77 Women Pulling at The Threads of Social Discourse and Guests: We Got The Power: The sixth annual Women Pulling at the Threads of Social Discourse Exhibition

The Contemporary Art Modern Project (The CAMP Gallery) is pleased to announce the opening of our annual fiber exhibition, 77 Women Pulling at The Threads of Social Discourse, FAMA and Guests: We Got The Power. The exhibition is curated by gallery founder and director, Melanie Prapopoulos, and assistant director Maria Gabriela Di Giammarco.

 

Open since October 11, 2024, the sixth edition of this exhibition series draws inspiration from Lysistrata by Aristophanes, and Spike Lee's response to organized violence in Chi-Raq. Honoring the play and its era, over 100 pieces were made for the open call, all touching on themes of violence, war, sexual power, the patriarchy, and the power of women. These artworks will be installed as a continuous frieze throughout our gallery space, up until the end of the year.

 

Lysistrata, is by no means a feminist play, but instead the imagining of a patriarchal mind secure in dominance. That though does not mean that it has not been altered, molded to suit particular needs of women, as it has been adapted, reshaped, rewritten and staged in both London in 1910, and in the U.S. in 1914 as a means to support the ongoing struggle for women to gain the right to vote. The morphability of the play only reflects the same quality of women as they strive for equality in an unequal world.

 

Under the critic's eye the play knowingly enhances the limitations of women in Ancient Greece, (and in some cases also in modernity) stabling them in spheres only within the household: "In a world where men dominated the political sphere and women could exert only limited control over the domestic sphere, sex is a very domestic concern." (Wilcox) The result of this lack of power leaves the characters to resort to using desire and sex, instead of intellect or political power. This becomes interesting when one considers the ideal of a Hetaira, women allowed intellect and thought, as well as sexual freedom, yet, the housewife, the mother of children is often regaled to the role of a brood mare, valuable just for breeding. The idea that Aristophanes writes this play as an answer to war is also interesting, because at the end of the day, if war ceases, more men will survive, and be able to keep that tight reign on the woman and her desire to be equal. No, this is not a feminist play.

 

The concept of women using sex as a weapon, is not unique to this play, just think of the angry woman with a headache. But that scenario brings forth not just the notion of sex as power, but also ownership of self and body. And if women can feign headaches, and win in that ruse, sometimes, why only through 'malaise' do women have control - or not really, if one considers abortion laws presently spreading through and infecting the lives of women 'from sea to shining sea?' Think about the 'Caged Woman' and how her emotion, individual desire for creativity and a voice resulted in walks into rivers, weighed down with stones, committing the most manly of suicides, to isolation in mental wards, to sexual exploitation as a means of study, to the abandonment of family into the corridors of insanity. Clearly the lone female has little or no true control.

 

But, even with the above, this play has been explored and performed in modernity providing : "a distinctive lens through which to view changing social attitudes towards women, sex and obscenity…" (Robson) It then seems to evolve into a barometer of the idea of woman, not just from the external viewer, but also from the woman herself. Part of the substance of the play is the woman's willingness to sacrifice for the betterment of man - because in the play, she forgoes not only her pleasure from men, but also her own pleasure - to save men, the patriarchy, in effect, to save her submissive role.

 

Going through the artworks that make the frieze, the artists have all approached the primary source of the play and adapted its message to compliment their intent. Adriana Carvalho focuses on Vandana Shiva and the idea of protecting the world, and consumer from the margins of big business. Taking seeds, and what they yield, when unmodified and incorporating the 'shield' worn by women, panties, she, one can argue applies the same argument of corporate manipulation towards the consumer. In many ways we rely on business to protect us, but in both these instances, they fail as our food is altered and undergarments often cause their own harm due to how and with what they are manufactured. With Aida Tejada the focus is on "The Other," an often silent and unconsidered workforce of minority women harvesting crops for consumption.

 

Rarely do we think of how our morning cup of coffee got to us, this is an double insult because just as the companies using them, do not consider these women, sadly, rarely do we. Honoring Iranian journalists Niloofar Hamedi and Elahe Mohammadi, two women behind nationwide protests ignited by the death of Mahsa Amini, Ainaz Alipour's contribution to the frieze highlights the strength of these two women, but also reminds us of the power we all hold within ourselves when we focus on our conscience. Alan Neider draws on the idea of opposites, usually left to remain as opposites, but in his pieces they become one. His pieces show not only the idea that one can create new realities but also that one can compose a scenario where although the textiles, when alone, do not seem to compliment anything but themselves- under his hand he has made these dissimilar textiles rely on one another - as is also clearly seen in Chi-Raq. At the end of the day, all sides of a warring situation either stay warring, or not - it really becomes an issue of choice.

