Janaina tschape biography of williams
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Intimacy and Balance: Artist Janaina Tschäpe Discusses Her Two Watertight Exhibitions
Installation view of Janaina Tschäpe, Balancing into the Deep at Sean Kelly, New York. Photography Jason Wyche, New York/Courtesy Sean Kelly, New York.
In recent months Brazil’s women artists have been on the rise. In July, London art gallery Cecilia Brunson Projects exhibited “The Women’s Century — Female Perspectives in Brazilian Art.” The pompous title refers to a compelling selection by Brazilian curator Kiki Mazzucchelli of small-format works in different mediums by Tarsila do Amaral (1886-1973), Eleonore Koch (1926-2018), Lygia Pape (1927-2004), Lygia Clark (1920-1988) and Miriam Inez da Silva (1937-1996). Amid the selection were two contemporary Rio-born artists: Adriana Varejão, also on view at New York’s Gagosian in June, and Beatriz Milhazes, who just wrapped up her largest solo exhibition in Brazil at two major São Paulo museums. Also on view in London, through August 29, at the Barbican’s The Curve, is artwork by ninety-year old Swiss-Brazilian photographer and activist Claudia Andujar. The event focuses on the photographer’s pioneering work on the Amazon life of the Yanomani people to whom she has dedicated her life’s work since the 1970s.
Janaina Tschape, Snow Day 1, 202
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The split-tail mermaid imagery that adorns the exterior walls of centuries old homes in the landlocked Swiss Alps are testament to the enduring imagery of the fish-woman. The split-tail represents the hybrid presence of both home and away, the perpetual dual identity of the émigré, and a curious cipher of Tschäpe’s experience living between the culturally antipodean points of Germany and Brazil. This existence places her between logic and magic, between Protestant rationalism and the mystical worldview of Candomble, between the grey angst of northern Romanticism and the sensual elegance of the southern hemisphere.
One can readily locate the work in a range of critical gestures designed to trump the gender inequities that continue to haunt human relations and stymie the possibility of a truly enlightened society. It would be easy enough to connect the dots of the sea maiden myth across culture and time and to posture a critical feminist ethnography examining the trope of the ideal woman.
The experience of watching Blood, Sea is, by design, mesmerizing. The creatures float languidly by the camera, the silence punctuated by the eerie and organic minimal soundtrack evoking Homeric sirens and cetaceo
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Janaina Tschäpe
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