Ana Paula CAVALCANTI SIMONI

The contemporary art system is often seen as more democratic than the art systems that preceded it. It is thought that, especially from the late 1980s onwards, the contribution of artists from peripheral countries has been welcomed and that the boundaries of the art world have widened, though as these hierarchies have become more nuanced. Also, from the perspective of gender relations, asymmetries are often considered to have been significantly overcome. However, several studies based on the insertion of peripheral or semi-peripheral artists in the international market, highlight the permanence of inequalities both in terms of origin and gender.

I would like to contribute to the current debates on the impacts of the globalization of the art system on the insertion of peripheral artists, taking as an object of study the insertion, presence and visibility of women artists in two main cases of legitimation of contemporary artists: the market and the museum. Taking as a starting point the remarkable exhibition "Les magiciens de la terre" (1989, Centre Georges Pompidou), this project aims to verify the presence of women artists from countries considered as peripheral or semi-peripheral in the international art market, as well as in the collections of French museums. It is also necessary to analyze whether their works are objects of exhibitions, in order to understand the degrees of visibility that they reach.