Ancestors: Valentine De Saint-Point
Gaza is burning, and the legacy and ruptures stemming from the collapse of the Ottoman Empire and the subsequent formation of nation-states in the region continue to linger today. Knowing that the Futurists themselves were energised by the sounds of the Balkan War (1912), whether in Edirne, between present-day Turkey and Greece, Alexandria, or Damascus, I have long been fascinated by the birthplace of the European avant-garde, a region that remains a hotspot. Though not formally trained in art history and having studied political science, I first encountered Valentine de Saint-Point through Adrien Sina’s groundbreaking research, introduced by art historian RoseLee Goldberg during Performa 2009.
Valentine de Saint-Point in her studio in Paris, 19 Avenue de Tourville. Photo: Meurisse Press Agency, 1914. Image courtesy of the Bibliothèque nationale de France, Paris
Inspired by warriors such as the Amazons, Semiramis, and Joan of Arc, Valentine de Saint-Point was a visionary thinker, artist, and activist who forged powerful cultural and political connections from the remnants of the Ottoman Empire. Based in Egypt, she fiercely condemned colonial violence, notably the horrific ‘slaughter of Damascus’ in Syria. Beyond words, she actively engaged with intellectual and resistance circles throughout the Middle East. Her 1925 lecture, ‘The Failure of Western Civilisation’, delivered a profound critique of colonialism and called for Eastern unity. Her concept of ‘Feminine Action’ remains a timeless plea for justice, reconciliation, and transformation. Adrien Sina’s extensive work reexamines the vital roles played by female avant-gardes in early twentieth-century performance and dance. His project, ‘Feminine Futures’, showcased over 2,500 rare original photographs, manuscript correspondence, and deeply contextualised documents related to Valentine de Saint-Point alongside other pioneers of Futurism, Expressionism and Abstraction. We are proud to include his invaluable contribution
Gaza is burning, and the legacy and ruptures stemming from the collapse of the Ottoman Empire and the subsequent formation of nation-states in the region continue to linger today. Knowing that the Futurists themselves were energised by the sounds of the Balkan War (1912), whether in Edirne, between present-day Turkey and Greece, Alexandria, or Damascus, I have long been fascinated by the birthplace of the European avant-garde, a region that remains a hotspot. Though not formally trained in art history and having studied political science, I first encountered Valentine de Saint-Point through Adrien Sina’s groundbreaking research, introduced by art historian RoseLee Goldberg during Performa 2009.
Valentine de Saint-Point in her studio in Paris, 19 Avenue de Tourville. Photo: Meurisse Press Agency, 1914. Image courtesy of the Bibliothèque nationale de France, Paris
Inspired by warriors such as the Amazons, Semiramis, and Joan of Arc, Valentine de Saint-Point was a visionary thinker, artist, and activist who forged powerful cultural and political connections from the remnants of the Ottoman Empire. Based in Egypt, she fiercely condemned colonial violence, notably the horrific ‘slaughter of Damascus’ in Syria. Beyond words, she actively engaged with intellectual and resistance circles throughout the Middle East. Her 1925 lecture, ‘The Failure of Western Civilisation’, delivered a profound critique of colonialism and called for Eastern unity. Her concept of ‘Feminine Action’ remains a timeless plea for justice, reconciliation, and transformation. Adrien Sina’s extensive work reexamines the vital roles played by female avant-gardes in early twentieth-century performance and dance. His project, ‘Feminine Futures’, showcased over 2,500 rare original photographs, manuscript correspondence, and deeply contextualised documents related to Valentine de Saint-Point alongside other pioneers of Futurism, Expressionism and Abstraction. We are proud to include his invaluable contribution.
