Artist:
Maria Bonomi
Title:
Requiem for the Fallen of Covid-19
Year:
2021
Adress:
Museu da Inclusao
Website:
www.mariabonomi.com.br:
Requiem for the Fallen of Covid-19 - 2021.
São Paulo-SP, Brazil. Latin American Memorial. Work inaugurated on October 27, 2021.
Work in the shape of a triangle, like two hands clasped in prayer, contains 23 hollowed-out maps of Latin American countries on its surfaces. The Memorial was chosen for the installation of the work in order to reiterate the ongoing effort of integration between the countries of the region, in addition to showing solidarity and affection to all those who lost loved ones during the pandemic. Made of corten steel and cut with plasma, measuring WxHxD 4.75x4.80x2.40 meters.
Requiem para os Tombados da Covid-19 - 2021
São Paulo-SP, Brasil. Memorial da América Latina. Obra inaugurada em 27 out. 2021.
Obra no formato de triângulo, como duas mãos postas em oração, contém em suas superfícies 23 mapas vazados de países latino-americanos. O Memorial foi escolhido para a instalação da obra a fim de reiterar o esforço contínuo de integração entre os países da região, além de prestar solidariedade e demonstrar afeto a todos que perderam pessoas queridas durante a pandemia. Fabricada em aço corten e recortada com plasma, medidno LxHxP 4,75x4,80x2,40 metros.
www.wikipedia.org:
Maria Bonomi participou da 36 Bienal de Veneza, 1972; Bienal de Havana (Cuba), 1986; da 11th Bienal Ibero Americana de Arte-Litografia del Fin de Siglo a 200 Anos de su Invencion, no Museo del Palacio de Bellas Artes na Cidade do Mexico, 1998. No Brasil tem participado frequentemente de exposicoes em Sao Paulo e no Rio de Janeiro.
www.mariabonomi.com.br:
Born in Meina, village located on the shores of Lake Magy 1935, Brazilian mother, Georgina Martinelli Bonomi, and Italian father, Ambrógio Bonomi.
Besides participating in various exhibitions, including most notably Elas: mulheres artistas no acervo do MAB-Faap, in Sao Paulo, Gráfica Latinoamericana y del Caribe, in Beijing, and the Southern Hemisphere International Printmaking Exhibition (Passage), in Seoul, Bonomi produced important works such as Popessuara, consisting of laser-cut pieces of stainless steel for the commemorative album of the 100th anniversary of the Pinacoteca de Sao Paulo. She also made the trophy for the Associaçào Brasileira dos Cràticos de Arte.
She furthermore put together academic and consulting panels for stage settings and costumes she created for the theater play Diálogos de Salomé com Sao Joào Batista, directed by Sergio Ferrara at the Teatro Sergio Cardoso. Since 2014 Maria has been involved in the research for a book concerning her production written by art critic and historian Mayra Laudanna of the Universi Paulo.
An important reference work, A Dialética Maria Bonomi, published in Switzerland by éditions du Griffon, presents an artist who 'emerges as one of the most important exponents of Brazilian and international art in the second half of the 20th century,' in the words of the likewise USP professor and director of the Biblioteca Mário de Andrade, Luiz Armando Bagolin.
For the philosopher, 'Maria Bonomi is perhaps the only case of an artist who lived in the same milieu and saw at firsthand many developments of the artistic avant-gardes from the end of the 1950s onward, and yet not did join any of them 'not the abstractions, not the artificial pop trends, nor the new realisms. She remained faithful to both xilogravura [wood engraving] and xilografia [wood printing], terms she coined herself to denote unfoldings of her attitude at the moment of engraving the wood, later employed in other materials: synthetics, metals, clay, etc.' For Luiz Armando Bagolin, Maria Bonomi's work is manifested, a very striking and lofty way, always being related to the context she seeks to re-signify.
Besides the book, published in three volumes (English, French and Portuguese), she also presented a show featuring 14 of her works at the headquarters of the publisher in Neuchâtel, coincidentally the city where the artist held her first international exhibition, in 1955.
