Mario Mauroner Contemporary Art Salzburg-Vienna

A Ilha Dos Amores -

A Ilha Dos Amores

Sexy Orgue de Barbarie Belge - Jan Fabre

Jan Fabre Sexy Orgue de Barbarie Belge
Wood, Pigment, Paper, Polymer, Metal, Electronics
146,6x145,2x42,1 cm

It is, it isn't - Tony Cragg

Tony Cragg It is, it isn't

Exhibiting Artists

Other Represented Artists

  • Carlos Aires  (+)

    Biography : STUDIES and RESIDENCIES 2004-2008 PhD in Arts (doctorandum). Faculty of Fine Art Alonso Cano of Granada. Spain. 2004-2005 MA in Photography. The Ohio State University. Columbus, Ohio, USA. 2001-2003 HISK. Hoger Institute Schone Kunsten. Antwerpen, Belgium. 2000-2001 De Pont Atelier. De Pont Museum. Tilburg, The Netherlands 1997-2000 Master in European Arts and Cultures. Leicester University (UK) and AVB, Tilburg (NL). 1992-1997 Bachelor in Fine Arts, sculpture department, Faculty of Fine Art Alonso Cano of Granada. Spain.

    Exhibition : 2016 "ta.bu", Maison Particulière, Brussels, Belgium 2015 "Andante Giocoso", Mario Mauroner Contemporary Art, Vienna, Austria "It´s Money Jim, but not as we know it", Curated by_vienna 2015, Mario Mauroner Contemporary Art, Vienna, Austria PIGS. Artium. Basque Museum-Center of Contemporary Art. Vitoria, Spain. Comisariada por Blanca de la Torre. 5th Biennial of Thessaloniki, Greece. Curated by Katerina Gregos. Sweet dreams (are made of this), Mario Mauroner Contemporary Art, Vienna, Austria. Les Mondes Inverses. B.P.S. 22, Charleroi, Belgium. Curated by Jean Pierre Olivier. Éros c’est la vie. Galería Javier Lopez. Madrid, Spain. Icons. Maison Particulière, Brussels, Belgium (cat.). PUNK. CA2M, Centro de Arte Dos de Mayo, Mostoles, Madrid. Curated by David G. Torres. Flatlander. Boulder Museum of Contemporary Art, Boulder, Colorado, USA. Curated by Patty Smith. Engagements, Musée Sainte-Croix, Poitiers, France. Partner/You, Collaboration with the Belgium choreographer Chantal Yzermans, Círculo de Bellas Artes, Madrid, Spain. 2014 This is not just fucking business. Galería ADN. Barcelona, Spain. The Remarkable Lightness of Being, Aeroplastics Contemporary, Brussels, Belgium. Neighbours II. CAC, Centro de Arte Contemporáneo Málaga, Málaga, Spain. Relatos de Bellas Cosas Falsas. Arts Santa Monica, Barcelona, Spain. Tiempo de progreso, Museo Barjola. Gijón, Spain. The Telling of Beautiful Untrue Things, Art Santa Monica, Barcelona, Spain. Symbiosis of Physicality and the Spiritual, Mario Mauroner Contemporary Art, Salzburg, Austria. Flatland, Museo Guadalupe/ The Guadalupe Cultural Arts Center, San Antonio/Texas, USA. Partner/You, Collaboration with the Belgium choreographer Chantal Yzermans, EXTRA CITY, Antwerp, Belgium. Colonia Apócrifa, Imágenes de la colonialidad en España, MUSAC, Spain. 50 years of Hell. Art Elite vs Power Elite. Positive Propaganda Art Space, Munich, Germany. Confirmacíon de la Alternatica. Tendido

    Detailed Description : Carlos AIRES, who was born in 1974 in Málaga, focuses in his vinyl wall objects as well as in his photographs on the morbidity of the daily life. In his photographs AIRES addresses the issue of social marginal groups and responds to their psychic realities in comparison to the series „Love is in the Air“, which depicts a shattering double reality. AIRES developed this series according to his research of images dealing with violence, terrorism and war, which lose their history and cruelness without their afterimage. AIRES expressed himself as follows: "„Love is in the Air“ deals with the dark side of our daily melodrama: the same finger that switches off the computer screen on which you have just watched horrible images of a war, afterwards rings the bell of a private nightclub."

