Maria Pinińska-Bereś, ‘Hot Tears (Gorące łzy)’, 1982, Dawid Radziszewski
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Hot Tears (Gorące łzy), 1982

Plywood, kettle, gauze, stones, acrylic
60 3/5 × 37 4/5 × 80 3/10 in
154 × 96 × 204 cm
Location
Warsaw
About the work
Maria Pinińska-Bereś
Polish, 1931–1999
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Predating Western feminist art, Pinińska-Bereś critiqued male representations of women, male desires, and the idealization of women. The 1958 sculpture Birth was the first in her oeuvre to feature the color pink, marking a newfound preference for soft, abstract forms in her sculptures, which were built from wood, sponges, foam, and fabric in shades of pale pink, and often recalled female genitalia. Pinińska-Bereś sought to criticize and expose the societal roles of women through an ironic and gentle eroticism, be it through her “Rotunda” series of concrete figures from Roman architecture mounted on fabric pedestals, or through her “Psycho-furniture” series of soft sculptures resembling chairs and couches.

Maria Pinińska-Bereś, ‘Hot Tears (Gorące łzy)’, 1982, Dawid Radziszewski
Save
Save
Share
Share
About the work
Maria Pinińska-Bereś
Polish, 1931–1999
Follow

Predating Western feminist art, Pinińska-Bereś critiqued male representations of women, male desires, and the idealization of women. The 1958 sculpture Birth was the first in her oeuvre to feature the color pink, marking a newfound preference for soft, abstract forms in her sculptures, which were built from wood, sponges, foam, and fabric in shades of pale pink, and often recalled female genitalia. Pinińska-Bereś sought to criticize and expose the societal roles of women through an ironic and gentle eroticism, be it through her “Rotunda” series of concrete figures from Roman architecture mounted on fabric pedestals, or through her “Psycho-furniture” series of soft sculptures resembling chairs and couches.

Hot Tears (Gorące łzy), 1982

Plywood, kettle, gauze, stones, acrylic
60 3/5 × 37 4/5 × 80 3/10 in
154 × 96 × 204 cm
Location
Warsaw
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Feminist Art