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In the very place: An anthology of Ana Maria Tavares

19 Nov 2016
10 Apr 2017

NOV 19, 2016
APR 10, 2017

Nearly 35 years after her first solo show, held at Pinacoteca de São Paulo – the art museum of the São Paulo State Secretariat of Culture – the artist Ana Maria Tavares is back to present “In the very place: An Ana Maria Tavares anthology.” The show opens November 19 and occupies seven rooms of the first floor of the Pina_Luz building, as well as spaces in the Octagon, the lobby and hallways on the same floor. Sponsored by Itaú, Companhia Paulista de Parcerias (CPP), and Alexandre Birman, and supported by Abividro and Cebrace, the exhibit gathers more than 160 works of Minas Gerais-based artist, which – according to curator Fernanda Pitta – rearticulate fundamental elements of the artist’s production from 1982 up to the present.

Conceived based on a work by Ana Maria, belonging to Pinacoteca’s collection (Bico de Diamante, 1990), the exhibit will consist of the translation of a significant selection of works produced throughout her career and displayed without being guided by chronological order. The works suggest a reflection on the development of the artist’s research and the various concepts and problems brought she features in her production. A presentation of works that deal with spatiality and surface, ornament and functionality, industry and handcraft, word and image; which are guided by key concepts in the production of Ana Maria Tavares such as suspension, mobility, movement, mirroring, rotation and labyrinth – designed from a critical perspective in relation to modern architecture. “The show is about how Ana Maria’s work is installed, here and now, in the space of the Pinacoteca. It rearticulates the place and the history of the museum and of the work, in a retrospective movement that is one of reworking and reinventing both paths,” explains Pitta.

Other important works are also part of the anthology, such as Exit, Parede Niemeyer, and Tapetes pretos para paredes brancas, a piece that was featured in the solo show in 1982. Several series of sculptural objects and works that propose a critical dialogue with the weight of the modern experience in Brazil will also be included, such as Purus e Negros (2014), in addition to those that draw parallels with the contemporary experience such as Enigmas de uma Noite com Midnight Daydreams, Desviantes, Mantras and Dominós. The work titled Parede Loos adorns the corridors with black stripes on the walls like some kind of Ariadne’s thread. In the “Octagon,” a site-specific work will be designed, with mirrors covering all sides of the room, from floor to ceiling.
“The exhibit is also a major intervention of the artist in architecture and memory of the museum,” adds Pitta. It is worth recalling that the exhibition continues with the cycle of shows devoted to reviewing the careers of artists who started out their professional lives on the Brazilian scene in the 1980s. In this sense, the Pinacoteca has presented exhibitions dedicated to Leda Catunda, Jac Leirner, Nuno Ramos, Beatriz Milhazes, and Nelson Félix.

The Pinacoteca will publish a bilingual catalog (Portuguese–English), scheduled for early 2017, that will feature essays, critical acclaims with heretofore unpublished text, an interview with the artist, and views of the exhibit, as well as testimonials from contemporary Brazilian artists on how Ana Maria’s work influenced their production.

“No lugar mesmo: uma antologia de Ana Maria Tavares” remains on view through April 10, 2017 on the first floor of the Pinacoteca – Praça da Luz, 2. Admission is open on Wednesday through Monday from 10:00 am to 5:30 pm, and visitors are allowed to remain until 6:00 pm. Tickets cost R$ 6 (full price) and R$ 3 (half-price for students, seniors, etc.). Admission is free-of-charge for children under 10 and adults over 60. On Saturdays, admission is free for all visitors. Pinacoteca de São Paulo is located across the street from the Luz station of the São Paulo Metrô and CPTM, and also has free parking. pinacoteca.org.br – (11) 3324-1000
About Ana Maria Tavares

Ana Maria Tavares began her studies in art at the Escola de Belas Artes da UFMG and continued at FAAP when she moved to São Paulo, under the mentorship of Regina Silveira and Julio Plaza. Two years after the show at the Pinacoteca, the artist began working on her Master’s Degree at School of the Art Institute of Chicago, where she lived and continued to exhibit until 1986, also holding individual shows. In the mid-1990s, Tavares’ sculptures took on larger scales, always referencing everyday objects such as ladders and turnstiles, and spaces such as airport lounges. During that period, her frequent use of stainless steel placed her work at the confluence between art and design. In 2000, she began the doctoral program at Universidade de São Paulo (USP), where she continues to do research and teach. Her dialogue with architecture has become another important aspect of her most recent production, whereby she also uses video images and starts to work more with large-scale installations.

