{"id":41,"date":"2020-12-30T18:43:35","date_gmt":"2020-12-30T18:43:35","guid":{"rendered":"https:\/\/evelyn-kuwertz.berlin\/en\/?page_id=41"},"modified":"2021-03-04T11:47:01","modified_gmt":"2021-03-04T11:47:01","slug":"womens-art-exhibition","status":"publish","type":"page","link":"https:\/\/evelyn-kuwertz.berlin\/en\/womens-art-exhibition\/","title":{"rendered":"Women\u2019s Art Exhibition"},"content":{"rendered":"
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Environment<\/h3>\n

On the situation of women in the family<\/h2>\n

Project group of the HdK Berlin<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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\"2a,<\/div>\n<\/div>\n
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The period 1968 – 1974, while studying at the HdK (now UDK) Berlin, was shaped by current political discussions, combined with a new search for meaning as an artist.
The guest lecturer Dr Georg Kiefer gave a lecture on interdisciplinary project work. Based on his suggestions, we formed 3 women: Antonia Wernery, Brigitte Mauch and I, the project group, -the emancipation of women-, with the working title -the EMMAS-.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The ideology criticism was the guide for the visualization<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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\"Zeichnung,<\/div>\n<\/div>\n
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\"Zeichnung,<\/div>\n<\/div>\n
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We examined the reality of women at work and in the family: we worked our way through statistics, family and criminal law and read relevant literature. In a diagram we visualized the social network of church and state, which the women set to the roles of mother, housewife, sexual object. We found the same stereotypes in the advertising images. From the analysis of advertising, we developed the GUIDELINES of the role assignments in which the sexism of the mass media is expressed. The diagram formed the basis for a collection of ideas.<\/p>\n

Idea collection of role assignments: mother housewife sexual object<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Women’s collective in art<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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We wanted to combine personal development and artistic work as a collective. The respective ideas and sketches were discussed together and further processed artistically. Although we had different artistic handwritings and preferences, there never was a conflict. On the contrary, we were always open to mutual interventions and changes in order to work out the most appropriate visualization. We experimented with drawing, painting, collage and screen printing.
In formal terms, we also experimented with the styles: critical realism, DaDa collages, dolls and objects, assembly techniques and the current Pop Art.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\"Situation_5\"<\/div>\n<\/div>\n<\/div>\n
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Environment 1973<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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The idea arose to implement the content in an environment. The advertising analysis should be integrated into the ensemble as a slide projection.\u00a0The exhibition was finished in 1973.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Censorship of the exhibition<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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The promised exhibition for February 1973 in the Landesbildstelle, Berlin was canceled shortly before the opening by the then school senator Lo\u0308ffler due to moral concerns.
The domestic rape scene was the reason for the ban on exhibition in public spaces.
Spontaneously, without official permission, we set up the exhibition in the entrance hall of the HdK for one day, contrary to expectations, the press response was great 10.2. the BZ published the “forbidden” sequence on the front page.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Style of agitation through provocation<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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Our claim to agitation through provocation met with a misunderstanding among many. The exhibition was also controversial among feminists, who found the portrayals of women too ugly. They demanded \u201cpositive\u201d figures of identification.<\/p>\n

The provocative potential of this work was not only directed against the patriarchal structures, but should also be directed against our conditioning as women: through the deconstruction of \u201cfemale\u201d strategies and models.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\"Foyer,<\/div>\n<\/div>\n<\/div>\n
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Exhibited so far:<\/h3>\n