MASP

Kaj Osteroth | Lydia Hamann

E.N.I.C (Entrelaçamento não identificado de criaturas), 2019

  • Author:
    Kaj Osteroth | Lydia Hamann
  • Bio:
    Beckum, Alemanha, 1977 | Potsdam, Alemanha, 1979
  • Title:
    E.N.I.C (Entrelaçamento não identificado de criaturas)
  • Date:
    2019
  • Medium:
    Óleo sobre tela
  • Dimensions:
    140 x 180 cm
  • Credit line:
    Doação das artistas, no contexto da exposição Histórias das mulheres, histórias feministas, 2019
  • Object type:
    Pintura
  • Inventory number:
    MASP.10981
  • Photography credits:
    Eduardo Ortega

TEXTS



In their work, Kaj Osteroth & Lydia Hamann propose another form of relationship between women artists and feminist activists. Taking admiration as a radical means of relating, Osteroth & Hamann seek to establish a network of collaborations, learning, exchange, and affection among women. The artists often present themselves sitting on a sofa, a piece of furniture that, to them, symbolizes a site of dialogue and listening. In Admiring Mmakgabo Mapula Helen Sebidi, Enjoy Drama! (2014), they depict Mmakgabo Mapula Helen Sebidi, one of the most important painters in South Africa. The painter advised them to “Enjoy the drama!” and is portrayed in her studio amidst her works. In Admiring Polvo de Gallina Negra, Mistresses of Feminist Art (2016), the artists admire the Mexico City art collective Polvo de Gallina Negra, founded by Maris Bustamante and Monica Mayer. Both artists are portrayed wearing aprons and fake pregnant bellies, in reference to the 1987 performance Madre por un día [Mother for a Day]. In two works (2019) produced for the Feminist Histories exhibition, the artists reference important Brazilian women. The titles U.C.E.—Unidentified Critter Entanglements and Staying with the Trouble refer to the book by feminist writer Donna Haraway, which addresses alternative possibilities of human and extra-human relations in a damaged world. In these paintings, a group of women interacts amongst themselves, exchanges affections and admires various Brazilian artists, activists, and writers. It is possible to identify references to Tarsila do Amaral, Djanira da Motta e Silva, Lygia Clark, Anna Bella Geiger, Márcia X, Teresinha Soares, Wanda Pimentel, Rosana Paulino, Sônia Gomes, Mônica Nador, Gabriela Leite, Conceição Evaristo, and Djamila Ribeiro, among others, as well as JAMAC—Jardim Miriam Arte Clube [the Jardim Miriam Art Club] and furniture by Lina Bo Bardi.

— Isabella Rjeille, assistant curator, and Leonardo de Souza Gimenes Antiqueira, curatorial team member, MASP, 2019

Source: Adriano Pedrosa, Isabella Rjeille e Mariana Leme (eds.), Women’s histories, Feminist histories, São Paulo: MASP, 2019.



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