#viviane cardell

[qbplolqdp]

TOY PUSSY (2006), Viviane Cardell

Artist creates series in which she questions the asexuality of Barbie dolls

“ The year was 2006, when Viviane Cardell, a visual artist who also trained in Anthropology, launched her first series of idealized vulvas. The collection was presented in Madrid, Spain, and later in São Paulo, in 2009. Since then, works from it have been exhibited in private exhibitions and galleries.

The question raised by the Toy Pussy series goes through the hypersensualization of a consumer object [the doll], which at the same time is a mere hanger for accessories. “when all [the accessories] are removed, and the doll is finally naked, the representation of an asexual woman is revealed, without any sign of a vulva between her legs”, points out the artist.

The series also raises awareness of a model of femininity imbued with an overwhelming symbolic charge and supported by the consumer industry, “which has instilled a fable in children's heads”, according to Cardell. “That, to become a woman, it is essential to obtain new clothes, shoes, houses, furniture, properties, other dolls, a whole world, always”, she explains.

Viviane didn't create her works for children, exactly, but they were conceived because of them. With Toy Pussy “I propose a reflection on the sexual roles imposed by a culture that takes away a healthy awareness of one's own sexuality, treated as taboo, at the same time that it hypersexualizes it, making it vulnerable to all forms of abuse”, she details.

When designing the collection of imaginary vulvas for Barbie, “I idealize a symbolic cure for the mutilated doll, and for the romantic girls who grow up kidnapped by a superficial model of femininity”, aims the artist. The work, according to Cardell, presents a counterpoint to the culture of rigid beauty standards, “especially for women to become 'obedient bodies', an expression coined by Naomi Wolff in her book 'The Myth of Beauty'”, discusses the artist .

Cardell points out that “the news about the exponential growth of cosmetic surgeries on the female genital organ is alarming, with vaginoplasties, labiaplasties and nymphoplasties, with the aim of acquiring a vagina 'delicate like a Barbie', that doll that doesn't have a vagina” .

When presented, the expography reproduces a toy showcase, where the colorful vulvas are inside transparent acrylic boxes with labels, like on toy packaging. The same inspiration involves other details, such as phrases that integrate the boxes and explain the toys. In the case of “Toy Pussies”, subtitles and comical catchphrases with double meanings are translated into several languages.

Using humor, albeit acidic, but also joy, fun, playfulness, the collection points to pleasure as a way of rescuing bodies, whose symbolic castration occurs through a mercantile and patriarchal logic that converts them into objects, susceptible to physical, sexual, aesthetic and emotional violence.

The collection exhibited in 2009, in São Paulo, introduced the thematic series Pussies of the World, which mentioned the genital mutilation practiced in some parts of the world, equating it with the symbolic mutilation of the doll. In addition, it presented the special series Bardot Pussies, created in honor of the actress Brigitte Bardot, a contemporary of Barbie, but an authentic symbol of female sexual liberation.

More than 10 years after the exhibition in São Paulo and after the “#TheDollEvolves” campaign, launched by Mattel (doll manufacturer) in 2016, one would think that Toy Pussy was outdated. However, this campaign, using the concepts of diversity and inclusion, was nothing more than an advertising ploy to stop the drop in sales and expand its market. Through discreet adjustments to the doll's facial features, hair and body shape, the “evolved” Barbie won over new young consumers of all colors, bodies and hair types.

And the original contradictions of this icon persist: the need for accessories, now different and more expensive, and the void between the legs. By understanding the manufacturer's marketing move, Viviane has been working on the new Toy Pussy Evolution collection, in which the artist focuses on issues of plurality. She reiterates the initial concept of the project and explores different shapes, colors, textures and sizes for vulvas, and also addresses the inclusion of LGBT+ people and people with disabilities.

The complaint, in this new series, discusses the authenticity of these flights by the brand for democratic reasons, “restricted to those who can pay for the expensive boarding ticket and which is based on the contemporary cliché of meritocracy with the motto: #YouCanBeAnythingYouWant, which takes into account unbridled consumption, essential to the Barbie doll, and the eternal selling of more of the same.”, accuses the artist. ”

#arts #art #viviane cardell #dasartes #revista dasartes #dasartes magazine #feminism #installation #installation art #barbie #toy pussy #sculpture #feminist art #2000s

[eastbayprintsale]

7th ANNUAL EAST BAY PRINT SALE!

Featured Exhibitors:

Creative Growth -- Perfectly Acceptable -- Lucky Riso -- Bad Student -- Issue Press --   Colpa Press -- Bloom Press -- Ashley Lukashevsky -- Daria Tessler -- John Pham -- Jennifer Calandra -- Sophia-Yemisi Adeyemo-Ross -- Alex Bowman -- Malaya Tuyay -- Jeffrey Cheung               Bijou Karman -- Deth P Sun -- Hellen Jo -- Rob Sato

Exhibitors:

