Book Section
In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.
Keywords: performance art; reenactment; Gina Pane; artistic research; lesbian continuum
Title
In the Beginning There Is an End
Subtitle
Approaching Gina Pane, Approaching Discours mou et mat
Author(s)
Malin Arnell
Identifier
DOI Target
HTML Page
Description
In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
January 4, 2022
Subject
performance art
reenactment
Gina Pane
artistic research
lesbian continuum
Rights
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Harvested
yes
Language
en-GB
short title
In the Beginning
page start
151
page end
159
Source
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 151–59

References

  • Arnell, Malin, Reflect Soft Matte Discourse, performance, with Clara López Menéndez and Ulrika Gomm, 58 min, part of ‘LIKA – a performance evening’ at KAMARADE, Stockholm, 24 May 2011
  • Baumgartner, Frédérique, ‘Reviving the Collective Body: Gina Pane’s Escalade Non Anesthésiée’, Oxford Art Journal, 34.2 (June 2011), pp. 247–63 <https://doi.org/10.1093/oxartj/kcr020>
  • Cixous, Helene, ‘The Laugh of the Medusa’, trans. by Keith Cohen and Paula Cohen, Signs: Journal of Women in Culture and Society, 1.4 (Summer 1976), pp. 875–93 <https://doi.org/10.1086/493306>
  • Leszkowicz, Paweł, ‘Gina Pane — Self-Inflicted Pain Is You! Today Photographs Are All That Remain. We Can Only Imagine the Hurt’, trans. by Timothy Williams, Czas Kultury ( Time of Culture), 20.1 (2004), 20.1 (2004), pp. 42–55.
  • Linder-Gaillard, Inge, ‘Stigmata, Icons and Reliquaries’, in Gina Pane (Southampton: John Hansard Gallery, 2002) pp. 43–54
  • O’Dell, Kathy, Contract with the Skin: Masochism, Performance Art, and the 1970s (Minneapolis: University of Minnesota Press, 1998) <https://doi.org/10.5749/j.ctttv3g6>
  • Pane, Gina, Discours mou et mat, performance, Brouwersgracht, 28 June to 17 July 1975 <https://deappel.nl/en/events/gina-pane-discours-mou-et-mat> [accessed: 2 February 2020]
  • Pane, Gina, ‘Lettre à un(e) inconnu(e)’, in ArTitudes international, 15–17 (October–December 1974), pp. 26–35
  • Pane, Gina, Lettre à un(e) inconnu(e), ed. by Blandine Chavanne, Anne Marchand, and Julia Hountou (Paris: École nationale supérieure des beaux-arts, 2004)
  • Quarantelli, Ezio, and Gina Pane, ‘Travels with St. Francis: A Rare Discussion with the French Artist Who Is One of the Premiere Practitioners of Body Art’, Contemporanea, 1.4 (November–December 1988), pp. 44–47
  • Richards, Mary, ‘Specular Suffering: (Staging) the Bleeding Body’, PAJ: A Journal of Performance and Art, 30.1 (January 2008), pp. 108–19 <https://doi.org/10.1162/pajj.2008.30.1.108>
  • Graevenitz, Antje von, ‘Then and Now: Performance Art in Holland’, Studio International, 192 (July–August 1976), pp. 49–53
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Cite as: Malin Arnell, ‘/i>’;, in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Re-, 21 (Berlin: ICI Berlin Press, 2022), pp. 151-59 <https://doi.org/10.37050/ci-21_16>