his major retrospective at the Mart the Mart aims to bring to light the conceptual coherence accompanying all the formal variations and key moments in the evolution of Gina Pane’s art: from the geometric pictures and the “Structures affirmées” (“Affirmative structures”) made up to 1967, to the “actions” in nature of the 1960s and 1970s, and on to the “Partitions” and “Icônes” executed from 1980 to 1989.
Over 160 works will be on show, loaned by leading international contemporary art museums and important private collections: installations, paintings, drawings, videos, photographs, sculptures, objects used in her most well-known “actions” and the only film ever made by the artist. Gina Pane made a deep impression on the art of the 1970s with a series of “actions” carrying a deep symbolic charge. The emotions and reactions of rejection provoked by the wounds she used to inflict upon herself with a razor blade, in which the body was offered as a mirror to the “anaesthetised” spectator, and the blood as life-bearing gift have.
The exhibition instead proposes an excursus that progressively reveals the artist’s symbolic vocabulary, built up over the various phases of her production. For the first time, the complex network of relations linking practices that are often far-removed from each other on a formal level is marked out clearly.
The theme of the sacred, for example, belongs not only to the last period, but is instead one of the main structures underpinning her work. The omnipresence of the motif of the cross, the giving of self, the suffering body of the martyr, form a group of references and signs through a precise language built up over time, the traces of which can be found in all of the artist’s œuvre.
Curated by Sophie Duplaix with the collaboration of Anne Marchand