The Error, The Imperfect and the Out of Place as Language

Since 1971, the artist Bianca Pucciarelli decided to adopt a male pseudonym, Tomaso Binga, to denounce the discrimination that women suffered at the time.

Discrimination and disparities concerning access to exhibitions, to public and private collections, and which marked the lives of women and artists for centuries.

Tomaso Binga has always fought against these disparities within her works with a profoundly militant slant, above all by denouncing the discriminations found in language.

Even the work displayed at the exhibition at the National Gallery of Modern Art - which belongs to the Dattilocodice (Typocode) series - highlights this interest by Tomaso Binga to work on the subject, on the very body of language, of words, of the alphabet, to change it and attempt to broaden the meaning and sense of language in an inclusive way: in order to convey the feminine components of creativity within the language itself.

This work belongs to this series of the Dattilocodice which was exhibited for the first time in ‘78 in the exhibition Materializzazione Del Linguaggio (Materialisation of Language) at the Venice Biennale of ‘78, curated - this section - by Mirella Bentivoglio who for the occasion brought together the work of over eighty artists. It was the first time an institution like the Biennale granted access to so many women artists at the same time.