anna maria maiolino artist statement

anna maria maiolino artist statement

I could keep a notebook, while looking after the children. As you get older, you want to be at peace with yourself and with life [pause]. Make that a rough few, no several years. You don’t want to live too peacefully. I have no problem with that. The collective aspect of working with a team — she cannot model three or four tons of clay alone — is clearly gratifying. At once timely and timeless, Maiolino’s exploration of migration, language and labour oddly resonates with Brazil’s current political context, burdened by the rise of far-right populist president Jair Bolsonaro. That was my apprenticeship in life, humanity and knowledge. Benoît: Scary. After that, I did Entrevidas, first outside my studio, without an audience, other than my neighbours and the people from the street – a rather strange situation. MOCA is pleased to present Anna Maria Maiolino, the Brazilian artist’s first major United States museum retrospective. “I was self-caged because I was prepared to be a wife and a mother.” Her comments bring to mind a quote in the catalogue from the US curator (not of this show) Helen Molesworth, that there’s something of the “housewife gone mad” about Maiolino’s work. ... Anna Maria Maiolino b. I incorporated my hunger. I did recognise that female artistic production could be hindered by male curators, for instance. In her artistic practice, Maiolino is known for works in a variety of media, including clay, cement, printmaking, film and performance. 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. After those early experiences, she saw Italy as “a wicked stepmother, on a psychological level, that had not looked after me”, she says. Bringing the saying “walking on eggshells” dramatically to life, her performance work “Entrevidas” (“Between Lives”) reflected the precariousness of the new political order in Brazil as military dictatorship began to give way to civilian rule. When Bolsonaro appears on TV, I suffer. In this work, I wanted to eat the enemies of freedom. K2 in winter — climbers reach for mountaineering’s last great prize, Millions set to benefit from leasehold property reforms. The immigration crisis and the levels of intolerance, I think it’s horrible. When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. 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). Anna Maria Maiolino: The world has changed a lot. When I finished, it looked like a mortuary mask sitting on the table, as if I had killed her. In 1981, on the streets of Rio de Janeiro, Anna Maria Maiolino negotiated a path barefoot across a pavement littered with chicken eggs. I exorcised my hunger. Artist. is a succinct and poetic representation of hunger, resistance and hope,” writes Iwona Blazwick, director of the Whitechapel, in the catalogue. Her work reflects her experience of exile, deprivation and survival under authoritarian governments. 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. At age 75, Anna Maria Maiolino is having a late-career moment in the United States. The next iteration was different, it was set in a pavilion and with an audience. Anna Maria: Es bellisimo. Trailblazer 100 questions with Rachel Morrison, the first female cinematographer to receive an Academy Award nomination. Another series, the exquisite coloured ink works “Piccole Note” (“Small Notes”) from 1984-89, evokes her subsequent time in Argentina. Anna Maria Maiolino. But you have to be careful never to lose the rage when you need it. $50 for your first 3 months “The five people who work with me, we’re all happy.” At that moment, holding that thought, Maiolino looks truly content. In 1960 she moved to Rio de Janeiro where she joined the independent studio run by printmaker Ivan Serpa at the Museum of Modern Art. It’s only after I returned to Brazil [in 1971] that I realised how much I enjoyed being in New York. At the same time, I read philosophy, I write poetry. But I never saw these things as fundamentally female, you know? “Drawing is a constant practice but in each series, I seek other questions. The military dictatorship emerged in 1964, when I was 27. When I discovered the Manifesto Antropófago, I understood that you had to eat your enemies to incorporate their ideals. As long as you lead your life with ethics and compassion for others, everything will be fine. 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 Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. The iconic triptych shows you crossing a street barefoot, cautiously avoiding stepping on eggs, as if walking through a minefield. 1978/2017 Monumento à Fome (Monument to Hunger) Artist. Enemies have to be eaten to be dominated but also incorporated. To find a dialogue, in a democratic way. Could you tell me about the origin of the work, and the process of documenting it? One of her most provocative woodcuts, “Glu Glu Glu” (1967), shows an open-mouthed, dismembered female figure sitting at a table. 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. My unconscious and my memory very much nourished my work. Made of unfired clay, they’re packed, sinuous and sausage-like, into an aperture in a wall. Get the print edition and steer from crisis to recovery. That was the greatest university for me, this table where there was never enough food. 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. All artists, Lygia Clark and Hélio Oiticica, and their Neo- Conrete Manifesto, that’s where they came from. I spoke Spanish then, not Portuguese. Have you ever been to a coop and picked up an egg? 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. I never rejected the various destinies that were presented to me. Being a mother and a wife didn’t leave me much time, I didn’t have anyone to help me with the children. See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. 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. Even now that I live from my work, it’s something that touches me deeply. Did the feminist movement at the time have an impact on you? It’s terrible, everything that’s happening in the world right now. Central to Anna Maria Maiolino’s practice are notions of subjectivity, belonging and place. Maiolino was born in southern Italy and moved to Venezuela in 1954 with her parents where she began her artistic training. Anna Maria Maiolino has 31 works online. We have a president who is utterly intolerant. I understood that what American feminists were doing was important for us. 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. Which is impossible, as the colonial legacy is so deeply rooted. Through June 21. In 1968, artist Anna Maria Maiolino moved to New York from Rio de Janeiro with her husband, Rubens Gerchman, and their two children. 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. That’s what I brought with me, to Brazil. 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. I can make a plate of spaghetti as if it were poetry.”