Lots of Women Pee Pants for Feminist Art Exhibit
Yous may be familiar with Andy Warhol's oxidation paintings, or Andres Serrano'south Piss Christ, two of the about well-known uses of urine in contemporary art. Merely when it comes to female artists utilizing pee in their artwork, the connotations are a far cry from those of their male person counterparts. In a globe that teaches females to hide, over sanitize, and exist ashamed of their bodies and bodily fluids; these artists elevator the patriarchal-placed veil to expose an attribute of the female condition that you lot may have never guessed— is utterly natural and entirely human.
"Piss Flowers", Helen Chadwick, 1991-2
The female person body was a largely reoccurring theme throughout Chadwick's career. In one of her most notorious installations, Piss Flowers, her and her male partner, David Notaries, urinated in the snowfall creating "piss holes". A cast of these hollowed impressions resulted in set of 12 shiny white enabled bronzes resembling flowers. The pieces communicate a fluidity of gender in its inverted formation: Chadwick's urine flow is responsible for the sculpture's phallic-shaped stem, while inversely the flowery petals are formed by Notaries' stream. While the use of genitalia every bit symbols for gender may seem a bit obvious and obsolete, it relates back to the artist's personal experience. Chadwick has referred to the process behind these pieces equally a "metaphysical conceit for the union of ii people expressing themselves actual." Not only creating a sensual bond between her and her partner, the work also alludes to the relationship with one'southward own body — where urine is seen as an extension of the body— and with the body'southward human relationship with the natural world — in that the body unbounds to synthesize with the Earth.
Pee Trunk by Kiki Smith - Kiki Smith Pee Body, 1992 Harvard Art Museum, Fogg Fine art Museum http://pulitzerarts.org/exhibition/dreamscapes
"Pee Body", Kiki Smith, 1992
Kiki Smith's 1992 piece Pee Body, may not involve any bodily urine but it certainly speaks volumes on the subjects of visibility and leakages when it comes to female urination. The life size wax sculpture depicts a female squatting downwards on the floor equally a strings of glistening golden glass beads stream backside her. Equally one approaches this piece, they are involuntarily exposed to a scene that would normally have it'south audience apologetically turning their head. Instead, one is compelled to face up the women on the flooring, squatting in a pool of her own piss as her caput hangs low in a gesture of humiliation. Hither, we rapidly recognize the groovy lengths this woman— and all women— go to in order to conceal and control their bodily fluids. This heavy aura of shamefulness, peculiarly when considering the suggested incontinence, directly reflects on gild's addiction of body shaming that is direct responsible for female person remorse concerning the completely natural occurrences of the female body.
Piedra by Regina José Galindo - http://www.artperformance.org/article-piedra-regina-jose-galindo-2013-s-o-paulo-125015537.html
"Piedra", Regina José Galindo, 2013
In a 2013 performance entitled Piedra, artist Regina José Galindo walked into an audition and positioned her body, completely covered with black coal, in a petrified fetal position on the footing. Every x minutes, a male-bodied "audience member" would arroyo Galindo, unbutton their pants and proceed to pee on her as she remained deathly still. The obvious nonchalant attitude and ease in which these male person-bodied actors could defile the artist's trunk parallels the wide-spread aloofness regarding the safety and intendance of women'south bodies. The public attribute of the performance just "further underscores the myopic nature of everyday actions that propel repetitive structural violence." In presenting her body equally an insignificant piedra (Spanish for stone) Galindo suggests a quality of disposability. She equates the female body to a stone in their vulnerability to fierce enactments. More specifically, her piece of work comments on the violence that is particularly prevalent in Galindo's homeland of Guatemala and addresses the exploitation of the female workers of Brazil'south colossal coal mining manufacture. The slice, uncomplicated nevertheless highly theoretical, aims to expose a history of violence, particularly towards Latin American women, far across a local level.
My Bed by Tracey Emin - Tracey Emin My Bed 1998 Mattress, linens, pillows, objects 79 ten 211 x 234 cm http://www.saatchigallery.com/artists/artpages/tracey_emin_my_bed.htm
"My Bed", Tracey Emin, 1999
Urine stained sheets may non be the commencement thing you notice within the piece. In fact, it'due south presence in My Bed, a piece displaying Tracey Emin's actual bed at the fourth dimension, may non even be intentional — rather a effect of her state during a period of an all consuming suicidal depression. The urine, a physical brandish of incontinence, lends a visual representation to the mental despondency and bodily neglect prompted past her depression. The lack of restraint over 1'due south bladder mirrors the inability to control 1's ain life. It is in her decision to brandish this grim reality, that Emin puts this typically censored depiction of the female condition nether limelight. This extremely intimate glimpse into the subconscious side of womanhood is even further bared by it's deglamorized delineation of women's sexuality, forcing the male person gaze to remove it'south sexualizing and chastening lenses in regard to female behavior.
Standing Up Peeing iii & iv - Two images from the Jia Chang-exhibition "Omerta" at the Walsh Gallery in Chicago, United states of america.
"Continuing Upwardly Peeing" , Jia Chang, 2006
As the name suggests, Continuing Up Peeing is a series of photographs depicting nude bodies peeing while standing upwardly. In half-dozen photos, Chang depicts models performing the very banal, humanly function of urination in gracefully awkward postures. While the pretext of anatomy has labeled these poses "masculine", the depiction of female person bodies mimicking them suggests a brute objection to the social constructs that equate them equally "male" in the first place. Here, the female person body is celebrated rather than shamed, praised for versatility rather than discredited for its "otherness". The viewer is involuntarily made voyeur as they gaze directly into the artist's invitation to criticize the social structures and taboos that aim to hide and exclude within our modern society.
Source: https://www.mediamatic.net/en/page/84350/pissing-on-patriarchy
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