In the essay, the author makes use of feminist approaches towards canonicity in order to reflect upon (canon-) political implications of feminist curating. She looks at the examples of several international feminist curatorial projects of the last decade and in particular at two international women’s cultural and arts festivals from Ljubljana, Slovenia—City of Women and Red Dawns. By analyzing these case-studies and engaging with a broader theoretical issues at stake in feminist practices of exhibition making, her intention is to reflect upon the (canon-)political translation of feminist curatorial practices as well as limitation to it. Her aim is to show that (feminist) canon building and (feminist) curatorial practices are deeply and intrinsically connected. As the canon is intrinsically connected to power as well as in some aspects to governmentality, her suggestion is that before we discard the canon as such, we recall the feminist legacy and its approaches to the question of canonicity, with an aim to critically reflect on our own curatorial practices and ask what implications they have for the canon.
