A Morning Breeze — Petra Bauer
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Petra Bauer

A Morning Breeze

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Petra Bauer (b. 1970) is a Swedish artist & filmmaker exploring feminist theory, immigration, colonialism & social organizing through collaborative projects. See her Venice Biennale work & more!
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Petra BauerBorn in Stockholm, Sweden, in 1970.She lives and works in Stockholm.Artist and filmmaker Petra Bauer examines the past to better resonate with our present and to anticipate the future, whether she focuses on the history of collective filmmakers; the work of critics and theoreticians involved in the London scene of the 1970s (Notes on Political Cinema) (2011); collaborates with the minority feminist organization Southall Black Sisters in making the eponymous film Sisters! (2011); or her installation What Women Want (2014), about Swedish women’s activism and desire for emancipation in the early twentieth century. Bauer usually undertakes these explorations in collaboration with others, using conceptual and documentarian research tools to explore the political stage, whether that of the city, public display, or public media. In her effort to redefine the role of the artist in society, Bauer is fascinated by struggles of individual identity and collective minorities. She uses film and institutions as a social and political negotiation space. In What Women Want, the artist looks into the journey of the socialist women activists and campaigners who traveled around Sweden between 1907 and 1920 to organize and mobilize women for the Socialist Women’s Movement. Bauer’s first iteration, presented in Malmo in 2014, focused on the potential for change conveyed by posters calling for women to come together to discuss present and future conditions. At the Biennale di Venezia, her installation A Morning Breeze includes a selection of these public calls as well as excerpts from Morgonbris, the magazine of the early Socialist Women’s Movement and a collection of more than fifty black-and-white group portraits representing different socialist women’s clubs in Sweden. The portraits, commissioned by the clubs themselves, speak to women’s thirst for self-representation as political beings before they were legally regarded as such. Women did not receive the right to vote in Sweden until 1919, one year after women’s suffrage became law in the United States. Bauer confronts our newsfeed with the persistence of messages belonging a priori to the past by using magazine archives and reprints of posters in Malmo’s public space. What happens when some of the questions asked in the 1970s are posed again today? What are the crucial feminist ideas of our time?

Întrebări și răspunsuri

Ce culoare domină compoziția lucrării "A Morning Breeze" de Petra Bauer?

Culoarea care iese cel mai mult în evidență în "A Morning Breeze" este Espresso (#524141). Culoarea dominantă este utilă atunci când asortați o operă de artă cu un interior.

Unde pot găsi statistici despre "A Morning Breeze" de Petra Bauer?

Există o pagină de Statistici pentru "A Morning Breeze". Aceasta prezintă graficul vizitelor lunare pentru această operă și pentru celelalte lucrări ale artistului, cu detalii pe țări și limbi vorbite.

La ce artist este atribuită opera „A Morning Breeze”?

„A Morning Breeze” este atribuit lui Petra Bauer.

Biografie artist

The Cinematic Lens of Resistance: The Art of Petra Bauer

In the contemporary landscape of moving images, few voices resonate with as much profound social urgency as Petra Bauer. Born in Stockholm, Sweden, in 1970, Bauer has cultivated a practice that transcends the boundaries of traditional filmmaking, positioning herself instead at the vital intersection of art, activism, and feminist theory. Her work does not merely observe the world; it actively interrogates the structures of power that shape our reality. To encounter a Bauer film is to enter a space of negotiation, where the aesthetic becomes a tool for political mobilization and where the camera serves as a witness to the struggles of the marginalized.

Bauer’s artistic identity was forged within a Swedish cultural milieu deeply engaged with questions of gender equality and social justice. Her intellectual foundation is built upon the rigorous frameworks of feminist thinkers such as Judith Butler and Gayatri Chakravorty Spivak, whose explorations of performativity and post-coloniality permeate her cinematic language. This academic depth is balanced by a visceral commitment to the collective. Throughout her career, Bauer has eschewed the myth of the solitary genius, frequently employing the plural pronoun "we" to describe her creative process. This reflects her deep-seated belief in collaborative authorship and her role as an initiator of platforms like k.ö.k (Kvinnor könskar kollektivitet), a feminist collective dedicated to the pursuit of solidarity.

A Practice of Solidarity and Social Engagement

The essence of Bauer’s oeuvre lies in its refusal to exist in isolation from the pulse of society. Her methodology is inherently relational; she seeks out existing social and political organizations to create works that reflect on how aesthetics can catalyze change. This dedication to socially engaged art is perhaps most evident in her documentary-style interventions. In projects such as "Film Workers!", she documented the labor struggles of sex workers during a TUC occupation, transforming the screen into a site of visibility for those often pushed to the periphery of political discourse. Similarly, her film "Der Fall Joseph" confronted the harrowing realities of immigrant child mortality in Germany, forcing a confrontation with institutional failures and systemic discrimination.

Bauer’s thematic preoccupations are vast, ranging from the material consequences of the colonial world order to the intimate politics of domesticity. She often revisits and rethinks cinematic histories to find new meanings for contemporary struggles. A notable example is her engagement with the work of Chantal Akerman, specifically the seminal film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. By revisiting the themes of domestic labor, parenting, and sex work through an Akerman-inspired lens, Bauer explores how the aesthetics of the everyday can be politicized to challenge the globalized structures of the present day.

Legacy and Academic Contribution

Beyond her filmography, Bauer has made significant contributions to the academic and institutional fabric of the art world. Her journey through the Malmö Art Academy and her doctoral research at Konstfack have culminated in a role as a Professor of Moving Image at the Royal Institute of Art in Stockholm. In this capacity, she continues to bridge the gap between rigorous research and experimental practice, focusing on the relationship between art, technology, and materiality. Her work has been celebrated on the most prestigious global stages, including:

  • The 56th Venice Biennale, where her contributions highlighted the potential of film as a political practice.
  • The Moderna Museet in Stockholm, showcasing her ability to weave historical film collectives into contemporary narratives.
  • International exhibitions at institutions such as the Van Abbe Museum, Showroom London, and the Bard College, cementing her status as a vital voice in international contemporary art.

Ultimately, Petra Bauer’s significance lies in her ability to transform the moving image from a medium of passive consumption into a dynamic site of resistance. Her legacy is not found merely in the films she has produced, but in the communities she has helped organize and the critical dialogues she has ignited regarding the very nature of authorship, visibility, and justice in an increasingly complex world.

Petra Bauer

Petra Bauer

1970 - , Sweden

Detalii rapide

  • Artistic Movement Or Style: Feminist art
  • Artists Or Movements Influenced By This Artist: ['Radical Filmmaking']
  • Artists Who Influenced This Artist:
    • Cinema Action
    • London Women's Film Group
  • Date Of Birth: 1970
  • Full Name: Petra Bauer
  • Nationality: Swedish
  • Notable Artworks: ['A Morning Breeze']
  • Place Of Birth: Stockholm, Sweden