circumcision and the equal pay amendment is made in the UK.

•

in 1991 is rape considered a crime.

Here a just a few key dates and examples of the fights of womxn. I have restricted it to those, but it is not about how much I put in the light here. I want you to look at how close those dates are to us now in 2021 and how little time separates us from those moments. And I would like to make you aware that those victories are sadly not engraved in stone, and that even now in 2021 womxn in the world do not have some of those rights and that even some “developed countries” such as the USA are starting to think of revoking some of those rights.

One of the scariest things to me is that I have noticed that nowadays there has been an inversion of the “womxn’s dream” that they had in the 20th century and that younger girls and womxn around me are speaking of prince charming, the perfect house and the perfect family. I hear less and less womxn speaking of thriving for themselves and their carrier. It is as if we had forgotten that there was more, and that we could want and do more than house chores and alienated ourselves to the “other”.

It is likely that the more we forget about the fight that womxn have been enduring over the last 150 years, the more we take it for granted, the more likely we are to lose it. We must do something.

Why did I chose this subject: One of the main problems I faced as a young girl was the rapport to my body, the sense of injustice and discrimination because I was a girl, and then growing up all the hatred and prejudice, the continual questioning and not understanding. Being sexualised and used as a sexual object. The discourses then where not as much present as today, often surrounded by shame.

There has been an evolution, it seems that now people are more eager to listen as you can see with the social movements #metoo; #balancetonport; #metooincest. I want my work to put light on the female body and sexuality and give the opportunity for womxn to share their experiences, knowledge and give people the keys of understanding things about themselves out of the male gaze. In a positive, caring way.

SURNAME

NAME

PLACE

Abramovic Af Klint Agar Albers Amer Antoni Barri Holstein Benglis Bini Black Bonheur Bourgeois Buchanan Bucht Calle Capovila Cappola Chanel Chengyao Chicago Claudel Clergerie Cuppens De Bruyckeres De Kooning De Limpicka De St Phalle Dumas El Khoury Emin Farquhar Ferrer Germanotta Greaves Guacolda Hammond Harvey Hatoum Haworth Hepworth Hershman Hesse Hicks Hiller Holzer Hopkins Jackson Johnson July Khalo Khurana

Marina Hilma Eileen Anni Ghada Janine Lauren Lynda Leonor Judith Rosa Louise Nancy Elizabeth Sophie Rachel Eleonor Coco He Judy Camille Lydie Noelle Berlinde Elaine Tamara Nikki Marlene Tania Tracey Marcia Esther Stefani Sarah Harmony Bridget Mona Jann Barbara Lynn Eva Sheila Susan Jenny Emma Poppy Jamila Miranda Frida Sonia

Serbia Sweden Argentina Germany Egypte usa usa usa Argentina usa France France usa Sweden France Uk usa France China USA France France Austria Belgique usa Poland France South Africa Lebanon uk Uk Spain Lady Gaga usa uk Chili Usa Uk lebanon usa uk usa Germany usa usa usa uk United Kingdom united kingdom usa mexico india

Kruger

Barbara

Kusama Labovitz Lacy Lakmaier Landry Leele Levrant de Breteville

Yayoi Leslie Suzanne Noemi Catherine Ouka Sheila

Lippard Lucas Mann Mc Adam- Freud Mendieta

Lucy Sarah Sally Jane Ana

Kapheine

/

PERIOD (birth)

(death)

GENRE

1946 1862 1899 1899 1963 1964 ?

1941 1907 1946 1822 1911 1946 1975 1953 1973 1936 1883 1964 1939 1864 1965 1964 1964 1918 1898 1930 1953 1982 1963 ?

1937 1986 1980 1967 1944 1980 1952 1942 1903 1941 1936 1934 1940 1950 1989 1982 ?

1974 1907 1968

/ 1944 1991 1994 / / / / 1996 / 1899 2010 / / / / / 1971 / / 1943 / / / 1989 1980 2002 / / / / / / / / / / / / 1975 / 1970 / 2019 / / / / / 1954 /

usa

1945

/

japan usa usa uk guadeloupe spain usa

1929 1946 1945 ?