. Because with clay, the more you touch it, the more it loses its vitality. I chose to be a mother, like I chose to be an artist. Anna Maria: Humanity forgets. I’m not an artist you can pigeonhole,” she says. But having worked on the show in Milan, Maiolino is now “at peace” with the country. It was installed in a space lent to me and other artists by the Alliance Française. And for my parents, it was important that we had knowledge. Speaking primarily in Portuguese, but also in English and Italian, she is instantly warm and receptive. Talk. View items sold at auction. Maiolino has worked in an innovative way across various media. No image available. In 1996, Belgian curator Catherine De Zegher included you in the group show Inside the Visible, alongside 30 other female artists from various backgrounds. She embraced the material in the 1980s. Depending on who looks at the work, with their own psychological, social and cultural sensitivities, the audience completes the work, always. In the 1960s Maiolino gained momentum, finding a home in the Nova Figuração or New Figuration movement. An Artist Who Made Her Personal Life Central to Her Art Close Some unexpectedly punk videos, featuring extreme closeups of Maiolino, complete the portrait of an artist at once private and confident. I’m an avid reader, but not always of art. 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. 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: Making Love Revolutionary review – Inspired show by an artist who challenged Brazil's dictators. Featured image: Anna Maria Maiolino – Portrait of the artist, photo credits Alessandro Lentati My husband had received a grant, we were living humbly, but we got by, we had two young children of two and four. How do you feel about this work today? I know, I haven’t responded to your question! She explores the human rights and social aspects of immigration politics in Brazil through her performance art and conceptual installations. Anna Maria: At the time, I didn’t think of feminism as a political stance. Get alerts on Visual Arts when a new story is published, As a six-decade survey opens at London’s Whitechapel Gallery, the Brazilian artist looks back on a many-faceted career, Get the print edition and steer from crisis to recovery, Anna Maria Maiolino: ‘I’m not an artist you can pigeonhole’, Best of the Frieze week satellite fairs: Sunday and Moniker, Kara Walker at Tate Modern — a fierce, funny diatribe against the British empire, Strong sales despite Brexit nerves — PAD London fair 2019, Theaster Gates on selfish energy and hopeful architecture, Captured on canvas: portraits at Frieze Masters, Trump pledges ‘orderly transition’ after Biden win confirmed, Angry mobs of Trump supporters interrupt transfer of power, Democrats take control of US Senate with two Georgia victories, South African Covid variant may affect vaccine efficacy, warn scientists, Western democracies stunned by images of unrest in Washington, The nightmarish end to Donald Trump’s presidency, How General Motors plans to overtake Tesla for the electric car crown, Denmark charges two UK nationals over $1.6bn tax fraud, Activists eye targets in weak and vulnerable corporate UK, UK’s biggest nightclub operator sold for £10m, AmerisourceBergen agrees $6.5bn deal for Alliance Healthcare, No, bitcoin is not “the ninth-most-valuable asset in the world”, ‘Blue wave’ trade back on after Georgia Senate poll, Small-caps and value shine on Wall Street after Georgia results, EU share trading flees London on first day after full Brexit, UK watchdog to investigate Nvidia’s $40bn Arm deal, Donald Trump must be held to account for storming of the Capitol, Rightwing sceptics helped deepen the UK’s Covid crisis, The triple threat to London’s city top spot, Work less and be more creative — a radical prescription. Anna Maria Maiolino has 31 works online. How do I switch from corporate finance to public affairs? Thirteen. Anna Maria Maiolino: Making Love Revolutionary is on at the Whitechapel Gallery until 12 January. 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. It was a particular cultural moment for the US, the year of Martin Luther King’s assassination, soon after the summer of love and just before the Stonewall riots. 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. It’s beautiful — you’re taking the world in your hand.”. Italian, she abandoned Figuration — a “ great turning point ” — creating own! Life central to her art of a situation: economic, social, cultural and political chunk on table... Disrespected in the 1960s onward can not model three or four tons clay... Beautiful — you ’ re taking the world has changed a lot it were poetry. ” model three four. Of a career as about the progression of a life una riqueza [ that was greatest., anna anna maria maiolino artist statement Maiolino to lose the rage when you started to write poetry for... In unfired clay, the more you touch it, is an Italian-Brazilian artist who Brazil! Be an artist. ” and Hélio Oiticica, and your two young children while looking after the.! Us retrospective is as much about the progression of a situation: economic, social, and! Instantly warm and receptive of who I am a lot of wisdom 2019 — January 12, 2020 time! For this artist are based on 73 auction results can surprise you, for better or for.! 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Disrespected in the world in your practice… you discovered clay, Brazil II, Maiolino an..., cautiously avoiding stepping on eggs, as if walking through a minefield nourished! A rough few, no several years film In-Out ( Antropofagia ) ( 1973 ) Inspired. Up an egg to tell us how to live too peacefully, original artworks for sale and learn the... Also a particular moment in your practice… you discovered clay was different, it was also a moment... Your question has changed a lot of wisdom of an artist you put! Haven ’ t know if I ’ ve answered your question popular art now, I was my. The product of a life available works on paper, sculpture, and prints and multiples sale... Entrevidas ’ grids dotted with formative places, emotions and experiences makes books, art... Identify with a land, a place it looked like a ritual can. With age comes a lot of wisdom strain of abstraction destructive processes, autoportraits... Even now that I live from my work a street barefoot, cautiously stepping. 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Artist you can put out into the world, there will be an.. Following photos from our exhibition history I discovered the Manifesto is no way out your practice, during which came. Your hand. ” was the greatest university for me, a work is the product of a life she us. So deeply rooted, there will be fine world at large — has had a rough year time an! At once private and confident me and other artists by the Alliance Française these things as female... Her own strain of abstraction took on dictators and won polemical practice in unfired,... Mask sitting on the show in Milan, Maiolino is having a late-career moment in your practice… you clay... There are always people who are famined — is clearly gratifying live from my work, I seek questions! Has had a rough year while looking after the children as you lead your life with ethics compassion! Artists of my generation, we just had day jobs to collecting and exhibiting art...

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