The exhibition, curated by Chiara Gatti and Lorenzo Giusti, stems from the acquisition by GAMeC and the Center Pompidou in Paris of an important nucleus of the artist's works and aims to analyze - from the beginnings in the 1920s to the early 1970s - the formal reflection of a unique personality, wrongly left on the margins of history and now rediscovered as a complex, experimental, versatile and poetic figure.

The Parisian museum itself will pay particular attention to the artist's research, in the Women in Abstraction exhibition, curated by Christine Macel and Karolina Lewandowska (5 May - 23 August 2021).

Originally from Mede Lomellina, daughter of a butcher and orphan at a young age, Regina was the first woman of the Italian avant-garde to devote herself entirely to sculpture, whose languages she reinterpreted in a bold and experimental direction, bending academic and naturalistic research to use of unpublished materials. Aluminum, iron wire, tin, tin, sandpaper were the privileged means of a continuous and inexhaustible compositional and expressive investigation that initially embraced the ways of Futurism (he signed the Technical Manifesto of Futurist Aeroplastics in 1934) and then those of MAC, the Concrete Art Movement (1948), which Regina approached in 1951 thanks to Bruno Munari.

The lightness of the materials, the dynamism of the forms, a language made of geometric synthesis and lyrical abstractions animate his work, alongside a daily, strong-willed and rigorous practice.

Two hundred and fifty works - including sculptures, mobiles, drawings, paper models and notebooks - guide us on a path that develops according to themes and eras, intertwining contacts with avant-garde movements and biographical events, from the Twenties to the post-war boom.

Thanks to loans from the Collection-Archive Gaetano and Zoe Fermani, from other private individuals and from the Museum of Mede Lomellina, which houses a significant part of her early production, Regina's journey into the universe begins with her academic training, with her first portraits realists, with a twentieth-century flavor, and synthetic studies of animals.