1969 1957 1940

/ / / / / / /

1937 1962 1951 1958 1948

/ / / / 1985

usa uk usa uk cuba

UK USA france / usa uk france

USA

Netherlands

france / usa usa Netherlands Uk

France

France

uk

usa UK

france

usa

conceptual art, modern art abstract art, realism, performance surrealism, symbolism, cubism abstract art, bauhaus contempory, abstract contemporary, performative art performative art, contemporary minimalism, feminist surrealism,decorative arts contempory, documentary realism contemporary, surrealism, feminist, modernism feminist; contemporary, documentary textile, street art, crafts, contemporary conceptual art, feminist, performance contemporary, textile, conceptual, documentary contemporary, documentary & film, feminist fashion designer, proto feminist contemporary, feminist, performance minimal, politic, feminist, performance expressionisme, realism textile, contemporary, femisnist Textile, contemporary contemporary, installations abstract, expressionism art deco, queer art, proto feminist, post cubism nouveau realism, art decos, feminist, conceptual neo expressionisme contemporary, activist, performance contemporary, feminist, performance, conceptual contemporary, performance, activist contemporary, performance, feminist contemporary, performance, feminist contemporary, textiile contemporary, feminist, textile contemporary, feminist, post minimalist contemporary, textile , craftivism contempory, performance, feminist contemporary, pop at, feminism surrealism, biomoprhisme, primitive art, abstract contemporary, feminist, performance minimalist, post minimalist, (proto) feminist art textile, contemporary post minimaliste, conceptuel, perf., feministe conceptual, installation, politic contemporary, figurative contemporary, feminist, performance contemporary, feminist, danse contemporary, musicien, film maker surrealism, magic realism, self portrait feminist, activist, contemporary, performance conceptual, femisnist , post modernism, photomontage contemporary, abstract, conceptual, pop art, minimalism, feminist contemporary, performance, feminist contemporary, conceptual, performance, feminist contemporary, performance contemporary, textile contemporary, photographer, movida contemporary, feminist contemporary, feminist, post minimalist, conceptual contemporary, performance, feminist contemporary, photographer, documentary contemporay feminist, performance, body and earth art

type of art/design medium drawing

print

collage painting sculpture

textile

weave/ knit embroidery

design

digital media photography video performance

installation

writting

other

THEMES

identity

gender

body

0

ceramiques ceramiques dance, acting ?

china painting

0 object making singer

object making cutting/ cisellage digital, ai , bio art

prosthetics

filmaker, actice, musicien

graphisme, digital

digital media

To expand my knowledge around female artist and designers, I started exploring and documenting their work. What type of work do they do? how do they choose to represent it? This is enabling me to choose some references for my project, and define what I want to work on. It is a tool that will enable more understanding and visibility around womxns work. It isn’t a finsihed product, and still has a long way to go.

Here is a sample of the excel spreadsheet I started doing, if you want full access to the speadsheet: https://artslondon-my.sharepoint.com/:x:/g/personal/r_oakman0220191_arts_ac_uk/EYFZV6BdYwxMqZZ3kRM-a7YBZyXZwuy3ZiTx-12cM-

TIybQ?e=uhQUyb

mind

sexuality pregnancy

birth

death

religion philosophy science spirtuality

trauma

family

domesticity mariage space/archi

nature

culture

history

female condition

equality

patriarchy

politics

activism feminism

sexism

racism

misoginy subconscious violence

0

blood

war

consumerism covid (related) other physical and mental boundaries to explore themes of emotional and spiritual transfiguration theology, geometry surrealism, symbolism geometry, colour, theater traditions, religion, cultural identity rituals, the process of making, aging, rapport to the body marginal spaces of the body, as well as those between pleasure and pain, power and powerlessness, seein physical presence, narcissim, textures & colors, sensory experience, self portrait, post minimalism fantastique, onirism, the nude, human body, methamorphosis household, domesticity, single mother, generations, pregnancy, family life andwork nature, mostly animals painter, feminist action : allowing the right for female to wear males clothes for wo motherhood, childhood, textile industry, hate, love, very engaged artist for feminism and war results / search of freedom and rights for population, time, tabo story telling, refugees, children, childhood, colour, humour, gravity autobiography, absence of the other, public/private sphere, storytelling, pursuit, transfiguration her local landscape, heritage and the legacies within her communities that impacts upon everyday lives. , has done a lot of perfomances, and critics/ activism in 60-80 but the work is «invisible» online, not easy to simplicity and confort, making some textiles and the trousers accessible to womxn, challenged strereotyp mental illness, rapport mother- daughter, philosophy of time and space, work in opposition with tradition women’s house, work around the female and the role of womxn in society, power, holocaust, animals, love, the nude, the human body, relationships, psychological investement alienation, mental ilness, family, fashion, objects, change, transmission trees, the lign, the text, margueite duras (inspiration), workshops around textile construction installations weird, morbid, animals, horses, psyche, polymorphe / anamorph portraiture, art critic, colour, questionning societal roles portraitiste, representing the female nude figure, «revolutionning» the nude from the male gaze as she is colour, monumental, subversive, public space, the female body, colour epict personal, psychological, social, and political concerns, portraitist, suggestion, interpretation, erotism

refugies, history, activism, including the spectator in the performance, creating a scenario and giving an ac autobiographique, abortion, miscarrages, sexual partners, provocation, rape, alcoholism, confessional, inti questionning our culture, popular cultural forms such as TV cookery, pop-psychology, the Punch & Judy sh art/action, post war culture, story telling, social problematiques, liberation of womxn, surrealist objects, provocation , emporwerment, bisexuality, gay rights, mental health awareness, hiv awareness, body posi montherhood, consumption, identity, psychology, food, contradictions portraits, autoportraits, figuration of «know classical paintings», reppresenting women and text, travel in part of female mouvement, defending lgbt / lesbian artists and their visibility craftivism, repair, conservation, sustainability, narrative personnal/political ; public/private; pain/pleasure, research of tension / danger / humour, exile, domestic pop art, american culture, blends of materials, the body, rapport to domesticity, soft sculptures: oppositio absence/presence, abstraction, materiality, emptyness, abstraction, bio forms technology, AI, digital link with humans, surveillance, self portrait, media as a tool of empowerment agai memory, oppression, human scale, psychology and individuality, abstractiion, reflexion on society but trie colour, form, texture, research of a universal language, design ethnography, cultural identity, memory, humankind, transmission, psychic , para-noarmal, the mark on l public space, advertisement, utilitarian art, disrupt passive reception of information, technology, rape, r anatomy, psychology, mortality, the mind and body, the human, abstraction and surrealism, portrait artist the body as an autonomous zone, menstruations, political/social consciousness, being pregnant during c the body as a side of politics, non verbal language, dance to surbvert notions of «otherness», gender, cul about techology and identity, love , death, culture, society, self portrait, intimacy, illness, sickness, introspection, love affaire, break up, subsconsiouc/conscious / inn tradition, body, sexual differences, culture, socio cultural tensions, hysteria, asexuality, personnal histori surveillance, critic of society, abortion, womxns right to their body, aids, public space, economy

