Speciwomen has a dedicated publishing platform for writing that falls beyond the scope of our printed matter.
We welcome submissions for reviews, interviews, profiles, criticism, experimental art writing, and more. For all pitches, please email info@speciwomen.org
To access our 2016-2023 digital archive, click here.
Mayumi Suzuki – HOJO
![Anh Tran: Et puis, un jour, mon amour tu sors de l’éternité [“and then, one day, my love, you will come out from eternity”]](https://images.squarespace-cdn.com/content/v1/5fff5aabf9f4e55d12aff082/1698250003094-C025C83XM5Y1F3DZAMI8/Screen+Shot+2023-10-25+at+6.04.30+PM.png)
Anh Tran: Et puis, un jour, mon amour tu sors de l’éternité [“and then, one day, my love, you will come out from eternity”]
“I don’t want to deliver an interpretation. I want to leave it off to the viewer to choose the meaning. These are my hope and wish and it relies a lot on spirituality and the individual experiences that viewers are bringing with them when they come to see the paintings. The more I paint, the more it becomes fictional in a way.“ — Anh Trần
Hannah Black’s “Politics” (2022) and “Broken Windows” (2022)
Based in Marseille [France], Hannah Black’s creative approach harmoniously integrates thought and emotion, through written texts, prints, videos, sculptural installations, or performances. She is most notably recognized for co-authoring alongside writer Ciarán Finlayson and critic Tobi Haslett, The Tear Gas Biennial an impactful open letter in which they critiqued, the co-chair of the Whitney Museum's board Warren Kanders, for his controversial philanthropic initiatives funded by the sale of tear gas and various weaponry through the American equipment company Safariland.
In Conversation: Agnes Questionmark
“In my work, I try to recreate that sort of hybrid experience in which I am half human, half sea creature – half terrain, half marine creature. I think since I was a child I always had this strong connection with the sea in a very existential way. There was this possibility of becoming a fish, feeling at home, at ease in a marine environment. It was so natural for me to swim under the water, to breathe under the water, it really changed something in my mind. I don’t feel human – I feel my brain has expanded in that way. Underwater feels like my habitat.” — Agnes Questionmark
![Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo ](https://images.squarespace-cdn.com/content/v1/5fff5aabf9f4e55d12aff082/1694446181964-JBVDNUEWZ66R8SDBLHQ7/PdT-2023-Laura-Lamiel-016.jpg)
Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo
For more than four decades, Laura Lamiel has been crafting a body of work characterized by a unique formal consistency, delving into various states of perception, cognition, and emotion. Through the artful arrangement and juxtaposition of found objects, raw materials, colors, and lights, her creations unveil spaces that straddle both the tangible and the psychological.
The Virgin Suicides by Sofia Coppola: inside teenage melancholia
This weekly column looks upon iconic women of cinema through some of their most impacting female characters. From different times and places, each of these directors dreamt and painted roles that enlighten our conception of women in various ways. Far from the patriarchal character representation of Black and White films or from the modern superheroines on screen, these women shine in the vernacular through precise portrayals. Glamorous glutton, grieving nurses, avenging angel, or suicidal enchantress: each hide somehow a part of their creators as a concealed message making them even more genuine.
This week at the center of our interest is the seraphic Lux Lisbon from the 2000 movie The Virgin Suicides.
The Mourning Forest by Naomi Kawase: a wander into grief.
This weekly column looks upon iconic women of cinema through some of their most impacting female characters. From different times and places, each of these directors dreamt and painted roles that enlighten our conception of women in various ways. Far from the patriarchal character representation of Black and White films or from the modern superheroines on screen, these women shine in the vernacular through precise portrayals. Glamorous glutton, grieving nurses, avenging angel, or suicidal enchantress: each hide somehow a part of their creators as a concealed message making them even more genuine.
This week at the center of our interest is the poignant nurse Machiko from The Mourning Forest, 2007.
Atlantics by Mati Diop: a ghostly love story
This weekly column looks upon iconic women of cinema through some of their most impacting female characters. From different times and places, each of these directors dreamt and painted roles that enlighten our conception of women in various ways. Far from the patriarchal character representation of Black and White films or from the modern superheroines on screen, these women shine in the vernacular through precise portrayals. Glamorous glutton, grieving nurses, avenging angel, or suicidal enchantress: each hide somehow a part of their creators as a concealed message making them even more genuine.
This week at the center of our interest is the charming Ada from the 2019 movie Atlantics.
Daisies by Vera Chytilovà: a philosophical farce
This weekly column looks upon iconic women of cinema through some of their most impacting female characters. From different times and places, each of these directors dreamt and painted roles that enlighten our conception of women in various ways. Far from the patriarchal character representation of Black and White films or from the modern superheroines on screen, these women shine in the vernacular through precise portrayals. Glamorous glutton, grieving nurses, avenging angel, or suicidal enchantress: each hide somehow a part of their creators as a concealed message making them even more genuine.
This week, we are exploring the (not so) ingenue Mari I and Mari II from the 1966 movie Daisies.
