Women in Art Brut: Outsiders among Outsiders?

Although women continue to fight for visibility and equality in all professions, within the world of art, paradoxically, they can also be marginal among marginals. The end of the Second World War was marked by the beginning of a specific avant-garde artistic tendency called Art Brut, which in different contexts and time periods was marked with different terminologies and meanings. The creativity of outsiders - mentally and physically ill people, self-taught creators, prisoners, people from the margins of society have become the subject of interest in "high" art, and even the art market. However, bearing in mind that even the field of Art Brut/Outsider Art is a predominantly male territory, the question of the existence of women within it inevitably arises. Discussion entitled "Women in Art Brut: outsiders among to outsiders" wants to shed light and bring it closer to the audience, not only this artistic tendency that is generally not given enough attention, but also the position, aesthetics and themes of the artistic practices of marginalized women. Conceived as a dynamic form of presentations and discussions, the discussion aims to present the past and present situation, both in our country and in Western Europe and the Far East.


Сенка Латиновић, кустос Музеја наивне и маргиналне уметности, и Амалија Стојсављевић, Удружење Арт брут Србија. 


Ирина Катник, Галерија Гугунг, Аустрија.

Ишил Езги Челик, Арт брут истраживачица, Велика Британија. 

Кејти Возницки, уметница САД/ Србија.

Маргот, уметница, Француска.