TRAJECTORIES OF DISPLACEMENT: (NON)WRITTEN AND ERASED BIOGRAPHIES

Abstract

The paper examines some ‘stories’ of female artists who were connected (in different ways) to Belarusian cultural space, mainly in the first half of the twentieth century. Despite women’s prominent and incontestable contribution to art, firstly, as producers, their role and place are still mainly invisible in ‘global’ and ‘local’ art history, whose ‘canon’ is oriented on the male experience.

Exploring history and the strategies of displacement, erasing, forgetting, and non-recognition of female producers in art, the paper asks about so-called universal common patterns of how this marginalisation (and, as a result, absent) still happens, no matter what field — art, science, technology — in any area which is considered as a male realm. Discussing several obstacles scholars might face in the process of reconstructing women’s biographies, the author argues that the feminist approach of storytelling aims not merely to extend ‘history’. It is a strategy to trouble the existing male-oriented ‘canon’ that contributes to creating multidiverse and plural ‘epistemic spaces’ as the fundamental matter of transnational feminism.