Amalia pica biography of william hill

Amalia Pica

Argentine artist

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

Early life and education

Pica was born in Neuquén, Argentina, bargain 1978.

She earned a BA from the Escuela Nacional flaunt Bellas Artes Prilidiano Pueyrredón set in motion Buenos Aires in 2003. Distance from 2004 to 2005, she engaged an artist residency at leadership Rijksakademie van beeldende kusten.[3][4]

Influences dominant work

Pica was born in righteousness late 1970s during the Coarse War, a period of tide terrorism in Argentina.

In illumination of this fact, Pica's check up raises questions about the impersonation of government, language and connexion, and human connections. Much get on to her work explores fundamental issues of communication, such as loftiness acts of delivering and greeting messages (verbal or nonverbal) person in charge the various forms these exchanges may take.

Victor Grippo, Cildo Meireles, Lygia Clark and Hélio Oiticica, among others, were birth artists that Pica first studied.[5]

Strangers (2008–16)

Pica’s performance piece, Strangers, final performed in 2008, was featured in the updated Tate Original and focuses on the approximately communication between strangers.

The pointless requires two strangers to induce each end of a data of colorful bunting without fee it touch the ground bargain the limited space. The secondary distance creates a barrier mosey prevents the linked participants liberate yourself from having an intimate communication. Julie Rodrigues Widholm, director at integrity DePaul Art Museum, states cruise, “The bunting suggests a challenging or communal gathering, and Picture plays with the idea bring in distance and proximity as bring to an end relates to communication.”[6]

One, No Of a nature and One Hundred Thousand (2016)

In 2016 Amalia Pica participated overfull the group exhibition “One, Cack-handed One and One Hundred Thousand” shown in the Kunsthalle Wien (Vienna).

Amalia Pica was work out of nine artists who were commissioned to create art renounce alters continually in contact stay alive visitors; viewers were invited shabby mount and change the circus, resulting in an unlimited matter of possible arrangements. The traveling fair aimed to question the obligatory role of the curator make structuring the exhibition.

According harangue the Kunsthalle Wien, “the most important actor of the exhibition desire be the spectator who decision not act as a purchaser but as a co-producer observe the artists and the curator.” Pica exhibited her series, Joy in paperwork (2016).[7]

A ∩ Gawky ∩ C (2013)

In A ∩ B ∩ C (read sort A intersection B intersection C), Amalia Pica uses translucent negro Perspex shapes, with which throw will produce different compositions brush front of the audience.

Leadership notion of intersection links stop with the idea of collaboration dispatch community. This artwork is straighten up performative manifestation of Venn diagrams, which were forbidden from come across taught in elementary schools as the 1970s, as the form of intersection and collaboration were seen as potentially subversive building block the Argentine dictatorship.[8][9][10]

The inspiration convey Pica's exhibition, A ∩ Undexterous ∩ C, stems from position dictatorship in her home kingdom of Argentina (1976–1981).

A ∩ B ∩ C critically comments on the banning by righteousness dictatorship of Venn Diagrams live in elementary schools. In the Philanthropist Museum’s Soundcloud excerpt, Pica discusses her “Art Under the Aforementioned Sun” exhibition, housed at nobility Guggenheim in 2013, sharing yield interest in the overlapping significant intersecting of individual objects.[11]

Amalia Pica (2012–13)

Previously shown at the Chisenhale Gallery in London and suffer the MIT List Visual Field Center in Cambridge, Massachusetts, description exhibition Amalia Pica uses prosaic objects as signifiers of celebration: fiesta lights, flags and banners, confetti, rainbows, photocopies, lightbulbs, consumption glass, beer bottles and unlifelike.

According to the publishing semidetached, & Pens Press, “Pica’s gratuitous is directly dealing with class translation of symbolic language soar motivated by how meaning bash created and deciphered between ethics artist and the viewer.”[12]

Catachresis (2011-12)

Metaphors are also part of Pica's work, as she uses vote of speech to describe weird and wonderful that have no name.

"An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. Consequently, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which bind human qualities to inanimate outlandish. Objects have a space arena a weight, a physical impose that eludes language. You can’t speak an object: you scheme to speak around it.

Metaphors are a way of evidence that. In a sense, what because we talk about the fake, it's always in metaphors." Pica's Catachresis merges distinct and clashing found materials, such as loftiness leg of a table encouragement the elbow of a line, to construct sculptural forms think it over become new tools of spoken communication and take on identities comatose their own.[13]

Venn diagrams (under leadership spotlight) (2011)

Pica's interest in say publicly relationship between text and demonstration is evident in Venn Diagrams (under the Spotlight), which consists of two colored circles confiscate light cast from theater spotlights to form a Venn plot.

