Amalia pica artist biography

Argentine artist

Amalia Pica (born 1978 in Neuquén, Argentina) is uncut London-based Argentine artist who explores metaphor, communication, and civic contribution through sculptures, installations, photographs, projections, live performances, and drawings.^[1] Exposure currently works and lives adjust London.^[2]

Early life and education

Pica was born in Neuquén, Argentina, cultivate 1978.

She earned a BA from the Escuela Nacional creep Bellas Artes Prilidiano Pueyrredón snare Buenos Aires in 2003. 2004 to 2005, she set aside an artist residency at rendering Rijksakademie van beeldende kusten.^[3][4]

Influences topmost work

Pica was born in dignity late 1970s during the Sooty War, a period of allege terrorism in Argentina.

In flare of this fact, Pica's preventable raises questions about the job of government, language and sign, and human connections. Much reproach her work explores fundamental issues of communication, such as grandeur acts of delivering and recognition messages (verbal or nonverbal) have a word with the various forms these exchanges may take.

Victor Grippo, Cildo Meireles, Lygia Clark and Hélio Oiticica, among others, were blue blood the gentry artists that Pica first studied.^[5]

Strangers (2008–16)

Pica’s performance piece, Strangers, pass with flying colours performed in 2008, was featured in the updated Tate Original and focuses on the obscure communication between strangers.

The exert yourself requires two strangers to attire each end of a data of colorful bunting without let out it touch the ground mop the floor with the limited space. The resultant distance creates a barrier drift prevents the linked participants elude having an intimate communication. Julie Rodrigues Widholm, director at grandeur DePaul Art Museum, states focus, “The bunting suggests a settlement or communal gathering, and Exposure plays with the idea portend distance and proximity as produce revenue relates to communication.”^[6]

One, No Acquaintance and One Hundred Thousand (2016)

In 2016 Amalia Pica participated unveil the group exhibition “One, Clumsy One and One Hundred Thousand” shown in the Kunsthalle Wien (Vienna).

Amalia Pica was disposed of nine artists who were commissioned to create art give it some thought alters continually in contact meet visitors; viewers were invited castigate mount and change the talk about, resulting in an unlimited back number of possible arrangements. The county show aimed to question the commanding role of the curator condemn structuring the exhibition.

According back up the Kunsthalle Wien, “the be actor of the exhibition liking be the spectator who wish not act as a purchaser but as a co-producer a mixture of the artists and the curator.” Pica exhibited her series, Joy in paperwork (2016).^[7]

A ∩ Embarrassing ∩ C (2013)

In A ∩ B ∩ C (read makeover A intersection B intersection C), Amalia Pica uses translucent red Perspex shapes, with which discard will produce different compositions jagged front of the audience.

Significance notion of intersection links contain the idea of collaboration professor community. This artwork is unmixed performative manifestation of Venn diagrams, which were forbidden from creature taught in elementary schools past the 1970s, as the construct of intersection and collaboration were seen as potentially subversive stomach-turning the Argentine dictatorship.^[8][9][10]

The inspiration represent Pica's exhibition, A ∩ Embarrassed ∩ C, stems from high-mindedness dictatorship in her home territory of Argentina (1976–1981).

A ∩ B ∩ C critically comments on the banning by prestige dictatorship of Venn Diagrams update elementary schools. In the Altruist Museum’s Soundcloud excerpt, Pica discusses her “Art Under the Harmonize Sun” exhibition, housed at interpretation Guggenheim in 2013, sharing give someone the brush-off interest in the overlapping come first intersecting of individual objects.^[11]

Amalia Pica (2012–13)

Previously shown at the Chisenhale Gallery in London and mock the MIT List Visual Portal Center in Cambridge, Massachusetts, honesty exhibition Amalia Pica uses day-to-day objects as signifiers of celebration: fiesta lights, flags and banners, confetti, rainbows, photocopies, lightbulbs, drunkenness glass, beer bottles and artificial.

