“Breasts” is a provocative and engaging exhibition curated by Carolina Pasti at ACP Palazzo Franchetti during the 60th International Art Exhibition – La Biennale di Venezia. This exhibition runs from April 18th to November 24th, 2024. Featuring diverse works from over thirty artists worldwide, “Breasts” spans painting, sculpture, photography, and film from the 1500s to the present. This bold showcase delves into the multifaceted iconography and symbolism of breasts in art, exploring themes of motherhood, empowerment, sexuality, body image and illness.
Using the imagery of breasts to ignite discussions on socio-political issues, the show challenges historical conventions, and expresses both personal and collective identities. Through five distinct rooms and an immersive entryway, visitors are invited to engage with these themes in profound and impactful ways. The journey begins with a whimsical yet meaningful entryway designed by Buchanan Studio, setting the stage for a rich exploration of the complexities surrounding the female form. Highlights of the exhibition include an impressive array of surrealist masterpieces and poignant sculptures that push the boundaries of artistic expression and thematic depth. Marcel Duchamp’s “Prière de toucher” and Salvador Dalí’s “Nude with Snail Breasts” exemplify the surrealists’ fascination with the female form, merging human anatomy with fantastical elements to create dreamlike interpretations of femininity. Prune Nourry, a breast cancer survivor, presents a deeply moving sculpture crafted from Venetian glass and bronze, standing as a testament to resilience and the transformative power of art.
The exhibition also examines the impact of digital media on the representation of breasts through the lens of renowned photographers Robert Mapplethorpe and Irving Penn, whose work transforms breasts into enigmatic landscapes and abstract forms, challenging traditional perceptions and evoking subconscious emotions. Furthermore, the commercial exploitation of breasts in advertising is explored with provocative works by fashion photographers Oliviero Toscani and Christopher Bucklow, whose daring advertisements and intricate pinhole photographs of Claudia Schiffer subvert conventional norms. This rich and diverse collection not only provides a comprehensive exploration of the representation of breasts in art but also engages viewers in a deeper conversation about identity, consumer culture, and the evolving socio-political landscape. Each work contributes to a multifaceted dialogue about the female form and its place in both historical and contemporary contexts. “Breasts” not only celebrates artistic expression but also supports a vital cause. In partnership with Fondazione IEO-MONZINO, 30% of the exhibition’s catalog funds will aid essential breast cancer research. Sponsored by Intimissimi, a brand that champions female empowerment, this exhibition underscores the belief that every woman deserves to shine. Whitewall interviewed Carolina Pasti, the visionary curator behind the ground-breaking “Breasts” exhibition. Carolina provided insightful perspectives on the diverse artistic expressions and themes explored in the showcase, which range from motherhood and empowerment to body image and illness.
Carolina Pasti, curator of the “Breasts” exhibition. Courtesy of Carolina Pasti.
How Carolina Pasti Curated “Breasts”
WHITEWALL: In curating an exhibition as multifaceted as “Breasts”, how did you navigate the balance between celebrating the aesthetic and cultural significance of breasts while also addressing the potentially contentious or sensitive nature of the subject matter?
CAROLINA PASTI: “Breasts” showcases the varied works of both emerging and established artists from around the globe, covering the fields of painting, sculptures, photography, and film. The exhibition investigates how breasts have been perceived and depicted in art across cultures and traditions. I have chosen key works for this show, evoking emotions and meanings aligned with themes such as motherhood, breastfeeding, sexuality, and breast cancer awareness.
Installation view, “Breasts”, 18 Apr – 24 Nov 2024, ACP Palazzo Franchetti, Venice. Courtesy of Carolina Pasti. Photo: Eva Herzog.
WW: The exhibition showcases a diverse range of artists and styles spanning centuries. Could you speak to any notable juxtapositions or dialogues between historical and contemporary representations of breasts within the exhibition, and what insights might viewers gain from these comparisons?
