SISTERSHOOP
29 OCT ‘22 - 17 DEC ‘22
ALICIA FRAMIS
Once Upon a Time There Was a Woman
As gender archeology is slowly unmasking the social construction of gender identities of the past, it is becoming clear that women were not just passive participants. Yet women still face and have to deal with this misunderstanding in current society.
By placing the typical representation of femininity and fertility, a venus, in all forms and shapes on a pedestal with their power stunted by a glass ceiling above them, the artist creates a symbol of women throughout the history of humanity. With the use of humor, Alicia Framis denounces the situation
in which women are and have been, and strives for a more equal world for everyone
“The glass ceiling”—an expression used for the first time in 1978—is artificial, addressing an invisible barrier in women’s professional careers. The invisible glass curtails and limits women’s aspirations and opportunities. Now, in 2022, forty-four years after the coining of the expression “The glass ceiling”, what has actually changed for women over the intervening time?
Alicia Framis
Once upon a time there was a woman (Tanagra), 2022 Sculpture, mirror pedestal, glass and nylon Edition of 1 plus 1 artist's proof
€ 11,000
Alicia Framis
Once upon a time there was a woman (Paleolithic), 2022 Sculpture, mirror pedestal, glass and nylon Edition of 1 plus 1 artist's proof
€ 11,000
Alicia Framis
Once upon a time there was a woman, 2022 Sculpture, mirror pedestal, glass and nylon Edition of 1 plus 1 artist's proof
€ 11,000
Alicia Framis
Once upon a time there was a woman (Astarte), 2022 Sculpture, mirror pedestal, glass and nylon Edition of 1 plus 1 artist's proof
€ 11,000
The Walking Ceiling
In the video work The Walking Ceiling (2018), a glass plate is once again used as the clear metaphor for the position of women in society. This time defending a new design of leadership power, which will not exclude access to women.
A glass plate, measuring 2 by 3 meters, is placed over the heads of professional women from Madrid, who Framis has asked to help her carry it through the streets of the city. The plate was supported using a piece of padded cloth or silicone, so that glass does not slip and also to cushion vibrations. The movement of the glass plate through the city, carried by these women, is silent yet also aggressive. The action is part of the artist’s search for new, truly feminine ways for women to protest: though without imitating masculine attitudes or symbols.
Alicia Framis
The Walking Ceiling, 2018 Video 3:57 min. Edition of 2 (#2/2) €12,000
The prices appearing in this list are valid, but may be subject to errors, ommissions or printing mistakes.
Kloveniersburgwal 95 1011 KB Amsterdam t. +31 (0)20 4284284 e. info@upstreamgallery.nl
