This week two exclusive interviews were released:
In this interview Fernando Mendonça answers a question proposed by the artist Cadu: “Where does life start and where does art end?”.
Mendonça, who was born in the small town of São Bento de Bacurituba, northeastern state of Maranhão, but lives and works in Rio de Janeiro, says he cannot dissociate one thing from the other. “I think art and life have a very deep and storng symbiosis”.
He speaks about his relationship with drawing, which he believes is connected to the root of art and that it is man’s first expression, since infancy. Mendonça always carries journals and notepads with him.
Watch the video:
Actions and performances that question the hierarchy between artist and spectator, taking the public out of its role of passive observer and inviting it to be an important part in the creation of the artwork are an important part of Maurício Ianês‘s oeuvre.
Nominated for the first time this year, Ianês answers a question proposed by collector Fersen Lambranho: “How has yourwork been influenced by the street demonstrations of 2013?”
The artist says he watched the protests from Düsseldorf, where he was participating in a Brazilian artists group show, and that the works displayed in the exhibition were closely related to the events at the time. Ianês remembers a photograph series that consisted of the gradual destruction of the word “Progresso” (progress), written on the exhibition space floor with graphite powder, as people walked over it.
Since 2008 the artist has been deeply concerned with his relationship with the public, “where I could also open a space, as a clearing, so that the public could work together with me”. He speaks about his performance done for that year’s Bienal de São Paulo, in which he lived in the Bienal pavillion for fifteen days, in silence, surviving basically of donations made by visitors.
“Even though it was before the manifestations, this concern was already there. Now more than ever, I think my performance work is quite geared towards this social construction through a relationship between artist and public”, he explains.
Watch the video:
Since PIPA’s first edition in 2010, we hire Matrioska Filmes to carry out video-interviews with the nominated artists. Coming now to its fifth edition, the Prize goes on with believing in the importance of video that are yearly produced by Matrioska, exclusively for PIPA.
To watch interviews with other artists nominated this year and in previous editions, as well as special videos, access the videos page.
As MAM-Rio curator and Prize counselor Luis Camillo Osorio points out, in the text “Hunger for files”: If the prize aims to recognize and distinguish, the building of a contemporary memory looked for an amplified analysis of the circuit.