  • Carmen Calvo  (+)

    Biography : CURRICULUM SUMMARY Carmen Calvo, Valencia 1950, studied at the School of Arts and Crafts. Degree in Advertising 1970. She studied at the School of Fine Arts in Valencia. "As collectors who once accumulated "curiosities" in their stores, as archaeologists who classified the tiny traces of civilizations, Carmen Calvo, three years ago, when I met her at her Casa de Velázquez workshop, patiently added series of signs. It is about those insignificant remains that can be occasionally collected in the street or fragments of clay shaped by her own fingers. Thus, was developing in indecipherable writings, sequences of enigmatic speeches without beginning or end. She seemed to be playing. She was increasingly dominating her hand better. But in the background of seemingly playful exercise, an essential reference was revealed. To Van Gogh, to his way of painting, and specially drawing, juxtaposing brushstroke or trait, each of which, isolated, could easily partake in Carmen Calvo´s sets, whose most vivid desire was, while she got used to dominating space, to evoke, as in a palimpsest, behind the lines of those parodies of indecipherable books, the structures of huge extensions of the earth. The artist arrived at Paris. She settled, not without difficulty, at the City of Arts, facing the Seine. With a whole new light, vibrations under the arches of Pont Marie fascinated her as much as the force acquired by trunks of the large trees at Ile de France. She undoubtedly did not give up grinding clay, multiplying tracks and incisions, ordering them in long series of tiny formats as if they were pages of a private diary. However, the whole work changes under the influence of Parisian transplantation. Through a sudden explosion first, for the sake of broad gesture, by the will of erecting monumental forms, of representing, this time deliberately, vast tragic landscapes. Carmen Calvo is left today, to our great pleasure, to the pleasure of handling what Albert Skira called "

    Exhibition : 2016 Les opéras de Carmen, Galerie Thessa Herold, Paris, France 2014 Buscaba Lo Que Se Pierde, CFC Bilbao, Spain Una Jaula Para Vivir, Palacio De Molina, Spain Quedar Registrado, Art Lounge, Lisbon, Portugal Todas Las Sombras Que El Ojo Acepta, Centro de Arte Tomás y Valiente, Fuenlabrada, Spain 2013 Carmen Calvo - Colecciones fisonomías, Galería Rafael Oritz, Sevilla, Spain Carmen Calvo. Lo que se ha sentido ha sido lo que se ha vivido, Fundación Antonio Pérez, Cuenca, Spain Carmen Calvo. Lo que se ha sentido ha sido lo que se ha vivido, Museo del Objeto Encontrado, San Clemente, Cuenca, Spain El libro musical de caja abierto, Vuela Pluma, Madrid, Spain El Festín de la araña, Galería Fernández Braso, Madrid, Spain Anónimo e impropio, Galería Alejandro Sales, Barcelona, Spain 2012 Instituto Cervantes, Bordeaux, France Estética del desaliento, Galería Benlliure, Valencia, Spain Carmen Calvo. Dibuixos originals de les il·lustracions del llibre de la Temporada d’Òpera 2012-2013, Galería Joan Prats Artgràfic, Barcelona, Spain

  • Tony Cragg  (+)

    Artist's Objects:

    • Tony Cragg - It is, it isn't It is, it isn't

    Also represented by:

  • Manfred Erjautz  (+)

