I did what I could. I am a lot more tranquila now than when I was in my twenties and thirties. Gerchman, an artist, too, had won a â¦ The show brought her full circle: she left Italy in 1954, aged 12, when her family, who lived in Calabria, set sail for Venezuela from Naples, destitute and hungry from the economic downturn of the postwar years. 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. In 1996, Belgian curator Catherine De Zegher included you in the group show Inside the Visible, alongside 30 other female artists from various backgrounds. 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. Maiolino has worked in an innovative way across various media. 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. In her artistic practice, Maiolino is known for works in a variety of media, including clay, cement, printmaking, film and performance. is a succinct and poetic representation of hunger, resistance and hope,” writes Iwona Blazwick, director of the Whitechapel, in the catalogue. Even now that I live from my work, it’s something that touches me deeply. But that’s also the danger: youth is always rebellious. The body is an organic vessel for emotions, desires, and physiological mechanisms. This dish was the starting point for the artistâs most emblematic works from the late 1970s, Arroz & Feijão [Rice & Beans, 1979] and Monumento à Fome [Monument to Hunger, 1978]. But having worked on the show in Milan, Maiolino is now “at peace” with the country. She has always connected her art with life. She has also made Super8 films: the standout example here, “In-Out” (“Antropofagia”) (1973), features unsettling footage of mouths stuffed with string. Anna Maria Maiolino installs clay coils and creates works out of fresh, live ceramic material Absentee blogger alert! There are 16,434 drawings online. Artist of the Month February 2020 ANNA MARIA MAIOLINO. Talk. It’s only after I returned to Brazil [in 1971] that I realised how much I enjoyed being in New York. What a time for such a statement: Making Love Revolutionary. When Bolsonaro appears on TV, I suffer. But, Oswald de Andrade proposed an art with Brazilian roots, and that is beautiful. At the same time, I read philosophy, I write poetry. Anna Maria: Yes, that’s where I started. “The five people who work with me, we’re all happy.” At that moment, holding that thought, Maiolino looks truly content. The immigration crisis and the levels of intolerance, I think it’s horrible. How do you feel about this work today? “My [then] husband introduced me to the woodcuts of north-eastern Brazil. 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. ), courtesy of the artist. 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 of these things mark the production of an artist, their origins. You’re probably wondering why I’m telling you all this. Which is impossible, as the colonial legacy is so deeply rooted. It was originally published in the 2019 HERO Winter Annual. 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. Born 1942 in Italy, Maiolinoâs practice expresses a concern with creative and destructive processes. 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. It’s beautiful — you’re taking the world in your hand.”. I have a positive memory of that experience. ANNA MARIA MAIOLINO - Untitled from the series 'Uns & Outros', 2000-2005. It is also an interface that facilitates the formation and display of identity and self-awareness. Did the feminist movement at the time have an impact on you? We are dedicated to collecting and exhibiting contemporary art. 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. T here are phallic images all over the place in Brazilian artist Anna Maria Maiolinoâs witty and weird show, but this is no triumph for the male member. Have you ever been to a coop and picked up an egg? That was the greatest university for me, this table where there was never enough food. “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. Benoît: In 1968, you moved to New York with your then-husband, the artist Rubens Gerchman, and your two young children. “You have to understand it is a minefield about the fragility of life. I calmed it down. Some unexpectedly punk videos, featuring extreme closeups of Maiolino, complete the portrait of an artist at once private and confident. Anna Maria: I spoke Spanish, which was the language of the descualificados, [‘unskilled’] I couldn’t speak English, and I still can’t really speak it now! Artist. A ritual which can surprise you, for better or for worse. There are 16,434 drawings online. Born 1942 in Italy, Maiolinoâs practice expresses a concern with creative and destructive processes. I did recognise that female artistic production could be hindered by male curators, for instance. In Los Angeles, two years ago, we reenacted the performance with my nephew. In the 1960s Maiolino gained momentum, finding a home in the Nova Figuração or New Figuration movement. . Follow Artist. Ideas, for me, are never finished. Trailblazer 100 questions with Rachel Morrison, the first female cinematographer