Online: Talk with HATCHED & Photo Oxford Festival, 27 Oct ’21

This October we have teamed up with HATCHED to bring you talks from six exhibiting lens based artists from this years Photo Oxford Festival.

The HATCHED2021 exhibition brings together the practices of local and international lens-based artists. Collectively these artists voice the multiple aspects of gender inequalities: reproductive rights, gender-based violence, and trafficking. This work is shown alongside artists whose attention is closer to home. The tender look at motherhood, an exploration of complex family experiences. Personal and global they share an intimate female gaze.

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Wednesday 27th Oct 2021. ONLINE. Virtual doors at 7pm, kicks off at 7:10pm. 

e-mail: Submit@miniclick.co.uk to join us (limited numbers, first come first served)

Free Entry.

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Alison Kahn & Avi Zhimo

In 1935 The Secret Museum of Anthropology was published by the American Anthropology Association in New York. It was privately issued. It contained photographs of naked women and fetish scenes of women nursing animals. The one thing that binds this edition is that all the women were from ethnic minorities and unnamed. Kahn and Zhimo explore the content of this publication producing an AV dialogue piece discussing the agendas of the producers and consumers of this material, and question the their legacies in the 21st century. 

Beatrix Haxby

Beatrix Haxby’s practice casts a diverse subject matter into an equally wide net of media. She explore themes and ideas seemingly disparate as surrealism, androgyny, mysticism, New Romanticism, eroticism and athleticism, which she sees form a meaningful lattice of coincidence in the cultural imaginary. She believes that passé abstractions such as beauty, virtuosity, ambition and greatness have a shifting but continuing validity. Taking its name from Barbara Creed’s seminal theory, The Mutinous-Feminine is part gymnastics performance, part examination of the beauty canon; pulling into focus its lack of a muscular female morphology. The frozen, feminine odalisque of art history is set into motion with gymnastics performed in an artist’s studio. 

Fiona Yaron-Field

Belongingsrefers to the surviving mementos from women who have been trafficked to the U.K. Women who have survived forced sexual exploitation and/or forced labour Fiona asked the women, now in Medaille Trust safe houses, if they had any object that had survived the journey with them, something they had held on to from their country of origin. Some women had nothing, for many it was attached to their bodies and others asked me to photograph what gave them hope today. As each object was offered and its story was told, private meanings unfolded. She slowly recognised a repeating theme – that the object was precious as it held an attachment to ‘another’, someone loved. These mundane objects, overlooked by their captors, enabled the women to hold on to a sense of their ‘self’. A ‘self’ that made them resilient and ultimately gave them the power to escape. While traffickers (and the ‘clients’) intentionally strip women of their worth to control them, the image/object reflects the quiet strength of their spirit, a sign of their extraordinary resistance. 

Karen Toro

According to the Constitution, Ecuador is a secular state, but the individual rights of women are still limited based on religious morality. In Ecuador, a 1938 Penal Code was maintained, which allowed non-punishable abortion if the pregnancy represented a risk to the health or life of a woman and only when it was a case of rape of an “insane or an idiot woman”. In this context, statistics show that more than 2000 girls a year become pregnant after rape; that is to say that girls and women pregnant as a result of rape were forced into motherhood and if they had an abortion they were being criminalized. For several years the feminist movement has grown in Ecuador and the petition for the right to abortion is their demand for justice in a secular democracy, considering it as a matter of human rights, public health and above all a matter of basic freedoms for women. Despite the constant harassment of anti-rights groups, called “pro-life”, which are financed by the church and led mainly by men, social and women’s organizations have filed several lawsuits to reverse this situation. On April 29, 2021 the ruling decriminalizing abortion in cases of rape for any girl or woman was made official. Now the challenge is to enforce and create a legal framework and protocols to ensure access to safe and free abortions, as well as care and support for women and girls who have become pregnant after rape. 

Rosie Barnes

No You’re Not is a portrait project about autistic women. These women have careers/professions, relationships and often families of their own. There is a persistent misconception that autism is rare in girls/women and really only affects boys/men. Years of using classic male autistic characteristics for diagnostic parameters, has meant that countless women have been overlooked and arrive at a diagnosis many years after their male counterparts. Women can present very differently to men and their ability to successfully ‘mask’ to fit in, often subconsciously, can lead to high incidences of mental health issues – avoidable if only the right diagnosis had been given. This group of women are the least likely to be believed to be autistic. The irony is that their struggles are often greater because of their successes, particularly in education and work, meaning they are even less likely to be believed and more likely to be misunderstood. 

Yara Richter

A no-budget poetry short film composed of spoken word, video, and performance, “Tired of Trees?” depicts a young, black mother’s experience of the first COVID-19 lockdown in a German suburb. The film chronicles her ambivalent experience, as the severity of the global pandemic contrasts with the serenity of a sheltered, rural spring. Using a visually and thematically fragmented style, Yara depicts a specific emotional state during lockdown, and proposes the pandemic, the struggle for social justice, and the climate crisis as interconnected socio-political issues. By sharing intimate images of domesticity, the film reflects on how everyday actions within isolation have become acts of public importance. As spatial constriction gives room to inward expansion, questions about outward identity and political participation remain present. These multi-layered internal contemplations are contrasted with Yara’s excursions into a local forest, which turn into acts of connection. Despite suggested notions of hope and perspective, viewers are left with the question of whether and how insight turns into personal and political action.

Hatched 2021: Women Creating Landscapes is exhibiting at OVADA Gallery, Oxford

Thursday 4 November 12- 8 pm, Friday 5 November 12-6pm, Saturday 6 November 12-5pm

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Wednesday 27th Oct 2021. ONLINE. Virtual doors at 7pm, kicks off at 7:10pm. 

e-mail: Submit@miniclick.co.uk to join us (limited numbers, first come first served)

Free Entry.

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