The Blossom Issue | English Version: Wonder women

If Bad Girls, the 1994 exhibition that focused on the work of 45 "badly behaved" women artists and turned the New Museum in New York into one of the most sought-after venues on the planet, was one of the inspirations for MALCRIADAS, the exhibition inaugurating the Her Clique gallery, the first conclusion is not very encouraging: thirty years on, little or nothing has changed in an industry that is still mostly controlled by the male sex — this despite the fact that awards, honors, reviews and even "major retrospectives" sometimes already include names we associate with female elements. However, this is still not enough. It's true that art is, and always will be, subjective, but is the value of a woman's work on the same level as a man's? Is their body of work "evaluated" in the same way? Are they artists, or will they forever be labelled "women artists"? These are all questions that hang uncomfortably in the air. One thing is certain: there is still a lot to be done, and this is where Izabela Depczyk comes in, with a long career in the business — she was, among other things, CEO of ARTnews and managing director of the famous auction house Paddle8. Her Clique wants to revolutionize the paradigm, and the way, of making, thinking about and selling art. It began in 2020, with the launch of the digital platform, and since then it has worked with dozens of artists. A success, you might say. Or a case of "work in progress", if you consider that one of the works featured in MALCRIADAS is Because Im So Fucking Sexy, I was Born Sexy, And I Will Die Sexy (2022), by Tracey Emin, one of the greatest British artists of recent decades. The same one that, in 1999, was fiercely (violently?) attacked for presenting the installation My Bed, for which she was nominated for the Turner Prize that same year. Emin, of course, didn't win. And it wasn't until many years later that she began to be applauded for managing to transform suffering and pain into an experience accessible to the public. Into a work of art.

What attracted you to the art world? I don’t come from a family of art collectors, but there has always been a culture of art appreciation in my home and from an early age my mom would take me to art exhibitions. Aside from the obvious aesthetic aspects that drew me to art as a kid and which continue to keep me so focused and fascinated with it today, is the emotional freedom one can experience from interacting with art. Art is also a powerful tool for dialogue, providing a sense of community and connection for those whose voices may otherwise be shut down from the discourse. 

What gave you the idea to found Her Clique? At the start of the COVID pandemic most of art exhibitions were cancelled, which immediately and directly had an adverse impact on many artists' livelihoods. I decided to try and help by funding art projects and then splitting the proceeds from the generated sale between the artist and a charity of their choice. I focused on supporting women and non-binary artists in a very conscious way, as historically and unfortunately still today, they are critically under-represented in the art space. 

Precisely: you only represent women and non-binary artists. Is that a statement in itself? If you read Linda Nochlin's Why Have There Been No Great Women Artists essay published in 1971, you'll find that the institutional obstacles that prevented women from succeeding in the arts back then are those same obstacles women and non-binary artists face today. The art world likes to think of itself as a bastion of progressive values. But data shows that its perception of progress far outpaces reality. A few high-profile exhibitions and auction results which focused on women artists obscure an entrenched system of racism and sexism that is not changing anywhere near as quickly as the triumphant headlines suggest. In fact, it is barely changing at all. That's why the mission of Her Clique is to address those inequalities.

What is Her Clique’s overall mission? Our mission is to provide a platform for dialogue, education and community-building through art. It's to contribute to the efforts of many great women who work tirelessly on reducing the gap in representation and opportunities for women and non-binary artists. 

The name of this exhibition is MALCRIADAS (loosely, naughty, bad girls). Why did you choose this name? Because to me the term MALCRIADAS represents quintessentially what Her Clique is all about -- artists who break down patriarchal barriers, challenge social norms and pose often critical and  uncomfortable questions contesting systemic injustices and toxic conventions. From the groundwork laid by pioneers including Marilyn Minter and Betty Tompkins to the strides of emerging and mid-career figures like Nadine Faraj and Augustina Wang, MALCRIADAS offers an expansive view of works by trailblazing artists. While inspired by the 1994 Bad Girls exhibition at the New Museum and others of the same ethos, MALCRIADAS considers the legacy of feminist art not with a definitive survey, but rather with a general grouping of these groundbreaking artists that invites provocative dialogue.  A reflection of the myriad concerns facing women and non-binary people across the world, the artists in MALCRIADAS explore topics beyond feminism and gender, bringing their own perspectives on pressing issues from each artist’s experiences and immediate environment.

Why did you choose Lisbon to be the flagship of Her Clique? Lisbon is a vibrant, international city, with an incredibly rich history and culture, known for its open-minded nature and a spirit of quest for new discoveries. I feel it is the perfect place for celebrating the past while paving the way for breakthrough ideas. I would like Her Clique to become the place which showcases incredible art from around the world, and also provides a global platform for local artists alike.

How do you choose the artists you work with? It is as much us choosing the artists, as the artists choosing us. It is very much a collaborative process, which is both curatorial in its nature and also one of alignment on values with the artists.

Which female artists should we have on our radar? Zanele Muholi, Erin M. Riley, Marilyn Minter are some of my favorite artists, and their works, among others, are featured in the MALCRIADAS exhibition. 

Why is the democratization of the art market important to you? Because creating equal access to participate in any industry, be it art or beyond, allows for an increased chance of every voice to be heard and represented. I deeply believe this is the way it should be.

Largo do Contador Mor 4, Lisbon. Until April 25.

Translated from the original in The Blossom Issue, published March 2024. Full stories and credits in the print version.