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ArtCapital 2020
PARIS, Grand Palais, February 12th - 16th, 2020
Andrea Fallini
Taking advantage of the architectural frame of the Paris Grand Palais, BZanconato proposed to ArtCapital 2020
her installation entitled “WALL OF DOLLS”.
The artwork has taken inspiration from violence against women and particulary from the feminicides
that are daily at the forefront of the news even in those Countries where the question of women,
traditionally, appears as a thing of the past.
To every event of violence the question of education is proposed more as a chanting than as a true solution:
the male one for a greater respect of partners, the female one for a greater capacity of defense.  
But is education the key to everything?  
And if so, what kind of education?
This is the question that BZanconato asked in Paris, explicitly, in a graphical and almost pop way,
with her installation showing multiform and multicolored letters (IS EDUCATION THE KEY? )
with the intention to propose a reflection about the state of gender relations and the need for new paradigms.  
As it is typical of the Artist’s expressive modalities, highly symbolic and rich in connections and having multiple interpretative levels, the temporal location of the presentation of «WALL OF DOLLS» at the Grand Palais also assumes an important meaning.
 Indeed, the concomitant celebration of Valentine’s Day, the feast of lovers, is not fortuitous. 

For this, the starting theme is enriched and focuses on love
 and on how, sometimes, such a positive feeling can turn into mad violence.
It focuses on the issue of gender relationships and roles within the couple;
how these roles, after all, are transmitted, from generation to generation, without adapting it to new times.
It highlights the absurd principle of a hierarchy within such roles
and the unacceptable association of the concept of love with that of possession of the other person:
the absurdity of the idea of the hunter man and the prey woman.
Absurdity from which a double moral is derived and, in this way, the male’s value increases with increasing
of the seized preys while decreases that of the woman when she becomes an easier prey.
Nevertheless, although times have changed, the stereotype of the macho/male-alpha and the woman devoted to home and family, subject to her man, remains relevant in the imagination of many and both genders.
There are still many everyday behaviors that reflect this antiquated mentality,
strongly focused on gender differentiation, on a sexism that, since early childhood
(think of the colored bows that decorate the cradles), tends to specialize males and females
according to different roles, behaviors, moral rules.
Towards power, wealth, success and command, the first,
towards docility, submission, marriage and family care, the second.
But times have changed.
Contemporary life has given women an increasingly important role even outside the home.
The economic crisis has shown how many women have worn the shoes of the head of the family,
sustaining also economically, with their work and their abilities, the whole family.
Substituting, in many cases, their husband/companion who had lost his job, perhaps
(and often, adding to the work commitments, the domestic and care of the children).
Why then submit to the companion, when everyday life shows that the traditional couple hierarchies are no longer valid?
Considering these legitimate questions raised by many women, so many men seem incapable of grasping
the change in perspective and internalizing that the role to which they have been prepared
 from an early age is no longer relevant and valid.
And for some, the questioning of the role becomes the questioning of their own person, of their own "self".
From here, perhaps, in extreme cases, the mad murderous violence.
Violence which, to be seen, is already implicit, even if not immediately evident, in the concept of possession of the other
included in the traditional gender vision of love, of couple, of family.
And that is why BZanconato, in addition to the names of women killed by feminicide, in the back of the elements
of the installation, depicted black rectangles: symbols of the men who have stained themselves with feminicide.
After all, they too, victims of a climate, of a society, of a culture and of an education which, on their own skin,
proved to be unsuitable for contemporary life.
For the same reason, the angels, placed upside down on the front of the installation, do not show signs
of a gender identification: symbols of the victims of this old vision of love
based on possession and division of roles,
on the pair bond that must necessarily be eternal...

BZanconato invites to consider the gender difference as the differences in color of the eyes, of the hair:
distinctive elements of each of us that should not affect life. 
From this seemingly simple consideration, however, comes a whole series of important consequences:
first of all the absence of gender symbols, moral rules and behaviors.
In fact, starting from this truly equal vision among all people
(which would make obsolete any form of feminism and male chauvinism),
the issues concerning education, love, couple, family, work would decline differently … 

Restricting the issue to the aspects of gender and couple relationships,
you would no longer have hunters and preys,
but people, raised with the same incentives to discover themselves and the world,
autonomous and independent (also economically) and that, knowingly,
choose to establish equal relationships with partners simply because love is a feeling and not a need.
People well aware that these relationships are a kind of magic, beautiful but fragile, at the mercy of circumstances.
 That their rupture is possible if not probable.
And in this case, it should not be a personal failure to which strongly oppose,
reacting with acts of unprecedented violence.
On the contrary, as the Artist always likes to remember, it can represent a moment of evolution
to be accepted in the conviction that something better awaits us because
life is much richer than we can imagine.
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