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Dossiers Feministes 23 Género Y Espacios Del Arte Dossiers Feministes 23 Género y espacios del arte Dossiers Feministes 23 Género y espacios del arte Dossiers Feministes és una publicació anual que apareix en forma de monogràfic. NOTA: Adjuntem al final de cada número les normes de redacció per a l’enviament dels treballs i de les obres originals. Edició del monogràfic a càrrec de: Juncal Caballero Guiral y Rosalía Torrent Esclapés. Universitat Jaume I. Directora: Paloma Palau Pellicer (Universitat Jaume I). Secretària: María Avariento Adsuara (Universitat Jaume I). Comité de Redacció: Isabel Asensio Andrés (Artista); Laia Climent i Raga (Universitat Jaume I); Josemi Lorenzo Arribas (Universidad Complutense de Madrid); Miren Llona González (Euskal Herriko Unibertsitatea); Llum Sanfeliu Gimeno (Universitat de València); Olga Salido Cortés (Universidad Complutense de Madrid); Íngrid Vendrell Ferran (Freie Universität Berlin). Consell Assessor: Ana Aguado Higón (Universitat de València); Capitolina Díaz Martínez (Universitat de València); Rosa de Diego Martínez (Euskal Herriko Unibertsitatea); Mónica Moreno Seco (Universitat de Alacant); Roberta Quance (The Queen’s University of Belfast); Meri Torras Francés (Universitat Autònoma de Barcelona). Redacció: Dossiers feministes. Institut Universitari d’Estudis Feministes i de Gènere Purificación Escribano. Universitat Jaume I de Castelló. Facultat de Ciències Humanes i Socials. Despatx: HC2S29DL. Avgda. Sos Baynat, s/n. 12071 – Castelló de la Plana. Telèfon: +34 964 729 971. E-mail: [email protected]. Pàgina web: www.if.uji.es. Imatge de portada: Fotografía de Marcos Amuedo. Dossiers Feministes no s’identifica necessàriament amb els continguts dels articles firmats. Dossiers Feministes es troba indexada en la base de dades de l'ISOC del CINDOC, en CARHUS Plus+ 2014, en el MIAR i en Latindex. Disseny i maquetació: Drip studios s.l. Publicacions de la Universitat Jaume I Realització: Drip studios S.L. Impressió: Algrafic S.L. Dip. legal: CS-55-2011 ISSN: 1139-1219 e-ISSN: 2340-4930 DOI de la revista: http://dx.doi.org/10.6035/Dossiers DOI del monogràfic: DOI número revista: http://dx.doi.org/10.6035/Dossiers.2018.23 http://www.e-revistes.uji.es/index.php/dossiers BIBLIOTECA DE LA UNIVERSITAT JAUME I. Dades catalogràfiques DOSSIERS feministes. -23-. -Castelló: Institut Universitari d’Estudis Feministes i de Gènere Purificación Escribano: Publicacions de la Universitat Jaume I. Bianual ISSN 1139-1219 1. Feminisme - Revistes. I. Universitat Jaume I (Castelló). Institut Universitari d'Estudis Feministes i de Gènere Purificación Escribano, ed. II. Universitat Jaume I (Castelló). Publicacions de la Universitat Jaume I, ed. 296(05) ÍNDEX / TABLE OF CONTENTS Sofía Albero Debates fundamentales para una crítica feminista al museo de arte en el contexto español Fundamental Debates for a Feminist Critique of Art Museums in the Spanish Context ........ 5 Vanesa Cejudo Una habitación propia para las mujeres en las artes visuales A Room of One’s Own for Women in Visual Art ......................................................... 23 Mar García Ranedo Desempeños de género, sexo y raza en el museo Gender, Sex and Race Performances in the Museum ................................................... 43 Carmen Senabre Llabata Maestras del pincel: miradas violeta acompañando un recorrido imprescindible Masters of Paint Brush: An Essential Journey seen through a Purple Gaze ...................... 63 Esther Astarloa Mujeres ceramistas contemporáneas. El caso del Museo de Arte Contemporáneo Vicente Aguilera Cerni de Vilafamés (Castellón) Contemporary Women Ceramists. The Case of the Contemporary Art Museum Vicente Aguilera Cerni from Vilafamés (Castellón) ..... 77 Zoraida Nomdedeu Calvente En arquitectura: ausentes, invisibles, suplantadas In Architecture: Absent, Invisible, Supplanted ............................................................. 95 Joan Feliu Ausencias invisibles. Mujeres artistas en las ferias de arte contemporáneo Invisible Absences. Women Artists at Contemporary Art Fairs ..................................... 111 Belén García Pardo La calle como espacio artístico de mujeres: la writer y la street artista The Street as an Artistic Space for Women: The Writer and the Street Artist ................. 125 Belén Ruiz Garrido Prácticas textiles para subvertir los espacios públicos. Del sufragismo al contra-feminicidio Textile Practices to Subvert Public Spaces. From Women’s Suffrage to Anti-Femicide Movements ................................................ 143 Amparo Zacarés Pamblanco Enriqueta Hueso y la galería O+O (Oriente y Occidente): un espacio artístico en el relato identitario de un distrito urbano periférico Enriqueta Hueso and the Gallery O+O (Oriente y Occidente): An Artistic Space in the Identity Story of a Peripheral Urban District ............................ 