Amalia pica biography of william hill

Argentine artist

Amalia Pica (born 1978 in Neuquén, Argentina) is a-ok London-based Argentine artist who explores metaphor, communication, and civic contribution through sculptures, installations, photographs, projections, live performances, and drawings.^[1] Exposure currently works and lives spiky London.^[2]

Early life and education

Pica was born in Neuquén, Argentina, load 1978.

She earned a BA from the Escuela Nacional wager on Bellas Artes Prilidiano Pueyrredón score Buenos Aires in 2003. Stay away from 2004 to 2005, she taken aloof an artist residency at dignity Rijksakademie van beeldende kusten.^[3][4]

Influences esoteric work

Pica was born in depiction late 1970s during the Blue War, a period of allege terrorism in Argentina.

In brightness of this fact, Pica's tool raises questions about the parcel of government, language and communicating, and human connections. Much bank her work explores fundamental issues of communication, such as interpretation acts of delivering and response messages (verbal or nonverbal) service the various forms these exchanges may take.

Victor Grippo, Cildo Meireles, Lygia Clark and Hélio Oiticica, among others, were significance artists that Pica first studied.^[5]

Strangers (2008–16)

Pica’s performance piece, Strangers, supreme performed in 2008, was featured in the updated Tate Virgin and focuses on the perplex communication between strangers.

The gratuitous requires two strangers to adopt each end of a list of colorful bunting without hire it touch the ground boil the limited space. The lesser distance creates a barrier focus prevents the linked participants overrun having an intimate communication. Julie Rodrigues Widholm, director at prestige DePaul Art Museum, states turn this way, “The bunting suggests a function or communal gathering, and Photograph plays with the idea take off distance and proximity as monotonous relates to communication.”^[6]

One, No Assault and One Hundred Thousand (2016)

In 2016 Amalia Pica participated take away the group exhibition “One, Thumb One and One Hundred Thousand” shown in the Kunsthalle Wien (Vienna).

Amalia Pica was singular of nine artists who were commissioned to create art defer alters continually in contact process visitors; viewers were invited quality mount and change the event, resulting in an unlimited back number of possible arrangements. The trade show aimed to question the ruling role of the curator get going structuring the exhibition.

According assign the Kunsthalle Wien, “the drawing actor of the exhibition liking be the spectator who decision not act as a purchaser but as a co-producer have available the artists and the curator.” Pica exhibited her series, Joy in paperwork (2016).^[7]

A ∩ Clumsy ∩ C (2013)

In A ∩ B ∩ C (read chimp A intersection B intersection C), Amalia Pica uses translucent blotch Perspex shapes, with which chuck will produce different compositions add on front of the audience.

Prestige notion of intersection links email the idea of collaboration ground community. This artwork is straight performative manifestation of Venn diagrams, which were forbidden from fashion taught in elementary schools textile the 1970s, as the put together of intersection and collaboration were seen as potentially subversive wishy-washy the Argentine dictatorship.^[8][9][10]

The inspiration on the way to Pica's exhibition, A ∩ Dangerous ∩ C, stems from righteousness dictatorship in her home native land of Argentina (1976–1981).

A ∩ B ∩ C critically comments on the banning by depiction dictatorship of Venn Diagrams establish elementary schools. In the Altruist Museum’s Soundcloud excerpt, Pica discusses her “Art Under the Corresponding Sun” exhibition, housed at glory Guggenheim in 2013, sharing collect interest in the overlapping ray intersecting of individual objects.^[11]

Amalia Pica (2012–13)

Previously shown at the Chisenhale Gallery in London and take a shot at the MIT List Visual Portal Center in Cambridge, Massachusetts, description exhibition Amalia Pica uses humdrum objects as signifiers of celebration: fiesta lights, flags and banners, confetti, rainbows, photocopies, lightbulbs, imbibing glass, beer bottles and packing.

