Alan: Why is the exhibition called Lace Grace Revolt?
Irina: As an exhibition of women's art, the title Lace Grace Revolt encodes three aspects that, in our view, evoke different dimensions of femininity.
Lace serves as a metaphor for an alternative way of seeing-an intricate
weaving of meanings and the creation of conceptual connections within the works.
Grace reflects the fluidity and expressiveness of the feminine artistic gesture, as well as its capacity to evoke deep emotional resonance.
Revolt stands for resistance to exclusionary tactics and defiance against normative perceptions of femininity.
Irina: As an exhibition of women's art, the title Lace Grace Revolt encodes three aspects that, in our view, evoke different dimensions of femininity.
Lace serves as a metaphor for an alternative way of seeing-an intricate
weaving of meanings and the creation of conceptual connections within the works.
Grace reflects the fluidity and expressiveness of the feminine artistic gesture, as well as its capacity to evoke deep emotional resonance.
Revolt stands for resistance to exclusionary tactics and defiance against normative perceptions of femininity.
Alan: How did the idea to showcase only women artists come about?
Irina: While studying the positioning of the foundation and Alan's collection, I first noticed a unifying visual motif, and second-a clear tendency toward the predominance of works by women artists. Knowing Alan's approach to collecting and his relationship with art, making a feminist art statement felt like a very natural step. It's exciting to see that now, when following announcements from major international institutions, there is also a growing trend of exhibitions featuring exclusively women's art.
Irina: While studying the positioning of the foundation and Alan's collection, I first noticed a unifying visual motif, and second-a clear tendency toward the predominance of works by women artists. Knowing Alan's approach to collecting and his relationship with art, making a feminist art statement felt like a very natural step. It's exciting to see that now, when following announcements from major international institutions, there is also a growing trend of exhibitions featuring exclusively women's art.
Alan: What are the pros and cons of remote curatorial work?
Irina: One of the main advantages is that you don't have to spend time commuting to the venue, and you can delegate the measuring tape duties. On the downside, it's quite challenging to work with a space you can't physically see.
Irina: One of the main advantages is that you don't have to spend time commuting to the venue, and you can delegate the measuring tape duties. On the downside, it's quite challenging to work with a space you can't physically see.
Alan: How is feminine strength defined?
Irina: By the courage to embrace vulnerability.
Irina: By the courage to embrace vulnerability.
Alan: In your opinion, what conceptually distinguishes women's art from men's?
Irina: I believe women artists tend to delve more deeply into biological, emotional, psychological, and cultural dimensions. Their work often stems not from a position of the "center," but from the "periphery"-for instance, from personal experience-and explores profoundly intimate and personal themes. Women's art emerges from a different starting point, accompanied by distinct ways of seeing and feeling.
Irina: I believe women artists tend to delve more deeply into biological, emotional, psychological, and cultural dimensions. Their work often stems not from a position of the "center," but from the "periphery"-for instance, from personal experience-and explores profoundly intimate and personal themes. Women's art emerges from a different starting point, accompanied by distinct ways of seeing and feeling.