[2] Biarritz also spent time working at Atelier d'Art sacré, an organization that paired artists to execute projects for civic and religious buildings.

Through the violence of cutting her skin with razor blades or putting out fires with her bare hands and feet, Pane intended to incite a "real experience" in the viewer, who would be moved to empathize with her discomfort.

[6] Pane claimed that she was greatly influenced by political protests in Paris in May 1968, and by such international conflicts as the Vietnam War (Ferrer 1989, pp. 37–8).

Pluchart 1971) she force-fed herself and spat back up 600 grammes of raw ground meat, watched the nightly news on television as she stared past a nearly blinding light bulb, and extinguished flames with her bare hands and feet.

Passing progressively from standing to the fetal position, she executed first a back-and-forth movement with the bouquet, before pressing the thorns of a rose into her arms and making an incision with a razor blade on the palm of her hand.

The process was controversial since it almost always involved an element of masochism: climbing up a ladder studded with razor blades, cutting her tongue or her ear, sticking nails into her forearm, smashing through a glass door, ingesting food to the point of nausea.

Pane no longer based her approach on direct bodily experience, although the body remained pivotal and retained its symbolic significance through figures (cross, rectangle, circle) and materials (burnt or rusty metal, glass or copper).

Interesting Facts about Gina Pane and her Role in Enhancing Feminine Art • Escalade non anesthesiee occurred without an audience.

Instead the artist, in collaboration with Francoise Masson, a photographer, managed to photo document the event, an aspect that she defined as a constat (Baumgartner 247).

• The suffering endured by the artist when displaying her art work is associated with the idea that Pane “sacrificed herself on the altar of a homophobic civilisation” for the stereotypic viewers to empathize with her.

The wounds, in this case, are approached as necessary for the artist to highlight the pain subjected to her by the society due to her homosexual identity(Leszkowicz, 1).

• Live art is considered an element of re-performance that is adequately illustrated by Gina Pane in her female contemporary performances (Morgan 1).