childhood, mental desiease, hallucinations, food, giant installations, monotony of the repetition, vertigo o sexual violence agaisnt womxn, ecological business, boundaries between art and life, social taboo shame racial discrimination, violence, rape, ageism, work with the womans building, helping margnalised people object, physical, reality, power, control, insecurity, physical to the philosophical, the personal to the politi relation to time and space, upcycling, contemplation, mixed mideia «collages», change of scenery, questio fantastic, still life, emporwerment, freedom, emancipation, provocation, portrait, color, b&w co founder of «the women’s building», art theory, graphism for activism, art

0

writer and art critic, cultural geography, conceptualism, and feminist art, dematerialisation in work, objects, female objectification, absurdity of cultural biases complexities of familial relationships, social realities, and the passage of time, capturing tensions between identity, portraits, object installations, medals, crime scene, art and psychoanalysis, conceptual mother earth, psyche, spiritual, ethereal, and physical connections, rape, traditions,

Here are some quotes and some notes on some books I read I had time to rewrite. And also the scans of my notebooks. Some of them are in English and in French depending of the book.

NOTES:

“épicentre phallocratique de l’église catholique, apostolique et romaine”

(J’ai ici regroupé des notes que j’ai retrouvé sur certains ouvrages que j’ai lu qui me semblaient importante et que je ne pourrais pas toutes placer ainsi que des citations.) “c’est trop grand pour moi” G. DELEUZE SPINOZA : se croire libre car on ignore les choses qui nous déterminent ↳​ « cette fameuse liberté humaine que tous se vantent d'avoir ! ». Elle consiste « dans le fait que les hommes sont conscients de leurs appétits et ignorants des causes par lesquelles ils sont déterminés ».

Pédagogie ⇒ imprégnée du christianisme -apprentissage dans la douleur -refus de l’école ludique -règne disciplinaire au quotidien - mépris du corps dans l’emploi du temps -apprentissage de l’obéissance et de la soumission + que de l’intelligence, etc ..

advertainment: advertising + entertainment

Jésus: Fils de dieu incarné en fils de l’homme -> premier modèle d’imitation ↳ 1 corps qui ne boit pas, ne mange pas, ne jouit pas, n’a pas de sexualité: un anticorps

devenir conscient c’est devenir un Homme augmenté libérer les ≠ sexes face à l’expression intime SALO V : “ dans ce temps de crispation de retour au puritanisme qui impose de plus en plus de montrer les choses” A.BELLANGER : “la modernité ⇒ notre archaïsme à nous ↳système de rituel avec sa propre réalité”

Névrose de Paul de Tarse: impuissant sexuel: aspire à élargir son destin funeste à l’humanité: 2nd modèle ↳ le corps du Christ ⇒ un cadavre ⇒ principle double imitation: anticorps angélique ⇒ en faisant mourir son corps au monde ⇒ les pères d’églises (dont St Augustin) ↳ théologie de l’éros chrétien: nihilisme de la chair ⇒ modèle de jouissance: le martyr qui jubile de souffrir et de mourir pour gagner le paradis

SIMONE DE BEAUVOIR le deuxième sexe:

2nd théologie de l’éros chrétien : SADE + BATAILLE ↳ l’éros nocturne paulinien ↳identité souffrance + jouissance, mépris des femmes, haine de la chair, dégoût des corps, voluptée dans la mort.

Corps comme expression objective (p.92) les dieux mâles sont solidement installés car leur ciel est plus lointains

antidote: Le kama sutra de VATSYAYANA

l’homme éblouit et fait peur dissociation du mâle qui effarouche et de la divinité rayonnante qu’elle adore pieusement.

↳érotisme solaire: spiritualité amoureuse de la vie, égalité homme/femme, techniques des corps amoureux, construction complicité corps/nature, promotion des belles individualités masculines/féminines ↳ construire corps radieux + existence jubilatoire

archaïsme et abyssale stupidité turpitude

encéphalogramme résolument plat confusions

antipodes

“l’art creuse sous les apparences, interroge les évidences, va déterrer des véritées ignorées, balaie les représentations toutes faites, poursuit son but libérateur [...]” p.92 brasser les références consuméristes Question des fils et filles de: relayant le monde du spectacle dans son népotisme débridé ⇒ déférence pour la royauté aliénation participative “je n’étais pas faite pour tourner dans un manège avec des oeillères de soie” - Isabelle EBERHARDT “transformer l’aliénation en compétences”