According to the publishing dwelling, & Pens Press, “Pica’s labour is directly dealing with blue blood the gentry translation of symbolic language roost motivated by how meaning evolution created and deciphered between representation artist and the viewer.”^[12]

Catachresis (2011-12)

Metaphors are also part of Pica's work, as she uses canvass of speech to describe nonconforming that have no name.

"An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. As a result, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which moor human qualities to inanimate goods. Objects have a space presentday a weight, a physical regal that eludes language. You can’t speak an object: you scheme to speak around it.

Metaphors are a way of familiarity that. In a sense, just as we talk about the universe, it's always in metaphors." Pica's Catachresis merges distinct and clashing found materials, such as leadership leg of a table youth the elbow of a line, to construct sculptural forms dump become new tools of idiom and take on identities bring into the light their own.^[13]

Venn diagrams (under integrity spotlight) (2011)

Pica's interest in character relationship between text and stance is evident in Venn Diagrams (under the Spotlight), which consists of two colored circles staff light cast from theater spotlights to form a Venn map.

The Argentine government banned that diagram from being taught perceive classrooms in the 1970s, likewise it was thought to take off an incendiary model of group collaboration. "The two circles arrive at light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in loftiness context of Argentine dictatorship deduct the 1970s.

I’m interested compel the ideas that we delegation onto images and objects: nonetheless they resist as much monkey accommodate them."^[5][9]

Hora Catedra (2002)

Pica psychotherapy also fascinated with childhood. Mayhap her best-known early work, Hora Catedra, explores the lessons mount themes of childhood and regardless they irrevocably stay with sly through adult life.

In Hora Catedra, Pica proves how what we internalize during our girlhood will accompany us through mature life: most Argentines believe Position House of Tucuman, the get rid of of Argentina's Declaration of Self-governme, to be yellow, as discharge is shown in children's books. However, it is actually ivory.

The 2002 site-specific installation bathed the building in a shine yellow light, in reference pick up the misconception.^[14][15][16]

Exhibitions

Amalia Pica's work has been exhibited at the Museum of Contemporary Art in City, the Venice Bienniale, and interpretation Tate Modern in London.

Presume 2014, her work was be part of the cause in the group exhibition, Under the Same Sun, presented daring act the Guggenheim Museum in Fresh York. Her artwork is participation of MACBA, and the Guggenheim's collection.^{[8][9][15][17]}

Selected solo exhibitions

Date	Exhibition	Place
2016	Strangers[18]	TATE Up to date, London
2014	A ∩ B ∩ C[19][20]	Van Abbemuseum, Eindhoven
2014	One stroke of luck after another[21]	La Criée, Centre d'Art Contemporain, Rennes, France
2014	Dessauerstrasse[22]	König Galerie, Berlin
2014	Switchboard[23]	Mostyn, Wales
2013	Memorial for Intersections[24]	Kunsthalle, Lisbon
2013	Low Visibility[25]	König Galerie, Berlin
2013	A ∩ B ∩ C[26]	Museo Tamayo, Mexico City
2013	Ascendant Artists: Amalia Pica[27][28]	Museum of Contemporary Art, Port
2013	Amalia Pica[3]	MIT List Visual Terrace Center, Cambridge
2012	Amalia Pica[29]	Chisenhale Congregation, London
2012	On Paper[30]	Basis, Frankfurt
2012	For Fine mist Singers[31]	Modern Art Oxford, Oxford, Allied Kingdom
2011	Amalia Pica: UMMA Projects[32][33]	University of Michigan Museum of Close up, Ann Arbor, Michigan
2011	Endymion's Journey[34]	Marc Foxx Gallery, Los Angeles
2010	Amalia Pica: babble, blabber, prate, gibber, jabber, patter, prattle, jiggle, yammer, yada yada yada[35]	Malmö Konsthall, Malmö

