On the 13th of June, a new retrospective of the famous artist Fahrelnissa Zeid unveiled in London’s prestigious Tate Modern. Apparently the exhibition is part of Tate Modern’s director Frances Morris’ ambition to champion “particularly women” artists in the face of an overall neglect towards women and non-European artists (1).
Following the opening, two articles, one by the Guardian (2) another by the Art Newspaper (3), were published. Quite surprisingly, these articles claim that Fahrelnissa Zeid was “practically forgotten,” and that “Tate Modern hopes to lift the pioneering Turkish artist out of obscurity to ensure that she does not become yet another female artist forgotten by history.”
But whose history is it exactly?