    Biography : From 1985 to 1990 Manfred Erjautz studied at the Academy of Fine Arts Vienna under Prof. Bruno Gironcoli. He is a member of the Vienna Secession and the Forum Stadtpark. Manfred Erjautz is a versatile Austrian contemporary artist who works with the genres of sculpture, intallation, graphics and photography, in addition to producing art for public spaces. His oeuvre is always considered to be conceptual and is characterized by formal clarity. Logos, bar codes, advertising texts, objects and material with specified content (Lego) are Erjautz' main materials. In 1989, early in his career, the artist already used Lego bricks to create some of his sculptures. The first work made of Lego was a gun used in a fictitious bank robbery filmed by a surveillance camera. By building an electric chair out of Lego bricks in another work he reversed the original meaning of Lego "play well" (Danish: leg godt). A controversial Lego cross, which featured a Lego truck instead of the body of Christ, was installed on the altar of the Jesuit Church, Vienna in 2004. The playful character of the Lego should relativize the seriousness and ceremoniousness of the liturgy (more than vice versa). One day before Christmas Eve 2008, the sculpture was vandalised with parts stolen by unknown perpetrators. It has been relocated to a much safer place on the pulpit.

    Exhibition : SOLO EXHIBITIONS (SELECTION) 2015 Belvedere Christmas Tree 2015, Oberes Belvedere, Vienna, Austria 2014 ME/WE, TBA21, Wirtschaftspark Breitensee, Austria Against the Day, Mario Mauroner Contemporary Art, Vienna, Austria Shelter (Falling Star), Mario Mauroner Contemporary Art, Window, Vienna, Austria 2012 Gravity´s rainbow/Die Enden der Parabel, Zacherlfabrik Wien, Austria Zur Tektonik des Menschlichen, Werkstadt Graz, Graz, Austria 2011 How things are connected, Galerie Ruzicska, Salzburg, Austria 2010 Effigies and refuges, Galerie Eugen Lendl, Graz, Austria

    Detailed Description : An exhibition with works of the artist Manfred ERJAUTZ is not simply an exhibition following the current typologies, as ERJAUTZ himself does not fit into the usual frameworks of fine art. He used to be a photographer, but was soon seen as a sculptor; his glued pictures belong to a pictorial field, but he soon turned to object-oriented work; if he was called an installative artist, he would at the same time act as a subversive shatterer of myths - his work is multifarious and can never be categorized unambiguously. Even with his works for public spaces, he burst the traditions of this normally quite boringly well-behaved field of art. Agnes Husslein-Arco Wendelin Renn

  • Jan Fabre  (+)

    Biography : Jan Fabre (born 1958) is a Belgian multidisciplinary artist, playwright, stage director, choreographer and designer.

    Exhibition : 2015 Knight of the Night, Galleria Il Ponte, Florence, Italy The Years of the Hour Blue, Magazzino, Rome, Italy Tribute to Hieronymus Bosch in Congo, Espace Louis Vuitton Tokyo, Japan 30 years / 7 rooms, Deweer Gallery, Otegem, Belgium Jan Fabre, Stigmata, Actions & Performances 1976–2013, Museum of Contemporary Art, Antwerp, Belgium Facing Time - Rops/Fabre, Musée Félicien Rops, Namur, Belgium Hommage au Congo Belge, Galerie Daniel Templon, Paris, France Do We Feel With Our Brain And Think With Our Heart?, Galerie 604, Busan, South Korea 2014 Jan Fabre. Do we feel with our brain and think with our heart?, Galerie Klüser, Munich, Germany Jan Fabre - The Spiritual Sceptic, At the Gallery, Antwerp, Belgium Zeno Brains & Oracle Stones, La Llotja, Palma de Mallorca, Spain Jan Fabre. Do We Feel with Our Brain and Think with Our Heart?, Galerie Daniel Templon, Brussels, Belgium Jan Fabre. Insect Drawings & Insect Sculptures 1975-1979, Rijksmuseum Twenthe, The Netherlands Jan Fabre. Tribute to Belgian Congo (2010–2013). Jan Fabre. Tribute to Hieronymus Bosch in Congo (2011–2013), PinchukArtCentre, Kyiv, Ukraine 2013 Jan. FabreThe Years of the Hour Blue. Drawings and Sculptures 1977-1992, Jan Fabre, Busan Museum of Art, Korea Tribute to Hieronymus Bosch in Congo (2011-2013), Palais des Beaux-Arts, Lille, France Jan Fabre. Stigmata Actions & Performances - 1976-2013, MAXXI, Rome, Italy Jan Fabre. Skulls & mosaics, Guy Pieters Gallery, Saint Paul de Vence, France Jan Fabre. Insektenzeichnungen & Insektenskulpturen 1975-1979, Kunsthalle Recklinghausen, Germany Jan Fabre. Chalcosoma. Small bronzes 2006-2012, Skulpturenpark Waldfrieden, Wuppertal, Germany GISANTS (Tribute to E. C. Crosby & K. Z. Lorenz), Galerie Daniel Templon, Paris, France

