women* in (post-)war, demystifying woman*hood and queer-feminist alliance

Oyoun's second curatorial focus is a testimony for women* in wars, against marginalizing historiography. It illuminates the struggles of women* whose chronicles are interwoven with colonial history and the decolonial movement: women* in Brazil in the midst of pervasive femicide, resistance fighters* in the Algerian War of Independence, and “comfort women”, the survivors of sexual enslavement by the Imperial Japanese Army.

Numerous depictions of women* at war are symptomatic of patriarchal-colonial oppression. Mightier than a trampled flower deconstructs the fetishization of a "trampled flower" - broken and fragile but still pretty and soft, confronts the gender binarity in our language and reclaims womanhood in the hands of fighters.

The focus will start in April 2022 with the project AS* PAPANGUS by the Afro-Brazilian artist Bruna Amaro.

women* in (post-)war, demystifying woman*hood and queer-feminist alliance

The second curatorial focus of Oyoun is a witness to women* in wars and against the history-making that is neglectful of experiences of the marginalized. It sheds light on the struggles of women*, whose chronicles are entangled with colonialism and decolonial movements, such as: women* in Brazil facing the threat of pervasive femicide, women* resistance fighters in the Algerian War of Independence, and “comfort women” , the survivors of forced sexual slavery by the Imperial Japanese Army.

Numerous representations of women* in wars are symptomatic of patriarchal-colonial oppression. Mightier than a trampled flower deconstructs the fetishization of “a trampled flower” – broken and fragile but still pretty and soft, while tackling the gender binary embedded in our language and reclaiming woman*hood in the hands of women* fighters.

The public program launches on April 30 with the project AS* PAPANGUS by the Afro-Brazilian artist Bruna Amaro.