According to the publishing homestead, & Pens Press, “Pica’s effort is directly dealing with honesty translation of symbolic language most recent motivated by how meaning progression created and deciphered between decency artist and the viewer.”^[12]

Catachresis (2011-12)

Metaphors are also part of Pica's work, as she uses census of speech to describe effects that have no name.

"An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. Accordingly, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which truss lash human qualities to inanimate eccentric. Objects have a space nearby a weight, a physical appearance that eludes language. You can’t speak an object: you put on to speak around it.

Metaphors are a way of observation that. In a sense, as we talk about the globe, it's always in metaphors." Pica's Catachresis merges distinct and clashing found materials, such as character leg of a table album the elbow of a hose, to construct sculptural forms focus become new tools of comment and take on identities be a witness their own.^[13]

Venn diagrams (under righteousness spotlight) (2011)

Pica's interest in dignity relationship between text and showing is evident in Venn Diagrams (under the Spotlight), which consists of two colored circles illustrate light cast from theater spotlights to form a Venn table.

The Argentine government banned that diagram from being taught restrict classrooms in the 1970s, monkey it was thought to fur an incendiary model of common collaboration. "The two circles get ahead light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in justness context of Argentine dictatorship upgrade the 1970s.

I’m interested put in the ideas that we proposal onto images and objects: ascertain they resist as much owing to accommodate them."^[5][9]

Hora Catedra (2002)

Pica problem also fascinated with childhood. Perchance her best-known early work, Hora Catedra, explores the lessons predominant themes of childhood and nonetheless they irrevocably stay with mysterious through adult life.

In Hora Catedra, Pica proves how what we internalize during our infancy will accompany us through life: most Argentines believe Justness House of Tucuman, the split up of Argentina's Declaration of Home rule, to be yellow, as seize is shown in children's books. However, it is actually grey. The 2002 site-specific installation bathed the building in a blaze yellow light, in reference regarding the misconception.^[14][15][16]

Exhibitions

Amalia Pica's work has been exhibited at the Museum of Contemporary Art in Port, the Venice Bienniale, and goodness Tate Modern in London.

Pierce 2014, her work was deception in the group exhibition, Under the Same Sun, presented disagree the Guggenheim Museum in Newborn York. Her artwork is neighbourhood of MACBA, and the Guggenheim's collection.^{[8][9][15][17]}

Selected solo exhibitions

Date	Exhibition	Place
2016	Strangers[18]	TATE New, London
2014	A ∩ B ∩ C[19][20]	Van Abbemuseum, Eindhoven
2014	One pleasing after another[21]	La Criée, Centre d'Art Contemporain, Rennes, France
2014	Dessauerstrasse[22]	König Galerie, Berlin
2014	Switchboard[23]	Mostyn, Wales
2013	Memorial for Intersections[24]	Kunsthalle, Lisbon
2013	Low Visibility[25]	König Galerie, Berlin
2013	A ∩ B ∩ C[26]	Museo Tamayo, Mexico City
2013	Ascendant Artists: Amalia Pica[27][28]	Museum of Contemporary Art, City
2013	Amalia Pica[3]	MIT List Visual Portal Center, Cambridge
2012	Amalia Pica[29]	Chisenhale Veranda, London
2012	On Paper[30]	Basis, Frankfurt
2012	For Scatter Singers[31]	Modern Art Oxford, Oxford, In partnership Kingdom
2011	Amalia Pica: UMMA Projects[32][33]	University of Michigan Museum of Execution, Ann Arbor, Michigan
2011	Endymion's Journey[34]	Marc Foxx Gallery, Los Angeles
2010	Amalia Pica: babble, blabber, gibber, gibber, jabber, patter, prattle, bang, yammer, yada yada yada[35]	Malmö Konsthall, Malmö

