London

Maria Pininska-Beres, Window in Spring, 1976, plywood, canvas, cotton, acrylic, 57 1⁄8 × 81 1⁄8 × 20 7⁄8".

Maria Pininska-Beres, Window in Spring, 1976, plywood, canvas, cotton, acrylic, 57 1⁄8 × 81 1⁄8 × 20 7⁄8".

Maria Pininska-Beres

The Approach

“A window view is not the real thing,” Maria Pinińska-Bereś (1931–1999) wrote in 1994, at a time when she was prevented by illness from “actively communing” with the outdoors. In the same text, she remembers one summer when she “escaped from the ‘cage’ of the garden” and “pressed herself into the moss, wallowing in it, moaning in ecstasy.” These reflections find more immediately accessible form in two works chronologically bookending “Living Pink,” the first presentation of the artist’s work outside her native Poland. The show comprised a total of nine pieces spanning mixed-media performance documentation, sculpture, and a combination of drawing and collage, all highlighting Pinińska-Bereś’s unusual, surrealistic engagement with feminine experience. The earliest work on view was Window in Spring, 1976, a giant pink pillow bursting as if in protest out of a surrounding white-and-pink box

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