    Detailed Description : Both FABRE’s oeuvre and his life are determined by duality. Death and reincarnation are the central and recurrent themes in his work. He manifests this idea in his fascination for insects and beetles that are symbols for death and reincarnation. Also on stage one can notice contradictions. Physical degeneration contrasts with power of muscle and will. Without any dread Jan FABRE shows vulnerability and the transience of human beings. He is exhibiting in France, Belgium and Italy on a regular basis. In 2008 Fabre had a special show at the Louvre in Paris.

    Artist's Objects:

    • Jan Fabre - Sexy Orgue de Barbarie Belge Sexy Orgue de Barbarie Belge

    Also represented by:

  • Alfred Haberpointner  (+)

    Biography : 1966 born in Ebenau near Salzburg (AT) 1980–1984 Fachschule für Bildhauerei in Hallein (AT) 1985–1991 Hochschule für Gestaltung Linz (AT) 1990 Förderpreis der Hochschule für Gestaltung Linz (AT) 1992 Regelmäßige Reisen nach Italien 1993 Mehrmalige Aufenthalte in Köln (DE) 1995 Arbeitsstipendium des Landes Salzburg in Paris (FR) 1997 Theodor-Körner-Preis zur Förderung von Wissenschaft und Kunst, Arbeitsstipendium des Landes Salzburg 1998 Arbeitsstipendium des Bundesministeriums Österreich in New York (USA) 2000 Arbeitsstipendium des Landes Salzburg in New York (USA) 2001 Förderpreis des Landes Oberösterreich seit 2000 lebt und arbeitet in Leonding bei Linz und Ebenau (AT)

    Exhibition : SOLO EXHIBITIONS 2015 Wandreliefs, Mario Mauroner Contemporary Art, Vienna, Austria Helene Bailly Gallery, Paris, France Gallery Quintessens, Utrecht, The Netherlands Gallery Chobot Vienna, Austria 2014 Mario Mauroner Contemporary Art, Vienna, Austria Galerie Von und Von / Nuernberg, Germany Galerie 422- Gmunden, Austria Reliefs, Mario Mauroner Contemporary Art, Salzburg, Austria 2013 Gallery Chobot, Vienna, Austria Gallery Gölles, Fürstenfeld, Austria 2012 Struktur-Textur-Raum, Mario Mauroner Contemporary Art Vienna, Austria Der Haken der Bildhauererei, Oberösterreichisches Landesmuseum, Austria

    Detailed Description : With his wooden heads, HABERPOINTNER does not create real copies but he plays with geometrical basic shapes and organic figures. The processes vary: he cuts down, burns, hacks, scratches, covers with wax or plump. However, the wooden base form remains the same. The artist aims to test all possibilities to work with wood while preserving its own character. The special relationship between sculptor and material becomes visible where HABERPOINTNER leaves the block of wood nearly untouched. The wooden structure, like annual growth rings, is accentuated and can have a significant effect on the work and its result.

