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Niki de Saint Phalle Playing with the Feminine in the Male Factory: Hon - en katedral
Södertörn University, School of Culture and Education, History and Theory of Art.ORCID iD: 0000-0002-9193-1315
2018 (English)In: Stedelijk Studies, ISSN 2405-7177, no 7, p. 1-16Article in journal (Refereed) Published
Abstract [en]

HON – en katedral (SHE – a cathedral, June 4–September 4, 1966) at Moderna Museet in Stockholm, was structured as a giant, reclining woman filling the entire space of the museum’s largest room, more or less to its edges (fig. 1). She was painted white with patterns of clear colors over parts of her body. Entering HON – en katedral (hereafter simply Hon) through its vagina, the audience found themselves walking and climbing in something that has been referred to as a kind of amusement park. The image of the invasive, female body placed directly into the heart of the museum institution served to disturb power relations within artistic networks and cultural life at a time when both the representation of women and gender positions in the arts were being challenged.

Place, publisher, year, edition, pages
Amsterdam, 2018. no 7, p. 1-16
Keywords [en]
Niki de Saint Phalle, Exhibition history, Jean Tinguely, Per Olof Ultvedt, Moderna Museet, Feminist art history.
National Category
Art History
Identifiers
URN: urn:nbn:se:sh:diva-36838Local ID: 2015/3.1.1/1305OAI: oai:DiVA.org:sh-36838DiVA, id: diva2:1267352
Funder
The Foundation for Baltic and East European Studies, 2015/3.1.1/1305Available from: 2018-12-01 Created: 2018-12-01 Last updated: 2018-12-06Bibliographically approved

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Öhrner, Annika

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456789107 of 23
CiteExportLink to record
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Citation style
  • apa
  • ieee
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  • vancouver
  • harvard-anglia-ruskin-university
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
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