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At first glance, the work of artist Zilia Sánchez (1934) meets the criteria for classification as Minimalist. Hers is an austere geometry, lacking any adornment, decoration, or complement, and made from the simplest of materials. Yet her works — straddling painting and sculpture — with their soft lines, warm textures, and limpid colors, have a power of allusion, of evocation that refuses to admit any of the self-referentiality or tautology that characterizes most Minimalism.

The delicate sensuality of Sánchez’s work is present in Birth of Eros. Its stylized reliefs, highlighted in soft pink, are voluptuous reminiscences of the human body. This is an idealized landscape of the body, an erotic, imaginative, suggestive geography.

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A primera vista, la obra de la artista Zilia Sánchez (1934) cumple con los criterios para ser clasificada como Minimalista. Su geometría es austera, desprovista de adornos, decoraciones o complementos, y realizada con los materiales más simples. Sin embargo, sus piezas —a medio camino entre la pintura y la escultura—, con sus líneas suaves, texturas cálidas y colores límpidos, poseen un poder de alusión y evocación que rechaza la autorreferencialidad y la tautología que caracterizan a gran parte del Minimalismo.

La delicada se*******ad de la obra de Sánchez está presente en Birth of Eros. Sus relieves estilizados, resaltados en un suave rosa, evocan voluptuosamente el cuerpo humano. Se trata de un paisaje idealizado del cuerpo, una geografía erótica, imaginativa y sugerente.

A project by/ un proyecto de

Garments, 2017
Fem·Insurgentes explores fashion as a political tool for subcultures, designing five jackets that empower and unify. Commissioned by the Institute of Youth in Madrid, it was exhibited at Interferencias, Sala Amadís (2017–2018).

Daughters of Eve
A sisterhood of cis and trans women rejecting patriarchal Catholicism while embracing other forms of idolatry. Defying doctrine, they reclaim their space through apostasy and self-proclaimed disobedience to the Divine Mandate.

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Indumentaria, 2017
Fem·Insurgentes explora la moda como herramienta política en las subculturas, diseñando cinco chaquetas que empoderan y unifican. Encargado por el Instituto de la Juventud de Madrid, se exhibió en Interferencias, Sala Amadís (2017–2018).

Hijas de Eva
Una hermandad de mujeres cis y trans que rechazan el catolicismo patriarcal mientras abrazan otras formas de idolatría. Desafiando la doctrina, reclaman su espacio mediante la apostasía y la desobediencia autoafirmada al Mandato Divino.

Liao Wen ( )
On The Eastern Horizon,
2021,
Limewood, Silicone,
35 x 78 x 3.5cm

Installation view at Cai Jin Space, Chaoyang District, Beijing, China

In the exhibition “The Body Knows Silently”, Liao Wen focuses on the critical status of “the body in the ceremony” by combining sculpture with narratives, and focusing on the physical and mental conflicts hidden behind the rituals of marginalized women.
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En la exposición “El cuerpo sabe en silencio”, Liao Wen se centra en el estado crítico del “cuerpo en la ceremonia” al combinar escultura con narrativas, enfocándose en los conflictos físicos y mentales ocultos detrás de los rituales de mujeres marginadas.

A medieval badge showing a v***a riding a horse with a crossbow and torch in its hands

Via

The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art, is presented as the centerpiece around which the Elizabeth A. Sackler Center for Feminist Art is organized. The Dinner Party comprises a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on v***ar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table.

Georgia O’Keeffe, one of the most well known American painters, is also considered by some to be the foremother of the feminist art movement. She worked in a discipline dominated by male artists, critics, gallery owners, and curators, who were critical of women artists. Despite these obstacles, O’Keeffe launched a successful career, developing a distinctive painting style that employed organic v***ar forms and floral imagery. Her life experiences influenced her art; imagery from her time in New York and New Mexico reappears in her painting.

Georgia O’Keeffe’s is the last place setting at The Dinner Party. Her plate has the most height, signifying her artistic liberation and her success as a female artist. The imagery on O’Keeffe’s plate incorporates the forms she used in her own flower paintings, such as Black Iris, 1926, with the central core (or v***ar imagery) used throughout The Dinner Party. Chicago pays tribute to both O’Keeffe’s originality and the imagery in her paintings. She also acknowledges the influence O’Keefe had on later feminist artists, claiming her work as “pivotal in the development of an authentically female iconography” (Chicago, The Dinner Party, 155).

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• by Jeanne K Simmons ()
“Grassy Yoni” 2020

Jeanne K Simmons is an artist working in nature to address issues concerning humanity and the Earth. Her work combines land art and body art to make eco sculptures.
“I contemplated making Grass Cocoon for two years. The image was persistent and it took up residence in my imagination, so I finally committed to making it and enlisted the help of friend, naturalist, educator, basket-maker, and now beloved model, Nicole Larson.”

Amigues en ESPAÑA!
, la guía total sale a la luz este jueves 13 de octubre!

Estamos muy felices y orgullosas de todo el trabajo y cariño que puso en esta edición traducida por .aragones.riu 💞

El link para pedirlo estará en las stories + bio. La versión en español para MÉXICO se viene hasta el próximo año!

Gracias por compartir!!!!
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There is still a shocking lack of accurate, accessible information about pu***es and many esteemed medical sources seem to contradict each other. solves that with extensive reviews of peer-reviewed science that address old myths, confusing inconsistencies, and the influence of gender narratives on scientific research––always in simple, joyful language.

Through over 30 chapters, not only gives the reader information, but teaches them how to read science, how to consider information in its context, and how to accept what we don't know rather than search for conclusions. It also weaves in personal anecdotes from the authors and their friends—sometimes funny, sometimes sad, often cringe-worthy, and always extremely persona—to do away with shame and encourage curiosity, exploration, and agency.