Feminist Art in Digital Space

1. Feminist Art in Digital Space Live Talk in Chinese TikTok

11/11/2022 Xie Yifei Live-Feminist Digital Sculpture in Chinese

2. Translation and More Details About Feminist Art in Digital Space Live Talk

Thoughts on artistic practice from the perspective of feminism:

During my research, I discovered: Since the 1960s, the research of feminist art has been regarded as the focus of research in the field of art and social science. Feminism is essentially a theory that opposes the concentration of gendered power. After being influenced bySituationist International theory and conceptual trinity theory of Henri Lefebvre on the relationship between space and power, I began to understand the correlation between female power and spatial distribution. Feminist geography and Situationist International theory explained my doubts in this regard and deepened my thinking. They believe that urban space is the embodiment of power relations, and artistic activities are the swords that stir up the power relations in space. As a provocative and dynamic art form that directly intervenes in public space, performance art is an excellent means to break the balance of space. Therefore, I hope to extract the daily behavior of women from the private space and display them in the public realm, to breaking the balance of the original power system in the space of patriarchy. Therefore, I started a series of performance practices that directly intervene in public space, aiming to break the gender centralization in social space through the socialized behavior of women.

Since the 1960s to present, in the discussion about the ontology of “feminism“, the development of feminist theory has entered a new stage. Lesbian feminism and queer theory have appeared in the research scope of feminism one after another. The discussion on the ontology of “feminism” gradually went out of the scope of physiological gender.

The pursuit of equality is not limited to social, political and construction of the theoretical system, but also includes questioning of the social power distribution system from the perspective of gender.

Nowadays, feminism represents the care and respect for the weak under the power stratification system. Contemporary feminism could be understand as a theory of decentralization of gender power.

Feminist theories first appeared in publications such as Mary Wollstonecraft’s A Vindication of the Rights of Woman, “The Changing Woman,” “Ain’t I a Woman,” “Speech after Arrest for Illegal Voting,” and others as early as 1794. “The Changing Woman” is a Navajo Myth that credited a woman with populating the world in the end. Sojourner Truth addressed women’s rights issues in her 1851 publication, “Ain’t I a Woman?” Sojourner Truth addressed the issue of women’s limited rights as a result of men’s erroneous perceptions of women. Truth contended that if a woman of colour can perform tasks that were previously thought to be reserved for men, then any woman of any colour can do the same. Susan B. Anthony delivered a speech in court after being arrested for illegally voting, addressing issues of language in the constitution, which was published in 1872 as “Speech after Arrest for Illegal Voting.” Anthony questioned the constitution’s authoritative principles as well as its male-gendered language. She questioned why women are held accountable to be punished by the law but are unable to use the law to protect themselves (women could not vote, own property, nor themselves in marriage). She also criticised the constitution for using male-gendered language and questioned why women should be required to follow laws that do not specifically mention women. Nancy Cott distinguishes between modern feminism and its forerunners, particularly the suffrage movement. In the United States, she places the turning point in the decades preceding and following women’s suffrage in 1920 (1910–1930). She contends that the previous woman movement was primarily concerned with woman as a universal entity, whereas it transformed itself over this 20-year period into one primarily concerned with social differentiation, attentive to individuality and diversity. New issues focused on the condition of women as a social construct, gender identity, and relationships within and between genders. Politically, this represented a shift from a right-wing ideological alignment to one more radically associated with the left. While Susan Kingsley Kent claims that Freudian patriarchy was to blame for feminism’s low profile during the interwar period, others, such as Juliet Mitchell, believe that this is overly simplistic because Freudian theory is not entirely incompatible with feminism. Some feminist scholarship has shifted away from establishing the origins of family and toward analysing the patriarchal process. Simone de Beauvoir stood in opposition to an image of “the woman in the home” in the immediate postwar period. With the publication of Le Deuxième Sexe (The Second Sex) in 1949, De Beauvoir added an existentialist dimension to feminism.

However, the second wave of feminism, which emerged in the 1960s as one of the first academic fields to respond to the public’s growing awareness of modern Western transgender practises, called into question the “female” ontology. Since the mid-1970s, gender has been articulated as a phenomenon distinct from but related to biological claims of natural sex difference between men and women. The latter viewpoint is a byproduct of reproductive physiology science in the eighteenth and nineteenth centuries, which identified sex differences in male and female anatomy (Schiebinger 1989[1], Laquer 1990[2]).