We Are Our Stories by Alieh Rezaei disrupts the idea of Acephale, one that argues against the idea of the Vitruvian Man, the perfect man of da Vinci with a rebellious and immortal female figure that stands firm in her rebellion. Using the idea of cutting one's hair as an act of mourning and loss, Rezaei, instead has her heroine stand fast in the act of grief as the tool for protest against all that attacks one's identity, and the identity of others - becoming a beacon for social justice. Amy Putman's pieces all explore different aspects of dress and how what one wears can support them. But, and there is always a 'but.' The corsets and lingerie worn are often designed by men for women, can hinder mobility and can and have caused harm to women. The notion that superheroes who are women are encapsulated in corsets, which overly enhances them also holds the insidious quality of sexualizing, and eroticizing the woman, reducing her to fantasy and objectification. But, as with both the play and the film, it is through the sexual power of women that clears the mind of men to go forward into peace. Atelierlustig's additions to the frieze explores the idea of sorority and the collective energy of women banded together under one goal, one ethic and the endless possibilities of change through a unified vision. Autumn Kioti Horne, in her frieze fragments explores, through the mingling and melding of different fibers, not only the strength of the woman but also how power moves through one and how insanely important the woman really is as she holds the ability to nurture, create, carry and deliver life - and she also has the voice and ability to be heard. There cannot be a frieze exploring the power of women without reference to Gloria Steinem, and that is how Barbara Ringer and Christine Lee Tyler approach the work. Steinem has a past overflowing with the fight to continue what began in the 1900's to the modern woman; both she and the characters in Lysistrata work towards harnessing the woman towards the acceptance and acknowledgement of feminine power. Brenda Cee Martins, explores the vulnerability of the lone woman, void of a sisterhood. Her piece serves as a warning against the idea and practice of not having a community - not only does it take a village to raise a child, but also it takes a village to ensure survival. Brenda Kuong Perez looks back to her own history from Peru and how in Inca history some women were removed from their families to become priestesses, pawns and wives for political gain thereby being stripped of not only their voices but also control of their own bodies and lives. Caitlin McCormack looks directly to the play and through the taunts of the Chorus of Women against the tirades of the men highlights the resilience not only of the women, but also the lands victimized through battle. Deborah Weir responds to the original play with Lysistrata - Throws Shade at The Military Men finding that the play is timeless as war thrives in the minds of many, but also questions why anyone would want to battle and risk their lives for the reasons used for war? Calling on Tarana Burke to take her place on the frieze, Delany Connor explores the burden of beauty in a society that categories and assigns expectations simply based on the external 'package.' Camille Eskell in Vanquish fashions a vignette of women of power, confidently wielding their power in an unchanging arena of the exploitation of women's rights. Gestes de résistance, by Catherine Olivier speaks on the many societal battles that plague society and the desire for peace. Olivier by using fire in her practice highlights how conflict not only harms the individual but also the foundation of any society. Eden Quispe looks to the women ignored, discounted and abandoned by history and society, calling to our attention the patriarchal practice of silencing women and erasing women. Eileen Hoffman takes the play of Lysistrata and calls on Ruth Bader Ginsburg and Lysistrata to dialog on historical and contemporary issues that women must battle. Sadly this conversation is still ongoing. Elaine Luther proclaims a women led protest as the very place where not only change can brew, but also the place of joy and amazement. The protest of women is not often the violent arena of a male protest - and yet, it does hold danger for the women as the institution looks on with their weaponry of social oder. Fernanda Froes invites Dorothy Stang to our frieze as a woman who fought valiantly to protect the Amazon Rainforest, showing that the power of one woman can ignite the fervor of many. Fruma Markowitz due to her travels in Morocco, she learns "of the sharing of stories of women from Jewish, Muslim and Berber ancestry and depicts a line of female dancers facing to the West/Left (the Strophe, if you will), while the other half of this long diptych depicts more women dancing to the East/Right (the Antistrophe), as they might do in the chorus of a Greek play. According to shared Jewish and Muslim tradition, they are on a pilgrimage, a celebration known by both as a "Hilloulah," to the tombs of deceased saints (male and/or female), where they seek to have their prayers answered, to change and influence the heavens in their favor - for fertility, for marriage, for health and healing, for the safe return of their men from war, for peace."

