Discovering the Invisible: Sculptures by Valais artist Sarah Montani enliven the Fondation Gianadda.

At the Fondation Gianadda in Martigny, a female echo resonates. Upon entering this place, one is greeted by a group of dedicated women. Almost all staff members are women, who guard the artistic legacy. Yet, in this female-dominated landscape where they act as guardians of art, a discrepancy appears to exist. Where are the women not just as protectors, but as creators? As artists? A 2020 Swissinfo investigation revealed a underrepresentation of female artists in their spaces. The Fondation found itself at the bottom of the list - a bitter taste in an otherwise female-dominated institution. How has the Fondation's image changed since then? Is there hope on the horizon, or does the status quo remain? A detailed conversation with Martha Degiacomi, a long-time employee and expert on the Fondation, provides insight and perspective for the future.

Between Creators and Protectors

Walking through the sacred halls of the Fondation Gianadda, one is enveloped in a feminine aura. The female element is omnipresent - from the friendly lady at reception to meticulous administration in the background. Among these remarkable women, one shines particularly: Martha Degiacomi. Since 1986, she has served the Fondation with her expertise, writing deeply researched art texts for in-house catalogues and has accompanied precious artworks around the globe.

Martha Degiacomi: Witness to Art and its Gender Dynamics

Martha Degiacomi, with an academic background in art history from the University of Geneva and years of expertise, speaks of a time when art education was dominated by the great male masters. She recalls that about as many female students as male students engaged with art history. The fact that art books mostly described works by male artists was then considered normal and was not questioned further. But today, a book makes waves: "The Story of Art Without Men" by Katy Hessel. A tribute to forgotten, underrated female artists. Hessel reveals that many adults hardly know any female artist names.

In careful research, aided by Degiacomi's profound knowledge, the following figures emerged from the Fondation Gianadda's own catalogues: Out of 167 exhibitions presented, only 8 are dedicated to the works of women. Among them are renowned names like Gontchavrova and Frida Kahlo, Isabelle Tabin-Darbellay, Camille Claudel, Marie Laurencin, Suzanne Valadon, Berthe Morisot, Suzanne Auber, Francine Simonin, and Emilienne Farny. In the Sculpture Park, which boasts over 50 impressive works, 6 statues originated from female artists: Niki de Saint Phalle, Alicia Penalba (with two works), Barbara Hepworth, Elisheva Engel, and Germaine Richier. Yet, despite these exemplary talents, based on these numbers, the Fondation probably still finds itself lagging behind. A glance into the near future also shows that none of the next five planned exhibitions focus on a woman. A point for reflection

Headless Female Figures: Symbolism and Reality at the Fondation Gianadda.

Upon entering the main entrance of the Fondation, one statue immediately catches the eye - a nude female statue, but headless. Symbolic? Perhaps. A stark reminder that women are often forgotten or marginalized? Most definitely.

Hulda Zwingli expresses her deep concern and confusion about this representation. "Where is there art by women here? How is Hulda supposed to explain this to her daughters? Hulda is at a loss," she says in an interview. "There have been quotas in art for centuries. They currently fluctuate for men between 95% in collections and sometimes drop to 50%. This is called privilege." ‘Hulda Zwingli’, a collective of committed women deeply rooted in the cultural scene for years, highlights the subject of women in art. Through their eponymous Instagram profile, they bravely and tirelessly disseminate messages, photos, and comments, drawing attention to the marginalization of women in art, while cleverly concealing their identity.

Indeed, the statue, created by a male artist, presents a woman in her physical form, yet anonymous and devoid of identifiable features. She is an allegory. Instead of commemorating the life and achievements of a historically significant woman or a prominent artist, she is merely represented in her physical nudity. Is the absence of the head meant to be a metaphorical representation suggesting that women might not be appreciated for their intellectuality or contribution to society?

Valaisan artist Sarah Montani, in protest, now exhibits her invisible sculptures in the Fondation Gianadda garden. "There are incredibly talented female artists in our history - even here in Valais. I hope that the works of these women will soon be documented, exhibited, and made visible," Montani commented. As a sculptor, Montani creates sculptures in augmented reality.

Between Brush Strokes and Lines: Martha Degiacomi's Captivating Art Observations

But let's get back to Martha Degiacomi. Martha's writings, including her contemplations on Christoph Blocher's collection, reflect her expertise and passion. She paints with words, contextualizes artworks, highlights connections, and captivates the reader with her meticulous attention to detail. In Martha Degiacomi's thorough studies, one delves into the world of the art historian where every detail and brushstroke tells a story. The texts are not just a treatise on art; they invite you to dig deeper, read between the lines, and be equipped with the right art-historical toolkit. For instance, her contemplation of Félix Vallotton's artworks requires a profound understanding of the artist and his era.

Degiacomi skillfully weaves Vallotton's creative world with that of his contemporaries to paint a nuanced picture of the art movements of that era. She incorporates Vallotton's own thoughts about his art and creative process into her analysis, adding another layer of introspection and understanding. Every piece of art by Vallotton is dissected by her in terms of technique, color palette, and theme, offering the reader a comprehensive view. What also stands out in her writings is how she places Vallotton's work within the broader cultural and historical context of his time, in relation to both the art movements he was drawn to and those he critically viewed.

Each of her texts is a product of meticulous research and analysis. They are a testament to Martha's deep passion for art and her relentless pursuit of accuracy and understanding. This quality is evident not just up to the last sentence but truly up to the last comma. A literary masterpiece in itself. Would be a great pleasure to read such masterpieces about women artists in future.

How many female artist names can you think of off the top of your head? Hessel surveyed 2000 adults and published the results on International Women's Day 2022: Only 30% of those surveyed could name three female artists. There is still a lot of work to be done until justice prevails – and we spontaneously think of three Old Mistress names.

The question posed by Katy Hessel resonates with us: How many female artist names do we really know?

Resolution (have a look at the end of the page)