die ewigen jagdgründe of Minimal Art, since 2015

In 2015, reflecting on my work 2 cubes that I had made 22 years earlier, I started to research women artists in minimalism. I presented what I had found so far in the exhibition die ewigen jagdgründe of Minimal Art at school, Vienna: 
-a research blog that combined notes about and quotes by the artists, photos of specific works, and my own thoughts on their (as well as my own) artistic process - personal doubts, social obstacles and artistic hassles included.
-the photos of objects that reflected the works of those women formally 
-my own sculpture 2 cubes from 1993

I never stopped reading and learning about ever more women who worked in a minimalist manner then and, sometimes, still do. I came across an essay by art critic Anna Chave (Minimalism and the Rhetoric of Power, written in 1990) where she suggested that most Minimalist work could be seen as a celebration of masculinity, control and power. It was, she claimed, all prefabricated, cool, heavy building materials, technology and industrial precision, coupled with a dubious aesthetic of aggression.

I'm using these thoughts on a specific art form in a specific time as a starting point about more recent notions on what is masculinity and femininity, and while from there trying to uncover sexism, racism, classism and all issues of othering in their most hidden forms, I'm trying to cope with the trouble of the everyday.