© Joana Vasconcelos, VEGAP, Bilbao, 2018. We enter a black-lined room where one of her Coração Independente (2005) pieces rotates in all its glittering, filigree splendour; constructed entirely of plastic knives and forks, it is accompanied by the soft crooning of a Portuguese Fado song. Indeed, “I’m Your Mirror” reflects the Guggenheim’s growing dedication to presenting the work of female artists on a grander scale, with former shows ranging from retrospectives dedicated to Louise Bourgeois to surveys of work by performance artist Esther Ferrer. A Noiva (The Bride), 2001-2005, an enormous chandelier composed of almost 20,000 immaculate feminine tampons. My Independent Hearts series, in gold red and black. I create because I cannot do anything else’, Remy Jungerman and Iris Kensmil: The Measurement of Presence – Venice Biennale 2019, A Backward Glance: Giorgio Morandi and the Old Masters. If so, where does it hang? 2012 - พินนี้ค้นพบโดย Joana Teixeira de Sousa ค้นพบ (และบันทึก!) But Joana Vasconcelos is beating these boys at their own big game in “I’m Your Mirror,” a retrospective featuring 30 large-scale works spanning the Portuguese artist’s meteoric 25-year career, on view through November 11. (Left) J’Adore Miss Dior, 2013, Dior J’Adore perfume bottles, polyester resin, fibreglass, RGB LEDs, microcontroller, power supply unit, metal, 280 x 305 x 105 cm; (Right) Full Steam Ahead, 2014, Bosch steam irons, PLC gearmotor, microprocessor-based electronic control unit, low pressure hydraulic system, stainless steel, demineralized water, 155 x 170 cm. She trained initially as a jeweller before moving into sculpture to explore that same kind of craftsmanship and complexity, but at a totally different scale and within a strong conceptual framework. The work is suspended from an axis, making a circular rotation that is accompanied by the sound of three fados interpreted by Amália Rodrigues: Estranha Forma de Vida (Strange Way of Life); Gaivota (Seagull); and Maldição (Curse). Best known for her outsized, tongue-in-cheek sculptural installations, the 46-year-old artist often humorously takes on issues ranging from gender identity to consumerism. Egeria, 2018. Your email address will not be published. Photograph: Luis Vasconcelos/ Cortesia Unidade lnfinita Projectos. In the same year, she was invited by the House of Dior to participate in the exhibition “Miss Dior,” at the Grand Palais in the Champs Elysées in Paris. And in 2013, she returned to the Venice Biennale transforming a cacilheiro (Portuguese ferry boat) into a floating venue for the Portugal Pavillion. The piece is an amalgam of women’s dress fabrics, from lace to sari silks, stitched into a traditional Islamic head-to-toe female outer garment. What is your thought process for these works? What is your quintessentially favorite thing to do in Portugal? Against the hard steel and cold glass of the Guggenheim Bilbao’s building, it’s unabashedly feminine in its bendy, jewel-toned, and bedazzled splendor. Not so much a retrospective, she has said, but perhaps it could be dubbed her greatest hits – so far? I have exhibitions planned for MGM Macau, for the Rothschild’s Waddeson Manor and the Heydar Aliyev Center in Baku. She has exhibited at the Venice Biennale twice, once with the aforementioned show-stopper The Bride in 2005, then again representing her nation in 2013; she was the first female artist ever to be exhibited at the Palace of Versailles (2012) and has appeared in a wide range of group and solo shows since then. Translucent plastic cutlery, painted Iron, metal chain, power supply unit, motor, sound Installation, 371 x 220 x 75 cm. Some would approach this through shock or drama; you utilize humor or awe. ■ Joana Vasconcelos at the Ajuda Palace, Lisbon Moreover, my fondness for this work is also tied to the fact that something always happens when it is planned to be shown or when it is exhibited. Perhaps even more so given it serves as celebration of the historically female-centric tradition of handicraft and textile work. Privacy Policy. Necessary cookies are absolutely essential for the website to function properly. Joana Vasconcelos. Recommended: The Ultimate Art-Lover’s Guide to Lisbon. She first grabbed the art-world headlines in 2005, when she showed a huge, white chandelier made of tampons (The Bride, 2001-5) at the Venice Biennale. Egeria (2018) is the largest of Vasconcelos’s Valkyrie series – mobile structures that resemble alien creatures crossed with plants, made entirely of hand-knitted, embroidered, sequin-strewn or crocheted sections. It’s the latest and largest work to come out of her well-known and exceptionally colorful biomorphic series, “Valkyries,” named after the Norse female war goddesses who were said to decide who lived and died in a battle. This sinister sound combines with the anxiety-inducing tinkling of a later work at the far end of this main gallery, Call Center (2014-16) – a Beretta-shaped sculpture of old-fashioned black phones, their handles and coils dangling expectantly, while a soundtrack composed of their disabled bells trings and trills. I’m not fond of collaborations, unless they are a meeting of people of different areas in which each one is responsible for his area of action. Joana Vasconcelos.

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