anna maria maiolino artist statement

It featured some of your work with clay, but it was also the first time that the documentation of Entre Vida (Between Lives), originally performed in Rio in 1981, was exhibited. Featured image: Anna Maria Maiolino – Portrait of the artist, photo credits Alessandro Lentati That was my apprenticeship in life, humanity and knowledge. Licensing. Could you tell me about the origin of the work, and the process of documenting it? The discriminatory politics around gender have radicalised to such an extent, it’s awful. “Art is the activist. Back in Brazil, she abandoned figuration — a “great turning point” — creating her own strain of abstraction. Civilisation, as I see it, is to have tolerance for one another. At a time of repression and censorship, the show set the tone for a generation of artists committed to addressing the region’s political turmoil. You’re probably wondering why I’m telling you all this. 1978/2017 Monumento à Fome (Monument to Hunger) Artist. “. London, as elsewhere — across the U.K. and the world at large — has had a rough year. It’s terrible, everything that’s happening in the world right now. I have a positive memory of that experience. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Anna Maria Maiolino: Making Love Revolutionary (25 September 2019 - 12 January 2020, is the artist’s first retrospective in the UK, spanning six decades of work. When I finished, it looked like a mortuary mask sitting on the table, as if I had killed her. It’s beautiful — you’re taking the world in your hand.”. Gerchman, an artist, too, had won a … Now we have religions and politicians trying to tell us how to live our lives, but it’s absurd. Established in 1979, we are the only artist-founded museum in Los Angeles. That is a historical problem which humanity has never been able to resolve. Get the print edition and steer from crisis to recovery. Speaking primarily in Portuguese, but also in English and Italian, she is instantly warm and receptive. The collective aspect of working with a team — she cannot model three or four tons of clay alone — is clearly gratifying. Now, after an acclaimed solo exhibition at Los Angeles’ Museum of Contemporary Art in 2017, the Italian-Brazilian artist is finally getting the global attention she deserves with a major show at Whitechapel Gallery in London. ANNA MARIA MAIOLINO - Untitled from the series 'Outras Marcas', 1999. See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. Depending on who looks at the work, with their own psychological, social and cultural sensitivities, the audience completes the work, always. Through June 21. Artprice.com's price levels for this artist are based on 73 auction results. I am a woman, I’m Latin American, I’m an immigrant and, now, I’m old. Anna Maria Maiolino is one of today’s most political women artists. When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. And yes, I brought it from Italy. It doesn’t exist. Anna Maria Maiolino has 31 works online. The military dictatorship emerged in 1964, when I was 27. But that’s also the danger: youth is always rebellious. To find a dialogue, in a democratic way. Until her participation in dOCUMENTA 13 held in Kassel, Germany in 2012, where she filled a former gardener’s home with abstract unfired clay forms, Anna Maria Maiolino was relatively unknown to international audiences. At the same time, I read philosophy, I write poetry. I exorcised my hunger. Another series, the exquisite coloured ink works “Piccole Note” (“Small Notes”) from 1984-89, evokes her subsequent time in Argentina. Article by Hyperallergic. Anna Maria Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. My husband had received a grant, we were living humbly, but we got by, we had two young children of two and four. I meet Maiolino, now 77, at the gallery with a translator. Right now, in Los Angeles, Maiolino is the subject of a retrospective at … Have you ever been to a coop and picked up an egg? We have a president who is utterly intolerant. Artist. “I never went on demos,” she replies. There are 16,434 drawings online. Revealing each artist’s choice of subjects and sources, their influences and awareness of the global reach of pop, the following interviews reveal why artists in different parts of the world turned to this new artistic language to challenge artistic and political orthodoxies. Anna Maria: Es bellisimo. On display at the Whitechapel is a major installation in unfired clay, which was created on site. Art is a political exercise. We are dedicated to collecting and exhibiting contemporary art. Which is impossible, as the colonial legacy is so deeply rooted. But you have to be careful never to lose the rage when you need it. Ideas, for me, are never finished. Standout show: The exhibition at the … Maiolino has worked in an innovative way across various media. Benoît: Food and hunger have been central to your work, throughout your career. Studio Sunday: Anna Maria Maiolino Anna Maria Maiolino was born in Southern Italy and later moved to Rio de Janeiro, Brazil. As you get older, you want to be at peace with yourself and with life [pause]. Born 1942 in Italy, Maiolino’s practice expresses a concern with creative and destructive processes. She explores the human rights and social aspects of immigration politics in Brazil through her performance art and conceptual installations. A ritual which can surprise you, for better or for