NOV 19, 2016
APR 10, 2017

Nearly 35 years after her first solo show, held at Pinacoteca de São Paulo – the art museum of the São Paulo State Secretariat of Culture – the artist Ana Maria Tavares is back to present “In the very place: An Ana Maria Tavares anthology.” The show opens November 19 and occupies seven rooms of the first floor of the Pina_Luz building, as well as spaces in the Octagon, the lobby and hallways on the same floor. Sponsored by Itaú, Companhia Paulista de Parcerias (CPP), and Alexandre Birman, and supported by Abividro and Cebrace, the exhibit gathers more than 160 works of Minas Gerais-based artist, which – according to curator Fernanda Pitta – rearticulate fundamental elements of the artist’s production from 1982 up to the present.

Conceived based on a work by Ana Maria, belonging to Pinacoteca’s collection (Bico de Diamante, 1990), the exhibit will consist of the translation of a significant selection of works produced throughout her career and displayed without being guided by chronological order. The works suggest a reflection on the development of the artist’s research and the various concepts and problems brought she features in her production. A presentation of works that deal with spatiality and surface, ornament and functionality, industry and handcraft, word and image; which are guided by key concepts in the production of Ana Maria Tavares such as suspension, mobility, movement, mirroring, rotation and labyrinth – designed from a critical perspective in relation to modern architecture. “The show is about how Ana Maria’s work is installed, here and now, in the space of the Pinacoteca. It rearticulates the place and the history of the museum and of the work, in a retrospective movement that is one of reworking and reinventing both paths,” explains Pitta.

Other important works are also part of the anthology, such as Exit, Parede Niemeyer, and Tapetes pretos para paredes brancas, a piece that was featured in the solo show in 1982. Several series of sculptural objects and works that propose a critical dialogue with the weight of the modern experience in Brazil will also be included, such as Purus e Negros (2014), in addition to those that draw parallels with the contemporary experience such as Enigmas de uma Noite com Midnight Daydreams, Desviantes, Mantras and Dominós. The work titled Parede Loos adorns the corridors with black stripes on the walls like some kind of Ariadne’s thread. In the “Octagon,” a site-specific work will be designed, with mirrors covering all sides of the room, from floor to ceiling.
“The exhibit is also a major intervention of the artist in architecture and memory of the museum,” adds Pitta. It is worth recalling that the exhibition continues with the cycle of shows devoted to reviewing the careers of artists who started out their professional lives on the Brazilian scene in the 1980s. In this sense, the Pinacoteca has presented exhibitions dedicated to Leda Catunda, Jac Leirner, Nuno Ramos, Beatriz Milhazes, and Nelson Félix.

The Pinacoteca will publish a bilingual catalog (Portuguese–English), scheduled for early 2017, that will feature essays, critical acclaims with heretofore unpublished text, an interview with the artist, and views of the exhibit, as well as testimonials from contemporary Brazilian artists on how Ana Maria’s work influenced their production.

“No lugar mesmo: uma antologia de Ana Maria Tavares” remains on view through April 10, 2017 on the first floor of the Pinacoteca – Praça da Luz, 2. Admission is open on Wednesday through Monday from 10:00 am to 5:30 pm, and visitors are allowed to remain until 6:00 pm. Tickets cost R$ 6 (full price) and R$ 3 (half-price for students, seniors, etc.). Admission is free-of-charge for children under 10 and adults over 60. On Saturdays, admission is free for all visitors. Pinacoteca de São Paulo is located across the street from the Luz station of the São Paulo Metrô and CPTM, and also has free parking. pinacoteca.org.br – (11) 3324-1000
About Ana Maria Tavares

Ana Maria Tavares began her studies in art at the Escola de Belas Artes da UFMG and continued at FAAP when she moved to São Paulo, under the mentorship of Regina Silveira and Julio Plaza. Two years after the show at the Pinacoteca, the artist began working on her Master’s Degree at School of the Art Institute of Chicago, where she lived and continued to exhibit until 1986, also holding individual shows. In the mid-1990s, Tavares’ sculptures took on larger scales, always referencing everyday objects such as ladders and turnstiles, and spaces such as airport lounges. During that period, her frequent use of stainless steel placed her work at the confluence between art and design. In 2000, she began the doctoral program at Universidade de São Paulo (USP), where she continues to do research and teach. Her dialogue with architecture has become another important aspect of her most recent production, whereby she also uses video images and starts to work more with large-scale installations.