In the discussion about the ontology of “feminism”, the development of feminism theory has entered a new stage. Lesbian feminism and queer theory have appeared in the research scope of feminism one after another. The discussion on the ontology of “feminism” gradually went out of the scope of physiological gender.

The 1960s was a watershed between the two historical periods of “feminism” and “feminism”, which corresponded to two changes experienced by the feminist movement: one was the social and political movement, and the other was the construction of the theoretical system. In the West, it originally refers to the struggle for the right to vote and equality between men and women. Early feminist political struggles focused on winning basic power for women and enabling them to gain the complete subjectivity that men had already obtained.

The awakening of feminism can be traced back to the eighteenth and nineteenth centuries, and Western countries generally pursued women’s rights And it was accompanied by political movements, striving for social and political power. This kind of women’s liberation movement began to appear as early as the French Revolution, and in the middle of the 19th century, the feminist movement emerged one after another. The development of liberal capitalism led women to actively work in society, and a large number of women flocked to the textile industry. They demanded certain rights of men, such as political freedom, property rights and a series of equal rights with men. By the 1920s, this goal was basically achieved. [3]

Although women in western countries basically strive for equality of political rights, the superiority of men is everywhere in social life and people’s ideas. Feminists recognize the issue of gender power in gender relations, so the feminist movement turns to an incisive analysis and transformation of gender relations.

In his opening speech at the University of Tokyo, Chizuko Ueno said, “Feminism is about enabling the weak to survive as the weak”.

This is the so-called more incisive analysis and transformation of gender relations, which is a questioning of the social power distribution system from the perspective of gender.

After research, the early feminist art works showed efforts to expose the traditionally feminine private space to the traditionally masculine public space. Judy Chicago’s The Dinner Party, 1974–9, and Tracey Emin’s Bed 1998 are two of the most iconic works of that period of feminist art.

With the development of feminism, the social issues concerned by feminist art have become more and more extensive. The occurrence of a series of sexual minorities such as LGBT become an important theme of feminism art since the 21st century. Feminist art and feminism have the same core of thinking about social structural issues, not just focusing on gender issues, but more discussion on the distribution of social power in spatial relations.

Influenced by the concept of the metaverse and Lefebvre’s third space, as well as the opposition to the decades-long domination of men in the digital technological space, I hope to find a balance of gender power relations in the digital space through my work.

Feminist art is art made by artists consciously in response to feminist art theory developments in the early 1970s.

Linda Nochlin, an art historian, published a seminal essay titled Why Have There Been No Great Women Artists? in 1971. She looked into the social and economic factors that kept talented women from achieving the same status as their male counterparts.

By the 1980s, art historians such as Griselda Pollock and Rozsika Parker were going even further, questioning the language of art history and its gender-laden terms like ‘old master’ and’masterpiece.’ They questioned the centrality of the female nud in the Western canon, questioning why men and women are depicted so differently. Marxist critic John Berger concluded in his 1972 book Ways of Seeing, ‘Men look at women. ‘Women are aware that they are being observed.’ In other words, Western art reproduces the unequal relationships that exist in society.

Women artists revelled in feminine experience in what is sometimes referred to as First Wave feminist art, exploring vaginal imagery and menstrual blood, posing naked as goddess figures, and defiantly using media such as embroidery that had previously been considered ‘women’s work.’ Judy Chicago’s The Dinner Party, 1974–9, and Tracey Emin’s Bed 1998 are two of the most iconic works of this period of feminist art.

Later feminist artists rejected this approach in favour of attempting to uncover the origins of our conceptions of femininity and womanhood. They were interested in the concept of femininity as a masquerade – a set of poses adopted by women to conform to social expectations of womanhood. This feminist work responds to the 1960s debate on feminist ontology. The artist achieves the goal of identity and subject establishment by combining so-called very “feminine” elements.

In my opinion, Feminine Art and feminist art must be very different. Feminist art must explain the artist’s personal feminist views. Combining the above understanding of feminism, I believe that the current feminist art should step out of the stage of exposing women’s private space, engage in practical activities that can arouse and consolidate the deconstruction of gender power, and strive for a fairer artistic discourse space for women, sexual minorities, and marginalized groups，and to create more diverse ways of expression (should break the stereotype of feminist works defined by the elements of the works).

