‘This Is the Future’: Feminism’s Double Gaze - A Conversation with Janine Burke

IF 0.1 0 ART
V. McInnes
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Abstract

As Ver onica Tello notes in her introduction to this issue, following the Know My Name conference in November 2020, several participants began conversations around ‘continuing the work of critiquing the gendered discrimination at the centre of Australian art institutions’. In fact, these conversations were already ongoing at that point, and they will no doubt continue. During one of the conference panel discussions, Janine Burke spoke to her frustration at the institutional amnesia and systemic resistance to feminist discourses she has encountered during a career in the visual arts that has spanned half a century. The discussion that follows was initiated to address this sense of despondency, not to provide a neat rationale but to continue picking at—or as Tello would have it, ‘unsettling’—the problems. It also provides an opportunity to bring into focus a series of personal and embodied Australian feminist art exhibition histories. During the course of our conversation, Burke proposes a ‘double gaze’ for feminism, positing that we must look back not only so that it is possible to move forwards but also so that we might understand and frame our present moment. Vikki McInnes (VM): Know My Name is a gender-equity initiative launched by the National Gallery of Australia (NGA) in 2019 that has comprised numerous exhibitions and events, a conference, and a major publication to date. The project is self-described as ‘a celebration, a commitment and a call to action’. In her review, in this journal, of the Know My Name exhibition, Jeanette Hoorn pointed out that you, in fact, had curated the first ‘know my name’ exhibition in 1975, with Australian Women Artists, 100 Years: 1840 to 1940, which opened at the Ewing and George Paton Galleries, University of Melbourne, and toured nationally. Janine, you have been at the forefront of feminist pedagogies and exhibitionmaking in Australia since that time. I’m interested in unpacking some of the histories of feminism, and feminism’s relationship to institutions in Australia, particularly by looking at women’s art exhibitions and the history and trajectory of
“这就是未来”:女权主义的双重凝视——与珍妮·伯克的对话
正如Ver onica Tello在介绍这一问题时指出的那样,在2020年11月的“知道我的名字”会议之后,几位与会者开始围绕“继续批评澳大利亚艺术机构中心的性别歧视”展开对话。事实上,这些对话当时已经在进行,而且毫无疑问还会继续。在一次会议小组讨论中,Janine Burke谈到了她在长达半个世纪的视觉艺术生涯中遇到的制度性健忘症和对女权主义话语的系统性抵制,她对此感到沮丧。接下来的讨论是为了解决这种沮丧感,不是为了提供一个简洁的理由,而是为了继续挑剔——或者正如Tello所说,“令人不安”——这些问题。它还提供了一个机会,让人们关注一系列个人和具体的澳大利亚女权主义艺术展览历史。在我们的谈话过程中,伯克提出了对女权主义的“双重凝视”,认为我们不仅必须回顾过去,这样才有可能向前迈进,而且还必须理解和构建我们的当下。Vikki McInnes(VM):《知道我的名字》是澳大利亚国家美术馆于2019年发起的一项性别平等倡议,迄今为止,该倡议包括许多展览和活动、一次会议和一份重要出版物。该项目被自我描述为“一次庆祝、一次承诺和一次行动呼吁”。珍妮特·霍恩(Jeanette Hoorn)在本杂志上对“知道我的名字”展览的评论中指出,事实上,你在1975年与澳大利亚女艺术家策划了第一个“知道我名字”展览,展览在墨尔本大学尤因和乔治·巴顿美术馆开幕,并在全国巡回展出。珍妮,从那时起,你就一直站在澳大利亚女权主义教育和展示的前沿。我有兴趣了解女权主义的一些历史,以及女权主义与澳大利亚机构的关系,特别是通过研究女性艺术展览以及
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CiteScore
0.20
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16
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