São Paulo, Brazil, 1956
Ana Amorim was educated in the United States and then integrated the lineage of artists active in the 1970s' conceptual movement, mostly in New York. Her obsessive logging of everyday activities and long-term interventions resembled the practices of On Kawara and Tehching Hsieh.
For over two decades, Amorim refused to participate in exhibitions sponsored by corporations, or held in commercial galleries or in institutions charging an admission fee, so her work remained virtually invisible. However, this also meant that she has been one of the very few Brazilian artists to enter the field of institutional critique.
Since 1984, Amorim has performed Contar segundos [Counting seconds] several times and will be presenting it again at the exhibition. She spends an hour counting seconds while marking a line in her notebook each second, thus producing a record of the intervention. At one minute intervals, she logs the total...number of minutes that have gone by. The same level of concentration and dedication is seen in other projects too, particularly Mapas [Maps]: over more than three decades, at the end of each day, she has drawn up a mental map of all her movements during that day. In some cases, these maps fuse into larger works such as the series of large-scale wall installations Grandes telas [Large canvases], consisting of 365 parts, each of them representing an ephemeral, poetic, and personal portrait of a day.
Jacopo Crivelli Visconti
Text for Matrix for Actual Time Exhibition (2018)
Nueve artistas procedentes de España, Brasil, México, EE.UU. y Argentina fichan por galerías iberoamericanas. Son, en su mayoría, mujeres de media carrera o con trayectorias ya consolidadas que comienzan a colaborar ...
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