As a child, Bourgeois did not meet her father's expectations due to her lack of ability. Eventually, he came to adore her for her talent and spirit, but she continued to hate him for his explosive temper, domination of the household, and for teasing her in front of others. 

In 1930, Bourgeois entered the Sorbonne to study mathematics and geometry, subjects that she valued for their stability, saying "I got peace of mind, only through the study of rules nobody could change."

Her mother died in 1932, while Bourgeois was studying mathematics. Her mother's death inspired her to abandon mathematics and to begin studying art. Her father thought modern artists were wastrels and refused to support her."

"The music one plays comes from an activity that is very little auditory, being above all manuat (and thus in a way much more sensual). It is the music which you or I can play, alone or among friends, with no other audience than its participants (that is, with all risk of theatre, all temptation of hysteria removed); a muscular music in which the part taken by the sense of hearing is one only of ratification, as though the body were hearing - and not 'the soul'; a music which is-not played 'by heart': seated at the key- board or the music stand, the body controls, conducts, co-ordinates, having itself to transcribe what it reads, making sound and meaning, the body as inscriber and not just transmitter, simple receiver. This music has disappeare (...)"

O estúdio é formado por Nathalia Cury e Alexandre Lindenberg. Trabalhamos com design editorial, identidade, sinalização, web e expografia.

os desenhos foram produzidos com a utilização de carrinhos

movidos à pilha, do tipo “bate-e-volta” e canetas esferográficas presas em suas traseiras. enclausurados num espaço limitado por uma moldura em madeira de 130 x 130 cm, tiveram suas jornadas registradas dentro deste ambiente, enquanto houve

tinta no interior das canetas. uma vez extintas as cargas, os desenhos foram dados por terminados. o primeiro trabalho contou com três carrinhos. com esta configuração o desenho

resultante apresentou determinado padrão gráfico. a permanência

deste padrão foi aferida com o sucessivo aumento

em duas unidades ao número de carrinhos para cada novo desenho. atingido o número de sete carrinhos funcionando simultaneamente no mesmo espaço, o padrão então atingido na primeira investigação desapareceu por completo, já que o

número de choques e encontros entre os veículos cresceu

drasticamente. alcançado este estado de desconstrução o projeto foi encerrado. aproveitando convenções da indústria, os desenhos foram concebidos em todas as cores disponíveis

no mercado para canetas “bic”; azul, preto, verde e vermelho. um último constando todas as quatro cores juntas também foi

confeccionado.

Through an ordinary shipment, Walead’s pieces would inevitably crack. The curators of the galleries and exhibitions would then have to meticulously remove them for display. Each one was named after the date, tracking number, and box size of the particular shipment.

From 1972 Hiller transformed earlier paintings by burning them and storing the ashes in jars, test tubes and burettes. Hand Grenades 1972 contains individually labelled paintings from 1969. The artist describes her annual burning and reconfiguring of paintings in quasi-scientific formats as a ‘ritual’.

-Arte pintura literatura cinema publicidade

-Superfemea

-Barbarella

-Sabrina