Anna Maria Maiolino
Works
60th International Art Exhibition of La Biennale di Venezia
Site-specific installation
Molded plaster on metal table
25 × 43 × 34 cm, table: 30 x 44 x 35 cm
Molded plaster on metal table
25 × 43 × 34 cm, table: 30 x 44 x 35 cm
Metal structure with raku ceramic and shielded copper wire
240 × 120 × 20 cm
Ed. of 3 + 1 AP (unique variant)
Acrylic on canvas
120 × 250 cm
Acrylic on canvas
125 × 68 cm
Acrylic ink on paper (25 drawings)
29,5 × 21 cm (each)
Charcoal on paper
56 x 76 cm
Acrylic on paper
41 x 33 cm
Graphite on paper
70 x 100 cm
Acrylic ink on paper
100 × 70 cm
Acrylic ink on paper
100 × 70 cm
Acrylic on paper
Ceramic piece in cement base on metal table
Base: 62,5 x 38,5 x 23 cm Element: 58 (l) x 28 (w) x 27,5 (h) cm Metal table: 54,6 x 33,6 x 76,6 cm
Raku ceramic piece in cement base on metal table
Base: 70 (l) x 40 (w) x 24 (h) cm Element: 58 (l) x 28 (w) x 28 (h) cm Metal table: 54,6 x 33,6 x 76,6 (h) cm
Molded metal
15 × 210 cm
Molded cement with pigment mat
25 × 21 × 8 cm
Molded cement with pigment mat
25 × 21 × 8 cm
Molded cement with pigment
26 × 22 × 8 cm
Digital print
35,5 x 30 cm
7 color photographs, digital print
25,5 x 23,5 cm (each)
Biography
Born in Scalea, Italy, 1942. Lives and works in São Paulo, Brazil.
She works with Galleria Raffaella Cortese since 2009.
Drawing from the everyday female consciousness and from an oppressive, censorial dictatorship – as experienced in 1970s and 1980s Brazil – Italian-born Anna Maria Maiolino has produced works steeped in vital force, in a wide range of languages and media throughout her artistic career: from performance to sculpture, from videos to photography, installation and drawing.
Maiolino was involved in Brazil’s 1960s New Figuration movement: her representational prints and drawings from these years were acts of resistance to the national military regime, rising urban inequalities, and culturally ingrained patriarchy. She would later cultivate an interest in spatial and existential issues with a shift towards Minimalism and Conceptualism, creating installations that coaxed interaction between viewer and object. Since 1989, Maiolino has started working with clay, crafting impermanent labor-intensive installations that foreground her physical handling of the material, references to the unconscious and recurrent gestures of everyday life.
Maiolino’s works are based on processes of creation necessarily paired with destruction, and almost constantly on matters of identity, from the subjective and universal point of view. Developing a dialogue between opposing and complementary categories, her artistic practice dissolves between dichotomies between the inside and the outside, between emptiness and matter, ancient and contemporary.
Maiolino has presented solo shows in numerous international institutions, among which: Schhhiii…, MALBA Museo de Arte Latinoamericano de Buenos Aires (2022); psssiiiuuu, Instituto Tomie Ohtake, São Paulo (2022); Kunsthaus Baselland, Basel (2021); SCAD Museum of Art, Savannah (2020); Whitechapel Gallery, London (2019); PAC Padiglione d’Arte Contemporanea, Milan (2019); MOCA, Los Angeles (2017); Berkeley Art Museum and Pacific Film Archive (2014); Malmo Kunsthalle (2011); Centro Galego de Arte Contemporânea, Santiago de Compostela (2011); Fundació Antoní Tàpies, Barcelona (2010); Camden Arts Centre, London (2010); Pharos Centre for Contemporary art, Cipro (2007).
Recent group shows include: Rewilding, Kunsthaus Baselland, Basel (2024); Expanded With, Castello di Rivoli, Turin (2024); Chosen Memories, MoMA, New York (2023); Louise Bourgeois. Imaginary Conversations, Nasjonalmuseet, Oslo (2023); senzamargine – Passages in Italian Art at the Turn of the Millennium, MAXXI, Rome (2020); Pop América, 1965–1975, Nasher Museum of Art, Duke University, North Carolina (2019); A Tale of Two Worlds, Museum of Modern Art Buenos Aires, Buenos Aires (2018); Radical Women: Latin American Art 1960-1985, Hammer Museum, Los Angeles (2017); Delirious: Art at the Limits of Reason, The Met Breuer, New York (2017); Acervo em Transformação and Histórias da Infáncia, MASP, São Paulo (2016); La Grande Madre, Palazzo Reale, Milan (2015); The World Goes Pop, Tate Modern, London (2015).
Maiolino took part to several international biennials such as: Stranieri Ovunque – Foreigners Everywhere, 60th International Art Exhibition of La Biennale di Venezia, Nucleo Storico, Arsenale and Casetta degli Scaffali, Venice, Italy; La Biennale de Lyon (2017), 10th Gwangju Biennale, Gwangju (2014) and Documenta 13, Kassel (2012).
In 2024 has been awarded with the Venice Biennale’s Golden Lion for Lifetime Achievement.
Gallery Exhibitions
Public exhibitions
Press
Publications