↳ le système attise nos frustrations/complexes/anxiétés/et auto-dévalorisations

p112-118 mon rapport à P

Nouveau Testament: corpus Paulinien ↳haine du monde, déconsidération de la matière, refus du corps et discrédit de la vie ⇒ contamine notre rapport à nous même ⇔ aux autres ⇔ au monde ↳détestation corps/chair/sexualité/sensualité/désir/passion/pulsion/de la féminité/des femmes/du féminin ⇒ notre monde>vallée des larmes, perpétuelle punition : enfer

“faire suivre chaque complaisance d’une révolte” p.115 “il y a un élan qui sans cesse retombe et sans cesse se renouvelle: c’est l’élan retombé qui cré, l'envoûtement où se perpétue le désir”

le caractère (femme, noir, juif, etc ..) comme une réaction secondaire à une situation

Nos seuls biens: notre courte vie et nos corps dérisoirs ↳ se retrouve: holocauste fondateur d’une religion nihiliste ⇒ civilisation nihiliste

“intériorisant l’inconscient et toute vie psychique”

“ les candidats à la destruction du soi aspirent à un anticorps échappant aux soins du corps.”

“dans beaucoup de sociétés primitives son sexe apparaît même comme innocent, les jeux érotiques sont permis dès l’enfance entre ⚥. c’est le jour ou elle devient susceptible d’engendrer que son sexe devient impure”

eschatologie -> fin du monde “excréments psychiques”

“la fonction de gestation inspire une répulsion instantanée”

“le saint sans sexe trouve le sexe malsain”

La défloraison : “le plus souvent encore, un prêtre …. homme médecin, cacique, chef de tribu dépucèle la fiancée dans la nuit précédant les noces .. “

Peccamineux

les enfants entre eux

“Poinde ac cadaver” pareil à un cadavre

les femmes .. avec des os, pierres, bâtons “quelques matrones déflorent systématiquement la fillette et tout au long de son enfance élargissent l’orifice vaginal .. “ p.257 “la plus sûr manière d’affirmer qu’un bien est mien , c’est d’empêcher autrui d’en user”

“essentiellement yaourt + thon.. “ “manger avec des baguettes pour mieux contrôler les portions qu’elle ingère” escamoter l’altération de l’identité déréaliser la procédure désinvolture misogyne “ils font état d’un esprit nouveau, en prenant appui sur cette part d’ombre incompréhensible et en en faisant l’élément dynamique, le pivot de leur travail, de leurs réflexions” “nous ne sommes qu’entièrement libres dans nos dessins et non dans nos réalités.” fascination pour le lignage.

La domination masculine PIERRE BOURDIEU

silence/dégâts

“la virilité est une notion éminemment “relationnelle”, construite devant et pour les autres hommes et contre la féminité, dans une sorte de peur du féminin, et d’abord de soi même.”

Ainsi soit-elle BENOÎTE GROULT “Il m’a longtemps semblé que les inconvénients inhérents à la condition féminine ne devaient être simplement négligés ou surmontés; qu’il n’y a pas besoin de s’y attaquer. [...] il entrait de la complicité de cette désinvolture .. la lutte antisexiste n’est pas seulement dirigée, comme la lutte anticapitaliste, contre les structures de la société, elle s’attaque à chacun de nous à ce qui est de plus intime et ce qui nous paraissait le plus sûr. “ Gender trouble, JUDITH BUTLER embattled oppositional relationship to certain forms of feminism Feminism <=< new forms of hierarchy be careful not to idealise expression of gender ⇒ and exclusion

pervasive heterosexual assomption in Feminist literary theory

opens the fields of possibilities without dictating the idealised ways breakdown gender binary cultural or critical studies? ↳ the face of theory has changed through it’s cultural appropriation -how do none normative sexuality practices call into the q°, the stability of genderized (a)category of analysis.

Not the consecrat° of femininity erotic consumption of political beliefs -how do certain sexual practices ↳ ♀ / ♂/ normalise sexuality; normative gender

(♀) Yoni / Linga (♂)

Paradoxes / links / gender hierarchy ⇒ presupposes genders & sexuality ⇒ reproduction paragnisme ⇒ gender sexul harrassment ⇒ creates gender

Une chambre à soi, VIRGINIA WOOLF griffes d’aciers bec d’airain

“Je n’ai pas besoin de flatter qui que ce soit, personne ne peut plus rien me donner” ↗

structure des activités technico-rituelles ↳ trouve fondement ultime dans le marché des biens symboliques

“un “éros” adéquate -> éros nihiliste construit sur la négation de l’éros”

La colère REICH: ou de se changer ⇔ ou changer l’ordre du monde ⇒ “révolutions sexuelles”

habitus ⇒ disposition

“une religion est une secte qui a réussi”

↳ donne/confère à l’homme la meilleure part.