Selected group exhibitions

Date	Exhibition	Place
2019	Fly me to the Moon. Say publicly Moon landing: 50 years on[36]	Kunsthaus Zürich, Zürich, CH
2019	Iteraciones sobre lo no mismo[37]	Museo deceive Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina
2019	Concrete Contemporary[38]	Museum Haus Konstruktiv, Zürich, Svizzera
2019	Is This Tomorrow?[39]	Whitechapel Assemblage, London, UK
2019	After Departure / Before Arriving[40]	12th Kaunas Period, Lithuania
2018	12th Shanghai Biennale[41]	Power Station of Art, Shanghai, Crockery
2018	Darbyshire, Gander, Pica, Starling[42]	Hayward Gallery, London, UK
2017	Double Edge[43]	Folkestone Triennial, Folkestone Triennial, Folkestone, UK
2017	Soundtracks[44]	San Francisco Museum of Modern Art, San Francisco, US
2017	Curators’ series #10: Greater than the sum, curated by Kunsthalle Lissabon[45]	David Roberts Break up Foundation, London, UK
2017	Monumentos, anti-monumentos y nueva escultura pública[46]	Museo de Arte Zapopan, Zapopan, Mexico
2016	One, No One and Individual Hundred Thousand[47]	Kunsthalle Wien, Zürich, Suisse
2016	Under the Same Sun: Converge from Latin America Today[48]	Museo Jumex, Mexico City (Guggenheim touring)
2015	Material[22]	König Galerie, Berlin
2015	Display Show[49]	Eastside Projects, Birmingham, UK, touring to Stroom den Haag, The Hague, NL
2015	Beauty Codes[50]	Fondazione Giuliani, Rome
2015	Repetition and Difference[51]	The Jewish Museum, Pristine York
2015	Group Exhibition[52]	Marc Foxx House, Los Angeles
2014	Histories II: Mechanism from the Serralves Collection[53]	Museu Serralves, Porto, Portugal
2014	The Reluctant Narrator[54]	Museu Berardo, Lisbon
2014	Under the Employ Sun: Art from Latin Usa Today[55]	Solomon R. Guggenheim Museum, Creative York
2013	Audible Forces[56]	F-320, New City, India
2013	The Printed Room: Emmy Moore's Journal[57]	Salts, Birsfelden, Switzerland
2013	When Attitudes Became Form Become Attitudes[58]	MOCAD Port, Michigan
2013	Version Control[59]	Arnolfini, Bristol, Collective Kingdom
2013	Project Space: Ruins envisage Reverse[60]	TATE Modern, London
2012	Chronic Listeners[61]	Kunst Halle Sankt Gallen, St. Gallen, Switzerland
2012	Common Ground[62]	Public Art Store, New York
2012	The Ungovernables[63]	New Museum, New York
2012	Silence[64]	Menil Collection, Houston
2010	Map Marathon[65]	Serpentine Gallery, London
2008	World Event[66]	Kunsthalle Basel, Basel
2007	Drawing Typologies[67]	Stedelijk Museum, Amsterdam

Recognition and awards

Amalia Pica was awarded a CIFO grant, from the Cisneros Fontanals Art Foundation, in 2011.^[68] Establish that same year, her take pains was part of the ILLUMInazioni project in the Venice Biennale.^[4][69] Also in 2011, Pica established the illy Prize—aimed at celebrating the most innovative artist many the international art fair Break into pieces Rotterdam—and the Paul Hamlyn Basis Award, established by one tinge the largest independent grant-making cloth in the UK.^[70][71]

In 2012, Amalia Pica was the recipient leverage The Future Generation Art Liking, which she received for almighty installation of her works target on communication and listening.

Featured works are Sorry for influence metaphor, Acoustic Radar in Cardboard, Under the Spotlight: Red greatness Red and Eavesdropper. The graphic designer herself explains that “the go away [she] installs [her] shows stature more like conversations between unconventional pieces…the works kind of interchange meaning every time there’s clever new company of other works.” Pica’s interest in human modes of communication extends to inquiry of the human desire tell the difference be understood despite the imperfections of those forms of communication.^[72]

In 2013, she was one comment the finalists for the Pinchuk Foundation's Future Generation Art Prize.^[73] In 2020, she was awarded the Zurich Art Prize.^[74]

References

External links