{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,2,27]],"date-time":"2026-02-27T23:55:01Z","timestamp":1772236501986,"version":"3.50.1"},"reference-count":27,"publisher":"Universidade Estadual de Campinas","issue":"2","license":[{"start":{"date-parts":[[2015,12,31]],"date-time":"2015-12-31T00:00:00Z","timestamp":1451520000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["MODOS: Rev. Hist. Arte"],"abstract":"<jats:p>Atrav\u00e9s da problematiza\u00e7\u00e3o de uma ret\u00f3rica da separa\u00e7\u00e3o associada ao termo feminismo no discurso de algumas artistas portuguesas, este texto procura pensar as estrat\u00e9gias pr\u00f3prias ensaiadas por mulheres artistas em Portugal nos anos 70 para afirmar a sua ag\u00eancia em \u00e2mbito cultural. Estas estrat\u00e9gias, que poder\u00e3o ser talvez entendidas como de n\u00e3o separa\u00e7\u00e3o, ganham sentido \u00e0 luz da hist\u00f3ria pol\u00edtica, social e cultural portuguesa desses anos, distinguindo-se nitidamente das estrat\u00e9gias de interven\u00e7\u00e3o, de orienta\u00e7\u00e3o feminista, desenvolvidas por mulheres artistas nos mesmos anos em outras geografias, e em particular no contexto anglo-sax\u00f3nico \u2013 contexto que, neste campo de estudos, se tem tornado de refer\u00eancia.<\/jats:p>","DOI":"10.20396\/modos.v7i2.8672673","type":"journal-article","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T13:11:02Z","timestamp":1687353062000},"page":"493-517","update-policy":"https:\/\/doi.org\/10.20396\/modcrossmark","source":"Crossref","is-referenced-by-count":6,"title":["\u201cA ambas as extremidades da cadeia\u201d"],"prefix":"10.20396","volume":"7","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-8617-0929","authenticated-orcid":false,"given":"Giulia","family":"Lamoni","sequence":"first","affiliation":[{"name":"Universidade Nova de Lisboa"}]}],"member":"27633","published-online":{"date-parts":[[2023,6,1]]},"reference":[{"key":"ref0","unstructured":"ABSOLVI\u00c7\u00c3O para as \u2018Novas Cartas Portuguesas\u2019. 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Engendering Portugal: Social Change, State Politics and Women\u2019s Social Mobilization. In: PINTO, A. C. (Ed.). Contemporary Portugal: Politics, Society and Culture. 2nd Editions. Boulder: Social Science Monographs, 2011, p. 153-192."},{"key":"ref10","unstructured":"GON\u00c7ALVES, A. Tape\u00e7aria Contempor\u00e2nea Portuguesa (1969-2002) Antecedentes e Protagonistas do s\u00e9culo XX. 2015. Disserta\u00e7\u00e3o (Mestrado em Ci\u00eancias da Arte e do Patrim\u00f3nio)-Faculdade de Belas Artes, Universidade de Lisboa, 2015."},{"key":"ref11","unstructured":"HATHERLY, A. \u00c9ditorial. Plages, Paris, p.3, dez. 1981."},{"key":"ref12","unstructured":"HATHERLY, A. Lisbonne, mai 1979. In: Dialogue: F\u00e9minie 79. Paris: UNESCO, 1979. Cat\u00e1logo de exposi\u00e7\u00e3o."},{"key":"ref13","unstructured":"LAMONI, G. A Liberating Impulse? The Exhibition Liberation: 14 American Artists in Lisbon in 1977. Comunica\u00e7\u00e3o apresentada no col\u00f3quio Hot Art, Cold War: US Art and Portugal, 1945-1990. Lisboa: Funda\u00e7\u00e3o Gulbenkian, 27-28 Abril 2022, n\u00e3o publicado."},{"key":"ref14","doi-asserted-by":"publisher","unstructured":"MADEIRA, C. Elisabete Mileu: \u2018exposi\u00e7\u00e3o\u2019 e performance do corpo nu. Sinais de Cena II, Lisboa, n. 4, p. 200-218, 2020a.","DOI":"10.51427\/cet.sdc.2020.0016"},{"key":"ref15","unstructured":"MADEIRA, C. Arte da Performance \u2018Made in Portugal\u2019: uma aproxima\u00e7\u00e3o \u00e0(s) hist\u00f3ria(s) da arte da performance portuguesa. Lisboa: ICNova, Universidade Nova de Lisboa, 2020b."},{"key":"ref16","unstructured":"MONTEIRO, C. M. da S. Simone de Beauvoir e Portugal. 2004. Disserta\u00e7\u00e3o (Mestrado em Estudos Franceses)-Universidade de Aveiro, 2004."},{"key":"ref17","unstructured":"NEVES, J. O Pa\u00eds das Mulheres de Maria Lamas. 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