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Evento finalizado
nov 1990
feb 1991


Publicada el 10 sep de 2020      Vista 10 veces

Descripción de la Exposición

Installed Time/Spaces Ana Amorim runs the secularization of art through the reduction of its content to a daily, individual vital circuit. It is the dismantling of the sacralization of art, not by the simplification of the aesthetic phenomenon, but by turning it more complex, exacerbating the thought process that the time-space relation involves. Ana Amorim's personal space reflects everyone's personal spaces. It engages in a dialogue with a collective historical time. It embodies here and now in the individual’s time. In an exercise of rhetorical persuasion she interrelates the collective and the individual consciousness. The time-space relations pursued by Ana Amorim point to the dissolution of the notion of progress. In her practice, she seeks to free herself from the logic of development which was the appanage of modernism. The work of Ana Amorim has close links to the ideas of Joseph Beuys and with the art practice of Vito Acconci. In his "Reception Room" (Naples, 1973), Acconci exhibited small pieces of his body. In the exhibition space at MAC, Ana Amorim exhibits pieces of her experience, lived trajectories, counted minutes and seconds while her own presence represents a point of convergence of time and space. The counting of Ana Amorim has two meanings. For one, she counts seconds numerically and mathematically, building the materiality of her work. She also counts with her own presence, communicating something to the public with her physical presence. Her presence says what Acconci used to say: “I have to know that they can see me, understand me". Ana Amorim explores ways of experiencing temporality, beyond its natural linearity. The fragments of found objects from yesterday are witnesses of her discourse on time, visual thought and poetry. In her structuring of everyday life, formal aspects are reduced to emphasize the actual presence of the artist who, thus, seeks to eliminate the distance between the observer and art. Ana Mae Barbosa


el 10 sep de 2020


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