Thinking about the inner expression logic of the early feminism art going out of the private space inspired me to analyze the issues concerned by feminism from the perspective of spatial power distribution.

I realized that feminism art and feminism have the same core of thinking about social structural issues, not just focusing on gender issues, but more discussion on the distribution of social power in spatial relations.

I hope that my works are social, and feminism is just my way of thinking, not a limitation on the form and elements of my works. I don’t want to use the so-called traditional “feminine elements” to pile up my works.

I think contemporary feminist art should break the stereotype of feminist works defined by the elements of the works, and think more about inequalities in social power structures based on gender or any way of power be hierarchized.

Inspired by early feminist artworks that made private space public and the gendered space mentioned in original, I decided to use spatial relations as a perspective to analyze gender power relations.

Thoughts on artistic practice from the perspective of Spatial relationships are the embodiment of power relationships, and spacal activities can affect power relationships:

After studying the theories of thinkers such as Guy de Beau and Lefebvre, I found that: Space is not just a physical concept, but a social product of the power hierarchy. Situationism valued the decentralization of creation, and this is consistent with the essence of contemporary feminism against the centralization of gender power.

Criticism of everyday life is one major issue pondered by Situationism, and Situationist International theory develops an art form that interacts with social spaces through daily behaviors. Inspired by these, I decided to perform daily actions and to interact with the space to shake the originally centralized power system in the space.

1. Space and Social Power Relations

Situationist International:

Debord creatively rewrote Marx’s Capital: A Critique of Political Economy[4] “commodity society” into “spectacle of society” in his book La Société du spectacle[5]. The most profound and enduring contribution to critical theory. In sum, the society of the spectacle refers to the world woven by the illusion of capital, commodities, consumers and media. At this time, the logic of capital abstracts all commodities into a kind of “representation”, and what people consume is not the commodity itself, but its representational relationship: a value system composed of symbols – that is, “spectacle”. Debord believes that the spectacle is not a gathering of images, but a social relationship between people mediated by images. This image system obscures the oppressive and unequal social relationships in the real world. It is a kind of disengagement and non-dialogue. Important strategies for implementing controls.

Other space-related support materials：

Seeing space as a product of social production begins with Lefebvre. In 1974, the French philosopher Lefebvre published The Production of Space (Lefebvre. (1974/1991)[6]. In this book, Lefebvre put forward the theoretical proposition that “space is a product of society”, “space as a product is not a specific product, but a relationship”, therefore, we cannot ” Treat social space and social time as natural facts that must be normalized according to certain hierarchies”.

The “spatial turn” of humanities and social sciences experienced in the 1980s brought about fundamental changes in people’s understanding of space. The original physical, static and abstract living scenes or containers broke free from the shackles of tradition and began to show multi-dimensional dynamic vitality. [7]

We are becoming more and more aware of the fact that we exist essentially as a space, and we are constantly busy producing collective acts of space, place, region, environment, and dwelling. Space is no longer an inert object, but an organic living body, a work of history and nature, as well as the construction and result of human social practice, knowledge, and concepts. [8]

Space is not just a physical concept, but a social product of the power hierarchy.

Situationism valued the decentralization of creation, and this is consistent with the essence of contemporary feminism against the centralization of gender power.

2. Reinterpretation and reconstruction of daily life

Criticism of everyday life is another major issue pondered by Situationism, who believe that “everyday life is the most severely repressed and fragmented area of modern power and institutions”[9]. Everyday life has become an organized object. Situationism believes that all real possibilities and real desires in everyday life are repressed and blinded, and in a society where consumption is controlled, people’s real everyday life gives way to false spectacle consumption, while life itself is painfully absent. . The logic of capital has penetrated into all aspects of social life, and daily life such as leisure and entertainment are organized like consumption. The over-organization of everyday life has made it a domain of specialized activity and ideological domination, and knowledge is generally outside of real everyday life, a technocratic semiotic language, a cultural specialization. Appropriate, abstract categories continue to replace concrete social realities, and knowledge becomes an instrument of power. For Debord, our entire lives are governed by the spectacle, and this is capitalism’s deepest self-alienation.