“ils ont écrits à la lumière rouge de la passion, et non à la lumière blanche de la vérité”

l’amour: tropisme instinctif des reproducteurs

↳ les femmes l’appliquent aussi à toute réalité: mais surtout aux relations de pouvoir dans lesquels elles sont prises / les schèmes de pensées de ces relations de pouvoir ⇒ soumission : où “actes de connaissances”

regimes of truth are stipulated ↳false/dégénérée // a true/original

préséance universellement reconnue de l’homme ⇒

Idiosyncrasie

névroses abondantes: - passions tristes - états dépressifs chroniques - mélancolies récurrentes relation libido + condition sociales + historique dans lesquelles elle s’exprime et ne s’exprime pas

� en conséquences: le représentation androcentrique de la reproduction biologique et de la reproduction sociale se trouve investie de l’objectivité du sens commun, entendu comme consensus pratique, doxique, sur le sens pratique.

domination masculine trouve réuni toutes les conditions de son plein exercice

Passions cadavériques

“monstres de notre modernité vulgate” ⇒ raisons sociologiques et culturelles

“Il faut admettre à la fois que les dispositions “soumises” dont on s’autorise parfois pour “blâmer” les victimes sont le produit de structures objectives, et que ces structures doivent leur efficacité qu’aux dispositions qu’elles déclenchent et qui contribuent à leur reproduction”

provocative information

ST AUGUSTIN propose généalogie de la libido ↳ elle n’a pas toujours été et a surgit un jour néfaste: le geste d’Eve

misère sexuelle généralisée

Mais aussi: schème immanent à tous les habitus ↳tous façonnés de la même façon/ condit° semblables ⇔ donc tous accordés ⇒ fonctionnement comme des ​matrices de perception des pensées + des actions de toute la société ⇒ ​transcendant historique ⇒ universellement partagés ⇒ s’impose à ​chaque agent​ comme transcendant

schèmes inconscients de perception et d’appréciation ↳ schemes: produits domination ⇔ nos pensées, nos perceptions sont structurés par eux ⇔ nos actes de connaissances sont des actes de reconnaissances de soumission

Libido ⇒ matérialiste de l’être ⇒ consubstantiel

Le souci des plaisirs , M. ONFFRAY:

Nous vivons dans un corps chrétien sans nous en rendre compte : imprégnation de 20 siècles: idéologie ↳ haine de la femme, du désir, des plaisirs, de la chair ⇒ nihilisme de la chair

Les grandes marques de luxe des années 2008

doucereusement lobotomisé

p.112 désirer dans sa chair

≠ à FREUD: affranchissement personnel à l’endroit de cette “morale sexuelle “civilisée”” invisible/inconsciente

confusion journalisme / publicité brand content: contenu éditorial de la marque

prise de conscience ⇒ en parler ⇒ mettre à distance ⇒ agir à mon échelle

façons d’éprouver, parfois dans le conflit intérieur et le clivage du moi, la complicité souterraine d’un corps qui se dérobe aux directives de la conscience et de la volonté entretient avec les censures inhérentes aux structures sociales.” p.44-45 “les passions de l’habitus dominé (du point de vue du genre, de l’ethnie, de la culture ou de la langue), relation sociale somatisée, loi sociale convertie en loi incorporée, ne sont pas de celles que l’on peut surprendre par un simple effort de la volonté, fondée sur une prise de conscience libératrice. S’il est tout à fait illusoire de croire que la violence symbolique peut être vaincue par les seules armes de la conscience et de la volonté, c’est que les effets et les conditions de son efficacité sont durablement inscrit au plus intime des corps sous formes de dispositions.” p.45

Beauté fatale, MONA CHOLLET

“le pouvoir est toujours nimbé de sacré” 20s de christianisme: 1 corps déplorable 1 sexualité catastrophique

déclencher des cohérences entre l’existence et l’être

“Une sorte de stimulant, renouvellement des forces créatrices [...] qu’au pouvoir du sexe opposé d'octroyer”

“Tout y est demi-jour et ombres profondes comme dans ces cavernes sinueuses où l’on descend une bougie à la main, les yeux sautant sur chaque recoin et sans savoir où l’on pose le pied”

subordination for women ⇒ gender Derrida/avital

“les actes de connaissance et de reconnaissances pratiques de la frontière magique entre les dominants et les dominés que la magie du pouvoir symbolique déclenche, et par lesquels les dominés contribuent, souvent à leurs insu, parfois contre leurs grés, à leur propre domination en acceptant tacitement les limites imposées, prennent souvent la forme d​’émotions corporelles ​-honte, humiliation, timidité, anxiété, culpabilité - ou de​ passions​ et de ​sentiments​ -amour, admiration, respect-; émotions d’autant plus douloureuses parfois qu’elles se trahissent dans des manifestations visibles, comme le rougissement, l’embarras verbal, la maladresse, le tremblement, la colère ou la rage impuissante, autant de manière de se soumettre, fût-ce malgré soi à son corps défendant, au jugement dominant, autant de

