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Anna Maria Maiolino's BETWEEN SENSES to Go On Display at Hauser & Wirth, 5/7

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Anna Maria Maiolino's BETWEEN SENSES to Go On Display at Hauser & Wirth, 5/7

Anna Maria Maiolino is one of the most significant artists working in Brazil today. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Maiolino's multidisciplinary practice has consistently explored the viscerality of embodied experience - often obliquely through fragmentation and abstraction - and engaged the human body's processes as analogs for both the making of art and the making of modernity. As an immigrant coming of age in politically unstable Brazil, Maiolino has perfected a dialogue between opposite yet complementary categories in a practice that dissolves dichotomies of inner and outer, self and other. Hers is an art in search of a new language for the liminal realm of daily human existence.

Beginning 7 May 2014, Hauser & Wirth will present Anna Maria Maiolino. Between Senses, the gallery's debut exhibition devoted to the artist. On view will be a selection of drawings, works on canvas, sculptures, photographs, and videos, as well the sound installation 'Two Beats' (2012), which features the artist's poem 'Eu so Eu (I am I)' that was presented at dOCUMENTA 13.

Anna Maria Maiolino. Between Senses will remain on view through 21 June 2014.

Born in wartime Italy in 1942, Anna Maria Maiolino immigrated with her family to South America in 1954, living first in Venezuela and moving to Rio de Janeiro in 1960. 'I found myself being an immigrant again, without speaking Portuguese', the artist recalls. 'What kept me going was my obstinate search for a language, my obsession to become an artist. All my energy was spent trying to become an individual. The existential and art formed one anguished body. My life was dominated by anguish and doubts, although I also wanted to participate in that moment of great political, social and artistic effervescence that was pushing artists to make alliances with the previous generations... We wanted to develop an autonomous national art, far removed from external patterns and models. We dreamt of a free and autonomous Latin America, with its own economic resources, and art was no different in this respect'.

Maiolino's early experiments in the 1960s connected her to important movements in Brazilian art history, shadowed by the turmoil and governance of military repression: Neo-Concrete, New Figuration, New Objectivity. Maiolino took part in the radical reconfiguring of the art object - and thus the art institution and the artist - during this period. Along with Lygia Pape, Lygia Clark, and He?lio Oiticica, Maiolino participated in the 1967 exhibition, 'New Brazilian Objectivity,' which symbolized a cultural shift in previous constructivist traditions and established a new vision for the production of art in Brazil. After living in New York from 1968 to 1971, she returned to Brazil and devoted herself to drawing as a means of self-expression. Working to further define her identity as both an individual and an artist, she initiated a new series of works on paper that gave emphasis to the gesture, the action, and the process of making. Since the 1990s, Maiolino's drawings - examples of which are included in the exhibition at Hauser & Wirth - have engaged similar methodologies in her continual exploration of other materials and media, from sculpture to video and installation.

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