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). In 1996, Belgian curator Catherine De Zegher included you in the group show Inside the Visible, alongside 30 other female artists from various backgrounds. No image available. Benoît: In 1989, something important happened in your practice… you discovered clay. I could keep a notebook, while looking after the children. At the same time, I read philosophy, I write poetry. When I discovered the Manifesto Antropófago, I understood that you had to eat your enemies to incorporate their ideals. “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. Anna Maria: Humanity forgets. Anna Maria: Ah, si! 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! I understood that what American feminists were doing was important for us. It was also a particular moment in your practice, during which motherhood came to dictate much of the way you worked. “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. Was she fearful? 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. This kind of experience stays with you, inside of you. “. The next iteration was different, it was set in a pavilion and with an audience. “I cook very well; I’m good at ironing. There are 16,434 drawings online. “Do you know how many we were at the table to eat? In 1981, on the streets of Rio de Janeiro, Anna Maria Maiolino negotiated a path barefoot across a pavement littered with chicken eggs. Ana Maria Maiolino. It was originally published in the 2019 HERO Winter Annual. Anna Maria Maiolino’s significance for the history of art in Brazil from the 1960s onward cannot be underestimated. 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. Ideas, for me, are never finished. Anna Maria Maiolino. 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. 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. There are 16,434 drawings online. 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”). (50 x 50 cm. She came of age as part of the Nova Figuração (New Figuration) avant-garde, a movement concerned with popular art. In our civilisation, there are always people who are famined. That’s what I brought with me, to Brazil. It’s only after I returned to Brazil [in 1971] that I realised how much I enjoyed being in New York. I exorcised my hunger. But I never saw these things as fundamentally female, you know? I never rejected the various destinies that were presented to me. 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. I have no problem with that. But you have to be careful never to lose the rage when you need it. “I was married to another artist, an Argentine [Victor Grippo] — it was impossible to make art with him,” she says. The striking short film “Y,” from 1974, feels related: it shows the artist, blindfolded, with her mouth open in an endless scream. 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. Standout show: The exhibition at the … What a time for such a statement: Making Love Revolutionary. 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. Benoît: And that’s also when you started to write poetry? 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 did what I could. I have a positive memory of that experience. That was my apprenticeship in life, humanity and knowledge. “I never went on demos,” she replies. Anna Maria Maiolino has 31 works online. Anna Maria: Do you know how many we were at the table to eat? And for my parents, it was important that we had knowledge. Born 1942 in Italy, Maiolino’s practice expresses a concern with creative and destructive processes. I am a woman, I’m Latin American, I’m an immigrant and, now, I’m old. Talk. Make that a rough few, no several years. Anna Maria Maiolino installs clay coils and creates works out of fresh, live ceramic material Absentee blogger alert! See available works on paper, sculpture, and prints and multiples for sale and learn about the artist. 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. When I arrived in Brazil from Venezuela, aged eighteen, I was looking to identify with a land, a place. “Art is the activist. In her artistic practice, Maiolino is known for works in a variety of media, including clay, cement, printmaking, film and performance. The military dictatorship emerged in 1964, when I was 27. Big turds greet you as you head into this show by Italian-born Brazilian artist Anna Maria Maiolino. She has always connected her art with life. My unconscious and my memory very much nourished my work. It doesn’t exist. You’re probably wondering why I’m telling you all this. Born 1942 in Italy, Maiolino’s practice expresses a concern with creative and destructive processes. These are beautiful philosophical metaphors. Mine swore in Flemish, that’s when we knew we were in trouble. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. “You have to understand it is a minefield about the fragility of life. ), courtesy of the artist. We have identified these works in the following photos from our exhibition history. Painter. “I never rejected the various destinies that were presented to me. That was my apprenticeship in life, humanity and knowledge. 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. . How do I switch from corporate finance to public affairs? Anna Maria Maiolino: Making Love Revolutionary review – Inspired show by an artist who challenged Brazil's dictators. Anna Maria: Hunger, for those who haven’t experienced it, is an abstraction. I calmed it down. She has also made Super8 films: the standout example here, “In-Out” (“Antropofagia”) (1973), features unsettling footage of mouths stuffed with string. An Artist Who Made Her Personal Life Central to Her Art Close Her reputation was boosted by participating in the seminal 1967 show New Brazilian Objectivity at the Museum of Modern Art in Rio de Janeiro. There are some incredible paradoxes in this notion. MOCA is pleased to present Anna Maria Maiolino, the Brazilian artist’s first major United States museum retrospective. Text Benoît Loiseau; 8th January 2020 . For instance, what Brazilian artist Lygia Clark explored, the notion of sensuality, of immanence, it was important. She explores the human rights and social aspects of immigration politics in Brazil through her performance art and conceptual installations. 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 Whitechapel Gallery, London, U.K., September 25, 2019 — January 12, 2020. In this work, I wanted to eat the enemies of freedom. After those early experiences, she saw Italy as “a wicked stepmother, on a psychological level, that had not looked after me”, she says. 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. But, Oswald de Andrade proposed an art with Brazilian roots, and that is beautiful. Some unexpectedly punk videos, featuring extreme closeups of Maiolino, complete the portrait of an artist at once private and confident. Civilisation, as I see it, is to have tolerance for one another. When I touched the clay and put a chunk on the table, it felt like the entire world was contained within it. Her “Mental Maps” series (1971) is made up of meticulously plotted grids dotted with formative places, emotions and experiences. Did the feminist movement at the time have an impact on you? 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. In Los Angeles, two years ago, we reenacted the performance with my nephew. All of these things mark the production of an artist, their origins. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Anna Maria Maiolino is one of the most significant artists working in Brazil today. Anna Maria Maiolino: The world has changed a lot. It’s like there is no way out. The immigration crisis and the levels of intolerance, I think it’s horrible. Entrevidas was my second installation which featured organic elements. Which is impossible, as the colonial legacy is so deeply rooted. “Dictators are stupid, they don’t understand your metaphors,” the artist replies. Anna Maria: At the time, I didn’t think of feminism as a political stance. 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. Have you ever been to a coop and picked up an egg? Art is a political exercise. It’s beautiful — you’re taking the world in your hand.”. That is a historical problem which humanity has never been able to resolve. is a succinct and poetic representation of hunger, resistance and hope,” writes Iwona Blazwick, director of the Whitechapel, in the catalogue. Speaking primarily in Portuguese, but also in English and Italian, she is instantly warm and receptive. I chose to be a mother, like I chose to be an artist. Born in Italy during World War II, Maiolino has lived in Brazil since 1960. But I believe that, for whatever you can put out into the world, there will be an outcome. Get the print edition and steer from crisis to recovery. Because with clay, the more you touch it, the more it loses its vitality. I don’t know if I’ve answered your question? 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 …