Through hallucinated, comic-like drawings, etching prints, sculptures, embroidery and videos, Gaia Vincensini challenges the language of banks and chain stores, omnipresent in everyday landscape. She deflates the solid image of corporations, inserting their conventional symbols within an analogue autobiographical system. Through a practice that combines and questions the languages of craftsmanship and design, Vincensini reflects on issues analysing the individual within the community.
Vincensini was awarded the Manor Cultural Award in 2020. This same year she published The Riddle with Nieves, and was invited to a residency in the Cité Internationale des Arts in Paris. In June 2021, she held her first institutional solo show in Geneva at the MAMCO. “Vincensini’s exhibition at the MAMCO showcases a ceramic safe – a formal setting in which to house her grandmother’s sculptures – as well as engraving plates, which adorn panels shaped like armoured doors. The piece is accompanied by a film that was shot in the Museum in which various artists’ works serve as a backdrop. Vincensini’s combination of techniques and narratives explores the interplay between the value systems that structure both art and society.”
Amongst her most recent exhibitions: Des corps, des écritures – regards sur l’art d’aujourd’hui at the Musèe d’Art Moderne de Paris (Paris, 2022); Haunted Haus at the Swiss Institute (New York, 2020–21); Woshbourg at Weiss Falk (Basel, 2020). She was part of protect me from what I want at the Kunsthalle St. Gallen in 2019. In 2018 she had solo shows at Gaudel de stampa (Paris), at Forde (Geneva) and 1.1 Zeitgeist (Basel). In 2019, she was nominated for a bursary awarded by the City of Geneva. She was the winner of the Fonds cantonal d’art contemporain of Geneva (FCAC) in 2017 and the Prix New Heads – Fondation BNP Paribas ART AWARDS in 2016.
Together with Eliott Villars and Kim Coussée, she founded a collective project focusing on printmaking, embroidery and clothing called INNER LIGHT. They exhibited at the Heinzler Rezsler Gallery, (Lausanne), the salon de Normandy (Paris), at No conformism (Milan), and more recently they staged their first solo exhibition NO HOLIDAYS in Tunnel Tunnel (Lausanne). They aim to explore the tension between mass-produced garments and pre-industrial techniques.