University of São Paulo (Brazil)

Art History, Sociology

Octobre 2021 à décembre 2021

Membre associé·e

Ana Paula Cavalcanti Simioni is a professor at the University of São Paulo (USP), Brazil, since 2005. She has been a visiting professor at several foreign institutions, including UNAM (Mexico, Instituto de Investigaciones Estéticas) in 2013; at the École Normale Supérieure (rue d'Ulm, Paris) in 2016, where she also completed a postdoctoral fellowship between 2016 and 2017, and, most recently, at the Institut d'Etudes Européennes, Université Paris-8, in 2019. In June, she received a fellowship from the Fondation Maison des Sciences de l'Homme, and in 2020 she was selected as a "fellow" by the Institut d'Études Avancées de Nantes (stay postponed to 2021 due to the covid 19 pandemic). She specializes in sociology of art and culture, studying mainly the following themes: gender and art; transfer of artistic models; relations between artistic centers and peripheries; women artists in Brazil (XIX-XXI centuries). She also curated the exhibitions "Women Artists: Pioneers (1880-1930)" at the Pinacoteca Artística do Estado de São Paulo in 2015 and "Transbordar: Transgressions of Embroidery in Art" at the SESC- Pinheiros, São Paulo (November 2020 to May 2021).

Search project

Consecration and gender inequality in the international art world: peripheral artists, possibilities and strategies of insertion.

The contemporary art system is often seen as more democratic than the art systems that preceded it. It is thought that, especially from the late 1980s onwards, the contribution of artists from peripheral countries has been welcomed and that the boundaries of the art world have widened, though as these hierarchies have become more nuanced. Also, from the perspective of gender relations, asymmetries are often considered to have been significantly overcome. However, several studies based on the insertion of peripheral or semi-peripheral artists in the international market, highlight the permanence of inequalities both in terms of origin and gender.

I would like to contribute to the current debates on the impacts of the globalization of the art system on the insertion of peripheral artists, taking as an object of study the insertion, presence and visibility of women artists in two main cases of legitimation of contemporary artists: the market and the museum. Taking as a starting point the remarkable exhibition "Les magiciens de la terre" (1989, Centre Georges Pompidou), this project aims to verify the presence of women artists from countries considered as peripheral or semi-peripheral in the international art market, as well as in the collections of French museums. It is also necessary to analyze whether their works are objects of exhibitions, in order to understand the degrees of visibility that they reach.