NOV 19, 2016
APR 10, 2017

Nearly 35 years after her first solo show, held at Pinacoteca de São Paulo – the art museum of the São Paulo State Secretariat of Culture – the artist Ana Maria Tavares is back to present “In the very place: An Ana Maria Tavares anthology.” The show opens November 19 and occupies seven rooms of the first floor of the Pina_Luz building, as well as spaces in the Octagon, the lobby and hallways on the same floor. Sponsored by Itaú, Companhia Paulista de Parcerias (CPP), and Alexandre Birman, and supported by Abividro and Cebrace, the exhibit gathers more than 160 works of Minas Gerais-based artist, which – according to curator Fernanda Pitta – rearticulate fundamental elements of the artist’s production from 1982 up to the present.

Conceived based on a work by Ana Maria, belonging to Pinacoteca’s collection (Bico de Diamante, 1990), the exhibit will consist of the translation of a significant selection of works produced throughout her career and displayed without being guided by chronological order. The works suggest a reflection on the development of the artist’s research and the various concepts and problems brought she features in her production. A presentation of works that deal with spatiality and surface, ornament and functionality, industry and handcraft, word and image; which are guided by key concepts in the production of Ana Maria Tavares such as suspension, mobility, movement, mirroring, rotation and labyrinth – designed from a critical perspective in relation to modern architecture. “The show is about how Ana Maria’s work is installed, here and now, in the space of the Pinacoteca. It rearticulates the place and the history of the museum and of the work, in a retrospective movement that is one of reworking and reinventing both paths,” explains Pitta.

Other important works are also part of the anthology, such as Exit, Parede Niemeyer, and Tapetes pretos para paredes brancas, a piece that was featured in the solo show in 1982. Several series of sculptural objects and works that propose a critical dialogue with the weight of the modern experience in Brazil will also be included, such as Purus e Negros (2014), in addition to those that draw parallels with the contemporary experience such as Enigmas de uma Noite com Midnight Daydreams, Desviantes, Mantras and Dominós. The work titled Parede Loos adorns the corridors with black stripes on the walls like some kind of Ariadne’s thread. In the “Octagon,” a site-specific work will be designed, with mirrors covering all sides of the room, from floor to ceiling.
“The exhibit is also a major intervention of the artist in architecture and memory of the museum,” adds Pitta. It is worth recalling that the exhibition continues with the cycle of shows devoted to reviewing the careers of artists who started out their professional lives on the Brazilian scene in the 1980s. In this sense, the Pinacoteca has presented exhibitions dedicated to Leda Catunda, Jac Leirner, Nuno Ramos, Beatriz Milhazes, and Nelson Félix.

The Pinacoteca will publish a bilingual catalog (Portuguese–English), scheduled for early 2017, that will feature essays, critical acclaims with heretofore unpublished text, an interview with the artist, and views of the exhibit, as well as testimonials from contemporary Brazilian artists on how Ana Maria’s work influenced their production.

“No lugar mesmo: uma antologia de Ana Maria Tavares” remains on view through April 10, 2017 on the first floor of the Pinacoteca – Praça da Luz, 2. Admission is open on Wednesday through Monday from 10:00 am to 5:30 pm, and visitors are allowed to remain until 6:00 pm. Tickets cost R$ 6 (full price) and R$ 3 (half-price for students, seniors, etc.). Admission is free-of-charge for children under 10 and adults over 60. On Saturdays, admission is free for all visitors. Pinacoteca de São Paulo is located across the street from the Luz station of the São Paulo Metrô and CPTM, and also has free parking. pinacoteca.org.br – (11) 3324-1000
About Ana Maria Tavares

Ana Maria Tavares began her studies in art at the Escola de Belas Artes da UFMG and continued at FAAP when she moved to São Paulo, under the mentorship of Regina Silveira and Julio Plaza. Two years after the show at the Pinacoteca, the artist began working on her Master’s Degree at School of the Art Institute of Chicago, where she lived and continued to exhibit until 1986, also holding individual shows. In the mid-1990s, Tavares’ sculptures took on larger scales, always referencing everyday objects such as ladders and turnstiles, and spaces such as airport lounges. During that period, her frequent use of stainless steel placed her work at the confluence between art and design. In 2000, she began the doctoral program at Universidade de São Paulo (USP), where she continues to do research and teach. Her dialogue with architecture has become another important aspect of her most recent production, whereby she also uses video images and starts to work more with large-scale installations.