    Also represented by:

  • Jochen Höller  (+)

    Biography : born 1977 in Amstetten, Austria lives and works in Vienna

    Exhibition : 2016 Art Brussels, SOLO, Mario Mauroner Contemporary Art Salzburg-Vienna, Austria Gutes böses Geld, Staatliche Kunsthalle Baden-Baden, Germany Turbulenz, Akademie Graz, Austria 2015 Andante Giocoso, Mario Mauroner Contemporary Art, Vienna, Austria It´s Money Jim, but not as we know it, curated by Katerina Gregos, Mario Mauroner Contemporary Art Vienna, Austria Geld, Gott und Stars, Generali, Open Art Linz, Austria Text:Bild / Bild:Text I, Transformation, Fotogalerie Wien, Vienna, Austria Geld, Mario Mauroner Contemporary Art, Vienna, Austria 2014 In the Bubble, Mario Mauroner Contemporary Art, Salzburg, Austria Symbiosis of Physicality and the Spiritual, Mario Mauroner Contemporary Art, Salzburg, Austria The Dignity of Man, Brno House of Arts, Brno, Czech Republic & Art Gallery of Bosnia and Herzegovina, Sarajevo Scope Basel, Mario Mauroner Contemporary Art Salzburg-Vienna, Austria Art Brussels, Mario Mauroner Contemporary Art Salzburg-Vienna, Austria Art Austria, Mario Mauroner Contemporary Art Salzburg-Vienna, Austria Art Paris, Mario Mauroner Contemporary Art Salzburg-Vienna, Austria A Book Between Two Stools, Boghossian Foundation, Brussels, Belgium

    Detailed Description : In his work Jochen Höller deals with fundamental topics concerning society, technology, religion and culture. He traces their complexity and range and puts them in a broad context, thereby not obscuring the matter, but rather cleverly delivering new thought-provoking topics through the humour of artistic practice. After finishing his studies in sculpture at the University of Arts in Linz he began to focus completely on his work with paper. An organizational system underlies HÖLLER´s paperwork. The artist deals with conventional perceptions of order and information-transfer, he questions the comfortable habit of consuming data in a prefabricated way and uses cultural artifacts in a very active manner, which are according to Michel Foucault: “... as an archive, not the totality of texts that have been preserved by a civilization or the set of traces that could be salvaged from its downfall, but the series of rules which determine in a culture the appearence and disappearence of statments, their retention and their destruction, their paradoxical existence as events and things.”

  • Javier Pérez  (+)

    Biography : JAVIER PÉREZ Bilbao 1968 After studying Fine Arts at The University of the Basque Country (UPV/EHU) and at École Nationale Supérieure des Beaux-Arts de Paris (ENSBA), city where he settles between 1992-1997, Javier Pérez breaks into the international arts scene with his first individual exhibition at Galerie Chantal Crousel, Paris in 1996 and a year later with his first museum exhibition at Musée d’Art Moderne et Contemporain de Strasbourg.