Adrian Rotzscher - Alayna Tinney - Alex Martinez - Alfonso Aceves Alicia Cardell - Alondra Solis Guzman - Alyssa Aviles - Amanda Bernal Amy Burek - Amy Jo - Anastasia Itkina - Anjelica E Colliard Ann Altstatt - Anna Capurso - Ariana Sanchez - Arif Qazi - Boya Sun Brian Wilson - Calvin Crockett - Carmen McNall - Cenorina L Ramirez Chaitra Bangalore - Charisse Celestial - Chris Cuadrado - Christine Innes Christine Juon - Cianna Valley - Cindy Ostroff CTRL+SHFT COLLECTIVE - Daniel González - David Ryan Demian Bartholomew - Derek Pratt - Dongyi Wu - Ed Garnica - Eishin Yoshida Elinor Breidenthal - Em Corbo - Emily Gui - Emmanuel García - Enrique López Erica Newton - Erica Schapiro-Sakashita - Erica Wheeler-Dubin Ethan Snyderman - Evka Whaley-Mayda - Ezzie DeGiovanni - Floss Editions Giana Montero - Greg Borman - Haoyun Erin Zhao - Harry Diaz Heather Hardison - Ian Mackay - Jaime Valderrama - Jake Voinar-Fowler Jane Hargrave - Janina Arianna Larenas - Jeff Meadows Jesse Hawthorne Ficks - Jo Bee - Joan Zeta - Jonathan Jeweler - Jose Gonzalez - Julia Foote - Julianne Villegas - June Hong - Kasaia Luckel Katie Wheeler-Dubin - Kelly Autumn - Kevin VQ Dam - KIDTOFER Kristen Brown - Kristi McMahon - Krusty Wheatfield - Lili Arnold Linh-Yen Hoang - Lizzy Choi - Louis Bicycle - Louise Leong Lucas Elmer Gasperik - Lucy Stark - Mara N Gerson - Maren Preston Mariangela Le Thanh - Max Marcil - Maya Fuji - Melek Zertal - Melissa West Melody Overstreet - Meredith French - Micael Nuñez - Minnie Phan - Mira Liu Montana Manalo - Nichol Markowitz - Night Diver Press - Nina Aragon Ocean Escalanti  - Orlie Kapitulnik - Pacolli - Paul Rangell Paulina Berczynski - Pável Acevedo - Peter Baczek Pulp Press - RABIA - Rajit Phiosuwan - Robert M Wilson - Robert Minervini Robin Milliken - Rosalie Z. Fanshel - Ross Sullivan - Ryan Harrison - Shirin Bina Sam Vaughan - Samantha Espinoza - Samantha Huang - Sami Graf Sarena Lesem - Sayuri Kimbell - Sean Vranizan - Shelby Rosabal Shirley Chong - Siavash Almeida - Stacy Javier - Stephanie Martin Sudi Wachspress - Suzie McMurtry - Tamar Beja - Tamiko Sidore Tanner Griepentrog - Toru Sugita -Valerie Perez Ordoñez - Veronica Graham Vincent Waring  - Vivian Chen - Wesley Hrubes - Yerrie Choo - Yoko Kikuchi Zach Clark

[manarecs]

Charivaria is an exhibition curated by José Luis Espejo and Andrea Zarza running from 6 October to 28 January at CentroCentro gallery in Madrid, Spain. 

The exhibition consists of sound, visual and documentary resources from archives and plastic arts. Together, these tell a series of synchronous stories that span the period from the early Modern Age in Europe to the present day. These stories speak of blacksmiths, church bells, cowbells, festivals, protests, travelling musicians, carnivals and rites, to suggest hypothetical genealogies on how people use sound to position themselves in public space.  

#ATMÓSFERA::SUSTRATO_RUIDO, Acoustic Mirror, Akio Suzuki y Aki Onda, Albert Uderzo, Archivo de la FAL-CNT, Arcipreste de Hita, Arseny Avraamov, Atahualpa Yupanqui, AU (Óscar Barras + Tomás Benito), Barry Blesser and Linda-Ruth Salter, Caroline Kraabel, Cuidadoras de Sonidos, Didier Petit de Meurville, Edoardo Perino, Emilio Arrieta, (ChiLoSà) Enrique Escorza, Escoitar, Fran MM Cabeza de Vaca y María Salgado, Francisco Alonso, Francisco Marcos Fernández, Georges de La Tour, Grupal Crew Collective, Infernal Noise Brigade, Isidoro Valcárcel Medina, Jacopo Bassano, Jacques Attali, Joan Cardells Alemán, Joaquín Calvo-Sotelo, José Antolín Nieto Sánchez, José Castelaro, José Luis Alonso Ponga, José M. Gutiérrez, José María Díez Borque, Antonio Domínguez Ortiz y Antonio Bonet Correa, José María Hernandez Montalvo, José Val del Omar, Juan Cantizzani, Juan de Zabaleta, Julio Caro Baroja, Krapoola (David Gómez), La Romería de los Voltios, Leopoldo López Sala, Linda Tedsdotter, Lise Autogena y Joshua Portway, Llorenç Barber, Luc Ferrari, Luca Rullo, Marcelo Expósito, María Andueza, Mark Bain, Max Brandt, Miguel de Cervantes, Miguel Gamborino, Mikel R. Nieto, Moondog, Nader Koochaki, Natalia Figueroa, Nicolaes Maes, Nilo Gallego, Norton Park Group, Pablo Sanz, Pannemaker, Pauline Oliveros, People´s Microphony Camerata, Peter Ablinger, Pieter Brueghel el Viejo, Rafael SMPA, Relentless, René Fülöp-Miller, René Goscinny, Richard Eigner, Sean Meehan, Seguidor del Bosco, Sergei Rumiantsev, Steve Goodman, Tamio Shiraishi, The Space Lady, Tony Schwartz, Ultra-red, Vagina Dentata Organ, Vivian Caccuri, William Hogarth, Xabier Erkizia y Xoan Xil López.