CP: This exploration focuses on the Renaissance Old Masters, particularly analyzing the iconography of the Madonna del Latte (Madonna Breastfeeding the Child). This iconic representation not only influenced Cindy Sherman’s ‘History Portraits,’ but also underscores how modern artists such as Richard Dupont, Teniqua Crawford, and Sherrie Levine integrate Renaissance motifs into their figurative artworks. These artists engage with themes such as motherhood and breastfeeding.
Bernardino del Signoraccio, “Madonna dell’ Umiltà”, ca.1460-1540, Tempera on Panel, 60 x 40 cm, Courtesy of Flavio Gianassi, FG Fine Arts LTD.
Exploring the Complexity of “Breasts”
WW: “Breasts” delves into themes such as motherhood, empowerment, and illness. How do you see these themes intersecting within the context of the artworks presented, and what do you hope viewers will glean from these nuanced explorations?
CP: Reflecting on a range of themes including motherhood, empowerment, sexuality, illness, and nationhood, “Breasts” explores how these representations serve as catalysts for discussing socio-political realities, challenging historical traditions, and expressing personal and collective identities.
WW: The exhibition features artworks that challenge traditional perceptions of the female body, including those that fragment, abstract, or deconstruct breasts. How do you interpret the artists’ intentions in employing these unconventional approaches, and what impact do you anticipate these works having on viewers’ perceptions of femininity and sexuality?
CP: The artists challenge conventional representations of breasts and the female nude, which have often been depicted as objects of male desire in art history. The artworks subvert this notion by presenting the breast in a disembodied and abstracted form, removed from its typical context within the female nude body. By detaching the breast, the artist’s prompt reflection on its functionality as a source of nourishment, transcends human connotations and suggests a more primal essence.
Artists in “Breasts” Challenge Societal Norms
WW: Considering the dedicated room exploring breasts in commercial advertising, could you elaborate on the ways art serves as a platform for critiquing and subverting societal norms, especially regarding the commodification and objectification of the female body?
CP: Part of my research focuses on the evolution and transformation of the representation of breasts, particularly how photographers have challenged and subverted the conventional role of advertising, intentionally making the viewer feel uncomfortable and confused. One of the strongest examples in the show is Oliviero Toscani’s photograph from 1989.
Toscani once stated, “There isn’t such a thing as a shocking picture; there is a shocking reality that is being reproduced through photography for people who aren’t there. Pictures confront you with a reality that, most of the time, you don’t want to see, don’t want to know about, don’t want to get involved in.”
Installation view, “Breasts”, 18 Apr – 24 Nov 2024, ACP Palazzo Franchetti, Venice. Courtesy of Carolina Pasti. Photo: Eva Herzog.
Caroline Pasti Advocates for Breast Cancer Awareness and Empowerment
WW: Your collaboration with Fondazione IEO-MONZINO highlights a commitment to raising awareness about breast cancer. How do you perceive art’s potential to advance public health initiatives and facilitate meaningful discourse on vital societal issues like breast cancer awareness and prevention?
CP: I’ve partnered with Fondazione IEO-MONZINO, dedicating 30% of the catalog funds to support the foundation’s cause and essential research. The mission of this exhibition is to promote awareness of breast cancer to a broader public and I believe art is one of the most impactful channels.
WW: Within the exhibition, there’s a deliberate exploration of breasts as symbols of identity and cultural significance. How do you believe this exhibition contributes to the broader discourse on body positivity, self-acceptance, and the empowerment of women, particularly in the context of contemporary art?
CP: The exhibition Breasts is an ode to the female body through the powerful imagery of contemporary art. As Hans Feurer said, referring to his photographs, “I like to show a free woman who’s scared of nothing.” Feurer’s subjects are confident, fierce, sensual, and unrestrained. His portraits are intense and dynamic, bringing the model to life in an eruption of color, curves, and texture.
Installation view, “Breasts”, 18 Apr – 24 Nov 2024, ACP Palazzo Franchetti, Venice. Courtesy of Carolina Pasti. Photo: Eva Herzog.
