Fuente: UMH.<\/em><\/p><\/div>\nAccording to the organizers, the body of work by Isabel Oliver has shown throughout 40 years the need to be vindicated as a key exponent of modernity and Spanish feminist art. She has been prolific, both as an artist and as a professor of fine arts at the Polytechnic University of Valencia. Her work, with a strong feminist imprint, was relegated during the 1970\u2019s due to the reluctance of institutions and galleries to respond to her polemical expressions, as well as her status as a female artist, under a historical and social context that was complicit in these inequalities.<\/p>\n
With this exhibition, the UMH and the Vice Rectorate for Culture aim to continue promoting the work by Isabel Oliver, and join the efforts that other cultural centers have made, including the Tate Modern (The World Goes Pop<\/em>, 2015), Reina Sof\u00eda National Art Museum (Fuera del canon. Las artistas pop en Espa\u00f1a<\/em>, 2019), and the Valencian Institute of Modern Art (A contratiempo. Medio siglo de artistas valencianas<\/em>, 2018), along with art critics and historians, such as Isabel Tejeda, who is the curator of Isabel Oliver\u2019s exhibition, Discursos feministas 1970-2022<\/em>. Oliver\u2019s work adheres mainly to the current of Spanish pop, whose discourse was characterized by the political criticism of the Franco dictatorship through humor and irony as resources and tone of the images. In Isabel Oliver, there is a pictorial line close to the Valencian pop artists from Equipo Cr\u00f3nica<\/em> (of which she was a member from 1971 – 1975), which evolved towards a type of personal figuration.<\/p>\nThe exhibition features, from these aspects, some of the most representative pieces from Oliver\u2019s works of art, as well as a documentary section referring to the specifics of the political and social context of Spanish women during the dictatorship and Spanish transition to democracy; this this was the environment Oliver was born into and where she was formed. With paintings from the series of La mujer<\/em> (1970-73), she questions her role and her representation through the media during this historical period. Pieces from her landscape series (somewhat less common in Spanish pop), Paisajes Pop<\/em> (1974) and La mercantilizaci\u00f3n del arte<\/em> (1975), combine bucolic prints with elements from tasks that are traditionally considered female along with business spreadsheets. The exhibition also offers references to her El juego<\/em> (1973) series, which shows \u201cimpossible\u201d board games as metaphors for a reality governed by marked cards. There are also more recent paintings by this artist from the past decade. These mark a return to the discourse from her efforts during the 1970\u2019s, opening a way to criticism of the feminine iconography in the history of art and the role in nullifying self-awareness by the women\u2019s branch of the Falange political movement in Spain during the dictatorship.<\/p>\nThis project is complemented by the Contexto y geograf\u00eda pol\u00edtica del pop en Espa\u00f1a<\/em> exhibition that is on display in the Gray Room. This journeys back to some of the hits of Spanish visual culture during the decades of the 1960\u2019s and 70\u2019s, a period when the public sphere was repoliticized and anti-Franco discourse emerged in pop. Artists such as Isabel Oliver were considered rare exceptions, but they participated in the creation of new formulas for making and consuming art.<\/p>\nThis project is one part of the collaboration agreement signed by the Vice Rectorate for Culture, the Vice Rectorate for Inclusion, Sustainability and Athletics, and the Generalitat Valenciana, through the latter\u2019s Vice Presidency and Ministry of Equality and Inclusive Policies to promote activities on equality in diversity. Other curated cultural projects from this same agreement include Con Tacto. Pol\u00edticas y po\u00e9ticas de la tocabilidad<\/em> (Fefa Vila, 2021); Festa Pagana<\/em> (Haizea Barcenilla & Garazi Ansa, 2020); Pedagog\u00edas Feministas. Otras formas de hacer mundo y Aprendiendo a ser artistas. <\/em>Videotutoriales feministas<\/em> (colektivof, 2019); Visualidades Diversales<\/em> (Bel\u00e9n Romero, 2018); El mundo zurdo: Gloria Anzald\u00faa y su galer\u00eda de pensamiento<\/em> (R\u00edan Lozano, Nina Hoechtl, Julianne Gilland, Coco Guti\u00e9rrez-Magallanes, 2018); and A Revolutionary Love<\/em> (Johanna Caplliure, 2017).<\/p>\nWith a doctorate in fine arts and full professorship from the Polytechnic University of Valencia, Isabel Oliver (Valencia, 1946) began working professionally in the 1970\u2019s, a period in which she began to experiment with figurative art, a style upon which she signed most of her work and during which she was influenced by Equipo Cr\u00f3nica<\/em>. Oliver then worked on an unprecedented iconography of the situation and image of women in the history of art and in Spanish society, in series entitled La mujer<\/em>, El juego<\/em>, De profesi\u00f3n<\/em>, Sus labores<\/em>, Paisajes Pop<\/em>, plus La mercantilizaci\u00f3n del arte. <\/em>Series of hers that are more recent include Paseos por el museo<\/em>, Con memoria<\/em>, Recintos privados<\/em>, and Espacio p\u00fablico<\/em>, among others.<\/p>\nFor her part, Isabel Tejeda (Madrid, 1967) is a critic, curator, and full professor from the University of Murcia. She has published essays and articles for musuems, including the Reina Sof\u00eda National Art Museum, Valencian Institute of Modern Art, Ibero-American Museum of Contemporary Art, Museum of Contemporary Art of Castilla & Le\u00f3n, Siena Contemporary Art Center (Italy), and the Museum of the University of Nebraska (USA). She has also curated exhibitions at art centers, such as the C\u00edrculo de Bellas Artes, MUA, la Principal Tabacalera, Valencian Institute of Modern Art, Scottish National Gallery, and the Mapfre Foundation. She was recently awarded the Juana Frances Prize for Fine and Visual Arts by the UMH.<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
The Vice Rectorate for Culture at the Miguel Hern\u00e1ndez University of Elche (UMH) has organized two exhibitions on Spanish pop artist Isabel Oliver, entitled Discursos feministas 1970-2022 (Feminist Discourse 1970-2022) and Contexto y geograf\u00eda pol\u00edtica del pop en Espa\u00f1a (Context and Political Geography of Pop in Spain). Both exhibitions are currently on display in the […]<\/p>\n","protected":false},"author":17010,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_links_to":"","_links_to_target":""},"categories":[43,2777],"tags":[],"_links":{"self":[{"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/posts\/152434"}],"collection":[{"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/users\/17010"}],"replies":[{"embeddable":true,"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/comments?post=152434"}],"version-history":[{"count":0,"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/posts\/152434\/revisions"}],"wp:attachment":[{"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/media?parent=152434"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/categories?post=152434"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/comunicacion.umh.es\/en\/wp-json\/wp\/v2\/tags?post=152434"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"\"](\"https:\/\/comunicacion.umh.es\/files\/2022\/03\/WhatsApp-Image-2022-04-01-at-12.43.05-PM.jpeg\")
<\/a>