Feminist art practices: excerpt from the dialogue held during Kunsttage Basel 2024

Basel, 5.8.2024

Malina Hartmann

Gymnasium Münchenstein

How Do You Approach Feminist Art?

Feminism is a topic that holds great importance to me. The emancipation of women in art remains an unfinished process, but the integration of women artists in the art world is stronger today than it was 60 years ago. The breakthrough for women artists began with the feminist art movement of the 1960s. Inspired by the second wave of the women's rights movement, which was in full swing at the time, women artists set out to redefine the foundations and perceptions of contemporary art.

This movement brought about significant change, but to what extent do feminist artists of the 21st century feel the impact of these changes in the art world? How much has the acceptance of feminist art and artists grown compared to the experiences of those who were active during the early days of the feminist art movement in the 1960s?

To explore these questions, I had a conversation with Aleksandra Cegielska (AC), Catherin Schöberl (CS), and Lucia Fischer (LF). It was an exchange about personal experiences and practices as female artists, reflections on how injustice is fostered and perceived, an exploration of the fundamental definition of feminism, and a discussion of how feminist they can—or should—define themselves.

Shame on you, shame on me, installation view, August 2024

Are you a feminist?

LF: Yes, I am a feminist, but I feel like there always has to be a but when saying you’re a feminist because of all the misrepresentation out there. For me, I wish I could do more. Sometimes I feel like I don’t do enough to deserve this honorable title. In the Philippines, people often see the word feminism or feminist as a bad word, and I always have to explain that there’s a huge difference between feminism and misandry.

CS: I think it’s important to view feminism as a political act. Therefore, it’s crucial for me to consider myself a feminist. But I also think it’s interesting to discuss how being a feminist is interpreted differently nowadays. Normally, I’d say yes, but let’s talk about what you think feminism actually is.

AC: Exactly. I have an issue with the word feminist itself because it has been misinterpreted in so many ways or taken to such extremes.

Why are you a feminist?

AC: Women are discriminated against in many ways simply because of their gender. The fight for equality is why I consider myself a feminist.

LF: For me, it’s about respect. The moment there’s a lack of respect for one gender, it becomes more susceptible to disrespect in countless ways. If respect were given, for example, in how women are represented, everything would feel more equal and fair.

A lot of people still view the word feminism like a ticking time bomb. Women are often labeled as emotional, and if you’re a feminist, then you’re a woman who’s tapped into her female rage. Which is true—but it doesn’t mean we’re unreasonable. We’ve just learned how to defend ourselves and draw boundaries. And I think that’s a big reason why gallerists often only select one feminist artist at a time. They begin to think it’s “too much” or “overwhelming.”

CS: Equality at the level of laws doesn’t necessarily change how we feel about equality. I used to think I was free, but then I realized I was doing everything for reasons rooted in external expectations. Feminism, for me, is about giving people the opportunity to live how they want. It’s also about fighting against sexism and leaving behind power abuses.

Do you feel disadvantaged as a female artist?

LF: Personally, I’ve felt it more with the subject matter of my art than with being a woman. At the same time, I don’t know what conversations might be happening behind closed doors when I’m not around. In today’s world, people are trying to appear more politically correct in public, but that doesn’t mean they’re politically correct in private. I also believe a lot of this stems from subconscious sexism. It’s not necessarily about their belief system—it’s ingrained, this idea that men’s work is more valuable.

CS: There are far more female artists than male artists, yet men dominate gallery representation, sell more work, and achieve higher prices. It’s a fact that men are more successful in the art world. In art academies, it’s the same as in many fields: the higher up you go, the fewer women you see. Professionally, I haven’t felt sexism much, but what’s common in exhibitions is that they’ll only include one woman creating feminist works. That’s why this exhibition is notable: we have two feminist works here, which is rare.

AC: Feminist art is inherently political, reflecting the times we live in and commenting on the modern world. Many male gallery owners tend to distance themselves from feminist art, believing it doesn’t need representation. They prefer less politically charged, more conceptual works because they sell better. Feminist artworks, including mine, are often harder to sell.

Additionally, my paintings are still subject to sexualization. Once, a man remarked, “Oh, I’ll buy this one and hang it in the bathroom. And you know what I’ll do then.” I was offended, but I thought, if that’s the only way you can engage with my art, fine. As long as you buy it, do whatever you want with it.

What are the main topics you deal with in your art, and are these topics always personal concerns?

LF: The recurring themes in my pieces—and in the conversations I hope they spark—are about how the female form is perceived. My first works were inspired by people in the Philippine art world who saw my art and said they liked it but weren’t into erotic art. I found it baffling because I don’t see anything erotic or pornographic in my art aside from the association with nudity. Why does nudity instantly suggest lust? I was trying to reclaim the female form to be appreciated, much like one might appreciate nature.

Later, I created other exhibits questioning what the world would be like if it had been created by a matriarchy instead of a patriarchy. What would that even mean? The feminine mindset has been so suppressed that I can’t fully imagine it. Every time I try, I find myself following the very rules of the patriarchal system I’ve learned my whole life. What does an empowered female look like if she’s not following the patriarchy’s definition of empowerment?

This exhibition is specifically about shame. In my earlier works, I subconsciously censored the female body. I would avoid even a simple line to represent the vulva or draw nipples. After some time, I realized I was playing into societal censorship of the female form. Initially, I censored my art so people would feel more comfortable looking at it, and it worked. But eventually, it felt like I was perpetuating a world where vulvas and nipples didn’t exist. Now, I highlight them with gold leaf, giving them the value and representation they deserve.

I’m still on a journey. The vulvas in my art are abstracted into their simplest forms. My goal is to take viewers, especially those who share similar feelings of shame, on a journey to confront and move beyond it.

Somebody once asked me why I don’t show body hair in my work. That’s another topic I want to address, but I prefer tackling these issues individually so that each gets the attention it deserves. A friend once said that for my art to be truly feminist, it needed to feel “uglier” because I’m playing into the male gaze. But I think the male gaze only exists if you intentionally cater to it—that’s a matter of perception.

AC: I paint a lot of vulvas. However, my work is abstract enough that people often mistake them for leaves and are shocked when they learn otherwise. Our society avoids open conversations about female anatomy, leading to a lack of respect for women and their bodies. We don’t use the word vulva openly, and we fail to educate children that it’s a normal part of the body like any other. I want to spark that conversation.

Do you think there’s still a perception that men are better artists, or do you see gender as an obstacle?

CS: I don’t think I’m less capable as an artist, and I don’t often encounter overt sexism. However, gender can still be an obstacle in indirect ways. As someone trained in art education, I’m often stereotyped as someone who just does crafts with kids—work people think doesn’t require skill. I see art education as a powerful political and democratic act, but the gendered perception of the profession can be limiting. That’s why I often introduce myself simply as an artist to avoid this prejudice.

LF: It’s less about gender now and more about the art world itself. Reaching the point where you can live off your art is extremely difficult. Statistically, most successful artists are men. For example, 90% of the Philippines’ National Artists are men. I don’t even aspire to reach that level because I know I’m not part of that statistic. I want to create art, but I understand the world may not support me in this. If it does, it’ll be a bonus, not something I can expect.

SHAME ON YOU, SHAME ON ME

Lucia Fischer & Catherin Schöberl

08.08 - 01.09.2024

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