Heidi Hankaniemi speaks to the battle in the chorus of Old Men VS Old Women: In the piece the old men try to pry open the legs of women and the old women fight to keep them shut representing not only that struggle but also the struggle between the patriarchal mind vs the matriarchal. Hou Guang Ting speaks on the intricacies and interconnections in life and how any deviation from connection can dramatically damage the ideas of balance and peace. Exploring tensions and division in social and moral conflicts, Itamar Yehiel also focuses on The Chorus of Old Men and Old Women in the Strophe and Antistrophe of the chorus. Elevating the notion of age as a marker of wisdom, and placing the work behind glass, the artists creates a paradox where what is sought cannot be really accessed: it is behind glass, it is unreachable. There is another duality, something reminiscent of Pandora's Box - in that if the glass is broken not only will what is inside be free - but there remains the danger from the broken shards, not just for those out of the box, but also to what remains. Threads of Hope, by Jacqueline Myers - Cho explores female power. The work also calls for hope and the understanding that we all have a responsibility in creating and maintaining a society where freedom flows. Janet Mueller recreates and reinterprets elements both from the play and history exposing the timelessness of the problems facing the feminine. Janine Brown honors the intellect of the woman and how science and thought under the direction of the woman can only improve the stagnation of the patriarchal practice. Joan Wheeler honors the Grimke Sisters who in 1863 wrote: "Appeal to the Christian Women of the South," reminding us all of the importance of not only compassion but of freedom. Julie Peppito calls on the modern woman to harness her power, all the while holding on to consideration that in this battle of the sexes, not all men are willing participants. Finding connection and relationships as a cornerstone for a successful society, Karola Pezarro pulls from the notion of gentle strength (feminine power) and the need of treating one another with care would allow for a better society. Taking on the topic of sexual satisfaction and who has the 'right' for such is Katika, who beautifully and brazenly focuses and blurs a woman in the act of self satisfaction. Interestingly the play argues against self satisfying oneself - to which, Katika says f- - k that: I can be a strong fearless woman, with a goal, or goals and still enjoy my sexual self. Kim Moore spotlights Leymah Gbowee, a Liberian Peace Activist whose actions and sex strike, tried to stop the violence ranging through her world, and though it did not, Gbowee says, stop the war - it did get media attention. Regardless, it was a moment where women united against the actions of men and at the end of the day - peace was found. Clipped Wings, Amplified Voices by Letitia Adam-Rabel focuses on how when we are faced with challenges that seem unconquerable, we are still able to pull from strengths we don't always know are present within our being. This argues that no, women are not the weaker sex that the patriarchy likes to imprint upon the persona of woman, instead we have the capacity of strength, and the depth of talents to find our own solutions. Lauren Januhowski weaves a vignette of woman standing in defiance over the men showing that though the farer sex, when united, women embody all the power needed. Arguing to resurrect Lysistrata's argument, Leslie Sheryll suggests that maybe this sex strike might help modernity's women in their battle to secure their rights to ownership of their bodies. Team work is the very core and foundation of success. Louise Cadoux takes inspiration from the play and this Summer's Olympics and reminds one that with teamwork - we can get to the goal. Our frieze is honored to include many women who have 'fought the good fight." Lydia Viscardi brings our attention to Kathe Kollwicz (1867-1945) a German artist who dedicated her work to be a social commentary of the ravages of war and what war leaves behind - from destroyed homes, to destroyed families. Using the symbol of an Amphora, Viscardi, very much in the lines of Keats immortalizes these ravages to remind of the cost of war. Mabelin Castellanos captures the power of women when they exert their sexual power, and love over men caught up in war, thereby saving the men, and in effect, saving society by keeping the warriors alive. Creating a yin/yang balance Manju Shandler recognizes that although there are aspects of society we battle against, if they did not exist, we would not have the ability to have what we desire. Humanistic in its core, this notion looks at war, hate, inequality as necessary as through destruction, something always grows. Margaret Roleke turns her focus on the actual weapons and bullets that are used and discharged in acts of violence. By doing so, she comments on obsessions for the paraphernalia of violence and the lives taken through violence. Discussing themes of power in women and symbols of Peace Marine Fonteyne presents works highlight these two topics and deftly unites them in her contribution to the frieze. Marjoleinn Burbank honors the strength of mothers and grandmothers from Plaza de Mayo, Argentina who brought our attention to the brutal kidnapping of their children and grandchildren by the military dictatorship. These women have remained steadfast in their quest for answers - 'where are our children!" Melanie Brewster cautions that in the destruction of one, comes harm to the self. One has to think of what we call today as Post Traumatic Stress Disorder- or "Shell Shock" as it used to be called has left its stain and stigma on warriors since the onslaught on modern warfare. Exploring the power behind unity Melissa Godoy Nieto argues that now more than ever the only way through the violence infecting our globe and existence is through a unified resistance to war. Bringing more women to the frieze Michael Sylvan Robinson includes: Artemisia Gentileeschi, Edmonia Lewis, female figure ca 3500-3400 bce, Pan Yuliang, Adelaide Labille-Guiard, Romaine Brooks, Faith Ringgold, Ruth Asawa, Greer Lankton, Frida Kahlo, Ann Lowe, Florine Stettheimer, and Sonia Delaunay as a chorus of powerful women artist ancestors joined together while being inspired by Nancy Spero and Mary Beth Edelman. Molly Gambardella brings what she calls a visual exploration of unity within division, something most often absent from today's conversations where being unique and having a different opinion has been the thing that fractures, on the surface.

