Helena Almeida's Retrospective at Instituto Moreira Salles Explores Self-Image and Photography
A significant retrospective at Instituto Moreira Salles showcases the extensive five-decade journey of Portuguese artist Helena Almeida (1934-2018), centering on her exploration of self-representation through photography. Since the late 1960s, her work has tackled fundamental artistic inquiries, incorporating elements such as wires and brushstrokes. Curator Isabel Carlos refers to this as the 'reiterated presence of herself.' Almeida, who modeled for her father, sculptor Leopoldo de Almeida, steers clear of theatricality, capturing precise moments reminiscent of film stills. The exhibition opens with her 1969 piece 'Tela rosa para vestir,' which investigates the primacy of painting. Although she is well-known in Portugal and Brazil, this marks her inaugural solo exhibition in Brazil after her involvement in the 28th Bienal de São Paulo.
Key facts
- Helena Almeida (1934-2018) is a Portuguese artist.
- A major retrospective of her work is on view at Instituto Moreira Salles.
- Her five-decade career centers on self-image using photography.
- Her work addresses self-representation and expansion of artistic languages from the late 1960s.
- She often interacts with elements like wires, brushstrokes, or a bound male leg.
- Her husband, architect Artur Rosa, made most of her photographic records.
- The 1969 work 'Tela rosa para vestir' involves literally wearing a canvas.
- This is her first solo exhibition in Brazil, despite affinity with Brazilian artists.
Entities
Artists
- Helena Almeida
- Leopoldo de Almeida
- Isabel Carlos
- Artur Rosa
- Lygia Pape
- Lenora de Barros
- Liliana Potter
- Iole de Freitas
Institutions
- Instituto Moreira Salles
- 28th Bienal de São Paulo
Locations
- Portugal
- Paris
- France
- Brazil
- São Paulo