worse. Even now that I live from my work, it’s something that touches me deeply. If you forget, you will repeat. Because I feel disrespected in the best of who I am. One of her most provocative woodcuts, “Glu Glu Glu” (1967), shows an open-mouthed, dismembered female figure sitting at a table. I know, I haven’t responded to your question! Her “Mental Maps” series (1971) is made up of meticulously plotted grids dotted with formative places, emotions and experiences. T here are phallic images all over the place in Brazilian artist Anna Maria Maiolino’s witty and weird show, but this is no triumph for the male member. But there wasn’t a reflection on Latin American feminism in Brazil. But I believe that, for whatever you can put out into the world, there will be an outcome. The artist who continues to be a prolific producer of new work – sculpture, drawing, performance, photography and beyond – is in conversation with curator and Art Historian Dr Michael Asbury on the occasion of her major exhibition at the Whitechapel Gallery. Anna Maria Maiolino and I met for this interview over lunch at her home in São Paulo, where we shared a typical Brazilian meal with a plate of rice and beans. I exorcised it. Anna Maria: You know, with age comes a lot of wisdom. Benoît: I remember seeing your work in the brilliant group exhibition Radical Women: Latin American Art, 1960–1985 at the Hammer Museum in LA, in 2017. How do you feel about this work today? Anna Maria Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. She has created abstract fabrications from folds of paper, such as “Desenho Objeto” (“Drawing Object”) from 1974-76; she has taken transfixing photographs, including “By a Thread” (1976), which shows a single length of string hanging from the mouths of Maiolino, her mother and daughter. Anna Maria: Hunger, for those who haven’t experienced it, is an abstraction. She has also made Super8 films: the standout example here, “In-Out” (“Antropofagia”) (1973), features unsettling footage of mouths stuffed with string. I don’t know if I’ve answered your question? When the moment asks me to take a position, I use metaphors to speak.” These visual metaphors sometimes turn violent, as in “É o que sobra” (“What is left over”) (1974), which shows her on the point of slicing her tongue with a pair of scissors. Big turds greet you as you head into this show by Italian-born Brazilian artist Anna Maria Maiolino. Mine swore in Flemish, that’s when we knew we were in trouble. I can make a plate of spaghetti as if it were poetry.”. $50 for your first 3 months Entrevidas, da série Fotopoemação (Between Lives, from the series Photopoemaction), 1981/2010, É o que sobra, da série Fotopoemação ( What is Left Over, from the series Photopoemaction), 1974, Brandon Flynn cover of The HERO Winter Annual 2017. In her artistic practice, Maiolino is known for works in a variety of media, including clay, cement, printmaking, film and performance. We didn’t have much food but we had knowledge. One of the arguments made in the show was that, for female artists across Latin America during that period, feminism was a bit of a dirty word. “When I put my hand in the clay, that was a turning point because it’s such a primary thing; clay is matter,” she says. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Text Benoît Loiseau; 8th January 2020 . Her reputation was boosted by participating in the seminal 1967 show New Brazilian Objectivity at the Museum of Modern Art in Rio de Janeiro. The first one was Arroz e Feijão [Rice & Beans, 1979], an installation which involved a table with frijoles and rice – the elementary meal of Brazil and Latin America – germinating in plates. All artists, Lygia Clark and Hélio Oiticica, and their Neo- Conrete Manifesto, that’s where they came from. Was she fearful? Photographs of the work are included in Making Love Revolutionary, a survey spanning six decades of the Brazilian artist’s career at the Whitechapel Gallery in London. My partner then, the Argentinian artist Victor Grippo, said to me, “Why don’t you try clay?” And you know, I am an artist of experiences – I attach a lot of importance to experiences. He suggested that native Americans were to eat the colonizers to incorporate them and their European ideals in order to excrete new, evolved, forms of art and culture. To a certain extent, the Manifesto Antropófago proposed to leave out European art. Benoît: In 1989, something important happened in your practice… you discovered clay. Anna Maria Maiolino and I met for this interview over lunch at her home in São Paulo, where we shared a typical Brazilian meal with a plate of rice and beans. Painter. After those early experiences, she saw Italy as “a wicked stepmother, on a psychological level, that had not looked after me”, she says. When you enter in contact with art, it is like a ritual. This dish was the starting point for the artist’s most emblematic works from the late 1970s, Arroz & Feijão [Rice & Beans, 1979] and Monumento à Fome [Monument to Hunger, 1978]. Benoît: At the height of the dictatorship, upon your return from New York in the 1970s, you made the photo-sequence É o que sobra [What Is Left Over], from the series Fotopoemação, [Photopoemaction] (1974) where you are holding a pair of scissors, as if ready to cut off your own tongue. Born in Italy during World War II, she has lived in Brazil since 1960. The Whitechapel exhibition has travelled from the Padiglione d’Arte