Female involvement in Brazilian art history has been recognized since modernism, when women first started occupying spaces dominated by male artists in the artistic, cultural and social spheres. Before the modernist movement, women had been largely absent due to biological determinism, gender prejudice and lack of opportunity and recognition in institutions and practices. To show female ascension in Brazilian art, FAAP’s Museum of Brazilian Art (MAB-FAAP) is holding this exhibition on “WOMEN ARTISTS IN MAB'S COLLECTION” as of April 19th.
There are 84 works by 64 women artists from the 20th and 21st centuries that left their marks on the history of local and international art, including Anita Malfatti, Tarsila do Amaral, Noêmia Mourão, Djanira, Marina Caram, Mira Schendel, Tomie Ohtake, Georgia Kyriakaki, Anna Maria Maiolino, Carmela Gross, Teresa Nazar, Mary Viera, and Maria Bonomi.
Curated by José Luis Hernández Alfonso and Laura Rodríguez, the exhibition shows that it is an artist’s creative potential rather than their gender that determines the artistic and aesthetic attributes of works in the universe of the arts.
Visitors will be able to see different artistic techniques from the most significant formal languages and artistic concepts of the period covered by the exhibition, including paintings, prints, drawing, sculpture, objects and installations. Highlights include Noêmia Mourão’s Paisagem marítima com duas moças [seascapes with two girls], 1937, oil / canvas, for its sensitive and elegant composition and forms. Technical mastery features in Laurita Salles’ Sem Título [untitled] (gold foil), 2008, electronic burin. Marina Caram’s Os diplomatas [diplomats] 1967, ink / paper, samples expressionism.
The exhibition is divided into three clusters. The first includes works showing stylistic affinities in chronological order that are not engaged in artistic dialogue. Located in the center of the exhibition space, the second cluster shows works by highly recognized and capable engravers who may stand for the role of Brazilian artists in the history of engraving. The third cluster uses photography and video-installation to show their formal expressiveness as well as the high esteem enjoyed and prominent position afforded these art forms in the visual arts.