to receive an Academy Award nomination. (50 x 50 cm. I am a woman, I’m Latin American, I’m an immigrant and, now, I’m old. It’s terrible, everything that’s happening in the world right now. And for my parents, it was important that we had knowledge. Get the print edition and steer from crisis to recovery. Being a mother and a wife didn’t leave me much time, I didn’t have anyone to help me with the children. I exorcised it. Born in Italy during World War II, she has lived in Brazil since 1960. Bodily cycles preoccupy her: digesting, defecating and hunger — both the starvation she faced in Italy and what she calls the “hunger in the belly” of her radical 1978 installation “Monumento à Fome/Mitos Vadios” (“Vagabond Myths”). We have a president who is utterly intolerant. After those early experiences, she saw Italy as “a wicked stepmother, on a psychological level, that had not looked after me”, she says. Anna Maria: Humanity forgets. In 1981, on the streets of Rio de Janeiro, Anna Maria Maiolino negotiated a path barefoot across a pavement littered with chicken eggs. 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. My unconscious and my memory very much nourished my work. The artist who continues to be a prolific producer of new work â sculpture, drawing, performance, photography and beyond â is in conversation with curator and Art Historian Dr Michael Asbury on the occasion of her major exhibition at the Whitechapel Gallery. I didn’t know what to do with the clay, so I started sculpting my own face, like autoportraits. Anna Maria Maiolinoâs significance for the history of art in Brazil from the 1960s onward cannot be underestimated. 39. I meet Maiolino, now 77, at the gallery with a translator. Anna Maria Maiolino: the Brazilian artist who took on dictators and won polemical practice. I spoke Spanish then, not Portuguese. Speaking primarily in Portuguese, but also in English and Italian, she is instantly warm and receptive. The iconic triptych shows you crossing a street barefoot, cautiously avoiding stepping on eggs, as if walking through a minefield. My husband had received a grant, we were living humbly, but we got by, we had two young children of two and four. Benoît: And that’s also when you started to write poetry? Central to Anna Maria Maiolinoâs practice are notions of subjectivity, belonging and place. View Anna Maria Maiolinoâs 42 artworks on artnet. I chose to be a mother, like I chose to be an artist.”. For instance, what Brazilian artist Lygia Clark explored, the notion of sensuality, of immanence, it was important. Benoît Loiseau: This is not the first time your work has been exhibited at Whitechapel Gallery. Civilisation, as I see it, is to have tolerance for one another. How do I switch from corporate finance to public affairs? 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. For me, a work is the product of a situation: economic, social, cultural and political. In 1967, she participated in the seminal exhibition Nova Objetividade Brasileira (New Brasilian Objectivity) at the Museum of Modern Art in Rio de Janeiro, alongside neo-concrete artists Lygia Clark, Hélio Oiticica, and Lygia Pape. 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. “. View items sold at auction. ANNA MARIA MAIOLINO - Untitled from the series 'Outras Marcas', 1999. I learned to read manifestos very late, you know. 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. Artprice.com's price levels for this artist are based on 73 auction results. When my mother was upset, she told us off in Latin! Made of unfired clay, theyâre packed, sinuous and sausage-like, into an aperture in a wall. 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. But there wasn’t a reflection on Latin American feminism in Brazil. 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. Anna Maria: You know, with age comes a lot of wisdom. 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Benoît: Do you feel that this baggage – your early experience of hunger in Italy – was ever assimilated to the cultural context of Brazil, and the philosophical concept of cannibalism? These are beautiful philosophical metaphors. K2 in winter â climbers reach for mountaineeringâs last great prize, Millions set to benefit from leasehold property reforms. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Thirteen. No image available. I can make a plate of spaghetti as if it were poetry.”. Anna Maria: Ah, si! This kind of experience stays with you, inside of you. If you forget, you will repeat. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Now we have religions and politicians trying to tell us how to live our lives, but it’s absurd. Anna Maria Maiolino is an Italian-Brazilian artist who makes books, video art, sculptures, and drawings. As long as you lead your life with ethics and compassion for others, everything will be fine. This interview has been translated from Spanish to English and edited for clarity. 1942, Italy ‐ No image available. ... Anna Maria Maiolino b. 