Benoît: Food and hunger have been central to your work, throughout your career. Born 1942 in Italy, Maiolinoâs practice expresses a concern with creative and destructive processes. She has always connected her art with life. Her work reflects her experience of exile, deprivation and survival under authoritarian governments. The artist is nonplussed by the assessment. But having worked on the show in Milan, Maiolino is now “at peace” with the country. 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: The world has changed a lot. Gerchman, an artist, too, had won a â¦ It was installed in a space lent to me and other artists by the Alliance Française. 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. . Benoît Loiseau: This is not the first time your work has been exhibited at Whitechapel Gallery. Benoît: In part, yes. Born in Italy during World War II, she has lived in Brazil since 1960. I am a lot more tranquila now than when I was in my twenties and thirties. I meet Maiolino, now 77, at the gallery with a translator. My unconscious and my memory very much nourished my work. I don’t know if I’ve answered your question? (50 x 50 cm. “. 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. I did what I could. Everybody wants to belong somewhere, you know? 1942, Italy ‐ No image available. Born 1942 in Italy, Maiolinoâs practice expresses a concern with creative and destructive processes. Anna Maria Maiolino installs clay coils and creates works out of fresh, live ceramic material Absentee blogger alert! 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. Did the feminist movement at the time have an impact on you? Her reputation was boosted by participating in the seminal 1967 show New Brazilian Objectivity at the Museum of Modern Art in Rio de Janeiro. Installation views. Interviews. Anna Maria Maiolino is one of the most significant artists working in Brazil today. 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”). I can make a plate of spaghetti as if it were poetry.”. But you have to be careful never to lose the rage when you need it. I understood that what American feminists were doing was important for us. In this work, I wanted to eat the enemies of freedom. Anna Maria Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. Because I feel disrespected in the best of who I am. The immigration crisis and the levels of intolerance, I think it’s horrible. Eso fue una riqueza [That was a luxury]. 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. I exorcised it. Trailblazer 100 questions with Rachel Morrison, the first female cinematographer to receive an Academy Award nomination. Anna Maria Maiolino: Making Love Revolutionary review â Inspired show by an artist who challenged Brazil's dictators. Which is impossible, as the colonial legacy is so deeply rooted. Maiolino was born in southern Italy and moved to Venezuela in 1954 with her parents where she began her artistic training. I incorporated my hunger. I calmed it down. 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]. 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. Anna Maria Maiolino. A ritual which can surprise you, for better or for worse. 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. One of her most provocative woodcuts, “Glu Glu Glu” (1967), shows an open-mouthed, dismembered female figure sitting at a table. Studio Sunday: Anna Maria Maiolino Anna Maria Maiolino was born in Southern Italy and later moved to Rio de Janeiro, Brazil. The next iteration was different, it was set in a pavilion and with an audience. That was the greatest university for me, this table where there was never enough food. When you enter in contact with art, it is like a ritual. Anna Maria: Ah, si! Follow Artist. Anna Maria Maiolino has 31 works online. Anna Maria Maiolino is one of the most significant artists working in Brazil today. ... Anna Maria Maiolino b. 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. Was she fearful? 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. In our civilisation, there are always people who are famined. When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. Benoît: And that’s also when you started to write poetry? “The five people who work with me, we’re all happy.” At that moment, holding that thought, Maiolino looks truly content. I spoke Spanish then, not Portuguese. We have identified these works in the following photos from our exhibition history. is a succinct and poetic representation of hunger, resistance and hope,” writes Iwona Blazwick, director of the Whitechapel, in the catalogue. [The woodcut tradition] criticised political situations so it was a medium that, for me, was the easiest way to express myself.”. The body is an organic vessel for emotions, desires, and physiological mechanisms. For me, a work is the product of a situation: economic, social, cultural and political. In 1968, artist Anna Maria Maiolino moved to New York from Rio de Janeiro with her husband, Rubens Gerchman, and their two children. $50 for your first 3 months Made of unfired clay, theyâre packed, sinuous and sausage-like, into an aperture in a wall. Artist. Speaking primarily in Portuguese, but also in English and Italian, she is instantly warm and receptive. An Artist Who Made Her Personal Life Central to Her Art Close “Dictators are stupid, they don’t understand your metaphors,” the artist replies. But that’s also the danger: youth is always rebellious. Mine swore in Flemish, that’s when we knew we were in trouble. When my mother was upset, she told us off in Latin! Central to Anna Maria Maiolinoâs practice are notions of subjectivity, belonging and place. Get the print edition and steer from crisis to recovery. But I never saw these things as fundamentally female, you know? Ana Maria Maiolino. Text Benoît Loiseau; 8th January 2020 . 