Contemporanea in Milan, boosting Maiolino’s profile in Europe, where she has been somewhat overlooked. I never rejected the various destinies that were presented to me. For me, a work is the product of a situation: economic, social, cultural and political. . In this work, I wanted to eat the enemies of freedom. Anna Maria: Yes, that’s where I started. For instance, what Brazilian artist Lygia Clark explored, the notion of sensuality, of immanence, it was important. Because with clay, the more you touch it, the more it loses its vitality. The immigration crisis and the levels of intolerance, I think it’s horrible. In Los Angeles, two years ago, we reenacted the performance with my nephew. Back then I wanted to talk about hunger – not just for food – but also a hunger for culture and freedom, at the height of the dictatorship. The iconic triptych shows you crossing a street barefoot, cautiously avoiding stepping on eggs, as if walking through a minefield. Anna Maria Maiolino installs clay coils and creates works out of fresh, live ceramic material Absentee blogger alert! In our civilisation, there are always people who are famined. View Anna Maria Maiolino’s 42 artworks on artnet. It was installed in a space lent to me and other artists by the Alliance Française. She has always connected her art with life. In the 1960s Maiolino gained momentum, finding a home in the Nova Figuração or New Figuration movement. Titled Making Love Revolutionary, it surveys six decades of her complex practice spanning woodcuts, drawings, poetry, video and clay (just don’t call it a retrospective: the septuagenarian believes those are best suited to dead artists). We have identified these works in the following photos from our exhibition history. Anna María MAIOLINO (1942) is an artist born in 1942 The oldest auction result ever registered on the website for an artwork by this artist is a painting sold in 2006, at James Lisboa Escritorio de Arte, and the most recent auction result is a painting sold in 2020. Anna Maria: Do you know how many we were at the table to eat? Benoît: In 1968, you moved to New York with your then-husband, the artist Rubens Gerchman, and your two young children. ... Anna Maria Maiolino b. Anna Maria Maiolino: ‘I’m not an artist you can pigeonhole’ As a six-decade survey opens at London’s Whitechapel Gallery, the Brazilian artist looks back on a many-faceted career Central to Anna Maria Maiolino’s practice are notions of subjectivity, belonging and place. I never knew if I found things or if things found me, but I was very pleased because I quickly found the artistic milieu of Brazil. Anna Maria Maiolino. Anna Maria Maiolino Was an Artist Who Made Her Personal Life Central to Her Art. What a time for such a statement: Making Love Revolutionary. I chose to be a mother, like I chose to be an artist.”. Everybody wants to belong somewhere, you know? That was my apprenticeship in life, humanity and knowledge. “I cook very well; I’m good at ironing. Make that a rough few, no several years. In 1960, she decamped to Rio de Janeiro, immersing herself in classes at the engraving studio of the Rio de Janeiro National Art School, and marrying the artist Rubens Gerchman. Thirteen. And for my parents, it was important that we had knowledge. But I also wanted to ask you about your own relationship to food and hunger, which doesn’t have its origins in Brazil but in the post-war context of Europe, more specifically of Italy. Made of unfired clay, they’re packed, sinuous and sausage-like, into an aperture in a wall. Did the feminist movement at the time have an impact on you? Anna Maria Maiolino, Capítulo II (Chapter II, from the Mapas Mentais (Mental Maps) series, 1976/1999, ink and transfer type on paper, 19 11/16 x 19 11/16 in. In 1981, on the streets of Rio de Janeiro, Anna Maria Maiolino negotiated a path barefoot across a pavement littered with chicken eggs. Her work reflects her experience of exile, deprivation and survival under authoritarian governments. These are beautiful philosophical metaphors. Maiolino was born in southern Italy and moved to Venezuela in 1954 with her parents where she began her artistic training. I was in a profound crisis of language in the 1980s, with the pace of things in the modern world, I couldn’t understand what I was expecting from life anymore. I never finished my studies – the [institutions] lie and say I’ve graduated but it’s not true, I never finished. At age 75, Anna Maria Maiolino is having a late-career moment in the United States. It was also a particular moment in your practice, during which motherhood came to dictate much of the way you worked. When I touched the clay and put a chunk on the table, it felt like the entire world was contained within it. But having worked on the show in Milan, Maiolino is now “at peace” with the country. The experience of ‘not having’ accompanied me, and continues to accompany me. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Anna Maria Maiolino’s significance for the history of art in Brazil from the 1960s onward cannot be underestimated. But I never saw these things as fundamentally female, you know? “On the eve of Brazil’s first free elections in 1982, brought about by public protest, ‘Entrevidas’ . When I discovered the Manifesto Antropófago, I understood that you had to eat your enemies to incorporate their ideals. View items sold at auction. 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