The social and economic landscape was dominated by patriarchal structures, leaving women with limited opportunities and facing significant challenges. The 1970s saw a significant shift in the UK’s social and political landscape. The rise of feminism, a social and political movement advocating for women’s rights, brought about a wave of change. Feminism challenged the existing patriarchal structures and demanded equal rights for women.
The Hackney Flashers, a group of photographers based in London, were known for their documentary photography. They used their work to expose social injustices and highlight the realities of everyday life. Their work often focused on the working class and the struggles they faced. The installation Who’s Holding The Baby (1978-1980) is a powerful visual representation of the challenges faced by mothers in the 1970s. It depicts the struggles of mothers juggling work and childcare responsibilities. The prints in the installation showcase a range of images, including mothers working, mothers caring for their children, and mothers struggling with childcare.
These conferences, often held in rural areas, brought together women from diverse backgrounds, including those from marginalized communities, to discuss and strategize for collective action. These conferences, though seemingly disparate, were connected by a shared commitment to social justice and a desire for a more equitable society. The exhibition also features a selection of contemporary video and installation works by women artists. These works explore themes of gender, identity, and the complexities of navigating a world shaped by patriarchal structures. The artists, through their creative expressions, challenge the status quo and offer alternative perspectives on gender roles and power dynamics.
The film, a product of the feminist movement, is a powerful visual and auditory experience that captures the essence of female anger and frustration. The film’s narrative is fragmented, non-linear, and often disorienting. This disorientation is intentional, reflecting the chaotic nature of women’s experiences. The film’s fragmented narrative is further emphasized by the use of Super 8 film, which is inherently grainy and imperfect, mirroring the imperfections of women’s lives.
This is evident in the book’s exploration of the history of women’s rights movements, the role of women in the labor movement, and the impact of social and cultural norms on women’s lives.
