‘…feminism has a highly contested relationship to history just as “women’s domestic and familial experience” have tended to be “at odds with the demand for progression, growth, development” within Enlightenment models of temporality.‘ Catriona Moore (Dissonance: Feminism and the Arts, 1994, Allen & Unwin)
These are some ‘desire lines’ in my current thinking about feminist curatorial practices. The articles and chapters below all offer a perspective on ‘feminist futures’ in performance and arts practices.
1) ‘Encounters in the Virtual Feminist Museum: Time, Space and the Archive’ – Griselda Pollock (2010) in Feminisms Is Still Our Name: Seven Essays on Historiography and Curatorial Practices, Malin Hedlin Hayden (eds), Cambridge Scholars Publishing (Pages 105-140)
2) The Return of Feminism(s) and the Visual Arts, 1970-2009 – Amelia Jones (2010) in Feminisms Is Still Our Name: Seven Essays on Historiography and Curatorial Practices, Malin Hedlin Hayden (eds), Cambridge Scholars Publishing (Pages 11-56)
3) Curatorial Collectives and Feminist Politics in the 21st Century (Europe) – Kuratorisk Aktion (2015) in Politics in a Glass Case: Feminism, Exhibition and Curatorial Transgressions, Angela Dimitrakaki & Lara Perry (eds.), Liverpool University Press (Pages 260-270).
4) Art as Life, Art as Politics, Art as Political Action: An Interview with Suzanne Lacy – Catherine Wood (2015) in Politics in a Glass Case: Feminism, Exhibition and Curatorial Transgressions, Angela Dimitrakaki & Lara Perry (eds.), Liverpool University Press (Pages 120-130).