gender is performative ≠ to is an essence ↳ anticipat + product° performative : (not the) transposable on to a race ⇒ but what happens when it tries to come to grips with race normative ⇒ mondain, urban violence, ethical justificat° naturalised knowledge, radical shift/ rethinking orf categories gaining recognit° for a gender minority //difficult task ↳ an instrumentalisation of the power one opposes morphologie ⇒ schèmes hégémoniques boundary + surface of bodies ↳ politically constructed M.FOUCAULT: power reproduces the same schemes limitation / prohibition / contrôle juridical/productives fields of power ontologique integrity ⇔ figure discursive rendant légitime devant la loi juridical power creates /produces what it means to represent problem with ♀/women =all ♀ ⇒ but no gender isn’t coherent/consistent in ≠ history / general contexts fragmentat° in Feminism + paradoxical thinking ⇒ shows the limits of identity politics ironic failure ⇒ misrepresentation “juridical structures of language and politics and discursive construction” ↳ creates a contemporary field of power no positions outside the field but a critical politique genealogy ↳departure: “historical present” domination and exclusion relationships are sustained ↳représentation focus politics maybe representation would make sense for feminism only when the subject of women is no where presumed solidarité identitaire une séparat°/distingt° sex/gender (eux même dépendant du cultural interpretat°) gender asymmetry mind/body séparation (se retrouve chez beauvoir) ↳symptomanie du phallocratisme ↳représentation du système androcentrique et patriarcal ↳political/psychic subordination + hierarchy le pb qui se pose ↳ include other cultures ⇒ reproduct° of phallocracy ↳ les femmes doivent critiquer les systèmes économistes masculinistes sans pour autant les oublier “d’identifier l’ennemi comme singulièrement informe” et en s’écartant du discours qui mimique justement les stratégies de l’oppresseur in a ≠ set of terms ⇒ une tactique peut s’opérer féministe et antiféministe dans ces rapports ⇒ existence discrète avec l’accès horizontal mineur sans appréhender convert° sociale/ une distribution/représentation verticale présente aussi un échec ⇒ condition d’oppression dialectical appropriation suppression of the other phallocratie/monothilic use of the gender oppression?

How the field of power is created/orientated? ↳maintain the complexity if these fields of power and think through there productive capacities together 1- Women can never be understood on the model they convey to the representational system of western culture ↳precisely because they are the fetish of representation 2. inrepresentable as such: women can never be because they are the representation/relation of ≠n the excludern by which that domaine marks itself off -women are a ≠ that can’t be understood ↳nor subject / nor the other but a ≠ by the economy of subject itself arouse from a monologic collaboration of the masculin. être ≠substance

être≠attribut (NIETZSCHE)

paradigme language is a tool in it’s application (often misogyne) ⇒ not construction acculturation + construction ⇒ subordinate ≠ coordinat° of dominat° LÉVI-STRAUSS ⇒ le mariage serait un moyen homo-érotique pour les hommes d’échanger entre eux à travers les femmes: exogamie

Kupka Frantisek painting Ghada Amer, embroideries and dawings

Annette Messager

ALienation Straight jacket, rosalie oakman ink, paper and threzd, rosalie oakman

a sense of gravity MVAT

some of my embroideries eyes the mirror of the soul Nika Danielska

Damselfrau

MICEMAN

Emma Hopckins paintings

NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD

a journey in the mind

Rapp Otto Malin Bobecjk

Thierry Mugler Marcel Duchamps

Jenny Saville Paintings Lam Wiilfredo

Lorenzo Nanni

Kupka Frantisek paintings Ronny Devilder

Muybridge pictures Rodarte

Nguyen Cong Tri

Emma Hopckins paintings

Iris Van Herpen

Rapp Otto

First moodboard / October-November 2020 Some of the artists and designers works I like, some of my old works.

Possible exploitation of textile, colour pallette and textures.

Questions that came with it:

• • • • • • • • • • •

colour obviously has meaning and strengh, but would removing it or staying in monochrome give more impact? is it necessary to have a human representation/shape to make the assimilation/link with the person stronger?

How can I translate those thoughts, obsessions, and make them feel «human» and raw the line, the text, how can I express in a more understandable way what my messages convey? how can i make textiles/designs feminist? abstraction, surrealism, minimalism, conceptual, as window to the human soul? what was Kupka trying to say, what did he try to say with his spiritual art? masks, clothing, accessories, hiding or revealing? how can I express with textile the same emotion as in painting/drawing? how do different mediums convey the question of mouvement? weird, beautiful? why?

I realised that writing had an important part in my process of research but also in my past works. Actually it is everywhere.

I had a look into some of the female artist whose work resonnate the most with me, and possible ways of using writing in my work. Here are a few examples I have selected but they are many more. I am still exploring with my excel sheet and taking notes as I go of the works I like.

I chose Sophie Calle because of her way of invistigation, documenting, and writing. I chose Jenny Holzer and Tracey Emin for the strengh of the messages express and the very different ways they present it. I chose Jane Haworth’s work because I really enjoyed the materiality and deconstruction of her work and find it to be an intesting possibility of using textile and painting.

Sophie Calle

Suite vénétienne, 1980 Take care of yourself, 2007

Tracey Emin Psyco slut, 1999.

Jenny Holzer Living, 1980-1982

Projections, Paris, 2009 It is guns, Miami, 2019

Why I never became a dance

Every one I hav

er, 1995.(video)

ve ever slept with, 1995.

Jane Haworth Soft sculpture and painting 1960â&#x20AC;&#x2122;s

The first time I was pregnant I started to crochet the baby a shawl, 1998-2000

I didn’t realise that writing was that much present in my practice until I was (re)discovering other’s womxn’s work. Since I arrived in the UK last year, I have focused a lot on learning textile techniques and less on the writing aspect. I think I need to bring them back together.

Here are a few pieces that I made that could be linked / offer possibilities of wht the MA could also be.

