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Female Art Exhibit – Wang Baoju

Most of my works related to the status and condition of women. Although never bypassing or emphasizing my career as a female artist, I regret that I have never studied the theory or art of feminism. As a result, the characters of female or feminism are neither involved in controlling the line of my works nor guiding it.

The central concerned of my work is whether it is reasonable, whether it is completed and persuasive, and whether the words are clear. All of these are my standards to satisfy me that the works are excellent.
My artwork named “Hidden Weapons” used the tools that female handle more in their daily lives: the broom, the duster, a mop and so on, all of which have been reformulated as guns. This leads to the questions including: “is there any strength in women’s daily lives? Are the feather, cloth and fiber strong, sharp and resistant? The aim is to show that the strength of women comes from daily lives, instead of fights and wars.


Half the world's humans are women who are always in silence. The art of feminism is a way for women to gain a voice and speak their experiences and perceptions with their experiences and perceptions through artworks. Art also provides a new view for people to take see the existing model that was shaped by men.
This work is comprised of a set of films, with a background of collapsed ruins as a metaphor for life. Dramatic pictures and scenes have been recorded with a camera: a dimly street lamp stands at night; a pregnant woman wanders in front of a wall of advertising. Shot with a blurred vison and unfocused lens, the figures are made abstract figure, and a sense of pending trouble and anxiety takes over. The scene gradually turns into a woman with nightclothes walking, dreamlike, on an endless road. Eventually a door opens in the ruins

By using symbolism and metaphor, these films pose a story of women’s existence, their realistic situations and spiritual world.

About Feminism – by Yan Yinhong

Throughout all my works, gender identity cannot be ignored as it is naturally implied. In my early years, resistance grew when I realized my own gender. I believed that women experienced much more repression than men, which on the other hand, empowered themselves. This is what all of my works are about. Being female, for as long as anyone could remember, is not only about the extraordinary act of giving birth to a new life, but also of vital importance to the extension of human life. Therefore, the attention to life itself has always affected the direction of my work.

The concept continues in my works this time. In my opinion, feminism focuses on the research of gender. The thinking of physiologic sex and social sex reflected the social life, analyzed the social problems that happened in long history, dropped the essentialism, liberated itself from the cover of centralism, and reopened the pattern to the world to learn from. Postmodern feminism, also known as queer theory, represented by Butler, has achieved exactly this pattern. Feminism, by internal criticism, has accomplished the practice of cross gender Center

Tang Tian

A female artist is the soul and memory of women. As a female artist, I’m always true to myself art and vision: to be sure my art preserves and chronicles the time and space of women in civilizations and to show the soul of the female. Being a curator for seven exhibitions on feminism, I strive to inspire women from all cultures and statuses to be independent and strong in spirit, and to motivate Chinese women especially to know they are equal, independent, and with strong self-esteem. I know deeply in my heart, that every step forward for women is progress for human civilization. This has always been my direction and momentum.

My works: “Women Civilization” consists of “G spot - former female civilization (AD 2015)” and four other paintings set in 90 degree corners with names of female civilization characters. They are the reduction of different times and spaces between the women’s civilization and contemporary civilization. Here, the title of “dynasty” is used as a surname in women’s civilization only for women, and men had no surname, just a given name. Woman leaders ruled each empire of the world. Women passed surnames from generation to generation and their human culture and was thus inherited. Women had reproductive freedom so that the child that she gave birth to had the surname of the mother, which was a precious cultural heritage at that time. Women own their independent consciousness on sex, which is also expressed by “G spot”, that women can reach the unity of nature by self-sufficiency in sex.
The characters from women’s civilization witnessed the ideology of female civilization, the existence of empires has approved it, which it has restored the vision against male perspective.

The Art of Feminism – by Li Xinmo

Globalization makes it a widespread phenomenon to live and work as cross-nationals. The internet, which developed the information communication era, builds up an open and mutual relationship between diverse persons, different places and multiple nations. With the drive of capital globalization, the information spreading, knowledge sharing and cultural blending are ongoing at an unprecedented speed. It has become a significant premise to band women from around the world together. From the “March to Washington” parade that has two million female participants globally, to the “Me Too” anti-sexual harassment campaign that has swept the world recently, you can find that the power of female is more united than ever before. All of these movements undoubtedly have promoted the art of feminism.

At the naval activity center of Molenbeth St. John, Brussels, in Belgium, there was a particular exhibit with the theme of “What Were You Wearing”. Eighteen outfits hang on the wall, all accompanied by a brief printed stories from sexual assault victims answering the question of what they were wearing when they were assaulted. There was a long-sleeved shirt, complete sets of pajamas, workout shorts, child-size cloths, plain T-shirts which were so ordinary that none of those outfits invited the people wearing them to be sexually assaulted. In Prague, at the Artwall Gallery, Alma Lily Rayner exposed her childhood experience of being sexually abused by her father with a series of pictures on the exhibit wall. They’re 3D molded daily items, such as a spoon, Mickey doll, shaver, soap, dildo and so on, then come the theme of those trembling images “What my father stuck in my vagina?” at the end of wall. In addition to the way it was presented, the tension produced by the artwork itself through utilizing real events and personal experiences had a huge and shocking impact to witnesses.

Today, when the art of feminism is about to be a thing of the past, these works suddenly awake the whole world, making people realize that feminism and the art of feminism are far from ending. On the contrary, they’re still ongoing. The tragedies these women experienced are universal, and cross countries, regions and races. They are, literally speaking, the common destiny and experience of women all over the world.

Under the general background, cross-border feminism art is becoming a main orientation. International feminist art exhibits that have sprung up in recent years have successfully presented a kind of unique art form, which contains an international view and at the same time keeps the regional characteristics of each society and the personal experience. The international women's art exhibition that is going to be held at Changsha, China, is one of a kind. Artists coming from different countries, some of whom have lived or worked in another country, their experience are not unique single, but various and comprehensive. The forms and contents that are expressed are with broader perspectives and multiple regional characteristics. The “Female in Darkness” program that Francesca Greber, a Swiss artist, put into practice in Africa, India and Asia, is focused on females who suffered from family violence. The impressive feminism artwork “Mother” created by Zhen Guo, a Chinese American, is based on her own experience, with other aspects such as the installation art and pop style merged. Wang Baoju reflects her feminism perspectives and attitudes by deconstructing political power. The French artist Laetitia Deschemp, on the other way, brings out metaphorical world based on personal experience with expressive language that is full of tension.
New characteristics of the art of feminism show up in these works. First of all, the extension to the perspective of feminism no longer bind female with unconsciousness expressions to sexuality. Instead, they pay great attention to rational thinking and conscious creation. They prefer not to use territoriality and symbols of gender. To build up their own language system, they start from the self-examination and deep thinking of the entire social culture and history. These significant works embody the art of feminism beyond the traditional definition and they have expanded the boundaries as well as the orientation of feminism. This exhibition no doubt provides evidence for the practice and research on feminist art in the future.