Walking as a Femist Practice: First Steps
Agnieszka Sosnowska
agnieszka.sosnowska@ispan.plInstitute of Art, Polish Academy of Sciences (Poland)
https://orcid.org/0009-0006-0521-0682
Abstract
This text proposes critical reflection on walking as a potential emancipatory practice. The starting point is the performance Armour by the Afghan artist Kubra Khamedi, presented as a symbolic and political intervention in public space. The main argument is that ‘walking as a feminist practice’ is a postulate. The existing artistic canon is dominated by men. The author refers to the work of artists such as Marina Abramović, Adrian Piper, Teresa Murak and Trisha Brown, juxtaposing them with the masculinele figures of the flâneur and the vagabond. The article is set in the broader context of cultural research on art. and public space, drawing, among other references, on texts by Judith Butler and reflections on the art of walking by Rebecca Solnit. Walking is presented as a practice of resistance and emancipation that can redefine public space and challenge existing gender norms.
Keywords:
performance, art, walking, feminismReferences
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Authors
Agnieszka Sosnowskaagnieszka.sosnowska@ispan.pl
Institute of Art, Polish Academy of Sciences Poland
https://orcid.org/0009-0006-0521-0682
Agnieszka Sosnowska - curator and researcher, assistant professor at the Institute of Art of the Polish Academy of Sciences. She focuses on artistic practices at the intersection of disciplines, as well as the exhaustion of the modernist paradigm in art of the 1960s and 1970s. She combines research work with curatorial practice. From 2008 to 2020, she was a curator at the Centre for Contemporary Art Ujazdowski Castle, and since 2021 she has been a curator at the Susch Museum in Switzerland.
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