LA PIERRE OU LA CHAIR 25 août 2017, Province de Chiang Mai, 21:03 La pierre est froide et fière, elle est droite et chamboule Elle brise les bienheureux, et les perd dans ses feux Des sillons bien profonds, dans les creux des montagnes Elle creuse Sinueux. Mais où est donc Mercure ?

Et par quelle parjure nous laisse-t-il donc ici ?

Nous pauvres humains, en attendant Cerbère A l'entrée de ce gouffre, où se trouve l'adultère Mon ami, mon amour ... tu es déjà parti Tu as déjà glissé de par cette rivière Dois-je donc songer redevenir poussière ?

Te rejoindre là-bas avec Proserpine ?

Ou rester ici-bas, et déguster la chair ?

Tu es unique, et loin.

Tu n'es plus, je suis là.

Le tendre est là aussi, surgissant de ton ombre.

Il me voit, il me prend, et mon corps succombe.

Je le veux, je te veux, je vous veux tous les deux.

La chair est bien aimable, et vous en conviendrez Elle est délectable, et ce, rien qu'au toucher.

Je l'aime déjà je crois, mais je t'aime tout autant.

Je te suivrais là-bas, seulement si tu m'attends 26 De la noirceur profonde, aux plaisirs acharnés Aux tumultes de l’extase, à la voracité Ô non-dits, à la mort et à sa vérité Je brûle et me consume. Telle est ma volonté.

Devrait-on renoncer aux plus grands des péchés ?

Aux plaisirs de la chair ne devrait-on goûter ?

Abandonner douleurs, cris, joies et peurs Ce que jamais l'on irrite mieux de ses sens, Saura se perdre dans sa décence Laissant toutes ardeurs dans les chimères du lendemain.

I have written in 2018 a small novel Reveries, and a poesie anthologie ( over a few years) and illustrated them, etc. => possibility of documenting the wimxns stories into some booklets to go with the documenting process.

In the object/garment making process I embroided some texts that were quotes, facts/testimonies, and also positive thinking sentences ... I like the fact it is engraved in the material and beeing part of it.

Alienation, is a straight jacket made with old sheets, there is some positive therapy thinking engraved in it only readable if you are looking at the inside or wearing it in front of a mirror. It speaks about mental illness, trying to fit in our society resulting in alienating one’s self.

For the straight Jacket there was also a performative video, speaking abot mental illness and wellbeing.

The gloves have a hand embroidered quote from Simone de Beauvoir « speech is a subversiv act, the first step towards liberation.»

The robe is made with a sequin fabric, sparkly and shining to the eye. Inside the robe embroidered in red thread is a testimony of the emotional and physical hardhip I had as a young girl that broke me and shaped my life, showing that «all that glitters isn’t gold».

Those past works could be possible directions as continuation development for the MA too

I am using M materials I a I discovered resting to se enough, som were mainly ding the fibe see how the machine sa me a lot I th pling, but w That just did doing. And c Then I decid be a never-

Am I loosing it, 1hour, 12cm/diameter Embroidery on hankerchief, reused yarn fragments and felting / frenetic stillness.

anti-sample, a long time, 90x60 cm, hand knit and crochet, exploring technique and questionning the life of a sample.

Is sampling really sustainable?

JU. , about 40 hours, 38x55cm, explorative weaving around yarn textures and lights.

=> as a result of this piece we are starting a collective project for all of those in the MA who want to join. To create a feeling of cohesion, and share. To try and fight against the isolation we are feeling because of the current pandemic.

Materials Matter as an opportunity to investigate the already possess. It is in - nearly - complete shock that d that most of the yarns I had were synthetic. It was inteee that a lot of it ended up being acrylic, and surprisingly me yarns I thought to be acrylic were wool! A lot of them y made in Turkey. It was a journey around understaner and learning techniques. It was super interesting to e yarns were mixing in the weave, and in the knitting amples. Experimenting with those materials has taught hink. Something struck me in the process. I was samwhat for? What will become with my samples in the end?

MA Textile Design / Chelsea College of Art / Rosalie Oakman / 20th January dnâ&#x20AC;&#x2122;t seem logic .. And then I was wondering what I was clearly, I was losing it. ded that the samples all could exist and be a whole, and -ending process, become art and speak by itself.

n

MATERIAL MATTERS

2021

I am using Materials Matter as an opportunity to investigate the materials I already possess. It is in - nearly - complete shock that I discovered that most of the yarns I had were synthetic. It was interesting to see that a lot of it ended up being acrylic, and surprisingly enough, some yarns I thought to be acrylic were wool! A lot of them were mainly made in Turkey. It was a journey around understanding the fiber and learning techniques. It was super interesting to see how the yarns were mixing in the weave, and in the knitting machine samples. Experimenting with those materials has taught me a lot I think. Something struck me in the process. I was sampling, but what for? What will become with my samples in the end?

That just didnâ&#x20AC;&#x2122;t seem logic .. And then I was wondering what I was doing. And clearly, I was losing it.

Then I decided that the samples all could exist and be a whole, and be a never-ending process, become art and speak by itself.