    Exhibition : SOLO EXHIBITIONS 2016 Javier Pérez - Vida, Mario Mauroner Contemporary Art, Austria 2014 Javier Pérez, IN SITU 2014, Abbaye de Gellone, Saint-Guilhem-le-Désert, France El baile del infinito, Art District Bilbao 2014, Edificio del Ensanche, Bilbao, Spain Reticulae Natura, Mario Mauroner Contemporary Art Salzburg, Austria En Puntas, La Tache Gallery, Barcelona, Spain 2013 Sur le fil, Claudine Papillon Galerie, París, France En puntas, Galería Vanguardia, Bilbao, Spain Javier Pérez, S12 Galleri og Verksted DA, Bergen, Norway 2012 Lamentacions, Museu de Montserrat, Barcelona, Spain En el Filo, Galeria Carles Taché, Barcelona, Spain El carrusel del tiempo, Karl-Böhn Saal, Salzburg Festival, Salzburg, Austria Post Natura, Mario Mauroner Contemporary Art Vienna, Austria Dessins, Galerie Guy Bärtschi, Genvea Switzerland 2011 Body of Christ, Nasher Museum of Art, Durham, USA 2010 “Javier Pérez, Nocturne Op. 9”, Galerie Guy Bärtschi, Geneva, Switzerland Pénitents, Galerie Claudine Papillon, Paris 2009 Javier Pérez, Rituales de Transito, Mimmo Scognamiglio Artecontemporanea, Milan Lamentaciones, Cloître de la Cathédrale de Burgos 2008 Premi Ciutat de Palma, Casal Solleric, Palma de Mallorca, Spain La utilidad del vacio, Museo de Artes Decorativas, Barcelona, Spain En torno a lo transparente, Interventions artistiques El Corte Inglés, Madrid, Spain ARCO, Galeria Salvador Díaz, Madrid, Spain / Mario Mauroner Contemporary Art, Vienna, Austria Collection Florence & Daniel Guerlain, Ambassade de France, New-York, USA Javier Perez, Galería Salvador Dáz, Madrid, Spain Javier Perez, Spanish Institute, New-York, USA Perspectives Giacometti, Fondation Giacometti, Paris, France Javier Perez, Espai Quatre, Casal Solleric, Palma de Mallorca, Spain 2007 Passages, Mario Mauroner Contemporary Art Vienna, Austria Pieles de luz vegetal, Projet d´intervention architectonique, Caja Vital Kutxa, Vitor

    Detailed Description : His works are characterized by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Javier Pérez reveals his inquiries and reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism. His works contain an intrinsic dialectic, showing how weak can be the boundary between concepts seemingly opposite such as the natural and the cultural, the inside and the outside or life and death.

  • Fabrizio Plessi  (+)

    Biography : Fabrizio Plessi was born in Reggio Emilia in 1940. He studied at the Accademia delle belle Arti, Venice. Since 1990 he has taught at the Kunsthochschule für Medien, Cologne. He lives in Venice, Cologne and on the Spanish island of Mallorca.

    Exhibition : SOLO EXHIBITIONS (SELECTION) 2016 Feuer und Wasser, Kunsthalle Recklinghausen, Ruhrfestspiele Recklinghausen 2016, Germany 2015 TUTTOTAVOLI, Gallerie Pièce Unique, Paris, France Liquid Light, Arsenale, 56 Biennale di Venezia, Venice, Italy Digital Fall, Palazzo Ducale, Venice, Italy Liquid Life, Ca d´Oro, Venice, Italy Liquid Labyrinths, Mario Mauroner Contemporary Art Vienna, Austria Blue Tree, IVLM, Milano, Italy Digital Wall, Generali, EXPO Milano, Italy 2014 Sul Viaggio, Ludwig Museum, Koblenz, Germany Fabrizio Plessi - Gli anni Settanta, Fondazione Mudima, Milan, Italy Fabrizio Plessi - Liquid Labyrinth, The Ludwig Museum, Budapest, Hungary 2012 Fabrizio Plessi - Galleria Civica Cavour, Padova Fabrizio Plessi - Il Flusso Della Ragione - Palazzo della Ragione, Mantova

    Detailed Description : In PLESSI’s works, fire and water refer to a presence of the endlessness of space and time. At first in a concrete way but then more insistently represented by technical elements. In his video-sculptures he implements electronic waters, glimmering fire embedded in lava. Elements that the world requires are combined with a technique to activate and move the present world. Besides several exhibitions at Biennales, Fabrizio PLESSI’s works have been displayed at the Salomon R. Guggenheim Museum in New York and in Bilbao.

