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A documentation of Leonor Antunes’s new installation at Lisbon’s Centro de Arte Moderna Gulbenkian.
The newest installation by Portuguese contemporary artist Leonor Antunes is a large, crossable “floor sculpture” commissioned for the opening of CAM Lisbon’s Centro de Arte Moderna Gulbenkian.
CAM’s building—designed by Sir Leslie Martin with his collaborators and opened to the public in 1983—has undergone a major renovation by Kengo Kuma & Associates, and opened to the public in September this year. Speaking to the history of the building, Antunes’s installation began with an investigation into the almost unknown career and work of British architect, designer, and writer Sadie Speight (1906–96), a central figure of the Modernist movement in the United Kingdom, whose participation in the design of CAM’s original building was entirely overlooked.
Focused on Antunes’s installation and research into Speight’s body of work, this book brings a new critical reading of Antunes’s work, anchored on feminist theories and art history narratives. With texts by the exhibition curator Rita Fabiana, and by the authors Connie Butler, Julia Bryan-Wilson and Taisa Palhares. The book also includes work by Portuguese women artists from CAM’s collection, including Helen Almeida, Ana Hatherly, and Maria Helena Vieira da Silva, curated by Antunes and exhibited at CAM alongside the artist’s installation.
Copublished with CAM—Centro de Arte Moderna Gulbenkian.
A documentation of Leonor Antunes’s new installation at Lisbon’s Centro de Arte Moderna Gulbenkian.
The newest installation by Portuguese contemporary artist Leonor Antunes is a large, crossable “floor sculpture” commissioned for the opening of CAM Lisbon’s Centro de Arte Moderna Gulbenkian.
CAM’s building—designed by Sir Leslie Martin with his collaborators and opened to the public in 1983—has undergone a major renovation by Kengo Kuma & Associates, and opened to the public in September this year. Speaking to the history of the building, Antunes’s installation began with an investigation into the almost unknown career and work of British architect, designer, and writer Sadie Speight (1906–96), a central figure of the Modernist movement in the United Kingdom, whose participation in the design of CAM’s original building was entirely overlooked.
Focused on Antunes’s installation and research into Speight’s body of work, this book brings a new critical reading of Antunes’s work, anchored on feminist theories and art history narratives. With texts by the exhibition curator Rita Fabiana, and by the authors Connie Butler, Julia Bryan-Wilson and Taisa Palhares. The book also includes work by Portuguese women artists from CAM’s collection, including Helen Almeida, Ana Hatherly, and Maria Helena Vieira da Silva, curated by Antunes and exhibited at CAM alongside the artist’s installation.
Copublished with CAM—Centro de Arte Moderna Gulbenkian.