References: BIBLIOGRAPHY:

INTERNET:

Guillaume Apollinaire, les onze mille verges , j’ai lu, 1907 George Bataille, histoire de l’œil, Gallimard,1928 Georges Bataille, poèmes et nouvelles érotiques, mercure de france, 1999 Bertouille Beaurebec, Balance ton corps - Manifeste pour le droit des femmes à disposer de leur corps, La Musardine Editions, 2020.

Pierre Bourdieu, la domination masculine , seuil, 1998 Sophie Calle, Doubles jeux, acte sur, 1998 Mona Chollet, beauté fatale , la découverte poche, 2015 Constance Classen, The book of touch, routledge, 2005 Simone de Beauvoir, le deuxième sexe I, II , Folio, 1976 Pauline de réage , l’histoire d’O , cercle du livre précieux, 1962 Delphine de Vigan, Rien ne s’oppose à la nuit, livre de poche, 2012 Virginie Despentes, King Kong théorie , le livre de poche, 2007 Michel Foucault, histoire de la sexualité I, II , III , gallimard, 1994 Elisabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism, Bloomington: Indiana University Press, 1994.

Benoîte Groult, ainsi soit elle , livre de poche, 1977 Kundera, L’insoutenable légèreté de l’être , folio, 1997 Chardelos Laclos , les liaisons dangereuses , folio, 2006 Anais Nin, inceste , biblio, 2002 Michel Onffray, le soucis des plaisirs , j’ai lu, 2010 Ovidie, Manifeste , tapas, 2017 The subversive stich, Rosizka Parker , bloomsmury visual arts, 1996 Griselda Pollock, After-Affects After-Images Trauma and Aesthetic Transformation in the Virtual Feminist Museum, Rethinking Art’s Histories, 2013.

Sade, L’histoire de Justine Sade, l’histoire de Juliette 10/18, 1976 Sade, les 120 journées de sodome , 10/18, 1976 Sade, philosophie du boudoir , folio classique, 1976 unknown, Manuel a l’usage des filles civilisés , 1927 Vannier Charlotte, De fil en aiguille broderie dans l’art contemporain , pyramid, 2018 Vatsyayana, les Kama Sutra , biblio, 2012 Virginia Wolf, une chambre à soi , 10/18, 2001

Dictionary online/ thesaurus https://englishthesaurus.net/

FILMOGRAPHY:

LYNN HERSHMAN LEESON & ELEANOR COPPOLA, moderated by Amelia Jones https://www.youtube.com/ watch?v=XABTb2aYYGM

Women Art Revolution, Lynn Hershmn Leeson ( https://www.youtube.com/watch?v=BPxWMiYQYAc)

Aware foundation, https://awarewomenartists.com/ The art story website https://www.theartstory.org/movement/feminist-art/ ; Art timeline/ feminism https://www.ktpress.co.uk/feminist-art-timelines.asp ; National museum of women in Art https://www.youtube.com/channel/UCKnelBYlnJyAbjoWNWMz-oQ; Women revolution, Stanford library interviews https://exhibits.stanford.edu/women-art-revolution/feature/artist-curator-critic-interviews Live art and feminism in the uk (google) https://artsandculture.google.com/exhibit/1gLSx6pobvq_Ig “feminism and art theory now” Griselda Pollock and Angela Dimitraki https://www.youtube.com/watch?v=Q5Ett_UsxZo 16 ways Women are still not equal to men https://www.rd.com/list/women-still-not-equal-to-men/ How the letter X creates more gendered neutral language https://www.dictionary.com/e/letter-x-gender-neutral-language/ https://www.fawcettsociety.org.uk/Handlers/Download.ashx?IDMF=45a5a7f5-ffbd-4078-b0b7-4bfcccab159d ( timeline feminism history) Les femmes dans L’UE http://www.helsinki.fi/science/xantippa/wef/weftext/wef214.html Janine Antoni’s website http://www.janineantoni.net/ Lauren’s Holstein profile https://londonsartistquarter.org/artist-hub/users/lauren-holstein/profile Rachel Capovila website, https://rachelcapovila.com/about/

Susan Hiller website http://www.susanhiller.org/home.html Jenny Holzer website https://projects.jennyholzer.com/

INTERNET/ WEBSITE IMAGES:

Suzanne Lacy website: https://www.suzannelacy.com/performance-installation

https://twitter.com/slg_artupdates/status/1251095656288174081 https://artsandculture.google.com/asset/psyco-slut-tracey-emin/IgFDgQ_fMwHC_w https://www.lehmannmaupin.com/exhibitions/tracey-emin https://projects.jennyholzer.com/ https://www.pinterest.fr/oakro1/_saved/ https://oca517401contextnarrative.home.blog/2019/02/13/research-point-sophie-calle-take-care-of-yourself/

Media part, article “comment fait on pour que les hommes cessent de violer? “ https://blogs.mediapart.fr/carolinedehaas/blog/270121/comment-fait-pour-que-les-hommes-cessent-de-violer?at_medium=custom7&at_campaign=1046&fbclid=IwAR0mFjc0PRkV9DmcO1z03I1zmGZB-efPXscUj4Uyj3wHLQ93QUvB40lGgpo Judy Chicago on “Womanshouse” https://www.youtube.com/watch?v=Z9muNnozFGY&list=WL&index=12 ORLAN herstory https://www.youtube.com/watch?v=gaQCw2NPgxk