Feminist Pedagogical/ Conversational Performance Art: The Work of Mónica Mayer

Gemma Argüello Manresa

doi:10.58519/aesthinv.v5i1.11778

Feminist Pedagogical/ Conversational Performance Art

The Work of Mónica Mayer

Authors

Gemma Argüello Manresa Universidad de las Américas Puebla

DOI:

https://doi.org/10.58519/aesthinv.v5i1.11778

Keywords:

feminism, feminist art, performance art, pedagogic projects, Mexican art

Abstract

This paper shows how the early feminist pedagogical performance artworks of the Mexican artist Mónica Mayer are example of Connective Aesthetics and Conversational Art.

Author Biography

Gemma Argüello Manresa, Universidad de las Américas Puebla

Gemma Argüello Manresa is a researcher, professor and independent curator. She is researcher for the National Research System in Mexico and teaches at the Department of Philosophy at the Universidad Nacional Autónoma de México (UNAM), in which she was recently Secretary of Academic Affairs. She is co-chair of the Feminist Caucusm, Social Media Editor for the American Society for Aesthetics and Director of the Research Deparment of the School of Philosophy and Literature at UNAM. Her research focuses on Aesthetics and Politics, Feminist Philosophy, Processual and Participatory Art, and Social-engaged practices in Latin America. Her work has been published in Mexico, the United States, England, Holland, France, Italy and Spain. She has worked as an independent curator for many contemporary art museums and exhibition venues in Mexico.

References

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Carroll, Amy Sara. 2005. “A Critical Regionalism: Mexico’s Performative Range-of-Motion in Madre por un día & the Rodríguez/Felipe Wedding.” E-misférica 2, no. 2.

Freire, Paulo. 2005. Pedagogy of the Oppressed. New York / London: Continuum.

Giunta, Andrea. 2013. “Feminist Disruptions in Mexican Art, 1975-1987.” Artelogie. Recherche sur les arts, le patrimonie et la littérature de l’Amérique latine, vol. 2.

Green Fryd, Vivien. 2007. “Suzanne Lacy’s Three Weeks in May: Feminist Activist Performance Art as ‘Expanded Public Pedagogy’.” NWSA Journal 19 (1): 23–38.

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Lacy, Suzanne. 1994. Mapping the Terrain: New Genre Public Art. Seattle / Washington: Bay Press.

Lind, M. 2007. “The Collaborative Turn.” In Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices, edited by J. Billing, M. Lind, and L. Nilsson. London: Black Dog Publishing.

Linton, Meg, and Sue Maberry. 2011. Doin’ It in Public: Feminism and Art at the Woman’s Building. USA: OTIS Ben Maltz Gallery.

Mayer, Mónica. 1980. “Feminist Art: an Effective Political Tool.” Master’s thesis, Goddard College, USA.

-----. 2004. Rosa Chillante. Mujeres y performance en México. Mexico: CONACULTA-FONCA.

-----. 2021. Intimidades. . . o no. Arte, vida y feminismo. Mexico: Editorial Diecisiete.

Terry, Hale Sondra & Wolerton. 2011. From Site to Vision: The Woman’s Building in Contemporary Culture. USA: OTIS Ben Maltz Gallery.

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Published

2021-12-31

How to Cite

Argüello Manresa, Gemma. 2021. “Feminist Pedagogical/ Conversational Performance Art: The Work of Mónica Mayer”. Aesthetic Investigations 5 (1). Utrecht, NL:99-110. https://doi.org/10.58519/aesthinv.v5i1.11778.

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Issue

Vol. 5 No. 1 (2021): Special Issue: Isn't All Art Performed? Guest edited by Rossen Ventzislavov, with Sue Spaid.

Section

Arts & Artists

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