Requiem for the Fallen of Covid-19 - 2021.
São Paulo-SP, Brazil. Latin American Memorial. Work inaugurated on October 27, 2021.
Work in the shape of a triangle, like two hands clasped in prayer, contains 23 hollowed-out maps of Latin American countries on its surfaces. The Memorial was chosen for the installation of the work in order to reiterate the ongoing effort of integration between the countries of the region, in addition to showing solidarity and affection to all those who lost loved ones during the pandemic. Made of corten steel and cut with plasma, measuring WxHxD 4.75x4.80x2.40 meters.
Requiem para os Tombados da Covid-19 - 2021
São Paulo-SP, Brasil. Memorial da América Latina. Obra inaugurada em 27 out. 2021.
Obra no formato de triângulo, como duas mãos postas em oração, contém em suas superfícies 23 mapas vazados de países latino-americanos. O Memorial foi escolhido para a instalação da obra a fim de reiterar o esforço contínuo de integração entre os países da região, além de prestar solidariedade e demonstrar afeto a todos que perderam pessoas queridas durante a pandemia. Fabricada em aço corten e recortada com plasma, medidno LxHxP 4,75x4,80x2,40 metros.
www.wikipedia.org:
Maria Bonomi participou da 36 Bienal de Veneza, 1972; Bienal de Havana (Cuba), 1986; da 11th Bienal Ibero Americana de Arte-Litografia del Fin de Siglo a 200 Anos de su Invencion, no Museo del Palacio de Bellas Artes na Cidade do Mexico, 1998. No Brasil tem participado frequentemente de exposicoes em Sao Paulo e no Rio de Janeiro.
www.mariabonomi.com.br:
Born in Meina, village located on the shores of Lake Magy 1935, Brazilian mother, Georgina Martinelli Bonomi, and Italian father, Ambrógio Bonomi.
Besides participating in various exhibitions, including most notably Elas: mulheres artistas no acervo do MAB-Faap, in Sao Paulo, Gráfica Latinoamericana y del Caribe, in Beijing, and the Southern Hemisphere International Printmaking Exhibition (Passage), in Seoul, Bonomi produced important works such as Popessuara, consisting of laser-cut pieces of stainless steel for the commemorative album of the 100th anniversary of the Pinacoteca de Sao Paulo. She also made the trophy for the Associaçào Brasileira dos Cràticos de Arte.
She furthermore put together academic and consulting panels for stage settings and costumes she created for the theater play Diálogos de Salomé com Sao Joào Batista, directed by Sergio Ferrara at the Teatro Sergio Cardoso. Since 2014 Maria has been involved in the research for a book concerning her production written by art critic and historian Mayra Laudanna of the Universi Paulo.
An important reference work, A Dialética Maria Bonomi, published in Switzerland by éditions du Griffon, presents an artist who 'emerges as one of the most important exponents of Brazilian and international art in the second half of the 20th century,' in the words of the likewise USP professor and director of the Biblioteca Mário de Andrade, Luiz Armando Bagolin.
For the philosopher, 'Maria Bonomi is perhaps the only case of an artist who lived in the same milieu and saw at firsthand many developments of the artistic avant-gardes from the end of the 1950s onward, and yet not did join any of them 'not the abstractions, not the artificial pop trends, nor the new realisms. She remained faithful to both xilogravura [wood engraving] and xilografia [wood printing], terms she coined herself to denote unfoldings of her attitude at the moment of engraving the wood, later employed in other materials: synthetics, metals, clay, etc.' For Luiz Armando Bagolin, Maria Bonomi's work is manifested, a very striking and lofty way, always being related to the context she seeks to re-signify.
Besides the book, published in three volumes (English, French and Portuguese), she also presented a show featuring 14 of her works at the headquarters of the publisher in Neuchâtel, coincidentally the city where the artist held her first international exhibition, in 1955.