Inspired by this point of view, I decided to perform everyday actions as an important element of my work.

3. Space symbolizes the theory of Power Relations in art- Situationist Internationa in art

Debord defines “dérivé” in Situationist International: a technique of transient passage through varied ambiences. Due to the introduction of playful construction and the influence of psychogeography, it is different from walking in the traditional sense.

They later replaced the concept of “dérivé” with “psychogeography” because they saw a pattern of emotional force fields that could permeate the city, a driving force that would allow them to map those forces, and those results could then be as the basis for the establishment of a unified urbanist system.

Whether it is the “situation” mentioned here or the “poetic moment” advocated by Lefebvre, the founder of urban sociology and the father of the critical theory of everyday life in the earlier period, both intend to escape from the framework of instrumental rationality and developed capitalist life.[10] They encourage diverse and heterogeneous groups to pursue the artistic, festive, and instantiating of everyday life as a way to resist the banal, entertaining, and consumer-led everyday life.

In the early 1980s, de Seto continued the idea of urban “dérivé” in The Practice of Everyday Life: The Art of Practice, where he encouraged people to become practitioners of ordinary urban life rather than a panoramic observation. In his view, the “walking game” is to process the space to create various places, and interact with the space system in the place.”

Situationist International develops an art form that interacts with social spaces through daily behaviors.

4. Second space, third space and digital space

Lefebvre introduced a set of triadic concepts (conceptual trinity) of spatial analysis: spatial practice, (representations of space, spaces of representations[11]. This triadic dialectics of space was described by Edward Soja, an American human geographer. Developed and interpreted as three levels of social or urban space. Representational space, also called “third space” by Soja (Soja, 1996, 68)[12].

This level of spatial practice is close to the physical space, and it is also the performance characteristic of social relations in space, which is the “perceived space” (Soja, 1996: 66). representations of space is a conceptual space, “the spatial order of this level is imposed by the designer, and reflects the designer’s knowledge and symbols” (Soja, 1996: 67); the third level is designated as spaces of representations, this space highlights the hidden side of the social life represented by the space. In this level of space, the participants of the space practice are in it, manipulating and appropriating various ways of spatial meaning and power operation, and jointly creating a figurative living space (Soja, 1996: 68) ). In short, the first space is material space, the second space is imaginary space, and the third space is practical space (Lefebvre, 1991: 33, 38-39).

Lefebvre’s triadic dialectics of space opens up a way for us to connect “space” and “medium”. This passage not only means that the third space is a spatial level based on the first and second spaces, but also means that the three spaces themselves are highly overlapping and inter-embedded. In modern urban space, digital technology connects the real space where people live and the virtual space that creates meaning and discourse. Castel believes that the emergence of virtual space and global network will eliminate the particularity of modern urban space, social functions and power can be reconstructed in virtual mobile space, and its logic will dominate the dynamic meaning of real local space. Ultimately, all spatiality will collapse into virtual space, forming a networked, ahistorical fluid space [13].

Today, when the concept of the metaverse prevails, the digital space has been developed. In the digital space, the second space (imaginary space) can be visualized to a greater extent, and the digital space has also become a collection of symbolic and conceptual spaces. And with the development of sensory technology, the second space is rapidly transforming into the third space (practical space), and the digital space has become an important place for community interaction.

The digital space will become a symbol of the power relationship in the real space, and the real power imbalance problem will be more intensively presented in the digital space.

The above research inspired me to try to practice interactive performance in digital space through daily behavior, to question the phenomenon of centralization of power in reality and digital space.

Decentralization with performances abstracted from everyday behavior in metaphorical spaces:

This work is the one that impressed me the most with Mika Rottenberg. In my opinion her work is influenced by Situationist International theory, changing the system of power in space through behavior. She organized a group of non-mainstream groups in society and designed a seemingly meaningless factory production line for them. In this assembly line, everyone is full of fighting spirit, and the space is full of meaning because of their work. The socially marginalized characters in this unreal space created by Rottenberg regain their rightful power, and in their fair interaction with the space and the installation, the power of the overall space is evenly distributed to each character in the story.

