Özet:

Despite its long history, the emergence of critical perspectives discuss the categories of gender, ethnicity and class and are relatively new in the field of exhibition practices. Joan W. Scott has emphasized that feminist historiography begs for has compelled a critical reevaluation of the arguments and standards of existing academic studies. Scott’s criticism can be valid for art exhibition practices. Feminist art historiography not only suggests a rewriting of history but also enables critical approaches to flourish as it criticizes the existing institutions by highlighting social inequalities. In this respect, mainstream exhibition policies have been criticized by two main lines.First, the impact of neoliberal economic policies on art practices have been investigated. Second, feminist curatorial approaches that emphasize inequalities by discussing gender, sexual orientation, race, ethnicity, and class. Without reducing curatorship to a technical organization, feminist curatorial practices scrutinize the issue in terms of power relations. In this sense, feminist curatorial practices provide an extensive criticism of an abstract interpretation of art history and underscore the mutual interventions of life and feminist aesthetics. This study discusses the openings and limitations of feminist curatorial approaches. While embracing new possibilities provided by queer theory, these approaches accentuate plural forms of inequality, enable novel forms of deliberation and finally discuss contradictory positions and alternatives.

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