
Tomaso Binga (b. 1931) 是Bianca Menna的笔名,也是她的另一个自我。随着时间的推移,这个笔名与她所扮演的角色几乎不可分割地融合在一起。Binga的个展促使观众质疑语言的性别本质,通过诗歌、表演、拼贴和绘画来剖析交流的父权性质。视频来自2019年她在伦敦Mimosa House的个展A Silenced Victory的现场表演。通过创意诗的朗诵与文本的表演,及衣着与墙纸的花纹设计由她自己的话语体系重新塑造了空间。
“我的身体也是词汇文本。”
——Tomaso Bingo
Oggi spose (Just married), 1977, black-and-white photographs in vintage frames, diptych, cm 19 x 13 (each)
Autoritratto (Self-portrait), 1971. Collage on styrofoam, plexiglass, cm 38.2 x 52.8 x 11.5. Courtesy the artist and Galleria Tiziana Di Caro. Photo: Danilo Donzelli.
Tomaso Binga重新评估了节奏和音色的价值,为诗歌的和谐增添了温暖和色彩。在诗歌中,能指和所指交织在一起,在一种持续且可控的推诿相互作用中交替出现。这位艺术家在诗歌和绘画领域持续工作了40多年,研究了它们之间的微妙关系和可能的联系。作为写作的艺术实践伴随着她的整个艺术生存发展,在语言、手势和身体的运用中得到了有机的实现。讽刺和怪异、谴责和亵渎、胡言乱语和常见的地方,是这些表演诗的主要成分,这些诗与有声诗一起,被丰富了身体的能量,以在文本和观众之间建立一个更直接的媒介。
1977年,她与Poesia Muta、Ti scrivo solo di Domenica、Io Sono una Carta,诗意的表演完全被赋予了“世界之音”这一明显的女权主义标志,并谴责了与女性地位有关的所有最紧迫的社会问题,她们受到了一个仍然以男性为主导的残酷社会的限制。
Alfabetiere murale (detail), 1976
collage on cardboard, 21 elements, Collezione Archivio Menna – Binga, Roma, In comodato al Madre, Napoli, Courtesy Tomaso Binga and Galleria Tiziana Di Caro, © Photo: Amedeo Benestante
Congiunte/Separate ('United/Divided'), 1973. Courtesy Archivio Menna Binga. Photo: Tim Bowditch
A Silenced Victory, installation view. Courtesy Archivio Menna Binga. Photo: Tim Bowditch
Carta da parato-Casa Malangone, 1976,
installation, wall paper, ink on wall paper, overall dimesions variable (detail)
Strigatoio n. 3, 1974, white varnish and marker on wood, cm 59 x 24
Angolare [Angular], 1974
marker on bristo paper, 69.8 x 50 cm,
Courtesy Tomasoi Binga and Galleria Tiziana Di Caro
Io sono io, io sono me (I am I, I am me), 1977, ink on black-and-white photographs, diptych, cm 40 x 30 (each)
Alfabetiere murale (detail), 1976
collage on cardboard, 21 elements, Collezione Archivio Menna – Binga, Roma, In comodato al Madre, Napoli
© Photo: Amedeo Benestante
Alfabetiere murale, 1976
collage on cardboard, 21 elements,
Collezione Archivio Menna – Binga, Roma, In comodato al Madre, Napoli, © Photo: Amedeo Benestante
Io sono l l l, io sono Lilith, 1978, poetic typecode, typewriting cm 55,5 x 20,5, Collezione La Galleria nazionale d'arte moderna e contemporanea, photo: Danilo Donzelli
Mani per una parabola [Hands for a parable], 1973,
styrofoam, collage and plexiglass, Courtesy Tomaso Binga and Galleria Tiziana Di Caro
'Z' - lettera interrogativa (interrogative letter), 2008. Courtesy Archivio Menna Binga. Photo: Tim Bowditch
Mater – Litanie Lauretane, 1976-2015, photo collage and ink on paper, 28 elements, 35 x 40 each, Courtesy Tomaso Binga and Galleria Tiziana Di Caro
Dattilocodice (Typecode), 1978, typewriting, cm 50 x 55, photo: Danilo Donzelli
Ritratto analogico (di Rocco Santoro), 1972, collage and felt pen on paper, cm 50 x 70, photo: Danilo Donzelli
Parole in dissolvenza [Fading out words], 1973, ink on paper, 40 x 139 cm, Courtesy Tomasoi Binga and Galleria Tiziana Di Caro
Scrittura desemantizzata, 1975, indian ink on printed paper, cm 50 x 70
Ritratto analogico [Analog portrait], 1974, collage and marker pen on paper, 50 x 70 cm, Courtesy Tomaso Binga and Galleria Tiziana Di Caro
Ritratto analogico [Analog portrait], 1974, collage and marker pen on paper, 50 x 70 cm, Courtesy Tomaso Binga and Galleria Tiziana Di Caro
Ti scrivo solo di domenica [I write only on Sunday], 1977, 52 letters typewritten on Carte di Amalfi Courtesy Tomaso Binga and Galleria Tiziana Di Caro, © Photo: Danilo Donzelli
Tirassegno (giallo) [Yellow target], 1971, collage on styrofoam, plexiglass, 49.2 x 49.2 x 4.7 cm, Courtesy Tomaso Binga and Galleria Tiziana Di Caro
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