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. One of her most provocative woodcuts, “Glu Glu Glu” (1967), shows an open-mouthed, dismembered female figure sitting at a table. Anna Maria Maiolino is one of todayâs most political women artists. I know, I haven’t responded to your question! Born in Italy during World War II, Maiolino has lived in Brazil since 1960. In 1968, artist Anna Maria Maiolino moved to New York from Rio de Janeiro with her husband, Rubens Gerchman, and their two children. “I never rejected the various destinies that were presented to me. Born during World War II in the region of Calabria, southern Italy, Maiolino immigrated to Brazil in 1960 via Venezuela, only years before the coup d’état which threw the country into two decades of military dictatorship. All artists, Lygia Clark and Hélio Oiticica, and their Neo- Conrete Manifesto, that’s where they came from. She embraced the material in the 1980s. Anna Maria Maiolino: Making Love Revolutionary is on at the Whitechapel Gallery until 12 January. “Drawing is a constant practice but in each series, I seek other questions. Benoît: In 1989, something important happened in your practice… you discovered clay. They’re dynamic works. But I believe that, for whatever you can put out into the world, there will be an outcome. When I touched the clay and put a chunk on the table, it felt like the entire world was contained within it. To a certain extent, the Manifesto Antropófago proposed to leave out European art. Through June 21. The next iteration was different, it was set in a pavilion and with an audience. You don’t want to live too peacefully. Art is a political exercise. Everybody wants to belong somewhere, you know? Mine swore in Flemish, that’s when we knew we were in trouble. Artists of my generation, we never thought about the art market, we just had day jobs. And yes, I brought it from Italy. Because I feel disrespected in the best of who I am. 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. My Super 8 film In-Out (Antropofagia) (1973) was inspired by the manifesto. I could keep a notebook, while looking after the children. 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. Another series, the exquisite coloured ink works “Piccole Note” (“Small Notes”) from 1984-89, evokes her subsequent time in Argentina. There are some incredible paradoxes in this notion. Big turds greet you as you head into this show by Italian-born Brazilian artist Anna Maria Maiolino. Anna Maria Maiolino: The world has changed a lot. In our civilisation, there are always people who are famined. The military dictatorship emerged in 1964, when I was 27. Anna Maria Maiolino Was an Artist Who Made Her Personal Life Central to Her Art. It was seen as a bourgeois concern, pertaining to the personal and distracting from the political attention required by the dictatorships that burdened much of the continent. Her reputation was boosted by participating in the seminal 1967 show New Brazilian Objectivity at the Museum of Modern Art in Rio de Janeiro. That was my apprenticeship in life, humanity and knowledge. $50 for your first 3 months When I began to work with more basic shapes, that’s when I started a different conversation. In this work, I wanted to eat the enemies of freedom. It doesn’t exist. Anna Maria Maiolino: âIâm not an artist you can pigeonholeâ As a six-decade survey opens at Londonâs Whitechapel Gallery, the Brazilian artist looks back on a many-faceted career “Art is the activist. I’m not an artist you can pigeonhole,” she says. Make that a rough few, no several years. At age 75, Anna Maria Maiolino is having a late-career moment in the United States. Could you tell me about the origin of the work, and the process of documenting it? When I finished, it looked like a mortuary mask sitting on the table, as if I had killed her. The collective aspect of working with a team — she cannot model three or four tons of clay alone — is clearly gratifying. In 1968, she followed Gerchman to New York; in 1971, following a productive artistic stint at the Pratt Institute in Brooklyn, she left Gerchman and returned to Brazil without him. It was installed in a space lent to me and other artists by the Alliance Française. Anna Maria: Do you know how many we were at the table to eat? 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. 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’s like there is no way out. MOCA is pleased to present Anna Maria Maiolino, the Brazilian artistâs first major United States museum retrospective. I incorporated my hunger. “I was married to another artist, an Argentine [Victor Grippo] — it was impossible to make art with him,” she says. London, as elsewhere â across the U.K. and the world at large â has had a rough year. 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. Featured image: Anna Maria Maiolino â Portrait of the artist, photo credits Alessandro Lentati Anna Maria: Es bellisimo. Installation views. 