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Dear Ladies, Thank You is an evolving performance that has been presented in several variations (check also Ljubljana and Zagreb version). The common thread that connects all versions is the discourse of the underrepresentation of women in art history, art theory, art institutions, and in the broader collective memory. The content and the visual aspect of the performance vary according to the context within which it is presented, and according to the gathered findings of previous performances. One of the issues that have become apparent in the previous performances is the need of a permanent monument. Consequently, the central aim of the new performance will be to produce a permanent mark during the performance.

In this performance I pronounced the names of women and queer artists that I has previously learned by heart. At the same time I wrote them down on the floor of Metelkova with a permanent spray. All of the names were of artists who have presented their work at one of the Red Dawns festivals. With this action I wanted to permanently mark the Metelkova area, and create a monument both for the Red Dawns, in specific, and for feminist and queer art in general. Metelkova is also characterized by other spaces and organizations that deal with similar topics. This is why I symbolically linked them all with the line of names of the women artists in question. On one hand, the line marked Metelkova space as one of those places that carry a rich history of organizations, groups, and festivals, and which have been, and still are, dealing with the social status of women and other invisible groups, LGBTIQ in particular. The performance began at the Trg brez zgodovinskega spomina (Square with No Historical Memory) in front of Menza pri koritu.

The performance Dear Ladies, Thank You was made in one other versions which was presented on my master defence presentation in the Academy of Fine Arts in Ljubljana. This version tried to address the problem of radicaly low number of women professors in this school. However this performance was not documented.


Ana Čigon