 

The truth is it is through the unification of many, not necessarily the same, is what makes a society - but this melding should be accepted for its differences, not penalized. Nancy Ofori brings Sor Juana Inés de la Cruz and Jovita Idar to the frieze as examples of women resolute in their passion, strength and willingness to stand up against injustices not just for women but for all. Nancy Tobin and Rita Valley both take on the notion of 'big dick energy' affording the woman and her 'parts' with the same energy - thereby equalizing notions of power. Recalling moments of women unified in a moment of change, Nanilee Robarge ponders the advancement of women through the 60's. Foremost are the struggles many of our mothers, and grandmothers from that era encountered, and in many ways overcame if for no other reason than to pave a path for us - a path a little more than the one given by our great grandmothers. Nicole Durham brandishes one of the iconic symbols of domesticity - the apron. Deep within that symbol is the weight of the many facets of servitude within the role of a woman, and yet, it can also symbolically represent her ability to overcome, as she can remove it at will. Olya Tereschuk brings forward the gentle strength of women by referring to the patterns made by Virgin Ivy. Her belief is that at the start, ivy and women are gentle, but as they both grow and connect with others - what was once lone and gentle can become an unwavering force. Pangea Kali Virga looking at the multitude of identities that make up a society, and how there can be one unifying force, and that is love. Though there are faults, from a feminist point of view with the play, at the end of the day, we can agree that Aristophanes is arguing for peace, for love, and that too is what Pangea is seeking. Rosa Henriquez, as other artists in the frieze responds to the choruses of the play highlighting that these issues and behaviors of the genders is not new or revolutionary, no, unfortunately these behaviors have graced civilization for more than 2500 years. But, Hernandez firmly believes in the possibility of resolving conflicts, and the resolution lies in solidarity. There is another level, and 'problem' and one that has plagued feminism since the start - the possibility of a notion of equality seems more and more to be a privilege for a select group of woman; therefore that select group needs to bound themselves to and for all women, not just the ones able to have a picket fence. Sarah Laing, looking beyond her own environment calls for a collective dedication to change. She firmly believes in the power of the mind to unite us all under a 'blanket' of what is positive, and what path, direction we should all share for the wellbeing of not just the self, but for all. Silvana Soriano focuses on the persistent notions of both fear and admiration of the woman's body in her addition to the frieze, reminding us that this imbalance is not new but one that has persistently stained the annals of history. Sooo-Z Mastropeitro by metaphorically denies access in her work: Sheath Shifter, alluding to the battle for dominance between the sexes and the play of power. Toni Thomas brings forth the notion of a universal hero in her work by bringing in Yemaya, the Yoruba god of femininity to help Lysistrata; this inclusion compliments the argument of both the frieze and the exhibition - that being it is the unification of women for a just cause that can result in change. Alina Rodriguez-Rojo's Thong of Peace, speaks to the ongoing battle women face and have faced not just for their sexuality but also for the right to be able to maintain control over their bodies. Women have been burdened with the labels affixed to them, the rapes visited upon them, the violations inflicted both mentally, physically and emotionally all for the comfort of a dysfunctional patriarchal system. By creating the 'mother' of all chastity belts, Shelly McCoy opens conversations not only warning anyone wanting access to a woman, but also the inherent possibility of danger through any kind of intimacy. The danger, unfortunately is the often trade off that results - this trade off happens simply because of power - who has it, and for how long. Amy Gelb's addition to the frieze speaks on why we created the frieze - the death of a son. Though deeply personal Amy's piece unfortunately relates to an uncountable number of grieving women, and men, just because someone wanted something and instead of getting what they wanted - they took a life. Aurora Molina takes a recurring theme, the deaths brought on by war, distrust and fear spotlighting the cost of these actions - simply put - death. Her work centers on the uninvited grief that is the result of those who survive the unnatural death of one who is loved. Carlos Batista Biernnay wants the viewer and the world to to feel better about themselves. Thinking about how we often cut each other down, Batista Biernnay reminds us to be the self-caretakers we need to be. Debora Rosental both applauds and questions women's organizations. Naturally the applauding comes from the unification of women for a like cause, but she cannot but help question how universal are the concerns when they travel through race, religion and ethnicity. Deborah Simon looks to Athena and how she serves both as a destroyer and a protector throughout Greek Mythology. Interestingly, this goddess of war seems more masculine