Exhibition Review: "No Master Territories: Feminist Worldmaking and the Moving Image"
NO MASTER TERRITORIES FEMINIST WORLDMAKING AND THE MOVING IMAGE 12.05.2023 – 16.07.2023
Fresh off my impromptu encounter with the newly coronated King Charles in London—where he passed by in a swift motorcade, just three meters away, exchanging what felt like a long-lost friend's smile (truly, a new king should have at least four motorcycle escorts, not just two!)—I knew it was time to depart. The lovely yet chilly British spring had only deepened my sniffles, and with the Australian dollar refusing to perform any miracles, my sights were set elsewhere. Drawn by the allure of one of Australia's most distinguished artists, Tracey Moffatt, I ventured to Poland to immerse myself in the exhibition "No Master Territories: Feminist Worldmaking and the Moving Image."
Tracey Moffatt's "Nice Coloured Girls."
This ambitious exhibition traverses time and place, featuring a varied collection of non-fiction works by women, spanning documentaries, experimental films, and video art from the transformative decades of the 1970s to the 1990s—a pivotal era for women's liberation movements globally. The curators have eschewed a linear narrative, opting instead for a thematic arrangement that invites viewers to explore the ways feminist issues have been portrayed across different cultures and times.
The artworks tackle themes ranging from female sexuality and the depiction of the female body, to economic exploitation and reproductive rights. Notable pieces like Claudia Schillinger's "Between" and Robin Laurie and Margot Nash's "We Aim to Please" dissect and reconstruct female imagery traditionally shaped by the male gaze.
For me, the highlight was Tracey Moffatt's work, particularly "Nice Coloured Girls." This piece not only showcases Moffatt's sharp wit and powerful narrative style but also serves as a sort of time capsule of Kings Cross. The Kings Cross depicted in the film—a bustling party haven in the 1980s—is barely recognizable in 2023, having been significantly gentrified in recent years. Moffatt's film cleverly flips the expected narratives of power and exploitation, presenting Aboriginal women as savvy navigators of social and racial dynamics, rather than mere victims.
The exhibition's layout resists conventional divisions, flowing instead with an intuitive logic that mirrors the feminist values of collective action and mutual cooperation. This approach not only showcases the films but also embodies the very essence of feminist movement—dynamic, transformative, and radically inclusive.
Inspired by figures like Trinh T. Minh-ha, who advocates for a filmmaking that rejects authoritative narratives, "No Master Territories" invites its audience to envision a world unrestrained by traditional boundaries and hierarchical divisions. This show is not just a historical overview; it's a call to recognize and engage with the feminist potential of the moving image.
Overall, "No Master Territories" offers a profound look at feminist filmmaking as a tool for social critique and visionary change. It’s an essential visit for anyone passionate about the intersections of art, feminism, and the power of media to reshape societal norms. This exhibition proves that feminist film and video work is not just about reflecting the world as it is, but about imagining and forging the world as it could be.
