Schmeerguntz, Gunvor Nelson, 1965, 15’
Images of beauty parades and advertising models are juxtaposed with others of a prosaic or even eschatological nature (a pregnant woman, another extracting a tampon, vomiting in a toilet, unblocking a drain...) that call into question the supposed perfection of the previous images.
Fuses, *Carolee Schneemann, 1966, 22’28”
The cinematographic record of Carolee Schneemann’s sexual encounters with her partner James Tenney converges with the pictorial intervention of film.
Saute ma ville, Chantal Akerman, 1968, 13’
In her first film, this Belgian filmmaker shatters the oppressive space of domesticity through the deranged portrait of a housewife played by herself.
Réponse de femmes: Notre corps, notre sexe, Agnes Varda, 1975, 8’
A group of women answer the question “What is a woman?” posed by a French television programme to various creators, dismantling the stereotypes and roles traditionally attributed to women.
Mann & Frau & Animal, *Valie Export, 1973, 9’
In the intimate space of the bathroom, the artist and filmmaker films her own sexual exploration and shows feminine pleasure close-up.
All can become a rose, *Linda Christanell, 1992, 7’15’’
Using a series of images of different objects, apparently devoid of meaning, the question arises of how our perception can transform them into “objects of desire”.
Kantate, Maria Lassnig, 1992, 8’
The artist stands in front of the camera to tell her life story in a 14-verse cantata. Behind her plays an animated film that illustrates her autobiographical story.
Removed, Naomi Uman, 1999, 6’
Frame-by-frame, the filmmaker applies bleach and nail polish remover to a porn movie until the women’s bodies are erased. As the female bodies become invisible, the repertoire of gestures in the pornographic story is revealed.
The authors marked with an asterisk (*) also have works in the exhibition.