Tatay Helena (ed.), Anna Maria Maiolino, exh. cat., Centro Galego Arte Contemporánea, Santiago de Compostela ; Fundació Antoni Tàpies, Barcelona ; Konsthall, Malmö (2010-2011), London, Koenig Books, 2010
→Asbury Michael (dir.), Anna Maria Maiolino: Order and Subjectivity, Pharos Publishers, 2010
Territories of Immanence, Miami Art Center, Miami, 2006
→Anna Maria Maiolino: A Life Line/Vida Afora, The Drawing Center, New York, 2002
→Affections. Premio MASP Mercedes-Benz, Museu de Arte de São Paulo, São Paulo, 21 December 2012–10 March 2013
Brazilian visual artist.
Since the beginning of the 1960s, Italian-born Anna Maria Maiolino has been evoking her own exile and echoing Brazilian social and political conditions through her art. In 1954, she immigrated to Venezuela, and in 1960 she enrolled in the Escola Nacional de Belas Artes (School of Fine Arts) in Rio de Janeiro. Her first experiences with visual arts questioned the notions of language and censorship, of gender and body. By participating in the Brazilian “New Figuration” movement, she rejected the principles governing abstract art, while contesting government policy. In 1967, the “New Brazilian Objectivity” exhibition showed her work alongside that of Lygia Clark and Hélio Oiticica. With her series of engravings, such as A Viagem (The Trip, 1966), she condemned oppression and censorship in her country. In 1968, after obtaining Brazilian citizenship, she worked in New York, where she discovered minimal and conceptual art. She then began the Mapas mentais (Mental Maps, 1971-1976) series, where a grid enabled her to display common nouns, such as “death,” “art,” “poetry…”