It is not necessary to deviate much from the sphere of art to observe that the action in the feminine is still weakly recognized and represented.

In an article published in the Tate “Are women fairly represented in the Arts?”, and according to a study carried out by the “Museum of Women in Arts”, 50% of visual artists today are women, however, when referring to galleries and exhibitions, the percentage of their participation and representation is by no means egalitarian, falling far short of fifty percent. According to the study, and in the case of London, only 5% of the galleries seem to have equity values ​​regarding the representation of women and men.

I cannot predict the year the article was written, but judging by the data, which dates back to 2017, it is assumed that it will not have been that long ago, and if we are realistic, little must have changed since then. These finding leaves, unfortunately, no shadow of doubt, there is still much to be done.

With the pandemic, the unhappiness of wars, and now even more the unexpected topic around abortion and its recent restriction, are all events that will not help this intense work and open, and often anonymous, debate that has been done, in offspring of the struggle for the recognition of women, in the artistic, cultural, social domain, among other dimensions.

In the field of the arts, the Guerrilla Girls have always been an active force in the fight against racism and sexism, bringing racial and gender inequalities to the forefront since 1985. Thus, deconstructing the image convenient to society, of women conditioned to domestic life. Jo Spence was also one of these artists, who explored the idea of ​​the object woman. The artists thus often manipulated their own image, their body, or took provocative attitudes towards stereotypes, and what was expected, or prevailing, in society.

The 60’s, 70’s and 80’s of the 20th century were prodigal in the awareness of this feminine issue. Mainly because they reproduced in group reactions and not only in isolated cases. And we know well how these isolated cases ended: in wasted lives, deep suffering, and alienation from society. Mirrored in the life and work of Camille Claudel, for example, or, in more remote times, in the little recognition given, for centuries, to the work of Artemisia Gentileschi.

In the exhibition Pacto, present at the Galeria Municipal de Almada, and curated by Filipa Oliveira, we can thus observe this deconstruction of the chains and ties to which women saw themselves, and still see, voted. Even more as a woman artist, traces of a certain search for herself appear strongly, as an example, in the sound piece created by Luisa Cunha. Nostalgically, and even dreamily, the artist calls her own name, Luísa, in the work the artist calls herself (2015).

A film by Ana Hatherly, contained in the archives of the visual poet Fernando Aguiar, is projected on the gallery’s walls. In it we see the artist, shortly after the revolution of 74, involved in the performance Rotura, 1977, at the Quadrum gallery, energetically making grooves on paper, tearing white canvas.

Susana Mendes Silva reveals Alameda, Avenida, Mariana, Maria, Maria, Maria an installation comprising two parts. One part presents us with information about street names in the city of Almada. The other part is revealed by two toponymic plates that are affixed to the walls of the gallery, and which contain the names of women, such as Mariana Alcoforado and the 3 Marias. As a gesture of compensation, in an attempt to amend one’s own history, and fairly reposition women and their deeds, in order to be seen with due recognition by society and memory.

There are few streets named after women, and those that exist are often side streets or back alleys with no exit, almost imperceptible. Of lesser importance, toponymically speaking.

There is also a drawing by Maria José Aguiar, where, in popular and national outlines, and with a particular autobiographical accent, she deals with the body, sex and gender issues.

Leonor Parda got us used to her hybrid machines, and the Pacto exhibition could not be different. The artist presents a set of machines resulting from the recycling of other works of hers that she has already accustomed us to in other projects. She now presents us with a set of pieces that invite us to a mix of interpretations. Do some objects resemble a birthing plant, for others, an instrument of torture? The truth is there hovering, in a mixture between pleasure and pain.

From Rogério Nuno Costa we have the email correspondence in which the artist’s speech is a permanent apology to its recipients. He effortlessly lays bare matter as sensitive as the autobiographical subject, and the fragility that is inherent to it. It perhaps refers us to the touching curriculum vitae written by Salette Tavares, in 1985, which later appears published in the book Poemografias: Perspectivas da Poesia Visual Portuguesa, from Edições Ulmeiro.

We have, in this exhibition, other very important collaborations such as the artists Dorita Castel-Branco, Gisela Casimiro, Miguel Bonneville, Carla Filipe, Mafalda Santos, Carla Cruz, Joana Baptista Costa, Mariana Leão and Mané Pacheco.

The exhibition is open until September 9, at the Galeria Municipal de Almada.