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Performance: a place of visibility for female artists?

Beyond the Frame: Feminist Strategies in the Expanded Cinema of the 1960s and 1970s

Maud Jacquin


This article focuses on expanded cinema, a specific form of performance that remains under-appreciated despite its practice by many women artists in the service of a feminist project more or less conscious and articulated. In the 1960s and 1970s, women experimental filmmakers, visual artists and choreographers introduced a live dimension to film projection, often juxtaposing live bodies with filmed bodies to denounce the patriarchal ideology at the heart of the cinematic apparatus and to open spaces of transformation and resistance to the normative framework imposed on women’s bodies and desires. By confronting the bodies with its pre-recorded images, they highlighted the gap between the representation of women and their lived experiences. They also shed light on the performativity of everyday life and the construction of social roles through repetition, thus further anticipating latert heoretical developments on the performativity of gender.


Maud Jacquin is an art historian and curator. Her doctoral dissertation at University College London focused on the politics of narrative in feminist experimental film and video. In relation to her research, she notably organised a retrospective of films by Maria Klonaris and Katerina Thomadaki at the Jeu de Paume in Paris (2016), as well as a significant programme of screenings and performances entitled From Reel to Real: Women, Feminism and the London Film-makers’ Co-operative at the Tate Modern and at the Tate Britain in London (2016). She is the co-director of Art by Translation, a research and exhibition programme supported by the École supérieure d’art et de design — TALM–Angers and l’École nationale supérieure d’arts de Paris- Cergy (ENSAPC), involving students and partner institutions (art centres, art schools, universities) from four countries.

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