169 Victoria Quirosa y Laura Luque La nueva plástica visual en torno al género, obra e identidad: Valle Galera The New Visual Plastic Art on Gender, Work and Identity: Valle Galera ...................... 185 CURRICULA NOTES ON CONTRIBUTORS ................................................................................. 204 DEBATES FUNDAMENTALES PARA UNA CRÍTICA FEMINISTA AL MUSEO DE ARTE EN EL CONTEXTO ESPAÑOL FUNDAMENTAL DEBATES FOR A FEMINIST CRITIQUE OF THE ART MUSEUM IN THE SPANISH CONTEXT Sofía Albero Doctora en Artes y Humanidades RESUMEN Desde los años setenta, la crítica feminista ha venido visibilizando y denunciando el orden androcéntrico que rige el sistema del arte, la consecuente desigualdad de género que lo empapa y su reflejo en el funcionamiento de instituciones públicas como los museos y centros de arte. Allí, la ausencia de las mujeres o su representación según modelos o contra-modelos de feminidad estereotipados, responde a un discurso único y consensuado a través del cual el poder y la mirada masculina mantienen su hegemonía. En este artículo hago un análisis de los debates fundamentales promovidos sobre todo desde el contexto anglosajón y reapropiados por autoras españolas que han abierto fisuras en el discurso oficial del arte y sus instituciones. Concluyo con la importancia del museo como escenario para DEL ARTE GÉNERO Y ESPACIOS precisamente una crítica feminista del sistema del arte. Palabras Clave: crítica feminista, museos, arte, contexto español. ABSTRACT Since the seventies, feminist criticism has been visibilizing and denouncing the androcentric order that governs the art system, the consequent inequality of gender that permeates it and its reflection in how public institutions such as museums and art centers operate. There, the absence of women or their representation according to models or counter-models of stereotyped femininity, responds to a unique and consensual discourse where masculine power and vision maintain their hegemony. In this paper I analyze the fundamental debates, promoted especially in english context and reappropriated by spanish authors, who have opened fissures in the official discourse of art and its institutions. I conclude with the importance of the museum as a scenario precisely for a feminist critique of the art system. Keywords: Feminist Criticism, Museums, Art, Spanish Context. 5 Dossiers Feministes, 23, 2018, 5-22 - ISSN: 1139-1219 - DOI: http://dx.doi.org/10.6035/Dossiers.2018.23.1 SUMARIO 1-. Recuperando nombres. Primeros debates de la crítica feminista a la institución arte. 2.- Cuestionamiento de las primeras críticas centradas en la inclusión de mujeres en el canon. 3.- Nuevos centros de interés: el canon y la construcción de la diferencia sexual en la narración moderna del arte. 4.- Voces e intervenciones feministas en el contexto español. 5.- A modo de cierre. El paso a la acción en los museos a través de la educación. 6.- Bibliografía. 1. Recuperando nombres. Primeros debates de la crítica feminista a la institución arte En 1971 Linda Nochlin ya planteó la pregunta de por qué las mujeres han sido excluidas sistemáticamente de la historia del arte, una cuestión que devendría central para la crítica feminista del sistema del arte y sus instituciones. Con su célebre artículo Why have there been no great women artists (1971) la autora da un paso definitivo en la perspectiva feminista de la historia del arte. En este texto, Nochlin apunta la necesidad de estudiar las situaciones reales y las estructuras sociales e institucionales en las que se han dado las pro- ducciones artísticas, para entender las formas de exclusión del arte realizado por mujeres. Ella argumenta que la pregunta ¿por qué no ha habido grandes mujeres artistas? «no es más que la punta del iceberg […] de una enorme y oscura mole de tambaleantes tópicos sobre la SOFÍA ALBERO naturaleza del arte y de las capacidades humanas» (1971: 286) y que la respuesta no hay que buscarla en nuestras supuestas incapacidades creativas, sino en nuestras instituciones y en nuestra educación que son definibles y concretas y que nos imponen una forma concreta de ver la realidad. Pero la gran aportación de este artículo será impulsar la recuperación de las mujeres artistas olvidadas por la historia «oficial» del arte. A partir de esta idea son muchas las teóricas norteamericanas, como Ann Sutherland Harris, Eleanor Tufts, Else Honing Fine y Clara Clements, las que en los años setenta comienzan a trabajar en la línea de la recuperación de artistas tanto contemporáneas como de épocas anteriores. Sally Hagaman (1990), refiriéndose a ellas y otras autoras afines, habla de una primera generación de historiadoras del arte feminista que, además de investigar a las «mujeres
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