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. After those early experiences, she saw Italy as “a wicked stepmother, on a psychological level, that had not looked after me”, she says. 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. 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. The striking short film âY,â from 1974, feels related: it shows the artist, blindfolded, with her mouth open in an endless scream. Right now, in Los Angeles, Maiolino is the subject of a retrospective at â¦ The experience of ‘not having’ accompanied me, and continues to accompany me. Established in 1979, we are the only artist-founded museum in Los Angeles. All of these things mark the production of an artist, their origins. How do you feel about this work today? It’s terrible, everything that’s happening in the world right now. 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 Was an Artist Who Made Her Personal Life Central to Her Art. Make that a rough few, no several years. Artist of the Month February 2020 ANNA MARIA MAIOLINO. The discriminatory politics around gender have radicalised to such an extent, it’s awful. Entrevidas was my second installation which featured organic elements. They’re dynamic works. 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. When Bolsonaro appears on TV, I suffer. 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! Anna Maria Maiolino, Making Love Revolutionary Whitechapel Gallery, London, U.K., September 25, 2019 â January 12, 2020. 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. Civilisation, as I see it, is to have tolerance for one another. 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. To a certain extent, the Manifesto Antropófago proposed to leave out European art. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. We have a president who is utterly intolerant. 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. There are 16,434 drawings online. She explores the human rights and social aspects of immigration politics in Brazil through her performance art and conceptual installations. This interview has been translated from Spanish to English and edited for clarity. I never rejected the various destinies that were presented to me. ), courtesy of the artist. Anna Maria Maiolinoâs significance for the history of art in Brazil from the 1960s onward cannot be underestimated. I know, I haven’t responded to your question! 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. Thirteen. 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? Through June 21. ANNA MARIA MAIOLINO - Untitled from the series 'Outras Marcas', 1999. Anna Maria Maiolino. “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. What a time for such a statement: Making Love Revolutionary. Benoît: In 1968, you moved to New York with your then-husband, the artist Rubens Gerchman, and your two young children. I’m not an artist you can pigeonhole,” she says. 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. Standout show: The exhibition at the â¦ You don’t want to live too peacefully. For instance, what Brazilian artist Lygia Clark explored, the notion of sensuality, of immanence, it was important. I did recognise that female artistic production could be hindered by male curators, for instance. That was my apprenticeship in life, humanity and knowledge. 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. We are dedicated to collecting and exhibiting contemporary art. She came of age as part of the Nova Figuração (New Figuration) avant-garde, a movement concerned with popular art. When I began to work with more basic shapes, that’s when I started a different conversation. But I believe that, for whatever you can put out into the world, there will be an outcome. Depending on who looks at the work, with their own psychological, social and cultural sensitivities, the audience completes the work, always. My husband had received a grant, we were living humbly, but we got by, we had two young children of two and four. As you get older, you want to be at peace with yourself and with life [pause]. 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. On display at the Whitechapel is a major installation in unfired clay, which was created on site. She has also made Super8 films: the standout example here, “In-Out” (“Antropofagia”) (1973), features unsettling footage of mouths stuffed with string. Anna Maria: Hunger, for those who haven’t experienced it, is an abstraction. It’s only after I returned to Brazil [in 1971] that I realised how much I enjoyed being in New York. That is a historical problem which humanity has never been able to resolve. 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. Now we have religions and politicians trying to tell us how to live our lives, but it’s absurd. I have a positive memory of that experience. It doesn’t exist. 1978/2017 Monumento à Fome (Monument to Hunger) Artist. It was also a particular moment in your practice, during which motherhood came to dictate much of the way you worked. “My [then] husband introduced me to the woodcuts of north-eastern Brazil. MOCA is pleased to present Anna Maria Maiolino, the Brazilian artistâs first major United States museum retrospective. 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. “Drawing is a constant practice but in each series, I seek other questions. Anna Maria: Yes, that’s where I started. All artists, Lygia Clark and Hélio Oiticica, and their Neo- Conrete Manifesto, that’s where they came from. 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. When I finished, it looked like a mortuary mask sitting on the table, as if I had killed her. Ideas, for me, are never finished. 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. I’m an avid reader, but not always of art. Enemies have to be eaten to be dominated but also incorporated. This kind of experience stays with you, inside of you. In Los Angeles, two years ago, we reenacted the performance with my nephew. Anna Maria: Es bellisimo. 