gina pane. intersections
30 Jan - 24 Apr 2016
gina pane. Detail of Action Psyché, (1974). Collection IAC, Institut d'art contemporain, Villeurbanne/Rhône-Alpes © ADAGP Paris © VEGAP, León, 2015-16
gina pane. intersections
30 January - 24 April 2016
Curatorship: Juan Vicente Aliaga
Coordination: Helena López Camacho
gina pane, intersections is the first solo show dedicated to the key figure in body art gina pane (Biarritz, France, 1939 – Paris, France, 1990) to be organized by a Spanish institution since 1990. Curated by Juan Vicente Aliaga— a renowned expert in the field of feminism and gender studies, and associate Professor at Universidad Politécnica de Valencia — this exhibition explores different strands of pane's practice: individual responsibility towards nature and its degradation; the impact of social, economic and political conditions in the world (and also in art); the body as a field for exploration and as a symbol of fragility and pain; emotional relationships with others and particularly with women; and a fascination with the sacred.
gina pane earned a place in the history of contemporary art thanks to her actions focused on the production of wounds. Her works with the body were nonetheless the result of a well-prepared and meditated project. The artist addressed the body in performance both as a biological and psychological ground base as well as a social body. With her actions, the artist endeavoured to open up to others —to the other— and to get closer to different human realities such as identity, pain, and language through her own experiences, in what was a clearly holistic and intersectional conception. As such, one can claim that the fragile and mortal body pane spoke of was also engaged with nature, and indeed in her works from the late sixties the French- Italian artist also dealt with the threats to nature.
The works chosen to outline the various strands are underwritten by different techniques (painting, photographic panels also composed of drawings and text, video, sculpture) which echo the artist’s broadranging artistic restlessness, underpinned by a holistic vision of creativity. The most frequent reading of gina pane depicts her almost exclusively as an artist whose performances involved an element of personal risk. Yet this is not the optic taken here, instead proposing a more overarching view of her whole practice in which differing problematics intersect in pursuit of a language replete with signs and symbols. The wounds which she inflicted on herself in her actions throughout the seventies in different places (Paris, Milan, Bologna, Kassel...) foreclosed any possibility of the audience remaining aloof or indifferent. To a large extent, what pane was after was precisely to arouse the audience from its self-absorption and passiveness.
30 January - 24 April 2016
Curatorship: Juan Vicente Aliaga
Coordination: Helena López Camacho
gina pane, intersections is the first solo show dedicated to the key figure in body art gina pane (Biarritz, France, 1939 – Paris, France, 1990) to be organized by a Spanish institution since 1990. Curated by Juan Vicente Aliaga— a renowned expert in the field of feminism and gender studies, and associate Professor at Universidad Politécnica de Valencia — this exhibition explores different strands of pane's practice: individual responsibility towards nature and its degradation; the impact of social, economic and political conditions in the world (and also in art); the body as a field for exploration and as a symbol of fragility and pain; emotional relationships with others and particularly with women; and a fascination with the sacred.
gina pane earned a place in the history of contemporary art thanks to her actions focused on the production of wounds. Her works with the body were nonetheless the result of a well-prepared and meditated project. The artist addressed the body in performance both as a biological and psychological ground base as well as a social body. With her actions, the artist endeavoured to open up to others —to the other— and to get closer to different human realities such as identity, pain, and language through her own experiences, in what was a clearly holistic and intersectional conception. As such, one can claim that the fragile and mortal body pane spoke of was also engaged with nature, and indeed in her works from the late sixties the French- Italian artist also dealt with the threats to nature.
The works chosen to outline the various strands are underwritten by different techniques (painting, photographic panels also composed of drawings and text, video, sculpture) which echo the artist’s broadranging artistic restlessness, underpinned by a holistic vision of creativity. The most frequent reading of gina pane depicts her almost exclusively as an artist whose performances involved an element of personal risk. Yet this is not the optic taken here, instead proposing a more overarching view of her whole practice in which differing problematics intersect in pursuit of a language replete with signs and symbols. The wounds which she inflicted on herself in her actions throughout the seventies in different places (Paris, Milan, Bologna, Kassel...) foreclosed any possibility of the audience remaining aloof or indifferent. To a large extent, what pane was after was precisely to arouse the audience from its self-absorption and passiveness.