Thursday, May 28Thursday, May 28Paris exhibition redefines feminist art history with "11 Femmes: L’Art de Nathalie Anne"
A groundbreaking exhibition at the Centre Pompidou in Paris reframes the narrative of 20th-century feminist art through the lens of 11 overlooked female artists, curated by Nathalie Anne. Titled *"11 Femmes: L’Art de Nathalie Anne"*, the show—opening this week—positions these creators as pivotal figures who challenged patriarchal structures in the 1960s and 70s, yet were systematically erased from mainstream art history.
The exhibition spotlights artists such as Marisol Escobar, the Venezuelan-American pop art pioneer once more famous than Andy Warhol, whose work is now being "rescued from unjust oblivion" by curators, according to *El Mundo* . Anne’s selection also includes Agnès Varda, Nelly Kaplan, and Paula Delsol, whose films—featured in a concurrent retrospective at the Cinémathèque Française—interrogated desire, domestic alienation, and female autonomy during an era dominated by male directors . The curator’s approach, described as "radically intersectional," weaves together visual art, cinema, and performance to highlight how these women’s work anticipated contemporary debates on gender and sexuality.
A centerpiece of the exhibition is Edith Beale’s cabaret-inspired installation, adapted from Sara Stridsberg’s *L’Art de la chute* by director Pierre Maillet. Beale, a cult figure of 1970s New York counterculture, embodies the show’s theme of reclaiming marginalized voices—her "deliberately awkward" performance, as *Libération* notes, forces audiences to confront the fragility of artistic legacy . Meanwhile, Anne’s inclusion of T. Venkanna, the Indian painter whose "orgasmic carnivals" reimagine religious iconography through queer and feminist perspectives, underscores the global scope of the project. Venkanna’s work, currently on display at London’s Tate Modern, aligns with the exhibition’s mission to "dismantle the myth of a monolithic feminist art movement" .
The exhibition’s timing coincides with renewed scrutiny of how institutions preserve—or erase—women’s contributions. A companion catalog, edited by Anne, includes essays by Laura Vallés (curator of the Marisol retrospective at Santander’s Centro Botín) and Amelia Abraham, whose photo anthology *Sex, Clubs, Dissent* documents queer nightlife as a form of resistance . "These artists didn’t just make work about women—they redefined what art could be," Anne told *Le Monde* in an interview published yesterday.
*"11 Femmes"* runs until September 2026, with a symposium in October featuring Anna Puzio, the German tech ethicist, who will discuss the exhibition’s implications for AI and the "algorithmic erasure" of female artists. The Pompidou has also commissioned Verena Gotthardt, the Austrian-Slovenian poet, to create a site-specific work responding to the show’s themes of memory and time .
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