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. As long as you lead your life with ethics and compassion for others, everything will be fine. As you get older, you want to be at peace with yourself and with life [pause]. Standout show: The exhibition at the … The next iteration was different, it was set in a pavilion and with an audience. Installation views. “I never went on demos,” she replies. It was originally published in the 2019 HERO Winter Annual. Was she fearful? 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 Maiolino is one of the most significant artists working in Brazil today. She came of age as part of the Nova Figuração (New Figuration) avant-garde, a movement concerned with popular art. ANNA MARIA MAIOLINO - Untitled from the series 'Uns & Outros', 2000-2005. “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. Featured image: Anna Maria Maiolino – Portrait of the artist, photo credits Alessandro Lentati Anna Maria: Es bellisimo. The collective aspect of working with a team — she cannot model three or four tons of clay alone — is clearly gratifying. See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. All artists, Lygia Clark and Hélio Oiticica, and their Neo- Conrete Manifesto, that’s where they came from. “My [then] husband introduced me to the woodcuts of north-eastern Brazil. Thirteen. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. I never rejected the various destinies that were presented to me. Anna Maria: Do you know how many we were at the table to eat? Anna Maria Maiolino: Making Love Revolutionary review – Inspired show by an artist who challenged Brazil's dictators. What a time for such a statement: Making Love Revolutionary. Follow Artist. Anna Maria Maiolino is an Italian-Brazilian artist who makes books, video art, sculptures, and drawings. The iconic triptych shows you crossing a street barefoot, cautiously avoiding stepping on eggs, as if walking through a minefield. We have a president who is utterly intolerant. Anna Maria: Yes, that’s where I started. Benoît: Scary. She has also made Super8 films: the standout example here, “In-Out” (“Antropofagia”) (1973), features unsettling footage of mouths stuffed with string. 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. Now we have religions and politicians trying to tell us how to live our lives, but it’s absurd. Anna Maria Maiolino is one of the most significant artists working in Brazil today. It doesn’t exist. Talk. Could you tell me about the origin of the work, and the process of documenting it? . 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). That’s what I brought with me, to Brazil. 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. That is a historical problem which humanity has never been able to resolve. There are 16,434 drawings online. “Dictators are stupid, they don’t understand your metaphors,” the artist replies. “Art is the activist. “On the eve of Brazil’s first free elections in 1982, brought about by public protest, ‘Entrevidas’ . That was the greatest university for me, this table where there was never enough food. A ritual which can surprise you, for better or for worse. 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 … This kind of experience stays with you, inside of you. “The five people who work with me, we’re all happy.” At that moment, holding that thought, Maiolino looks truly content. 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 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. 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. She has always connected her art with life. Have you ever been to a coop and picked up an egg? Anna Maria Maiolino, Making Love Revolutionary Whitechapel Gallery, London, U.K., September 25, 2019 — January 12, 2020. You don’t want to live too peacefully. When Bolsonaro appears on TV, I suffer. Benoît: In 1968, you moved to New York with your then-husband, the artist Rubens Gerchman, and your two young children. For instance, what Brazilian artist Lygia Clark explored, the notion of sensuality, of immanence, it was important. At the same time, I read philosophy, I write poetry. Anna Maria: Hunger, for those who haven’t experienced it, is an abstraction. I never finished my studies – the [institutions] lie and say I’ve graduated but it’s not true, I never finished. ANNA MARIA MAIOLINO - Untitled from the series 'Outras Marcas', 1999. Painter. 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. In the 1960s Maiolino gained momentum, finding a home in the Nova Figuração or New Figuration movement. 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. Studio Sunday: Anna Maria Maiolino Anna Maria Maiolino was born in Southern Italy and later moved to Rio de Janeiro, Brazil. Right now, in Los Angeles, Maiolino is the subject of a retrospective at … Anna Maria Maiolino: Making Love Revolutionary is on at the Whitechapel Gallery until 12 January. Interviews. . When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. Depending on who looks at the work, with their own psychological, social and cultural sensitivities, the audience completes the work, always. In our civilisation, there are always people who are famined. In 1996, Belgian curator Catherine De Zegher included you in the group show Inside the Visible, alongside 30 other female artists from various backgrounds. $50 for your first 3 months Her reputation was boosted by participating in the seminal 1967 show New Brazilian Objectivity at the Museum of Modern Art in Rio de Janeiro. I calmed it down. 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. 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. Entrevidas was my second installation which featured organic elements. Artist of the Month February 2020 ANNA MARIA MAIOLINO. 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. Big turds greet you as you head into this show by Italian-born Brazilian artist Anna Maria Maiolino. 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