View of “Dancing at the Edge of the World,” 2020.

View of “Dancing at the Edge of the World,” 2020.

“Dancing at the Edge of the World”

z2o Sara Zanin Gallery

Ten brave female-identifying artists put the body—and its empowerment—at the center of this provocative show, curated by Marcelle Joseph and inspired by the gentle feminist utopia in Ursula K. Le Guin’s 1989 book Dancing at the Edge of the World: Thoughts on Words, Women, Places. Observing how the body clashes with social mechanisms, these young artists analyzed the dichotomies and contradictions of gender identity and the oppressive strategies of the patriarchal system with a critical gaze in a wide variety of mediums. The approaches range from Megan Rooney’s domestic portraits immersed in everyday banality (Goods & Services, 2019) to the crackling sensuality of Charlotte Colbert’s Mameria, 2019: breasts made of earthenware clay and pink flocking, as juicy and abundant as bunches of fruit.

At the show’s opening, the Proudick duo (Paloma Proudfoot and Lindsey Mendick) performed playfully

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