“Omitted References” Open Call for Artists

Deadline: 15/06/2022  |  Published: 15/05/2022  |  City: London  |  Country: United Kingdom  | BTC gallery

Exhibition Introduction

Over the past 30 years, female artists have managed to find opportunities for collaboration and the possibility of expanding their practice to have a voice. This exhibition offers the opportunity for more omitted groups to present a more diverse range of views, exploring the connections between the environment, gender equality, female health, and non-human through the lens of different identities.

It is well-known that historiography mainly has been constructed and written by men. Whilst women and minorities have rarely been documented; these omitted voices have contributed to the lack of objectivity. The contributions and achievements of women have been weakened, resulting in their rights and status being oppressed. Social evaluations have falsely shaped women’s perceptions of their own bodies because of society’s bias about the female body, leading to misogyny issues such as social exclusion, sexism, and hostility towards women. On the other hand, women begin to have self-doubt and even aversion to their own bodies. Women’s own sensory experiences are the invisible evidence under the patriarchal framework and geopolitical context. Women, as Bracha L. Ettinge says, are the carriers of the “wound-spaces” of human life. The “wound spaces”, as material and mental relics, have been deeply embedded in female bodies. Unspeakably, they have even been entwined with female spirits, haunting them from their first moment to their whole lives.

The environmental issue is another omitted reference. Ecofeminist thinkers try to link the oppression and domination of female communities to environmental degradation. Due to unequal resource acquisition, they are suffered from oppression and exploitation all the time. The threat to women in the challenging living environment also reflects the unequal status of women. For example, in water-deficient areas, women during menstruation are exposed to unclean water and an appalling sanitary environment; even AIDS is easily spread in this environment. Françoise d’Eaubonne points out that women have the potential to get along well with the natural environment, which is the core of reversing environmental degradation. In other words, women have the ability to lead society towards a more equitable and sustainable future.

More and more voices are being covered up or even erased as we are living in a society full of conflicts and divisions. The exhibition tries to bring “Omitted References” back into the public sphere and has spoken up for them.

(Special thanks to Molly)

About Exhibition


Open Call for Artists: 15/05 – 01/07/2022

Exhibition Time: the end of July (estimate)


1. There are no specific requirements for the nationality, region and age of the artist.

2. Type: Unlimited

3. Application Materials should include: each artist can submit 1-2 piece(s) of works, A detailed description of each work and a CV of the artist and major artworks completed should be attached.

4. Application Method: Send all of your information and material to the official email address: omittedref@outlook.com. Application email subject: “Omitted References + Applicant’s name”.

(*we will not reply to all application emails, and the finalists will be subject to the official release of results.)

Statement of Rights and Responsibilities

1. The artist owns the full copyright and ownership of his/her works, if selected, the artists should guarantee that Being Space has the right to the premiere of the submitted artwork.

2. The artist shall ensure the submitted plan and all graphic/text materials do not infringe on the legitimate rights and interests of others.

*The final interpretation of the exhibition plan belongs to the curatorial team.

Curatorial Team

Yanting Huang is an interdisciplinary artist and curator, and the founder of the Yanting Huang brand. She graduated from the China Academy of Art and is currently studying at the Royal College of Art in London. In 2019 she won the gold medal for Lin Fengmian’s graduation creations, and the China Academy of Art collected her works. In 2022, she participated in the exhibition “In ruined time”. Currently living in London, she works in various media, including performance, video, painting, and installation. Her most recent research is based on environmental issues and the theme of gender equality.

Daisy Wang is a curator and interdisciplinary feminist artist. She is currently studying in MRes Architecture in the Royal College of Art, where her research interests include feminism and performance art. She graduated from Kingston University London specialised in Curating in Contemporary Design, she participated in several practical projects within the degree which collaborated with the Royal Academy of Arts, the Design Museum and the Architectural Association. In addition, she also has extensive experience in curating exhibitions, for example, “Christian Dior: Designer of Dreams”, 2020; “Me&Beuys – Yin Xiuzhen: Barking”, 2021; “MR. Solo Show: Quotidianist”, 2021; “Hajime Sorayama: Metropolis”, 2021; “Useless Class and Homo Deus’s Lover ”, 2021.

Yan Xie is interested in and focuses on participatory art, socially engaged art and community art. Yan held an internship at UCCA Center for Contemporary Art, she is currently studying MA Curating Contemporary Art at the Royal College of Art. Yan’s curatorial practices include, “For us, to share”, 2022; “Circles in circle”, 2022; “What We Talk about When We Talk about____”, 2021.

Wenqi Zou is an intermedia artist、researcher and curator. She currently living in London and studying in MRes Fine Arts and Humanities at the Royal College of Art. Her art practice establishes a coordinate system with “image-body-medium” as the axis, to expand the perception of images and related practices and their entanglement with each other. Her currently humanistic studies focus on the politics of female identity and public health care. It attempts to reconstruct the practice of individual narratives, so as to expand and change the established recording patterns and representations of the perception of the body, the sensory language and cyclic time experience for female chronic patients.