Summary of Ciclo Libros, mujeres y feminismo: Somos como miramos - Estrella de Diego

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00:00:00 - 01:00:00

In this section of the "Ciclo Libros, mujeres y feminismo" talk, Estrella de Diego reflects on the importance of feminism and its impact on her work as an art historian. She discusses how her initial motivation as a historian to give recognition to forgotten female artists has evolved into a commitment to incorporating feminist themes into her work. De Diego emphasizes the significance of questioning established systems, drawing parallels to the feminist movement's critique of patriarchal power structures. She explores the use of perspective in art and its role in shaping our perception of the world, highlighting the importance of challenging the objectivity of maps and questioning their reflection of societal biases. De Diego also reflect on the gendered nature of mapmaking, emphasizing the central role of power in shaping our perceptions of space and culture. Finally, she touches on the impact of colonialism on art and the need to challenge conventional representations of women and marginalized groups.

00:00:00 In this section of a YouTube video titled "Ciclo Libros, mujeres y feminismo: Somos como miramos - Estrella de Diego", the speaker discusses the importance of the topic of feminism and the role of the library in promoting discussions and ideas related to the subject. The speaker introduces the participants of a ciclo (cycle) of talks, including Estrella de Diego, a distinguished writer and feminist. Estrella's talk focuses on the idea that women's perspectives and experiences are crucial to understanding the social issues of our time, including problems related to feminism. The speaker shares her personal experiences with feminism and the challenges of being a woman in a male-dominated field. Overall, this section emphasizes the importance of understanding and valuing women's perspectives in discussions about feminism and social issues.
00:05:00 In this section, Estrella de Diego reflects on her journey into feminism and how it has shaped her perspective as an art historian. She recalls how her initial motivation was to bring recognition to forgotten female artists, as there was a lack of translation and representation in the field of art history. She acknowledges the progress that has been made in terms of gender equality in museums, but emphasizes that the feminist lens she acquired has forever changed her way of looking at the world. De Diego shares that even when writing about artists like Warhol, she still incorporates feminist themes into her work. She concludes by stating that her return to the national museum is a celebration and honor because it is a place that holds significance for her, having spent countless hours there during her research. Overall, she highlights the transformative power of feminism in her own life and the impact it has had on the history of art.
00:10:00 In this section, Estrella de Diego discusses the hegemonic and patriarchal discourse that governs the history of art, using the example of André Breton's realism Bretón. She highlights how the perspective from which we view the world, influenced by the Renaissance, shapes our understanding. She also explores the concept of maps and how they can be used to challenge colonialist power dynamics. De Diego emphasizes the importance of questioning the objectivity of maps and how they reflect societal biases, drawing parallels to the feminist movement's critique of established systems. Ultimately, she highlights the significance of perspective in shaping our perception of art, literature, and feminism.
00:15:00 In this section, Estrella de Diego explores the concept of perspective and how it shapes our perception of art and the world around us. She discusses the influence of the middle class in establishing a standardized way of looking, emphasizing the importance of the center in images. She also examines the power dynamics in art and how the male gaze has historically dominated the Western perspective. De Diego further delves into the notion of perspective in relation to famous artworks, such as Rafael's "School of Athens" and Velázquez's "Las Meninas," highlighting how the viewer's position affects their interpretation. She concludes by discussing how perspective is not just a visual system but also has moral and rational implications, paralleling the shift from astrology to mathematics, physics, and astronomy in the Renaissance.
00:20:00 In this section, the speaker reflects on the concept of perspective and how it controls perception. They draw a parallel between mapmaking and the invention of perspective, highlighting how both shape our way of seeing the world. The speaker emphasizes the role of power in maps, using examples of historical figures like Queen Elizabeth I and Captain Cook's botanist to illustrate how maps can be used to assert dominance. They also discuss the gendered nature of mapmaking, with cartographers being predominantly male, and question the objectivity and impartiality of maps. The speaker then delves into the connection between perspective and power, highlighting how both are constructs created by the dominant class. Finally, they touch on the association of space with cultural constructions and stereotypes, drawing attention to the need to challenge and rethink these representations.
00:25:00 In this section, the speaker discusses the patriarchal nature of space and the historical exclusion of women from it. Using examples of female artists who challenged traditional views, such as Maruja Mallo and Norah Borges, she highlights how women often subvert the male-dominated space by creating their own private and personal maps. The speaker also emphasizes the colonialist and patriarchal nature of perspective in cartography. She mentions the rediscovery of Borges' maps by Maya Alcalá and praises their subversiveness compared to her other drawings. The section concludes by addressing the objectification of women in traditional art and the distorted fantasies perpetuated by Orientalist paintings of harem women.
00:30:00 In this section, Estrella de Diego discusses an exhibition in Barcelona curated by Fatema Mernissi, a Moroccan writer, that challenges the fantasies of harems by depicting contemporary harem scenes from the 1960s. She argues that the Western gaze has always desired to see what others don't, reinforcing a colonialist and dominant perspective. De Diego also mentions paintings that challenge the comfortable gaze of the spectator, such as Manet's "The Opera Ball" and its depiction of a market-like atmosphere in Paris where women are seen as prostitutes. She points out how these paintings disrupt the unified gaze by showing fragmented body parts, challenging societal norms and expectations.
00:35:00 in this section, the speaker discusses the hegemonic and patriarchal views present in Western art that often limit the storytelling ability of female artists and subjects. The speaker specifically mentions Sad, a female artist from the United States who moved to Paris and successfully defied societal norms of her time to create art that emphasized her relationships with poor, working-class men. The speaker highlights the way in which Sad's perspective challenged traditional views of gender and class in art, and how her work contributed to the breaking down of these boundaries. The speaker also emphasizes the ongoing struggle for feminist change in the art world, and the need for continued critiques of dominant viewpoints in order to create a more equitable and inclusive space for artists and subjects from diverse backgrounds.
00:40:00 In this section of the video "Ciclo Libros, mujeres y feminismo: Somos como miramos" by Diego, the speaker discusses the impact of colonialism on the social hierarchy and how it has influenced the role of women in society. The historian argues that despite the fact that women from different social classes were able to work and contribute to society, the prevailing norm of the time was for women to be limited in their professional pursuits. The idea that there should be a balance between masculine and feminine roles in society was also popular in the 1970s. However, the narrator notes that the impact of colonialism on society is not limited to the social hierarchy, but has also affected the art world. This is evident in the way that men and women were associated with different art forms. The idea that there is a universal norm in art has also been challenged, with artisans such as transsexual artists being recognized in the art world during the 1980s. Overall, the narrator argues that the way we view and interact with the world around us is shaped by the conventions and norms that we have adopted. These norms can be manipulated for the benefit of certain groups, but they are ultimately arbitrary and can be challenged.
00:45:00 In this section, the speaker discusses how our perspectives and attitudes shape the way we view the world, particularly through the lens of Western art and feminism. She references the work of John Berger, a British historian who examined the visual expression of property and exchange in Western painting. She also highlights the privileged position of the viewer and the representation of women in art, showcasing paintings by Sofonisba Anguissola and Artemisia Gentileschi. The speaker argues for the need to reevaluate and challenge traditional power dynamics and norms in art and gender studies, which have often been co-opted and depoliticized by the dominant power structures. She emphasizes the importance of looking at art with a different perspective, one that breaks free from conventional understandings of power.
00:50:00 In this section, the speaker discusses the development of feminist studies in the field of art history in Spain. The speaker notes that while there was some interest in this topic during early 1980s, there was a "vacío" or lack of production in this area. Despite this, there were some notable developments in the field, including a seminar on the study of women in art at the Autonomous University in Madrid in 1984. The speaker also mentions the work of Esther Ferrer, an artist and activist who used her work to raise awareness about the role of women in art.
00:55:00 In this section, the speaker reflects on the relationship between literature, feminism, and the returning home. She argues that these concepts occupy a special place in contemporary art history, and that the looking at art with the exclusion of the political point of view is a mistake. The speaker also reflects on her own journey as a feminist, noting the significant recent errors in Mexico when the country's top-rated exhibition space was said to be the best, citing the iconic Marfa Dog Museum's poor performance.

