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To underscore that these are varied feminist themes rather than a presentation of one singular conception, curators Connie Butler from the Hammer and Anne Ellegood from ICA L.A. The sex workers chastise the well-meaning celebrities’ denigration of labor. They’re a Greek chorus commenting on the moral issues raised by a charismatic, startlingly self-possessed young woman at the center.Īt one point they don masks of Meryl Streep, Lena Dunham and other white Hollywood feminists who once lobbied to stop legalization of Cape Town prostitution. Maybe the computer virus will bring the whole system down, or maybe bring it to heel.īreitz assembles a cast of South African sex workers, mostly Black and not entirely female, who line up across a wide video projection. Finally, she transmutes into a virus - a female bug in a hard-wired social system.
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Suddenly she transforms into a tree, recalling Bernini’s Daphne escaping rape, from Ovid’s “Metamorphoses.” Slowly she becomes a circuit board, buzzing and pulsing.
#Team edge witch it android#
To the thumping sound of a foreboding electronic score, the end wall features a 10-minute video projection of a bleak and constantly changing landscape composed of a computer’s innards, through which a female-appearing android moves. Candice Breitz heads in an almost opposite direction, rethinking the physically and psychologically demanding nature of sex work - the world’s putative “oldest profession.”Ĭheang’s gripping “UKI Virus Rising” projects vivid red globules onto a darkened gallery’s floor, the swarming organic shapes like a gigantically enlarged blood sample sliding underfoot. Shu Lea Cheang - at 67, the senior artist of the group - dives deep into the futuristic digital sea to swim among the elusive pixels. The old binaries have given way, opening up myriad new paths. This selection underscores that advocacy of women’s rights on the basis of equality of the sexes has been supplanted. Most are Gen Xers, born in the media-saturated 1960s and 1970s, who grew up during feminism’s so-called third wave. 9 at the UCLA Hammer Museum in Westwood and the Institute of Contemporary Art, Los Angeles, across town, the show brings together international artists - the 16 were born or work in 13 countries as far afield from one another as Brazil, Germany and South Africa - who reflect the diverse experiences of women’s lives in patriarchal societies today. “What does it mean to be feminist in the age of Donald Trump?”
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“We began with a question,” the exhibition catalog announces. Their show’s snappy title, wrapping recent art by 16 women within a familiar sobriquet shrouded with hostility in order to defuse it, is anything but a coincidence. The curators of the often cheeky but nonetheless serious exhibition “Witch Hunt” would likely concur. Now it is powerful men screeching that they are being charged with phony crimes.” Traditionally a witchcraft charge amounted to powerful men charging powerless women with a phony crime. Stacy Schiff, the author of a book about Salem entitled “The Witches,” explained to the publication: “We’ve turned the expression on its head. A Vox story on the disgraced president’s unceasing usage of the term witch hunt aptly noted that there is “something distasteful about men in power - particularly credibly accused of sexual assault - using a term that harks back to an era in history in which a patriarchal society wrongfully persecuted (mostly) women.”