Abstract
The aim of this article is to show examples of feminist art in relation to contemporary gender policies and political situation in socialist Czechoslovakia from the 1960s to the 1980s. Czechoslovak gender policies that enabled women to access employment opportunities in the 1950s simultaneously led to their high over-employment that was not resolved during the period of state socialism. The conflicting relationship between the role of mother and working woman therefore became one of the main topics of the feminist art production of that time.
Highlights
–1980s The aim of this article is to show examples of feminist art in relation to contemporary gender policies and political situation in socialist Czechoslovakia from the 1960s to the 1980s
Czechoslovak gender policies that enabled women to access employment opportunities in the 1950s simultaneously led to their high over-employment that was not resolved during the period of state socialism
The second wave of feminism did not take place in socialist Czechoslovakia as it did in Western liberal democracies in the 1960s, and there was no feminist art movement politically activating the female artists, the feminist consciousness of many Czechoslovak female artists arose from their own experience of gender inequality at that time
Summary
ABSTRACT “The Personal is Political”: The Feminist Fragments of Czechoslovak Fine Arts 1960s–. U Naděždy Plíškové se dá v akci 7 litrů gulášové polévky kromě kritiky „ženské práce“ najít i kritika konzumní společnosti, která v Československu, byť v omezené formě, přece jen existovala.[13] Plíšková, pro níž byl jedním z hlavních principů tvorby sarkasmus, ironizovala ve svém díle nesčetněkrát konzumerismus československé společnosti právě ve vztahu k jídlu (grafika Vepřové kotlety přírodní z roku 1969, kresba Knedlík základ rodiny, 1982). Které pravděpodobně na tak „sofistikovaná“ témata neměly čas, pracovaly ve srovnání se svými kolegy o dost více s předměty vycházejícími z jejich každodenní zkušenosti, v nichž tematizovaly ženskou práci nebo pozice ženy ve společnosti.[15] Tyto akce umělkyním zároveň sloužily jako platforma k vyjádření dobového nerovného postavení žen Nechuť umělkyň vůči kolektivním akcím žen a sdílení vlastních zkušeností vycházela z vymezování se vůči oficiální politice socialistického státu, jenž kolektivistický obraz a genderovou rovnost propagoval
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