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 I put my hand in the clay, that was a turning point because it’s such a primary thing; clay is matter,” she says. Could you tell me about the origin of the work, and the process of documenting it? 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. Anna Maria: You know, with age comes a lot of wisdom. I chose to be a mother, like I chose to be an artist.”. “Art is the activist. ANNA MARIA MAIOLINO - Untitled from the series 'Uns & Outros', 2000-2005. But there wasn’t a reflection on Latin American feminism in Brazil. See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. 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. And for my parents, it was important that we had knowledge. Anna Maria Maiolino is one of todayâs most political women artists. I am a woman, I’m Latin American, I’m an immigrant and, now, I’m old. 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. Featured image: Anna Maria Maiolino â Portrait of the artist, photo credits Alessandro Lentati Have you ever been to a coop and picked up an egg? I have no problem with that. No image available. 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 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. Benoît: Scary. In the cultural context of Brazil, the poet Oswaldo de Andrade laid the foundation for these notions with his Manifesto Antropófago (1928), a central text for 20th century Brazilian art, in which he argued that ‘only cannibalism unites us’ – a reference to the country’s colonial past. Just like in the United States, it’s worrying. Even now that I live from my work, it’s something that touches me deeply. 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How do I switch from corporate finance to public affairs? Anna Maria: At the time, I didn’t think of feminism as a political stance. To find a dialogue, in a democratic way. Some unexpectedly punk videos, featuring extreme closeups of Maiolino, complete the portrait of an artist at once private and confident. London, as elsewhere â across the U.K. and the world at large â has had a rough year. 39. I learned to read manifestos very late, you know. Benoît: In 1989, something important happened in your practice… you discovered clay. Anna Maria Maiolino has 31 works online. View Anna Maria Maiolinoâs 42 artworks on artnet. The iconic triptych shows you crossing a street barefoot, cautiously avoiding stepping on eggs, as if walking through a minefield. 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. 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 didn’t know what to do with the clay, so I started sculpting my own face, like autoportraits. “Do you know how many we were at the table to eat? It’s beautiful — you’re taking the world in your hand.”. 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. “On the eve of Brazil’s first free elections in 1982, brought about by public protest, ‘Entrevidas’ . At the same time, I read philosophy, I write poetry. At age 75, Anna Maria Maiolino is having a late-career moment in the United States. 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. “I never rejected the various destinies that were presented to me. Anna Maria Maiolinoâs significance for the history of art in Brazil from the 1960s onward cannot be underestimated. Anna Maria: Humanity forgets. Anna Maria Maiolino is an Italian-Brazilian artist who makes books, video art, sculptures, and drawings. In 1981, on the streets of Rio de Janeiro, Anna Maria Maiolino negotiated a path barefoot across a pavement littered with chicken eggs. 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. My Super 8 film In-Out (Antropofagia) (1973) was inspired by the manifesto. “I was married to another artist, an Argentine [Victor Grippo] — it was impossible to make art with him,” she says. Art is a political exercise. . When I touched the clay and put a chunk on the table, it felt like the entire world was contained within it. 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. Anna Maria Maiolino's first major US retrospective is as much about the progression of a career as about the progression of a life. I never finished my studies – the [institutions] lie and say I’ve graduated but it’s not true, I never finished. “You have to understand it is a minefield about the fragility of life. But, Oswald de Andrade proposed an art with Brazilian roots, and that is beautiful. The military dictatorship emerged in 1964, when I was 27. That’s what I brought with me, to Brazil. 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. “I cook very well; I’m good at ironing. It’s like there is no way out. And yes, I brought it from Italy. Talk. Painter. It is also an interface that facilitates the formation and display of identity and self-awareness. “I never went on demos,” she replies. Back in Brazil, she abandoned figuration — a “great turning point” — creating her own strain of abstraction. 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. 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. 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. Thirteen. You’re probably wondering why I’m telling you all this. 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 That was my apprenticeship in life, humanity and knowledge. Does she consider herself an artist or an activist? Artists of my generation, we never thought about the art market, we just had day jobs. I could keep a notebook, while looking after the children. I chose to be a mother, like I chose to be an artist. As long as you lead your life with ethics and compassion for others, everything will be fine. She embraced the material in the 1980s. View items sold at auction. 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