  • Bernardí Roig  (+)

    Biography : 1965 born in Palma, Mallorca, Spain Lives & works in Madrid and Binissalem, Spain

    Exhibition : 2016 Las Metamorfosis, La Sala Alcalá 31, Madrid Spain 2015 la bolannntro´w, Galleria Marie-Laure Fleisch, Rome, Italy Poets (99 Men and a Bearded Lady), Max Estrella Gallery, Madrid, Spain 2014 The Mirror (exercises to be another), Claire Oliver, New York, USA Vox clamantis in deserto, Gallery Kewenig, Palma de Mallorca, Spain Bernardi Roig, Centro de Arte Contemporânea Graça Morais,Portugal No/Escape,The Phillips Collection, Washington, DC 2013 Walking on faces, Halle am Wasser, Berlin, Germany L´oeil du connaisseur, Musée Ianchelevici, La Louvière, Belgium Claire Oliver Gallery, New York, NY, USA El coleccionista de obsesiones, La Fundación Lázaro Galdiano, Madrid, Spain Der Italiener (Gianni Selvani), Mario Mauroner Contemporary Art Vienna, Austria White Moment, National Museum of Sculpture, Valladolid, Spain

    Detailed Description : Bernardi Roig, born 1965 in Mallorca is a philosopher who’s works almost obsessively painful focus the life. Roig’s works are the opposite of Spains totally baroque tradition, refusing bare representation, with a critical distance to rationality and discourse. Regarding his work the spectator inevitably has to think of Thomas Bernhard. Some of his works almost seem to portrait Thomas Bernhards texts – so does the series „Frost“, named after a text from Thomas Bernhard. Like the figures in Thomas Bernhards oeuvre Roig portraits the speechless, lonely and fearful painter, thematically always treating death and immortality, estheticism and eroticism. The frequently appearing fire, mostly burning in eyes or the head of his male heroes, has to be seen as metaphor for intellectuality and scientific curiosity.

    Also represented by:

  • Joana Vasconcelos  (+)

    Biography : Born in 1971, in Paris. Lives and works in Oeiras, Portugal. 1989/94 Curso Básico de Desenho do Ar.Co (Centro de Arte e Comunicação Visual), Lisboa 1991/92 1º Ano do Curso de Design do I.A.D.E. , Lisboa 1991/95 Curso Básico de Joalharia do Ar.Co, Lisboa 1994/96 Curso Avançado de Artes Plásticas do Ar.Co, Lisboa

    Exhibition : 2015 Material Girl, 30 Berkeley Square, London, UK 2014 Valkyrie Marina Rinaldi, Palazzo Bocconi, Milan Coração Independente Vermelho #3, Centro Cultural de Viana do Castelo, Viana do Castelo Valkyrie Trousseau,VISUAL Centre for Contemporary Art & The George Bernard Shaw Theatre, Carlow, Ireland Casarão, Casa Triângulo, São Paulo, Brazil Joana Vasconcelos: Time Machine, Manchester Art Gallery, Manchester, England 2013 Lusitana, Tel Aviv Museum of Art, Tel Aviv, Israel Joana Vasconcelos, Galería Horrach Moya, Palma de Mallorca, Spain Joana Vasconcelos, Gucci Museo, Florence, Italy Trafaria Praia, Pavilion of Portugal, 55thInternational Art Exhibition –la Biennale di Venezia, Venice, Italy Joana Vasconcelos, Palácio Nacional da Ajuda, Lisbon, Portugal 2012 Joana Vasconcelos, Haunch of Venison, London, UK A Noiva,Centquatre, Paris, France Petit Gâteau, Centre Calouste Gulbenkian, Paris, France Joana Vasconcelos Versailles, Château de Versailles, Versailles, France

    Detailed Description : Kitsch and folk culture, everyday objects wrapped up in crochet; Vasconcelos creates objects that on one hand want to democratize art through articles of daily use and on the other hand criticize the consumer himself. Crochet in her works is a symbol of universal language, the women’s language. She demonstrates an antagonism between handcrafts produced in different cultures and consumer goods of modern society. Vasconcelos’ partly humoristic works, like the chandelier made of OB tampons displayed at the Venice Biennale in 2005, was also exhibited the Museum of Modern Art in Istanbul.

    Also represented by:



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