Anna Maria Maiolino: Articulations and Translations of and in Anthropophagy
- Submitting institution
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University of the Arts, London
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 441
- Type
- C - Chapter in book
- DOI
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- Book title
- Anna Maria Maiolino: Making Love Revolutionary
- Publisher
- Whitechapel Gallery
- ISBN
- 978-0-85488-279-3
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This catalogue essay accompanied Anna Maria Maiolino’s retrospective exhibition at the Whitechapel Art Gallery in London (2019). Asbury’s essay incorporates research in development since 2014 on the theory of translation in order to articulate ideas around cultural displacement and Anthropophagy. It considers Maiolino’s recent work as a culmination of a lifetime’s work, analysing how the artist’s work transitions from anthropophagy as metaphor to more conceptual approaches to the topic.
Maiolino is an internationally renowned artist, whose work has been critically acclaimed by major figures within the field such as Briony Fer, Catherine De Zegher, Griselda Pollock and Paulo Herkenhoff. Asbury’s research can be differentiated from theirs because, rather than focusing on purely identitarian issues such as feminist subjectivity or nationality, it focuses on how the artist re-signified key concepts in circulation within artistic neo-avant-garde circles in Brazil from the 1960s to date. Central to these is the question of how Maiolino articulated the concept of Anthropophagy, or cultural cannibalism, that emerged in Brazil in the late 1920s, undergoing a revival during the 1960s.
Rather than adopting that concept as a given, a constant, Asbury draws on Walter Benjamin’s observations on the act and task of translating as a means of situating Maiolino’s work in relation to it. This approach acknowledges the historiographical development of Anthropophagy itself and, in doing so, posits Maiolino’s role within its continuous re-signification.
- Author contribution statement
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- Non-English
- No
- English abstract
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