a selection of works from the collection by leonor antunes
In the Mezzanine, we continue to show works by women artists from the CAM Collection selected by Leonor Antunes, which now include new picks.
With a look that values the unexpected formal relationships and the dialogue and parity between the artists鈥� works, Leonor Antunes selected 52 works from the CAM Collection and five on loan 鈥� the drawing scores by composer 脡liane Radigue, Guida Fonseca鈥檚 textile objects, Maria Keil鈥檚 bureau and Emily Wardil鈥檚 work on marbled paper.
In a chronology that dates from the 1930s to the present day, Leonor Antunes鈥� choices include well-known artists such as Ana Vieira, Helena Almeida and Maria Helena Vieira da Silva, and also artists whose work has been less seen, such as No茅lia de Paula, Marina Mesquita and Maria Ant贸nia Siza. The selection covers different techniques such as video (Grada Kilomba), printmaking (Lu铆sa Correia Pereira), textiles (Maria Ant贸nia Siza), painting (Amelia Toledo), sculpture (Isabel Laginhas) and drawing (Eug茅nia Mussa).
Most of the works that have now been added to the exhibition, which opened in the context of the exhibition 鈥楲eonor Antunes. the constant inequality of leonor鈥檚 days*鈥�, are by the artists Ana Hatherly and Lu铆sa Correia Pereira.
The space features the longitudinal wall of the gallery intentionally unfinished and 鈥榬aw鈥�, and the six panels of slatted wood 鈥� 鈥榲oilettes鈥� 鈥� on which Leonor Antunes suspended the artworks. These displays are a reappropriation of Charlotte Perriand鈥檚 reticulated fa莽ade, designed for the Japanese ambassador鈥檚 residence in Paris in the 1960s, while revisiting the modern exhibition design solutions of Franco Albini/Franca Helg and Lina Bo Bardi.
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In the Mezzanine, we continue to show works by women artists from the CAM Collection selected by Leonor Antunes, which now include new picks.
With a look that values the unexpected formal relationships and the dialogue and parity between the artists鈥� works, Leonor Antunes selected 52 works from the CAM Collection and five on loan 鈥� the drawing scores by composer 脡liane Radigue, Guida Fonseca鈥檚 textile objects, Maria Keil鈥檚 bureau and Emily Wardil鈥檚 work on marbled paper.
In a chronology that dates from the 1930s to the present day, Leonor Antunes鈥� choices include well-known artists such as Ana Vieira, Helena Almeida and Maria Helena Vieira da Silva, and also artists whose work has been less seen, such as No茅lia de Paula, Marina Mesquita and Maria Ant贸nia Siza. The selection covers different techniques such as video (Grada Kilomba), printmaking (Lu铆sa Correia Pereira), textiles (Maria Ant贸nia Siza), painting (Amelia Toledo), sculpture (Isabel Laginhas) and drawing (Eug茅nia Mussa).
Most of the works that have now been added to the exhibition, which opened in the context of the exhibition 鈥楲eonor Antunes. the constant inequality of leonor鈥檚 days*鈥�, are by the artists Ana Hatherly and Lu铆sa Correia Pereira.
The space features the longitudinal wall of the gallery intentionally unfinished and 鈥榬aw鈥�, and the six panels of slatted wood 鈥� 鈥榲oilettes鈥� 鈥� on which Leonor Antunes suspended the artworks. These displays are a reappropriation of Charlotte Perriand鈥檚 reticulated fa莽ade, designed for the Japanese ambassador鈥檚 residence in Paris in the 1960s, while revisiting the modern exhibition design solutions of Franco Albini/Franca Helg and Lina Bo Bardi.
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