1) The woman artist * who represent in her work aspects of women’s culture and herstory and whose work has been recognized through its various stages for its innovation, quality & influence within the context of art in general, and feminist art specifically, will be entitled to be called in her maturity stage ( as an artist )"Maestro."
2 ) Under such circumstances, the art establishment will have to recognize her as "genuine genius !"
3 ) The women’s establishment on all their aspects will recognize the "Women Maestro artists " and use their work as symbols for their struggle, instead of symbols created by male artists .**
4 ) The new feminist aesthetic is the direct continuation of the Constructivist and the Bauhaus movements of the 1910’s and 1920’s and has to be recognized as such .
5 ) Changing the concept and meaning of art demands changing the politics of the subsidized art institutions; no more an authoritarian decision–making–process made by one curator, but a democratic system which will function more as a cinematheque of the arts, where all artists will be shown within the context of their whole work. Feminist aspects of the art will be represented, under such circumstances, as equal sisters to other known movements, and as legal inheritents of such .
6 ) The artist represented in such institutions will be authorized to have an equal stand with the curator in charge; about financial and aesthetic procedures .ms5. 888.lll
7 ) Alternative spaces, Women Museums, will go through the same procedures for the democratisation of art .
8 ) Retrospectives of women artists "Maestro" of art movements will be shown on all their aspects and won’t be belittled by disrespect due to gender and race or by works shown out of context .***
9 ) Our cultural heritage is the knowledge of works made by different artists throughout the ages. A similar procedure of cultural recognition will take place with regard to women artists' works, as mentioned above, which will be acknowledged as feminist aesthetics.
10 ) A deep gap has been created in the last century between culture and agriculture, city and land; art and nature, leading to disastrous consequences of decadence and downfall. Wild weeds have grown here and there; here "entertainment business" and there barbarism took over. The rehabilitation of the balance of the a.m. is a must and should be maintained through the intermediacy of the "artist/creator." * A work of art can be considered as such, when created by the artist only. * * ( i.e. Sharon’s eary ( ’73 ) "Peace Tent," should have been for Beijing's NGO, as Picasso’s Peace Dove or Guernica for peace and justice ) . * * * The a.m. ( 5 , 6 , 7 ) are the resolutions made at our Beijing Conference’s workshop .

ECO / COM / SYS – 1 / 90 – 92
ECO / COM / SYS – 2 / 92 – 93
ECO / COM / SYS – 3 / 93 – 94
ECO / COM / SYS – 4 / 94 – 96
ECO / COM / SYS – 5 / 94 – 96
ECO / COM / SYS – 6 / 96 – 97
ECO / COM / SYS – 7 / 98 – 99
ECO / COM / SYS – 8 / 99 -2000

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Le salon des Refuses & Documenta x ; 97

The greatest inventors in art, have been outcasts; unpopular, misunderstood & their art banned from fashionable art saloons; Carravagio, Van Gogh, Cezsanne, Manet, Courbet etc., not to mention the women artists banned altogether. This year’s Documenta, even though it stood for our norms in its concept, contradicted itself in its representation; under the moto of globalization all fields were put together under one roof ; architecture, films, bookstores & philosophers, while artists were used as mere illustrators to other’s ideas. The result was a poor visual presentation of objects mixed together, art & functional works; while feminism was present in politics, the artists were missing, Third World artists were present, but did not move away from their exotic stereotype. Film–Makers were commissioned & set up in specially designed space for Dx ( made by Dx people ). As an answer, we are opening the doors of LES REFUSES,* which, under one umbrella incorporates all issues, not as an illustration to an idea, but as theory & practice put together, from the perspective of arts. M.S. '97 * Our Multimedia Installation