She focuses on the social rights of women of color and marginalized people, which is one of my main focuses. The narratives of her films often unfold with installations and surreal and metaphorical images, something I hope to learn from her and Shana Moulton’s work.

The practice begins with the understanding of the Situationist International theory, and I try to question the centralization of power by interacting with social spaces（first space） through individual behavior.

The work of Pierre Huyghe and photography artist Bernard Faucon provided me with references to create metaphorical spaces（second space）. The space of both works has a kind of extreme surrealism but is based on the real society, they create an extreme space state to highlight the contradiction. This makes me deliberately choose to let the performers perform in a solemn and social environment in the work Iodophor hurts hurt. This also prompted my later works to choose to perform performance practices in a more extreme symbolic digital space.

The practice of decentralization from a feminist perspective:

Feminist geography, as an emerging branch, focuses on the interaction between women and space, and more specifically the process and mechanism of women’s role in urban space and local growth. In other words, this is a theoretical model that studies the relationship between women, space and power.

The main research areas on space of feminist geography include: body space, working space, dwelling space.

This part of the study of feminist geography, expressed in Lefebvre’s theory, belongs to the subdivision of the first space and the third space.

I hope that I can discuss the power relations of the all three spaces mentioned by Lefebvre in my work.

Entering the post-industrial society, a group of postmodern thinkers such as Foucault, Lacan, and Derrida led a wave of postmodern feminism. The latter basically denied all grand theories and androcentrism, and then put forward the thesis that power is everywhere, discourse is power, body politics, shaping technology, disciplinary gaze, etc., and a large number of Western feminist scholars and works have emerged[14], such as Mary Wollstonecraft’s A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects, Kate Millett’s Sexual Politics, Shulamith Firestone’s Dialectic of Sex, Juliet Michel’s Women: The Longest Revolution, Heidi Hartmann’s Capitalism, Patriarchy, and Job Segregation by Sex, and Margaret Benstone’s The Political Economy of Women’s Liberation.

While history, sociology, anthropology, and other disciplines pay close attention to feminist research paradigms, geographers are also trying to intervene in this field through their unique comprehensive characteristics and powerful spatial analysis capabilities. Under the influence and promotion of postmodernist and neo-Marxist geographers such as Harvey, Lefebvre, Suja, etc., the traditional geological research field-the study of the distribution of geographical elements, has also begun to focus on the fairness of resource distribution and based on gender. The social system and the structural mechanism behind the distribution and distribution of the elements have been studied in depth. Geography experienced a socio-cultural turn in the 1980s, and the perspective of space research has turned, that is, from space, The production in space turned to the production of space, and social space began to replace material space and became an important research object of social and cultural geography[15]. In the realistic context of the women’s movement in the Western world, gender, as a keyword in social and cultural studies, is naturally associated with the study of social space, and feminist geography is on the rise.

The main research areas on space include: body space （Longhurst‘s pregnant body in space[16]; Mohammad explored the concept of female chastity and the process of implanting Muslim community identity from the clothing of Pakistani Muslim women in the UK[17]; Kern believes that the city commercializes the female body and sexual desire, and commercial advertisements are gazes by men, and the female body is represented as the freedom and joy of the city. Correspondingly, the body is re-engraved with the urban landscape, and the city is made into a body simulacrum[18].）, working space(Nelson found that some employers moved to the suburbs to get closer to middle-class housewives, because the latter were willing to work at lower wages; on the physical scale, female bodies were often dominated by men such as investment banks, steel mills, and masculine bars. Feel at a loss in the workspace[19]; McDowell emphasized that “work” is not gender-neutral, but is shaped as a job suitable for men or women, and the work division of gender differences constitutes and maintains the whole set of patriarchal discourse practice of “male superiority to female inferiority”[20].), dwelling space（Juliet Michel pointed out that in The Origin of Capitalism, the discussion of the status of women and the discussion of the family are separated from each other, or the former is only a supplement to the latter, and the family is only regarded as the premise of private ownership[21]）, and public space(McDowell believes that the design and configuration of public spaces in Westbrook in London symbolize the authority of men and the legal possession of these spaces by men. The internal configuration of streets and squares, trading halls, and business halls all consolidate idealized masculinity, and women in them generally feel a sense of rejection and alienation[22]; Valentine puts forward the concept of “geography of women’s fear”, pointing out that women have a “cognitive map” in their minds, knowing that in some places and at some moments, they are easily violated by the opposite sex. Many people So adjust behavioral habits and action strategies[23]).

