Wanda Pimentel's paintings employ a pop repertoire of home appliances, furniture and design objects to depict domestic life in urban Brazil from a female point of view. Starting from this environment, technological paraphernalia is then tied to the economic exploration of consumer society. Her emptied-out, diagrammatic environments bear witness to a daily scenery of appliances that insinuate a woman as their operator. Body parts, mostly lower limbs, appear here and there in her canvasses, suggesting a built-in libidinal economy, a diffuse sexuality that charges those spaces with latent sexual energy.
Read MoreRecent shows of Pimentel's work include Wanda Pimentel: Os Anos Noventa, Fortes D'Aloia & Gabriel, São Paulo, Brazil (2022); Wanda Pimentel, MAM – Museu de Arte Moderna do Rio de Janeiro, Rio De Janeiro, Brazil (2020) e Envolvimentos, MASP – Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil (2017). Suas obras também aparecem nas coletivas Composições Para Tempos Insurgentes, MAM – Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil (2021); Constelação Clarice, Instituto Moreira Salles Paulista, São Paulo, Brazil (2021); Hábito/Habitante, Escola de Artes Visuais do Parque Lage, Rio de Janeiro, Brazil (2021); Os Monstros de Babaloo, Fortes D'Aloia & Gabriel, São Paulo, Brazil (2021); Mulheres Radicais: Arte Latino-Americana, 1965-1980, Pinacoteca do Estado de São Paulo, São Paulo, Brazil (2018); Radical Women: Latin-American Art 1965-1980, The Brooklyn Museum, Nova York, USA (2017) eInternational Pop, Philadelphia Museum of Art, Philadelphia, USA (2016).
Wanda Pimentel has works in important public collections, such as Museu de Arte Contemporânea de Niterói, Niterói, Brazil; MALBA – Museu Latinoamericano de Buenos Aires, Buenos Aires, Argentina; MASP – Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil; MAM – Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil e The Art Institute of Chicago, Chicago, USA.
Text courtesy Fortes D'Aloia & Gabriel.