in her many roles and mentions through history - seemingly abandoning, or being denied any qualities that would liken her to the feminine. We cannot but question why she was created and represented as such - could it be that a woman with logic, strategy and sex would just be too much to control? Playing with the reliance of opposites on one another for balance, Isabel Infante calls for a continuation of acceptance of the opposite - arguing that our differences are what makes a society, but the key lies in acceptance and respect. Kathy Nida focuses on the deaths of women and children hoping that by bringing those innocent deaths to her addition on the frieze, that maybe society will begin to at least consider their blood lust. Kimberly Bentley in her addition speaks about how women's rights have been lost, how we have gone back in time, and fights against the idea of 'woman as property,' bringing dark notions of handmaidens and the complete loss of voice. Taking on the burden of beauty, Kristina Reinis, jocularly explores the toil imposed on a woman to be noticed, not just for her beauty but for her intellect. How to be heard, she, as the women both in the play and film need to flaunt the only true value a patriarchal system will acknowledge - her ability to stir desire and lust. Pretty dirty trick - on both sides. Marcia Manconi focuses on tension and urges her viewer to unite and help loosen that fraught divide between the rights of women and those of men. For Manconi, women do have the ability to be heard, and that these voices, when unified are unstoppable. Redesigning Mt Rushmore, Mary Tooley Parker replaces those old tired white men and modernizes the landmark with: Alexandria Ocasio-Cortez of New York, Ilhan Omar of Minnesota, Rashida Tlaib of Michigan, and Ayanna Pressly of Massachusetts. This act of the artist in her panel brings forth many ideas, but also questions - what does a woman have to do to be admired for positive social change? Natalia Schonowski, in her panel recognizes the choices of the women in her family, going back and through the generations, and how their choices, battles and realities paved the way for her, and how all these women have helped her to pave paths for her own young daughters. Believing in the restorative quality of art over the destruction of war, Ola Rondiak highlights the many layers of ruin not only of the physical landscape but also and maybe more importantly the loss felt personally by all - actors and witnesses of violence. Orly Cogan, responds to the danger women find themselves as rights of choice become a foggy memory. Dissecting a decorative piece of its crochet, from what Cogan believes comes from a 'more modest' time, and garnishing her panel of present day women standing united by feminism - she alludes to both the present and the past, and suggests the frailty of this moment in the path towards equality. Rima Day combines ideas and associations of water and fire, describing them as phlegmatic and chloric temperaments. The phlegmatic being cautious - dare we assume, feminine, and the choleric - volatile - as masculine. Looking back to her own thoughts and experiences she creates a panel reminiscent of practices in Japan during WWI and II, where women created sashes of tight nots for their men, representing the boldness of the choleric, but done with the serenity and hopes of the woman stitching and tying each not. Each prayer, as Rima writes in her statement. Valeria Montag, in partnership with women from the interior of Ceará, in northeastern Brazil, presents a segment of our frieze to stand as a testament of the resilience of women as they share their stories through textiles, thereby preserving and honoring their experiences. Yanira Lopez weaves together threads to highlight the moment the women in the play unite and come together in their plan and goal. Her work glorifies through line and color a place of unity and connection. Alexis Oliva, repeats patterns, likening his work to the Meandros, a river that weaves and curls its way through the ancient history books, nurturing and sustaining in silence, very much as women have always done. The repetition of the pattern, coupled with the play remind us to be consistent, to be flexible as the river, but to keep the oath of unity. Although the original play and Spike Lee's adaptation are this year's starting point for: We Got The Power - we are more interested in hearing the voices of this year's artists in how by unity and coming together can change be won. Women united with battling for the vote, and one can argue that it is only through unity that one address and conquer the kaleidoscope of issues darkening our days. The seventy-seven women and guests all herald options, advice, and raise awareness in issues ranging from politics, the environment, sexual power, war and violence becoming the frieze you can walk with through our gallery space. As we are weeks away from a new US presidency, regardless of its outcome, if centuries of history have taught us anything, it is that the individual cannot exist without the group - and this group, these fiber artists are spinning tales, weaving weapons against imbalance, stitching scenarios exposing or applauding truths, saying that truly together there is power.

 

Curation by Melanie Prapopoulos and Maria Gabriela Di Giammarco

Statement by Melanie Prapopoulos

 

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