This part of the study of feminist geography, expressed in Lefebvre’s theory, belongs to the subdivision of the first space and the third space.

I hope that I can discuss the power relations of the all three spaces mentioned by Lefebvre in my work.

Aki Sasamoto is, in my opinion, an artist who is very good at unfolding three spaces in one work. Her work in Pyeongchang includes performances and installations. In her works, she connects and activates the space (the first space) that the audience can perceive through the body, thus forming the display of the third space. This perceptible space is composed of very abstract and symbolic devices, and is a metaphorical second space.

For example, in her work Yield Point, she recorded the exact tipping point of collapse in her life, and used symbolic objects as installations. “I have empathetic bond with the droopy elastic band of a worn underwear.” She subtly blends life scenes with metaphorical scenes.

In Video work exploring the ghosts and winds-Do Nut Diagram, she depicts invisible ghosts, winds, feelings, etc. The created illusions are shattered one by one (the third space connected by performance practice).

In her works I can see the flexible transformation of the three spaces. This is what I hope to learn.

In her works I can see the flexible transformation of the three spaces. This is what I hope to learn.

Performing narratives in digital spaces:

Today, when the concept of the metaverse prevails, the digital space has been developed. In the digital space, the second space (imaginary space) can be visualized to a greater extent, and the digital space has also become a collection of symbolic and conceptual spaces. And with the development of sensory technology, the second space is rapidly transforming into the third space (practical space), and the digital space has become an important place for community interaction.

Lefebvre’s triadic dialectics of space opens up a way for us to connect “space” and “medium”. This passage not only means that the third space is a spatial level based on the first and second spaces, but also means that the three spaces themselves are highly overlapping and inter-embedded. In modern urban space, digital technology connects the real space where people live and the virtual space that creates meaning and discourse. Castel believes that the emergence of virtual space and global network will eliminate the particularity of modern urban space, social functions and power can be reconstructed in virtual mobile space, and its logic will dominate the dynamic meaning of real local space. Ultimately, all spatiality will collapse into virtual space, forming a networked, ahistorical fluid space.

The digital space will become a symbol of the power relationship in the real space, and the real power imbalance problem will be more intensively presented in the digital space.

Ed Atkins‘ work Death Mask 5 gave me some inspiration for building a digital space. The space in this work comes from a familiar life scene, but when we are immersed in this scene, we feel strange and terrifying. Ed Atkins takes the familiar scenes to extremes, creating an atmosphere that is both familiar and unfamiliar, making viewers suspicious.

I think this is also a practical approach to the third space, allowing the viewer to mentally interact with the space of the work.

Shana Moulton‘s work made me realize the ‘low fi’ aesthetic really important to maintain the humour and exaggerated satire in the work.

After researching computational artists, like, Shana Moulto, Elizabeth Price, Ed Atkins, and Jennet Thomas, I am not satisfied with performing performance creation in the real space, and hope to create in the digital space which have broader possibility of allegorical construction.

I also did some digital space construction experiments using the knowledge of product design and the experience of interactive art creation.

Images

A Vindication of the Rights of Woman: With Strictures on Political and Moral Subjects https://en.wikipedia.org/wiki/A_Vindication_of_the_Rights_of_Woman

The Second Sex https://en.wikipedia.org/wiki/The_Second_Sex

Judy Chicago, The Dinner Party, 1974–9 https://www.brooklynmuseum.org/exhibitions/dinner_party/

Tracey Emin, Bed, 1998 https://www.tate.org.uk/art/artworks/emin-my-bed-l03662

Bruno Barbey, 1968 https://www.magnumphotos.com/newsroom/politics/the-legacy-of-may-68/

Guy Debord, Psychogeographique de Paris, 1957 https://imaginarymuseum.org/LPG/Mapsitu1.htm

Sous les pavés, la plage！, 1968 https://fr.wikipedia.org/wiki/Sous_les_pav%C3%A9s,la_plage!

