Ana Mas Projects presents, in her space in Barcelona, the exhibition Adoptar otra naturaleza (Adopt another nature), by artist Regina Giménez. The exhibition features a set of works, most of them recently produced, which are connected by a common denominator: the object[1]. After a painstaking process of research, Giménez takes images originally conceived as supporting elements and text illustrations–in this case, a page taken from the astronomy section of a 19th century encyclopedia– and she isolates them, to the point of giving them their own conceptual and formal autonomy, turning them into works of art.

Although this could be considered a relatively common artistic procedure, in the case of Regina’s work the process of transforming the works evolves into another state, that of industry, that of object. Undoubtedly, the object is the main character in this exhibition, as well as the indisputable manifestation of the dual nature of the work of art.

The three exhibits placed in the middle of the installation are just the paradigmatic case of this phenomena. A carpet, a picture and a document open a dialogue that exemplifies the artist’s work malleability and its ability to be transformed. Just at one glance, an illustration on a framed document attracts our attention with the sentence “The Sun seen from”. Between text columns, a black box frames ten circumferences that show the different sizes of the Sun depending on the planet from where it is seen[2]. Close to this, a large canvas, The Sun seen from, illustrates the artist’s creative process. Giménez, inspired by the first document, decides to extract only the image (isolating it from words and its original meaning) providing it with different colour tones.

Just in front, a handwoven pure wool carpet designed by the artist is shown as the third state. These three states, as happens with matter (solid-liquid-gas), can exist in several different forms: document-work-object[3].

It needs to be mentioned that the process of transforming and altering the states has not been planned or foreseen by the artist. Instead, changes have been made for reasons beyond her control. Such is the case of the dress, the blouse and the trousers designed by Isabel Marant for her pre-fall’16 capsule collection. French designer was inspired by some works from the collection Cosmic Geometry that she had shortly before acquired for her private collection. The pieces are featured as walking microcosms when the owners wear them.

Gina’s work has not only leap towards fashion industry. Her production is also present in the music sector, having been an inspiration for the cover of Alex Izenberg’s (Harlequin) debut album. She has also worked in the creation of stationary based on her own designs. Notebooks illustrated by Gina can be found in the shops of many of the most important museums of the world, such as MoMA and MACBA. She has even left a mark in one of the most iconic restaurants of the city, Velódromo, designing the menus, which are at the same time, the cloths.

Halfway between the document, the work and the object we can find four lithographs. The copies are part of a limited series of diptychs that keep their original essence. This originality is given by the two parts in which they are divided. The first one is filled with cosmic geometries and the other, white blank and with the names of stars, planets and astronomical phenomena on it, is ready to be completed by children and motivate this way their artistic interest. Finally, the exhibition also includes 18 works used to create a template designed by the artist herself. It is a sort of proposal that plays with the do-it-yourself philosophy, a step beyond the conception of the boundaries defining work of arts and objects.

It is important to highlight the elaboration of a publication/work of art specially produced for this exhibition. This piece holds two different points of view on this exhibition in particular and also on Regina’s work in general. Art critic and curator Frederic Montornés and artist Enric Farrés share a space for reflection in a poster where the main image is the starting point of the exhibition –the page taken from the encyclopedia-. Two different yet complementary contributions to Regina’s work that, at the same time, aim to prove that work of art, document and object can coexist. The publication is also intended to be a souvenir for the visitor, who can take and keep a small part of the exhibition.

Regina Giménez has exhibited widely across Europe (Barcelona, Madrid, Paris, Brussels, London, Germany and Switzerland) and Korea. She has received numerous awards during her career, including Tarragona Art Biennial (2010), Generation 2002 Award from Caja Madrid and Fondation Comprime Award (Paris), among others.

She has recently taken part, together with three other artists, in the independent event Composiciones, organized by Latitudes in the framework of the Barcelona Gallery Weekend 2016. Her work can been found not only in significant institutions such as Fundación La Caixa, Fundación Banc Sabadell and Fundación Vila Casas in Barcelona, but also in private collections such as Lawrence B. Benenson’s in New York, Adriana Cisneros’ in New York and Miami, Jameston Group’s in New York and Atlanta. She is also part of Isabel Marant’s private collection and Fondation Comprime, both based in Paris.

[1] Not all of them are objects themselves, but they are somehow related to this.

[2] Note that the reliability of a document dating back to the 19th-century is questionable, although this does not concern the artist at all.

[3] Boundaries dividing these three states, as in nature are blurred and they are sometimes in the stage of transformation.