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. Benoît: Food and hunger have been central to your work, throughout your career. Anna Maria: At the time, I didn’t think of feminism as a political stance. She came of age as part of the Nova Figuração (New Figuration) avant-garde, a movement concerned with popular art. Anna Maria Maiolino makes drawings, artist books, sculpture, and video, frequently drawing inspiration from her experience as an immigrant growing up in politically unstable Brazil. 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. “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. See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. We didn’t have much food but we had knowledge. Anna Maria Maiolino has 31 works online. It is a work that speaks to censorship and political resistance, at a time of profound turmoil, and it feels more relevant than ever in the contemporary context of Brazil. The experience of ‘not having’ accompanied me, and continues to accompany me. Text Benoît Loiseau; 8th January 2020 . Depending on who looks at the work, with their own psychological, social and cultural sensitivities, the audience completes the work, always. 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. Anna Maria Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. Standout show: The exhibition at the â¦ On display at the Whitechapel is a major installation in unfired clay, which was created on site. Licensing. Just like in the United States, it’s worrying. The artist is nonplussed by the assessment. Right now, in Los Angeles, Maiolino is the subject of a retrospective at â¦ 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. We have identified these works in the following photos from our exhibition history. 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. When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. Her work reflects her experience of exile, deprivation and survival under authoritarian governments. “Do you know how many we were at the table to eat? Interviews. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Article by Hyperallergic. Anna Maria Maiolino: Making Love Revolutionary review â Inspired show by an artist who challenged Brazil's dictators. [The woodcut tradition] criticised political situations so it was a medium that, for me, was the easiest way to express myself.”. The striking short film âY,â from 1974, feels related: it shows the artist, blindfolded, with her mouth open in an endless scream. She explores the human rights and social aspects of immigration politics in Brazil through her performance art and conceptual installations. As many of you know I quit my full-time position in Early April and was thrilled to have more time for things like blogging and volunteering but, as often happens, the work â¦ I’m an avid reader, but not always of art. Anna Maria Maiolino: Making Love Revolutionary (25 September 2019 - 12 January 2020, is the artistâs first retrospective in the UK, spanning six decades of work. 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. 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. Because with clay, the more you touch it, the more it loses its vitality. Entrevidas was my second installation which featured organic elements. The discriminatory politics around gender have radicalised to such an extent, it’s awful. That’s what I brought with me, to Brazil. But you have to be careful never to lose the rage when you need it. It was also a particular moment in your practice, during which motherhood came to dictate much of the way you worked. 1978/2017 Monumento à Fome (Monument to Hunger) Artist. Anna Maria Maiolino, Making Love Revolutionary Whitechapel Gallery, London, U.K., September 25, 2019 â January 12, 2020. “On the eve of Brazil’s first free elections in 1982, brought about by public protest, ‘Entrevidas’ . Her “Mental Maps” series (1971) is made up of meticulously plotted grids dotted with formative places, emotions and experiences. Benoît: In part, yes. But I never saw these things as fundamentally female, you know? Enemies have to be eaten to be dominated but also incorporated. Ana Maria Maiolino. Anna Maria Maiolinoâs significance for the history of art in Brazil from the 1960s onward cannot be underestimated. . 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. 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 don’t know if I’ve answered your question? Anna Maria Maiolino has 31 works online. 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). To find a dialogue, in a democratic way. Anna Maria: Hunger, for those who haven’t experienced it, is an abstraction. Revealing each artistâs 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. I exorcised my hunger. Anna Maria Maiolino makes drawings, artist books, sculpture, and video, frequently drawing inspiration from her experience as an immigrant growing up in politically unstable Brazil. When you enter in contact with art, it is like a ritual. Was she fearful? 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. An Artist Who Made Her Personal Life Central to Her Art Close “I cook very well; I’m good at ironing. 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