Our latest talk is with Anne Avramut, curator of the exhibition “Embodied Politics: Women, Power, and Public Life,” at Galerie Michael Bella, which showcases the compelling works of photographers Emma Hartvig and Bara Prasilova.
Hi Anne, it’s a pleasure. To start, could you tell us what “Embodied Politics” aims to express through the works of Emma Hartvig and Bara Prasilova?
AA: Thank you for having me. “Embodied Politics” explores the nuanced ways in which women navigate public life and wield power. Both Emma and Bara use photography to capture staged narratives that reflect on the dynamics of visibility, identity, and the roles women occupy within the public sphere. Their works are vivid and intimate, encouraging viewers to reconsider the female form as a powerful entity rather than a passive subject.
How did you come to choose Emma Hartvig and Bara Prasilova for this exhibition?
AA: Emma Hartvig’s photography has always fascinated me with its cinematic quality and the way she orchestrates complex, yet subtle, scenes that feel both intimate and grandiose. Her focus on the female experience is powerful and thought-provoking. Bara Prasilova adds a different dimension; her images often include an element of surrealism that challenges our perceptions of reality and femininity. The contrast between their styles highlights the diversity of women’s experiences and expressions of power.
Can you expand on some of the specific pieces featured in the exhibition? Any favorites or highlights?
AA: Certainly. One of Emma’s pieces, Mothers, depicts a group of various nude women seen from the back, set against an idyllic background outdoors that feels almost ethereal. At their feet, their babies are visible in a cluster of limbs. It’s a striking commentary on the complexities of female experiences, alliances and power structures.
The photo by Bara Prasilova, The Three of Us, features a woman in a bold orange and red outfit, balancing on one leg with her foot on a street pole, while holding a rope connected to a swing with a child on it, set against a bright blue sky. The surreal scene may symbolize the complex balance of a woman’s life, juggling personal and professional roles with poise and strength.
What challenges did you face curating this exhibition?
AA: One of the main challenges was ensuring that the visual narrative between Emma’s and Bara’s works was coherent and impactful. Balancing their distinct artistic voices, while maintaining a dialogue that felt engaging and accessible to the audience, required thoughtful placement and thematic bridging. Additionally, we wanted to respect their unique interpretations of female power and gaze without imposing a singular narrative over their works.
How do you think this exhibition will impact viewers, particularly in the current social and political climate?
AA: I believe this exhibition offers a timely reflection on the role of women in shaping our public and political landscapes. Being a woman is highly political, from birth until death, with a constant battle around women’s rights for self-determination of their private and public roles, of their bodies and the trajectory of their lives. This show invites viewers to engage in a deeper conversation about gender, power, and representation. Emma and Bara’s works challenge us to see beyond conventional portrayals of women and to appreciate the complex, potent force of femininity in shaping societal discourse.
Finally, any future projects or follow-up exhibitions in mind?
AA: “Embodied politics” is the first show in a series of altogether 8 revolving around the subject “Beyond existence: conditio humana and the quest for meaningful action”. Michael Bella, the owner of the gallery, entrusted me with the yearly program and I decided to implement an idea I had for a while now. Based on Hannah Arendt’s publication “Vita activa” from 1958, we’ll explore in artistic duos several aspects of what she meant by “action” and the political dimension of it. Moving between issues like the political dimension of womanhood, to the human ability of introspection and self-reflection, from the relationship of inner to outer landscapes, to permeable and fluent identities, from the ontological need for spirituality, to the exposure to pain and trauma, the overarching program of “Beyond Existence” attempts a comprehensive approach to understanding what makes us human.
Anne, thank you for your insights today. We look forward to seeing the next shows from this series.
Embodied Politics: Women, Power, and Public Life is open to the public until May 2nd 2024 at Michael Bella Gallery. For more information: www.galeriemichaelbela.com
Catalogue can be found here.