This essay examines how images by the feminist documentary photographer Franki Raffles illuminate the possibilities for – and challenges involved in – the instigation of feminist solidary between different geographic sites. Drawing on Chandra Talpade Mohanty's distinction between ‘solidarity’ and ‘sisterhood’, whereby the former signals a process of active struggle that recognizes, rather than erases, differential experience, it argues that Raffles sought to examine how gender and labour coalesced across a number of sites – specifically, Scotland, the Soviet Union (Russia, Georgia and Ukraine) Israel and Palestine – while remaining attentive to specific socio-political and cultural contexts. It situates Raffles's work in relation to the seismic geopolitical shifts that began in 1989, particularly the collapse of the Soviet Union and the acceleration of globalization. Raffles's work underscores the importance of feminist methodologies for analysing the relationship between the constructs ‘British art’ and ‘the global’, through her photographic examination of how globalizing processes led to gendered divisions and inequalities of labour.

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让你明白：弗兰基·莱佛士、摄影与女权主义团结

这篇文章探讨了女权主义纪录片摄影师弗兰基·莱佛士的图像如何阐明了在不同地理位置之间煽动女权主义团结的可能性以及所涉及的挑战。借鉴 Chandra Talpade Mohanty 对“团结”和“姐妹情谊”的区分，前者标志着一个积极斗争的过程，该过程承认而不是消除差异经验，它认为莱佛士试图研究性别和劳动力如何在许多地点——特别是苏格兰、苏联（俄罗斯、格鲁吉亚和乌克兰）以色列和巴勒斯坦——同时关注特定的社会政治和文化背景。它将莱佛士的工作与 1989 年开始的地震地缘政治转变联系起来，特别是苏联的解体和全球化的加速。莱佛士的作品通过她对全球化过程如何导致性别分工和劳动不平等的摄影考察，强调了女权主义方法论分析“英国艺术”和“全球”之间关系的重要性。