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Ghada Amer, Today 70% of the Poor in the World are Women, 2001
Ghada Amer, Today 70% of the Poor in the World are Women, 2001
Ghada Amer, Today 70% of the Poor in the World are Women, 2001
Ghada Amer, Today 70% of the Poor in the World are Women, 2001
Ghada Amer, Today 70% of the Poor in the World are Women, 2001
Ghada Amer, Today 70% of the Poor in the World are Women, 2001

Ghada Amer

Today 70% of the Poor in the World are Women, 2001
Letter-shaped resin planters, sand
Edition of 3 plus 1 AP
© Ghada Amer
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%3Cdiv%20class%3D%22artist%22%3EGhada%20Amer%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EToday%2070%25%20of%20the%20Poor%20in%20the%20World%20are%20Women%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2001%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3ELetter-shaped%20resin%20planters%2C%20sand%3C/div%3E%3Cdiv%20class%3D%22edition_details%22%3EEdition%20of%203%20plus%201%20AP%3C/div%3E

Further images

  • (View a larger image of thumbnail 1 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
  • (View a larger image of thumbnail 2 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
  • (View a larger image of thumbnail 3 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
  • (View a larger image of thumbnail 4 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
  • (View a larger image of thumbnail 5 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
  • (View a larger image of thumbnail 6 ) Ghada Amer, Today 70% of the Poor in the World are Women, 2001
In 2001, Ghada Amer installed her larger than life 'Hoy el 70% de los Pobres en el Mundo son Mujeres (Today 70% of the Poor in the World are Women)'...
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In 2001, Ghada Amer installed her larger than life "Hoy el 70% de los Pobres en el Mundo son Mujeres (Today 70% of the Poor in the World are Women)" in Barcelona's iconic yet economically-depressed La Rambla del Raval. The stenciled letters were made into sandboxes, successfully inviting play; yet bringing light to an urgently concerning statistic. Amer recently reinstalled the piece outside of the Museo de Arte de Zapopan's plaza in Guadalajara, Mexico, offering protest to the continued marginalization of women nearly two decades later. The importance of the installation in public places speaks to its political critique and its communal purpose for play.
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