Activist art only further blurs the distinction between what is art and what is not art (if such a distinction can be made, or is even appropriate) by crossing into a new ground that previous art forms relatively (not all) avoided: political activism. One work that noted art historian Carrie Lambert-Beatty focused on in her article “Twelve Miles: Boundary of the New Art/Activism” is the Women on Waves project, and this project truly maps the rise of political activism in art and shows that the two ideas can coexist in a very relevant manner. Yet, this begs the question, why is this considered art and not just some humanitarian project? What sets Women on Waves apart from mere activism?
For starters, there are certain nuances of the work that, when recognized for their artistic value, distinguish Women on Waves from a demonstration/protest or humanitarian mission. Take, for example, the name Women on Waves. In itself, the name, like many other art works, has its own tie in to the work and can contribute to the nature of the work and how it is perceived. Thus, Women on Waves exists as a double entendre; it can be received in the literal sense of women are literally being taken out to sea “on waves,” or metaphorically (the turbulence of waves and their oscillating nature represent a rising and falling of the tide of feminism, or simply that there is still a struggle to be fought in the social sphere regarding women) as it being reminiscent of the ongoing feminist struggle and the idea that in some countries a women’s body is still not fully hers to control. Not to mention that the artwork/medical facility was designated by Joep von Lieshout, a Dutch artist. Also, the project has produced other works through other art mediums (like photography, film, etc.), as well as submitting a replica of the clinic to the Venice Biennial for viewing. So, this only begs the thought that Women on Waves is most certainly art, but what does it mean, and what does Rebecca Gomperts, the artist/physician, hope to accomplish?
First and foremost, this work was a direct protest to the Draconian abortion laws of many European states at the time, who comprised parts of the Western “civilized” world, yet still enforce anti-abortion legislation. So, in retaliation, Gomperts made the mobile clinic and took women out to sea to perform the procedure, so that women could circumvent the legal red tape of abortion laws in their own countries. This furthered the overarching goal of promoting a universal feminist movement towards freeing a woman’s body so that she may do with it as she pleases. The subsequent outcry against this work was incredible from the countries which she visited. Many questioned the legality of her practice, while others saw it as somewhat of an “act of war” (directed towards their legislation and naval space). Needless to say, the work was not well received by those countries under criticism. Yet, her point had to be made and what better way to deliver a message than through the practice of sanctioned art, which does not bear the same negative stigma as protest/revolution.
