Humans are one of the few mammals that have menopause, in addition to some whales and a specific type of chimpanzees. It seems logical to deduce that this happens in species that are characterized by a long life expectancy in which dilating the reproductive duration of adult females can enter into competition with younger ones. Whatever the reason, in our society it has usually happened that when women stop menstruating, when they can no longer bear children, they enter a foggy territory where the environment considers them less and less, in every way. They become transparent, strangely, in the personal and work fields. In today's world, this invisibility is a topic that is not talked about strongly enough, at least until a few decades ago, when specialists such as Anna Freixas began to spread about it naturally. Precisely, the latest series by María María Acha-Kutscher (Lima, Peru, 1968) focus on this situation linked to female aging, an issue that serves as a backdrop for her projects I remember the nights when I used to sleep (2023), En el fondo del espejo me acecha la vejez (2024), It took years to get a head full of silver strands (2024)[1].
On feminist issues, fortunately, we have made a lot of progress in a country like Spain during the 21st century. There has been a real change in the sensibility of Western people and institutions, the majority of the population has understood that it was necessary to work in the same direction, all in unity. Although there is still no true equality, much has been done for it. The interesting thing is that once this transformation has begun, it is pertinent to refine the reasons to pay attention to so that energy is not dispersed or so it seems that something has been achieved or we have reached the goal, because feminism, like freedoms or rights, are social conquests that must be underpinned every day. If we are careless and let our guard down, we retreat. Even more so now, when techno-capitalist forces led by Elon Musk after the arrival of Donald Trump to the presidency of the United States, are beginning to weaken democratic pillars that seemed solid.
Directing attention to a debate on ageism, as Acha-Kutscher does in these works on today's women in their maturity (be careful, the stigma is so great that it is usual for many professionals from a certain age to prefer not to say their date of birth), means raising new demands that are rarely dealt with or sotto voce. The attitude of asking supposes the appearance of consciousness, said María Zambrano, which is why it is so important to bring to light these concerns that entail other parallel issues such as the sublimation of appearance, the demand for an untainted presence or the consideration of female roles when passing an age. It is happening now that activists and thinkers in their fifties and sixties from various continents are reflecting on this matter, which was a content to be avoided until recently because no one knew how to approach it. For women who have had children, this period would be the best because they are freed from that responsibility and can develop more thinking about them, especially intellectually. Over the years you have more experience because you have accumulated baggage, which is essential to take advantage of the wisdom acquired. The attractiveness of a woman in her fullness goes beyond her image, although advertising, the media and social networks are continuously insisting on exalting that desideratum as if it were a valid paradigm.
We must review the iconographic canon of today's women, be attentive to what underlies, ways of treating the feminine from a less sexualized vision are emerging; normative beauty has evolved and has become plural, it should not focus so much on physical appearance or on the exaltation of youth, redounding to the stereotype leads us to a regression. We have to stop and think about what we see, get to the bottom and transcend the surface. True attractiveness has no age, it relates to someone who has personality, character and confidence to act without masks being as they are. Broadening the spectrum and relativizing beauty means leaving behind a position of the past where women have been objectified from male desire. Photography in the 21st century no longer depends on posing or the camera, it is a primary tool for exploring alternatives for visual thinking. Successful tiktokers and influencers will soon be replaced by improved substitutes created by AI. They are such a predictable cliché, that it is very easy to copy, they represent just the opposite path to which we should aspire as a society, naturalness and authenticity cannot be imitated.
Old age is perceived as something distant from older people, we do not know when that stage begins, which seems not to concern us and will never reach us, hence the need to investigate from contemporary art in arguments like this one focused on everything we are and do not notice. Interestingly, it is a main theme of life that gives the feeling that it is always aimed at others. This handbook of projects by María María Acha-Kutscher helps to create a new imaginary about the passage of time around the female condition. She does so with subtlety and intelligence, suggesting without raising her voice or imposing anything. Above all, catching the gaze to make us think through the eyes.
[1] These series by María María Acha-Kutscher are based on a long investigation that intertwines the visual with the literary-philosophical by drawing inspiration from the writings of authors such as Simone de Beauvoir, Susan Sontag or Sylvia Plath, among others.
________________________________________________________________
Sema D'Acosta (Seville, 1975)
Graduate in Journalism and Art History from the Universidad de Sevilla.
He is an independent curator, art critic, teacher and researcher. His interests reside in the different languages of today's visual arts, especially photography and painting.
Since 2005, he has been developing contemporary art projects. He has worked with some of the most relevant authors in our context, including Joan Fontcuberta, Luis Gordillo, Pierre Gonnord, José Manuel Ballester, Bleda y Rosa, Miki Leal or Miguel Trillo. He has been the curator of PhotoEspaña for Santander and Cantabria (2023), as well as curating the TALENT LATENT section of the SCAN International Photography Festival in Tarragona (2018, 2022) or the IX edition of the Pilar Citoler International Biennial Prize for Contemporary Photography (2017-18). He has been a member of the Consejo de Críticos de Artes Visuales de España (2009-2017).
Currently, curator of the ANKARIA PHOTO Award on Photography of the 21st century and curator of the Full Contact at the Scan Tarragona International Photography Festival, coordinator of the IMAGINERA Photography Award of Andalusia and curator of the DIÁLOGOS PÉREZ SIQUIER program.
He is also director and screenwriter of the documentary LUIS GORDILLO. MANUAL DE INSTRUCCIONES (2025).