NOV 19, 2016
APR 10, 2017

Nearly 35 years after her first solo show, held at Pinacoteca de São Paulo – the art museum of the São Paulo State Secretariat of Culture – the artist Ana Maria Tavares is back to present “In the very place: An Ana Maria Tavares anthology.” The show opens November 19 and occupies seven rooms of the first floor of the Pina_Luz building, as well as spaces in the Octagon, the lobby and hallways on the same floor. Sponsored by Itaú, Companhia Paulista de Parcerias (CPP), and Alexandre Birman, and supported by Abividro and Cebrace, the exhibit gathers more than 160 works of Minas Gerais-based artist, which – according to curator Fernanda Pitta – rearticulate fundamental elements of the artist’s production from 1982 up to the present.

Conceived based on a work by Ana Maria, belonging to Pinacoteca’s collection (Bico de Diamante, 1990), the exhibit will consist of the translation of a significant selection of works produced throughout her career and displayed without being guided by chronological order. The works suggest a reflection on the development of the artist’s research and the various concepts and problems brought she features in her production. A presentation of works that deal with spatiality and surface, ornament and functionality, industry and handcraft, word and image; which are guided by key concepts in the production of Ana Maria Tavares such as suspension, mobility, movement, mirroring, rotation and labyrinth – designed from a critical perspective in relation to modern architecture. “The show is about how Ana Maria’s work is installed, here and now, in the space of the Pinacoteca. It rearticulates the place and the history of the museum and of the work, in a retrospective movement that is one of reworking and reinventing both paths,” explains Pitta.

Other important works are also part of the anthology, such as Exit, Parede Niemeyer, and Tapetes pretos para paredes brancas, a piece that was featured in the solo show in 1982. Several series of sculptural objects and works that propose a critical dialogue with the weight of the modern experience in Brazil will also be included, such as Purus e Negros (2014), in addition to those that draw parallels with the contemporary experience such as Enigmas de uma Noite com Midnight Daydreams, Desviantes, Mantras and Dominós. The work titled Parede Loos adorns the corridors with black stripes on the walls like some kind of Ariadne’s thread. In the “Octagon,” a site-specific work will be designed, with mirrors covering all sides of the room, from floor to ceiling.
“The exhibit is also a major intervention of the artist in architecture and memory of the museum,” adds Pitta. It is worth recalling that the exhibition continues with the cycle of shows devoted to reviewing the careers of artists who started out their professional lives on the Brazilian scene in the 1980s. In this sense, the Pinacoteca has presented exhibitions dedicated to Leda Catunda, Jac Leirner, Nuno Ramos, Beatriz Milhazes, and Nelson Félix.

The Pinacoteca will publish a bilingual catalog (Portuguese–English), scheduled for early 2017, that will feature essays, critical acclaims with heretofore unpublished text, an interview with the artist, and views of the exhibit, as well as testimonials from contemporary Brazilian artists on how Ana Maria’s work influenced their production.

“No lugar mesmo: uma antologia de Ana Maria Tavares” remains on view through April 10, 2017 on the first floor of the Pinacoteca – Praça da Luz, 2. Admission is open on Wednesday through Monday from 10:00 am to 5:30 pm, and visitors are allowed to remain until 6:00 pm. Tickets cost R$ 6 (full price) and R$ 3 (half-price for students, seniors, etc.). Admission is free-of-charge for children under 10 and adults over 60. On Saturdays, admission is free for all visitors. Pinacoteca de São Paulo is located across the street from the Luz station of the São Paulo Metrô and CPTM, and also has free parking. pinacoteca.org.br – (11) 3324-1000
About Ana Maria Tavares

Ana Maria Tavares began her studies in art at the Escola de Belas Artes da UFMG and continued at FAAP when she moved to São Paulo, under the mentorship of Regina Silveira and Julio Plaza. Two years after the show at the Pinacoteca, the artist began working on her Master’s Degree at School of the Art Institute of Chicago, where she lived and continued to exhibit until 1986, also holding individual shows. In the mid-1990s, Tavares’ sculptures took on larger scales, always referencing everyday objects such as ladders and turnstiles, and spaces such as airport lounges. During that period, her frequent use of stainless steel placed her work at the confluence between art and design. In 2000, she began the doctoral program at Universidade de São Paulo (USP), where she continues to do research and teach. Her dialogue with architecture has become another important aspect of her most recent production, whereby she also uses video images and starts to work more with large-scale installations.

