We are pleased to announce Mamma Andersson’s participation in this year’s edition of Bienal de São Paulo – both as curator and as artist! The Biennial is the second oldest in the world after Venice and considered one of the most important.
Mamma Andersson (b.1962) is one of Sweden’s most internationally recognized artists. Inspired by filmic imagery, theatre sets, and period interiors, Mamma Andersson’s compositions are often dreamlike and expressive. While stylistic references include turn-of-the-century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own. Her subject matter revolves around evocative, melancholic landscapes and nondescript, private interiors. Her work is represented in collections such as Museum of Modern Art – MoMA, New York, Dallas Museum of Modern Art, Museum of Contemporary Art – MOCA, Los Angeles, Hammar museum, Los Angeles, Nasjonalmuseet, Oslo, Norway, Moderna Museet, Stockholm, Sweden. In 2006 she was awarded the first prize in Carnegie Art Award and in 2003 she represented Sweden in the Venice Biennale. She graduated from the Royal Institute of Arts in Stockholm in 1993.
Mamma Andersson | Stargazer II
For the exhibition Stargazer II, Mamma Andersson brings together a group of artists that have been inspiring and fuelling her own production as a painter. The selection comprises a wide range of references, e.g. the 16th century Russian icons; outsiders such as Henry Darger (USA, 1892–1973) and Dick Bengtsson (Sweden, 1936–1989); and contemporary artists such as the filmmaker Gunvor Nelson (Sweden, f. 1931), the fighter pilot and sound artist Åke Hodell (Sweden, 1919–2000) and the artist’s artist Bruno Knutman (Sweden, 1930–2017). The participating artists share a common interest in expressive figuration and the human body. The exhibition also features a large number of Andersson’s paintings, presenting a vibrant dialogue between her practice and her artistic inspiration.
Mamma Andersson (Sweden, b. 1962)
Dick Bengtsson (Sweden, 1936–1989)
Henry Darger (USA, 1892–1973)
Carl Fredrik Hill (Sweden, 1849–1911)
Åke Hodell (Sweden, 1919–2000)
Ernst Josephson (Sweden, 1851–1906)
Bruno Knutman (Sweden, 1930–2017)
Gunvor Nelson (Sweden, b. 1931)
Lim-Johan (Johan Erik Olsson, Sweden, 1865–1944)
Russian icons (Russia, 16th century, from Swedish collections)
Władysław Starewitch (Russia, 1882–1965)
Miroslav Tichý (Czech Republic, 1926–2011)
Mamma Andersson participates in Bienal de São Paulo supported by Iaspis, The Swedish Arts Grants Committee and Moderna Museet.
From the Press Release:
Affective Affinities offers an alternative to thematic exhibitions by focusing the artists’ gaze on their own creative contexts
The 33rd Bienal de São Paulo features 7 group shows organised by invited artist-curators as well as 12 individual projects selected by curator Gabriel Pérez-Barreiro
With an ambitious and unprecedented format, the 33rd Bienal de São Paulo – Affective Affinities hopes to encourage an individual appreciation of art by avoiding an overarching theme that could prompt pre-established understandings.
The title for the 33rd edition of the Bienal de São Paulo was selected by its curator Gabriel Pérez-Barreiro, director and chief curator of the Cisneros Collection, to resonate with ideas presented in Johann Wolfgang von Goethe’s novel Elective Affinities (1809), as well as Mário Pedrosa’s important thesis On the Affective Nature of Form in the Work of Art (1949).
However, the title is not intended to provide the exhibition with a thematic direction. Rather, it reflects the show’s organisation, which draws on artistic and cultural links, as well as affinities between participating artists. As in Pedrosa’s text, it proposes an investigation into the ways that art creates an environment of relationships and communication, which begins with the artist and moves through the object to the viewer.
Presence, attention and the way that the environment influences our experience, are the premises that guide Pérez-Barreiro’s curatorial proposal, which functions as a response to a world of ready-made truths, in which the fragmentation of information and inability to focus attention can lead to alienation and passivity.
With a strong belief in the positive impact of a radical change in the operating systems of the Bienal de São Paulo, for this edition, Pérez-Barreiro has invited seven different artists to freely organise exhibitions that dialogue with their practices. Mamma Andersson (Sweden), Sofia Borges (Brazil), Waltercio Caldas (Brazil), Alejandro Cesarco (Uruguay), Claudia Fontes (Argentina), Antonio Ballester Moreno (Spain) and Wura-Natasha Ogunji (USA) have, with complete autonomy, chosen their participating artists and artworks. The only criteria is that they must also include their own work in their exhibitions.
In addition, Pérez-Barreiro has also curated 12 solo projects featuring work by Feliciano Centurion (Paraguay), Alejandro Corujeira (Argentina), Luiza Crosman (Brazil), Nelson Felix (Brazil), Siron Franco (Brazil), Tamar Guimarães (Brazil), Aníbal López (Guatemala), Maria Laet (Brazil), Vânia Mignone (Brazil), Denise Milan (Brazil), Bruno Moreschi (Brazil) and Lucia Nogueira (Brazil).
33rd Bienal de São Paulo – Affective Affinities
Ciccillo Matarazzo Pavilion, Ibirapuera Park
São Paulo, Brazil
Press Preview: 4.9 2018
Preview for press, art professionals and guests: 5–6.9 2018
Image: Mamma Andersson, Hangman, 2014. Oil on panel, 125 x 125 cm. (Private collection)