Artista

Ana Amorim

1956 en São Paulo, Sao Paulo, Brasil

Datos generales
Algoritmo AI

Residencia:

Reside en Madrid, España

Profesionales que le han comisariado:

Ana Mae Barbosa en:

11221990960-40-34/022419917464-311-34, 1990

Jacopo Crivelli Visconti en:

26082023/23092023, 2023
Ana Amorim: Counting Seconds, 2018

Marcos Gallon en:

Clareira - 01082021-3672-153-64-1 - 07082021-3528-147-64-7, 2021

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Ferias en las que participa con OBRA :

SP-Arte 2024
Art Basel Miami Beach 2023
Rotas Brasileiras 2023

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Galerías y otras organizaciones que le representan:

Galeria Millan

Organizaciones con obra:

Fundação Nacional De Arte - Funarte

Fundación Pons

Galeria Millan

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Profesionales con obra:

Brondesbury Holdings Ltd.

Gustavo Nóbrega

Marcelo Martins

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Profesionales que le representan:

Wagner Khouri

Actividad vigente:

No hay actividad VIGENTE

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Etiquetas:

Abuso de Poder Activismo Archivo Archivo Arte conceptual Arte contemporáneo Arte en vivo Arte iberoamericano Arte latinoamericano Arte Político Bienestar Social Bolígrafo Bordado Capitalismo Ciudades Clases Sociales Collage Cotidiano Crítica Institucional Crítica Política

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Desigualdad Deterioro Social Dibujo Diseño Documentos Empoderamiento Geopolítica Globalización Glocalización Injusticia Social Instalación Instalación artística Internacional Situacionista Investigación Lecture performance Libro de Artista Objeto Artístico Papel Performance Performance Pintura Poder Prácticas contemporáneas Registro Sociedad de Consumo Tiempo Video Video arte Videoperformance

Documentos relacionados:

Ana Amorim - Being Archive

Enlaces oficiales:

Web Blog Instagram Linkedin Pinterest

Descripción del Artista

ANA AMORIM São Paulo, Brazil, 1956 www.anaamorim.art @anaamorim.art 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