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Gina Proenza likes to shift words around in sentences or strategically remove certain letters from words. This play of transpositions in language could also characterize her way of working with sculpture, allowing unexpected images and ideas to pop up when things are no longer in their usual place.
The authoritarian note sounding in the title of her show at La Salle de bains, a statement you might read over a border post or at the entrance to a nightclub or museum – when the exit is final and there’s no going back – flips around two words in the title Anne Carson gave to one of her essays.1 Carson’s text speaks about a threshold, the one the author crosses at night in her sleep, when to be absent from the world amounts to entering the dimension of dreams and surrendering to the laws of the enigmatic, the odd, where everything that was familiar becomes disturbing. At La Salle de bains, visitors may indeed wonder on which side of the...More
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Press Release
Gina Proenza likes to shift words around in sentences or strategically remove certain letters from words. This play of transpositions in language could also characterize her way of working with sculpture, allowing unexpected images and ideas to pop up when things are no longer in their usual place.
The authoritarian note sounding in the title of her show at La Salle de bains, a statement you might read over a border post or at the entrance to a nightclub or museum – when the exit is final and there’s no going back – flips around two words in the title Anne Carson gave to one of her essays.1 Carson’s text speaks about a threshold, the one the author crosses at night in her sleep, when to be absent from the world amounts to entering the dimension of dreams and surrendering to the laws of the enigmatic, the odd, where everything that was familiar becomes disturbing. At La Salle de bains, visitors may indeed wonder on which side of the...More
