Anna Maria Maiolino. ANNA — And the infinite line

For more than six decades, Anna Maria Maiolino has pursued an expansive artistic practice shaped by migration, motherhood and the complexities of daily life. About Constantly reinventing her visual language, she has used drawing, photography, sculpture, performance and installation to plumb questions of corporeal existence, memory and the fundamental condition of being human. This September, Hauser & Wirth presents 'ANNA—And the Infinite Line,' an exhibition celebrating the acclaimed Brazilian artist's enduring practice and the release of a documentary of the same title from The Forgotten Her Story. Spanning sixty years, the exhibition unfolds in three chapters and includes early prints and works on paper from the 1960s and 1970s, photography from the late 1970s through the 1980s, and sculpture from 1990 to the present. 'ANNA—And the Infinite Line' opens with works that trace Maiolino's early efforts to articulate her identity through art, beginning with her figurative works. Among these is the starkly contrasting woodcut Anna (1967), a self-portrait that replaces the artist's image with the letters of her name, exploring the tensions between language, representation and the self. Following her move from Rio de Janeiro to New York in 1968, Maiolino continued to work in a largely figurative vein, producing the spare, diaristic drawings of Entre Pausas (Between Pauses), which she has described as 'records of existence,' made while adapting to life in the United States. After her return to Brazil in 1971, she embraced increasingly experimental approaches to drawing and sculpture, as seen in the series Desenho Objeto (Drawing Object), in which thread and paper become bodily forms that evoke universal acts of release, transformation and renewal. Read more Toggle Photography Drawing Performance / Live Art Sculpture Installation Prints