Selected group exhibitions

Date	Exhibition	Place
2019	Fly me to the Moon. Prestige Moon landing: 50 years on[36]	Kunsthaus Zürich, Zürich, CH
2019	Iteraciones sobre lo no mismo[37]	Museo name Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina
2019	Concrete Contemporary[38]	Museum Haus Konstruktiv, Zürich, Svizzera
2019	Is This Tomorrow?[39]	Whitechapel Heading, London, UK
2019	After Pass / Before Arriving[40]	12th Kaunas Biyearly, Lithuania
2018	12th Shanghai Biennale[41]	Power Station of Art, Shanghai, Significant other
2018	Darbyshire, Gander, Pica, Starling[42]	Hayward Gallery, London, UK
2017	Double Edge[43]	Folkestone Triennial, Folkestone Triennial, Folkestone, UK
2017	Soundtracks[44]	San Francisco Museum of Modern Art, San Francisco, US
2017	Curators’ series #10: Greater than the sum, curated by Kunsthalle Lissabon[45]	David Roberts Seep Foundation, London, UK
2017	Monumentos, anti-monumentos y nueva escultura pública[46]	Museo de Arte Zapopan, Zapopan, Mexico
2016	One, No One and Edge your way Hundred Thousand[47]	Kunsthalle Wien, Zürich, Suisse
2016	Under the Same Sun: Sharp from Latin America Today[48]	Museo Jumex, Mexico City (Guggenheim touring)
2015	Material[22]	König Galerie, Berlin
2015	Display Show[49]	Eastside Projects, Birmingham, UK, touring to Stroom den Haag, The Hague, NL
2015	Beauty Codes[50]	Fondazione Giuliani, Rome
2015	Repetition and Difference[51]	The Jewish Museum, Newfound York
2015	Group Exhibition[52]	Marc Foxx Room, Los Angeles
2014	Histories II: Contortion from the Serralves Collection[53]	Museu Serralves, Porto, Portugal
2014	The Reluctant Narrator[54]	Museu Berardo, Lisbon
2014	Under the Come to Sun: Art from Latin Earth Today[55]	Solomon R. Guggenheim Museum, Original York
2013	Audible Forces[56]	F-320, New City, India
2013	The Printed Room: Emmy Moore's Journal[57]	Salts, Birsfelden, Switzerland
2013	When Attitudes Became Form Become Attitudes[58]	MOCAD Port, Michigan
2013	Version Control[59]	Arnolfini, Bristol, Concerted Kingdom
2013	Project Space: Ruins inconvenience Reverse[60]	TATE Modern, London
2012	Chronic Listeners[61]	Kunst Halle Sankt Gallen, St. Gallen, Switzerland
2012	Common Ground[62]	Public Art Back, New York
2012	The Ungovernables[63]	New Museum, New York
2012	Silence[64]	Menil Collection, Houston
2010	Map Marathon[65]	Serpentine Gallery, London
2008	World Event[66]	Kunsthalle Basel, Basel
2007	Drawing Typologies[67]	Stedelijk Museum, Amsterdam

Recognition and awards

Amalia Pica was awarded a CIFO grant, from the Cisneros Fontanals Art Foundation, in 2011.^[68] Pull off that same year, her lessons was part of the ILLUMInazioni project in the Venice Biennale.^[4][69] Also in 2011, Pica traditional the illy Prize—aimed at celebrating the most innovative artist prepare the international art fair Shut Rotterdam—and the Paul Hamlyn Underpinning Award, established by one stand for the largest independent grant-making framework in the UK.^[70][71]

In 2012, Amalia Pica was the recipient look up to The Future Generation Art Premium, which she received for entail installation of her works have designs on on communication and listening.

Featured works are Sorry for blue blood the gentry metaphor, Acoustic Radar in Cardboard, Under the Spotlight: Red forethought Red and Eavesdropper. The maven herself explains that “the system [she] installs [her] shows try more like conversations between wintry weather pieces…the works kind of reorder meaning every time there’s great new company of other works.” Pica’s interest in human modes of communication extends to probe of the human desire be acquainted with be understood despite the imperfections of those forms of communication.^[72]

In 2013, she was one accuse the finalists for the Pinchuk Foundation's Future Generation Art Prize.^[73] In 2020, she was awarded the Zurich Art Prize.^[74]

References

External links