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
Part of Over and Over and Over Again Containing:
The Reactivation of Time / Cristina Baldacci, Clio Nicastro, Arianna Sforzini
From Re- to Pre- and Back Again / Sven Lütticken
The Reenacted Double: Repetition as a Creative Paradox / Arianna Sforzini
‘The Reconstruction of the Past is the Task of Historians and not Agents’: Operative Reenactment in State Security Archives / Kata Krasznahorkai
The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ / Pio Abad
Insistence: The Temporality of the Death Fast and the Political / Özge Serin
‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa / Katja Gentric
Resounding Difficult Histories / Juliana Hodkinson
Archival Diffractions: A Response to Le Nemesiache’s Call / Giulia Damiani
Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive / Roberta Agnese
Unintentional Reenactments: Yella by Christian Petzold / Clio Nicastro
Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson / Ulrike Wagner
Speculative Writing: Unfilmed Scripts and Premediation Events / Pablo Gonçalo
Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging / Daniela Sacco
Re-search, Re-enactment, Re-design, Re-programmed Art / Serena Cangiano, Davide Fornari, Azalea Seratoni
In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat
Performance Art in the 1990s and the Generation Gap / Pierre Saurisse
Re-Presenting Art History: An Unfinished Process / Cristina Baldacci
Reconciling Authenticity and Reenactment: An Art Conservation Perspective / Amy Brost
UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation / Gaby Wijers
Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation / Vera Sofia Mota, Fransien van der Putt
Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ / Joanna Kiliszek
‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum / Michela Alessandrini
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization / Hélia Marçal, Daniela Salazar
‘We Are Gathering Experience’: Restaging the History of Art Education / Alethea Rockwell
Title
In the Beginning There Is an End
Subtitle
Approaching Gina Pane, Approaching Discours mou et mat
Author(s)
Malin Arnell
Identifier
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
4 January 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.
Language
en-GB
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

Cite as: Malin Arnell, ‘In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat’, in 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 <https://doi.org/10.37050/ci-21_16>