NOV 19, 2016
APR 10, 2017

Nearly 35 years after her first solo show, held at Pinacoteca de São Paulo – the art museum of the São Paulo State Secretariat of Culture – the artist Ana Maria Tavares is back to present “In the very place: An Ana Maria Tavares anthology.” The show opens November 19 and occupies seven rooms of the first floor of the Pina_Luz building, as well as spaces in the Octagon, the lobby and hallways on the same floor. Sponsored by Itaú, Companhia Paulista de Parcerias (CPP), and Alexandre Birman, and supported by Abividro and Cebrace, the exhibit gathers more than 160 works of Minas Gerais-based artist, which – according to curator Fernanda Pitta – rearticulate fundamental elements of the artist’s production from 1982 up to the present.

Conceived based on a work by Ana Maria, belonging to Pinacoteca’s collection (Bico de Diamante, 1990), the exhibit will consist of the translation of a significant selection of works produced throughout her career and displayed without being guided by chronological order. The works suggest a reflection on the development of the artist’s research and the various concepts and problems brought she features in her production. A presentation of works that deal with spatiality and surface, ornament and functionality, industry and handcraft, word and image; which are guided by key concepts in the production of Ana Maria Tavares such as suspension, mobility, movement, mirroring, rotation and labyrinth – designed from a critical perspective in relation to modern architecture. “The show is about how Ana Maria’s work is installed, here and now, in the space of the Pinacoteca. It rearticulates the place and the history of the museum and of the work, in a retrospective movement that is one of reworking and reinventing both paths,” explains Pitta.

Other important works are also part of the anthology, such as Exit, Parede Niemeyer, and Tapetes pretos para paredes brancas, a piece that was featured in the solo show in 1982. Several series of sculptural objects and works that propose a critical dialogue with the weight of the modern experience in Brazil will also be included, such as Purus e Negros (2014), in addition to those that draw parallels with the contemporary experience such as Enigmas de uma Noite com Midnight Daydreams, Desviantes, Mantras and Dominós. The work titled Parede Loos adorns the corridors with black stripes on the walls like some kind of Ariadne’s thread. In the “Octagon,” a site-specific work will be designed, with mirrors covering all sides of the room, from floor to ceiling.
“The exhibit is also a major intervention of the artist in architecture and memory of the museum,” adds Pitta. It is worth recalling that the exhibition continues with the cycle of shows devoted to reviewing the careers of artists who started out their professional lives on the Brazilian scene in the 1980s. In this sense, the Pinacoteca has presented exhibitions dedicated to Leda Catunda, Jac Leirner, Nuno Ramos, Beatriz Milhazes, and Nelson Félix.

The Pinacoteca will publish a bilingual catalog (Portuguese–English), scheduled for early 2017, that will feature essays, critical acclaims with heretofore unpublished text, an interview with the artist, and views of the exhibit, as well as testimonials from contemporary Brazilian artists on how Ana Maria’s work influenced their production.

“No lugar mesmo: uma antologia de Ana Maria Tavares” remains on view through April 10, 2017 on the first floor of the Pinacoteca – Praça da Luz, 2. Admission is open on Wednesday through Monday from 10:00 am to 5:30 pm, and visitors are allowed to remain until 6:00 pm. Tickets cost R$ 6 (full price) and R$ 3 (half-price for students, seniors, etc.). Admission is free-of-charge for children under 10 and adults over 60. On Saturdays, admission is free for all visitors. Pinacoteca de São Paulo is located across the street from the Luz station of the São Paulo Metrô and CPTM, and also has free parking. pinacoteca.org.br – (11) 3324-1000
About Ana Maria Tavares

Ana Maria Tavares began her studies in art at the Escola de Belas Artes da UFMG and continued at FAAP when she moved to São Paulo, under the mentorship of Regina Silveira and Julio Plaza. Two years after the show at the Pinacoteca, the artist began working on her Master’s Degree at School of the Art Institute of Chicago, where she lived and continued to exhibit until 1986, also holding individual shows. In the mid-1990s, Tavares’ sculptures took on larger scales, always referencing everyday objects such as ladders and turnstiles, and spaces such as airport lounges. During that period, her frequent use of stainless steel placed her work at the confluence between art and design. In 2000, she began the doctoral program at Universidade de São Paulo (USP), where she continues to do research and teach. Her dialogue with architecture has become another important aspect of her most recent production, whereby she also uses video images and starts to work more with large-scale installations.

Créditos