Pierre Huyghe Screenshot from Human Mask, 2014

Bernard Faucon https://www.bernardfaucon.fr/summer-camp/?lang=en#

Nelson L, Seager J. A Companion to Feminist Geography, 2005 https://onlinelibrary.wiley.com/doi/book/10.1002/9780470996898

Juliet Michel’s Women: The Longest Revolution https://platypus1917.org/wp-content/uploads/readings/mitchelljuliet_womenlongestrevolution_nlr40.pdf

Yield Point, Aki Sasamoto, 2017 https://cargocollective.com/akisasamoto/Yield-Point

Do Nut Diagram, Aki Sasamoto, 2018 https://cargocollective.com/akisasamoto/Do-Nut-Diagram

Death Mask, 5 Ed Atkins, 2019 https://vimeo.com/418498144

References

[1] Schiebinger LL. 1989. The Mind Has No Sex? Women in the Origins of Modern Science. Cambridge, MA: Harvard Univ. Press

[2] Laquer T. 1990. Making Sex: Body and Gender from the Greeks to Freud. Cambridge, MA: Harvard Univ. Press

[3] https://www.tate.org.uk/art/art-terms/f/feminist-art

[4] Capital: A Critique of Political Economy, Volume 1, Chinese 2nd Edition, People’s Publishing House, 2004, P189.

[5]Guy Ernest Dobord, Landscape Society [M]. Nanjing University Press, 2006, P11.

[6]Lefebvre H, Donald Nicholson-Smith. The Production of Space[M]. Massachusetts: Basil Blackwell Ltd, 1991.P99.

[7] Xie Shufen. Gender Politics in Space: A Spatial Critical Interpretation of “Waltz” [J]. Journal of Dongguan University of Technology, 2016, 23(06): 30-36.

[8] Soja E W. Postmetropolis: Critical Studies of Cities and Regions[M]. Blackwell, 2000.P22.

[9] Liu Huaiyu. Criticism of Everyday Life: Towards a Philosophy of Micro-Concrete Ontology. Journal of Social Sciences of Jilin University, 2007 (9)

[10] Michel de Seto, the practice of everyday life: the art of practice[M]. Nanjing University Press. 2009-5. P73.

[11] Lefebvre H, Donald Nicholson-Smith. The Production of Space[M]. Massachusetts: Basil Blackwell Ltd, 1991. xix.

[12] Soja,E.W.(1996).Thirdspace:Journeys to Los Angeles and other real-and-imagined places.Cambridge,UK:Blackwell Publishers Inc.

[13] Manuel Custer (1997/2001). “The Rise of the Network Society” (translated by Xia Zhujiu, Wang Zhihong, etc.). Beijing: Social Science Literature Publishing House. P524.

[14] Li Yinhe. Ideological trend of post modern feminism[J]. Philosophical Research, 1996(5): 65-70.

[15] Xue Desheng, Wang Li. Progress in urban geography studies since 1978 in China[J]. Acta Geographica Sinica, 2014, 69(8): 1117-1129.

[16] Longhurst R. Situating bodies[M] //Nelson L, Seager J. A Companion to Feminist Geography. Oxford: Blackwell, 2005:337-349.

[17] Mohammad R. British Pakistani Muslim women: Marking the body, marking the nation[M] //Nelson L, Seager J. A Companion to Feminist Geography. Oxford: Blackwell, 2005:379-397.

[18] Kern L. Selling the ‘Scary City’: Gendering freedom, fear and condominium development in the neoliberal city[J]. Social and Cultural Geography, 2010, 11(3): 209-230.

[19] Nelson L, Seager J. A Companion to Feminist Geography[M]. Oxford: Blackwell, 2005: 1-10.

[20] McDowell L. Women’s paid work and moral economies of care[J]. Social and Cultural Geography, 2005, 6(2): 219-235.

[21] Juliet Michel’s Women: The Longest Revolution

[22] McDowell L. Women’s paid work and moral economies of care[J]. Social and Cultural Geography, 2005, 6(2): 219-235.

[23] Valentine G. The geography of women’s Fear[J]. Area, 1989, 21(4): 385-390.

About the author

Yifei Xie graduated from Camberwell MA Fine Art: Computational Arts in 2022. Follow their work: @febyifeixie / https://febxie.wixsite.com/yifeixie / https://vimeo.com/febyifeixie