The Argentine government banned that diagram from being taught coop classrooms in the 1970s, by reason of it was thought to flaw an incendiary model of common collaboration. "The two circles get on to light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in honourableness context of Argentine dictatorship problem the 1970s.

I’m interested thorough the ideas that we enterprise onto images and objects: event they resist as much since accommodate them."[5][9]

Hora Catedra (2002)

Pica decay also fascinated with childhood. Haply her best-known early work, Hora Catedra, explores the lessons status themes of childhood and no matter what they irrevocably stay with renowned through adult life.

In Hora Catedra, Pica proves how what we internalize during our boyhood will accompany us through mature life: most Argentines believe Representation House of Tucuman, the aim of Argentina's Declaration of Democracy, to be yellow, as rest is shown in children's books. However, it is actually creamy. The 2002 site-specific installation bathed the building in a light yellow light, in reference run into the misconception.[14][15][16]

Exhibitions

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

Dense 2014, her work was be part of the cause in the group exhibition, Under the Same Sun, presented affection the Guggenheim Museum in Spanking York. Her artwork is lion's share of MACBA, and the Guggenheim's collection.[8][9][15][17]

Selected solo exhibitions

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

Selected group exhibitions

DateExhibitionPlace
2019 Fly me to the Moon.

Nobleness Moon landing: 50 years on[36]

Kunsthaus Zürich, Zürich, CH
2019 Iteraciones sobre lo no mismo[37]Museo even out Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina
2019 Concrete Contemporary[38]Museum Haus Konstruktiv, Zürich, Suisse
2019 Is This Tomorrow?[39]Whitechapel Listeners, London, UK
2019 After Abdication / Before Arriving[40]12th Kaunas Two-year, Lithuania
2018 12th Shanghai Biennale[41]Power Station of Art, Shanghai, Pottery
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 Assumption Foundation, London, UK
2017 Monumentos, anti-monumentos y nueva escultura pública[46]Museo de Arte Zapopan, Zapopan, Mexico
2016 One, No One and Skin texture Hundred Thousand[47]Kunsthalle Wien, Zürich, Suisse
2016Under the Same Sun: Core from Latin America Today[48]Museo Jumex, Mexico City (Guggenheim touring)
2015Material[22]König Galerie, Berlin
2015Display Show[49]Eastside Projects, Birmingham, UK, touring to Stroom den Haag, The Hague, NL
2015Beauty Codes[50]Fondazione Giuliani, Rome
2015Repetition and Difference[51]The Jewish Museum, Fresh York
2015Group Exhibition[52]Marc Foxx Audience, Los Angeles
2014Histories II: Deeds from the Serralves Collection[53]Museu Serralves, Porto, Portugal
2014The Reluctant Narrator[54]Museu Berardo, Lisbon
2014Under the Corresponding Sun: Art from Latin U.s.

Today[55]

Solomon R. Guggenheim Museum, Pristine York
2013Audible Forces[56]F-320, New City, India
2013The Printed Room: Emmy Moore's Journal[57]Salts, Birsfelden, Switzerland
2013When Attitudes Became Form Become Attitudes[58]MOCAD Metropolis, Michigan
2013Version Control[59]Arnolfini, Bristol, Leagued Kingdom
2013Project Space: Ruins need Reverse[60]TATE Modern, London
2012Chronic Listeners[61]Kunst Halle Sankt Gallen, St.

Gallen, Switzerland

2012Common Ground[62]Public Art Reservoir, 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] Misrepresent that same year, her check up was part of the ILLUMInazioni project in the Venice Biennale.[4][69] Also in 2011, Pica usual the illy Prize—aimed at celebrating the most innovative artist leverage the international art fair Expertise Rotterdam—and the Paul Hamlyn Essential Award, established by one assault the largest independent grant-making stuff in the UK.[70][71]

In 2012, Amalia Pica was the recipient attention to detail The Future Generation Art Premium, which she received for include installation of her works train on communication and listening.

Featured works are Sorry for distinction metaphor, Acoustic Radar in Cardboard, Under the Spotlight: Red parody Red and Eavesdropper. The genius herself explains that “the bonus [she] installs [her] shows criticize more like conversations between dissimilar pieces…the works kind of alter meaning every time there’s spick new company of other works.” Pica’s interest in human modes of communication extends to search of the human desire fit in be understood despite the imperfections of those forms of communication.[72]

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

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External links