01:00:00 - 01:15:00

Lot of information about the limited representation of women in the arts. Discusses Clara Peters and her paintings his being unrecognized. Also talks about the Prado Museum removing one of Sophie Cassatt's paintings. The speaker hopes change is coming as there's an upcoming exhibition of female artists at the Prado, and potentially a restoration project for Clara Peters' works. Estrella de Diego discusses breaking away from binary thinking and the need for a radical shift in mindset. The book "Las Ensoñaciones de la Mujer Salvaje" is mentioned as a text that challenges traditional writing conventions. The speaker mentions the importance of talent, and the commentary is concluded with a heartfelt thank you.

01:00:00 In this section, the speaker expresses their frustration with the limited representation of women in museums and the arts. They mention the case of Clara Peters, a painter whose works are not given the same recognition as those of male painters. The speaker also mentions the Prado Museum in Spain, highlighting the fact that one of Sophie Cassatt's paintings was once displayed there but has since been removed. Despite these issues, the speaker expresses their hope that change is coming, citing an upcoming exhibition of female artists at the Prado and a potential restoration project for Clara Peters' works.
01:05:00 In this section, the speaker discusses the restoration of"?Clara Petters" paintings at the Prado Museum. According to the speaker, even though the paintings have been in the museum for a long time, it was not until a few weeks ago during a gastro festival tour that the speaker discovered the paintings. The speaker notes that the paintings are important as Clara Peter is considered an artist whose paintings are in a very small collection at the museum. However, the speaker reflects on the idea that in an art academy or university, the focus is often on teaching traditional western styles of art, which may not promote diverse perspectives. The speaker argues that there is a need for change in the art world and emphasizes the importance of questioning the norms and values that shape our perceptions of art.
01:10:00 In this section, Estrella de Diego discusses the challenge of breaking binary thinking and categories in Western society. She explains that Western thought is uncomfortable with anything that doesn't fit into a binary framework, whether it's related to gender or other cultural categories. She suggests that becoming aware of our own manipulation and biases is the first step towards overcoming this binary mindset. De Diego highlights the importance of consciousness and awareness in challenging the traditional ways of seeing and interpreting the world. She also mentions the work of scholars and thinkers like Judith Butler and Amelia Jones, who have attempted to disrupt binary thinking and offer alternative perspectives. However, de Diego acknowledges that breaking away from binary thinking requires a radical shift in mindset and is a complex task that goes against centuries of ingrained beliefs. She concludes by mentioning the book "Las Ensoñaciones de la Mujer Salvaje" as an example of a text that breaks traditional writing conventions, emphasizing the need to read with an open mind and challenge conventional modes of interpretation.
01:15:00 In this section of the video, the speaker discusses breaking away from the binary system and the importance of having talent in order to succeed. They also mention the director's contributions and conclude with a heartfelt thank you.