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{{Short description|Argentine artist}}
'''Amalia Pica''' (b. 1978, Nequén, Argentina) is a London-based Argentinian artist who explores metaphor, communication, and civic participation through sculptures, installations, photographs, projections, live performances, and drawings. <ref>{{Cite web|title = Amalia Pica: "Me gusta el concepto de intimidad cultural"|url = http://www.lanacion.com.ar/1796891-amalia-pica-me-gusta-el-concepto-de-intimidad-cultural|website = ''[[La Nación]]''|accessdate = 2015-12-09|date = 2015-05-29|last = Chatruc|first = Celina}}</ref>
{{COI|date=May 2019}}
{{Infobox artist
| birth_place = [[Neuquén, Argentina]]
| birth_date = 1978
| name = Amalia Pica
| education = [[Rijksakademie van Beeldende Kunsten]]<br />[[Instituto Universitario Nacional del Arte]]<br />Escuela Nacional de Bellas Artes P.P<br />Clínica de Obra con Tulio de Sagastizabal
}}
[[File:2021 Now speak (Pica)(3).jpg|thumb|right|Now speak! by Pica, Krimpertplein, Amsterdam-Zuidoost (2021)]]
'''Amalia Pica''' (born 1978 in [[Neuquén]], Argentina) is a London-based Argentine artist who explores metaphor, communication, and civic participation through sculptures, installations, photographs, projections, live performances, and drawings.<ref>{{Cite web|title = Amalia Pica: "Me gusta el concepto de intimidad cultural"|url = http://www.lanacion.com.ar/1796891-amalia-pica-me-gusta-el-concepto-de-intimidad-cultural|website = [[La Nación]]|accessdate = 2015-12-09|date = 2015-05-29|last = Chatruc|first = Celina}}</ref> Pica currently works and lives in London.<ref>{{Cite web |title=Amalia Pica |url=https://www.tanyabonakdargallery.com/artists/84-amalia-pica/ |access-date=2024-08-15 |website=Tanya Bonakdar Gallery |language=en}}</ref>

== Early life and education ==
== Early life and education ==
Amalia Pica was born in Nequén, Argentina, in 1978. She earned a BA from the [[:es:Escuela Nacional de Bellas Artes Prilidiano Pueyrredón |Escuela Nacional de Bellas Artes Prilidiano Pueyrredón]] in Buenos Aires in 2003. From 2004-05, she held an artist residency at the [[Rijksakademie|Rijksakademie van beeldende kusten]]. <ref name="MIT List Visual Arts Center">{{Cite web|title = Amalia Pica|url = https://listart.mit.edu/exhibitions/amalia-pica|website = MIT List Visual Arts Center|accessdate = 2015-12-07}}</ref><ref name="Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica">{{Cite web|title = Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica|url = http://blogs.infobae.com/bellas-artes/2013/01/24/jovenes-artistas-argentinos-en-el-exterior-parte-2-irene-kopelman-y-amalia-pica/|website = #BellasArtes|accessdate = 2015-12-07|language = es-es}}</ref>
Pica was born in Neuquén, Argentina, in 1978. She earned a BA from the [[:es:Escuela Nacional de Bellas Artes Prilidiano Pueyrredón|Escuela Nacional de Bellas Artes Prilidiano Pueyrredón]] in Buenos Aires in 2003. From 2004 to 2005, she held an artist residency at the [[Rijksakademie]] van beeldende kusten.<ref name="MIT List Visual Arts Center">{{Cite web|title = Amalia Pica|url = https://listart.mit.edu/exhibitions/amalia-pica|website = MIT List Visual Arts Center|accessdate = 2015-12-07}}</ref><ref name="Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica">{{Cite web|title = Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica|url = http://blogs.infobae.com/bellas-artes/2013/01/24/jovenes-artistas-argentinos-en-el-exterior-parte-2-irene-kopelman-y-amalia-pica/|website = #BellasArtes|accessdate = 2015-12-07|language = es-es}}</ref>
== Influences and Work ==
Pica was born in the late 1970s during the [[Dirty War]], a period of state terrorism in Argentina. In light of this fact, Pica’s work raises questions about the role of government, language and communication, and human connections. Much of her work explores fundamental issues of communication, such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take.<ref>{{Cite journal|title = Dirty War|url = https://en.wikipedia.org/enwiki/w/index.php?title=Dirty_War&oldid=692773939|language = en}}</ref>


== Influences and work ==
[[Victor Grippo]], [[Cildo Meireles]], [[Lygia Clark]] and [[Hélio Oiticica]], among others, were the artists that Pica first studied. <ref name="Playing Telephone: An Interview with Amalia Pica - Interviews - Art in America">{{Cite web|title = Playing Telephone: An Interview with Amalia Pica - Interviews - Art in America|url = http://www.artinamericamagazine.com/news-features/interviews/playing-telephone-an-interview-with-amalia-pica/|website = www.artinamericamagazine.com|accessdate = 2015-11-30}}</ref>
Pica was born in the late 1970s during the [[Dirty War]], a period of state terrorism in Argentina. In light of this fact, Pica's work raises questions about the role of government, language and communication, and human connections. Much of her work explores fundamental issues of communication, such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take.


[[Victor Grippo]], [[Cildo Meireles]], [[Lygia Clark]] and [[Hélio Oiticica]], among others, were the artists that Pica first studied.<ref name="Playing Telephone: An Interview with Amalia Pica – Interviews – Art in America">{{Cite web|title = Playing Telephone: An Interview with Amalia Pica – Interviews – Art in America|url = http://www.artinamericamagazine.com/news-features/interviews/playing-telephone-an-interview-with-amalia-pica/|website = www.artinamericamagazine.com|accessdate = 2015-11-30}}</ref>
=====''A ∩ B ∩ C'' (2013)=====
In ''A ∩ B ∩ C'' (read as A intersection B intersection C), Amalia Pica uses translucent colored [[Perspex]] shapes, with which performers will produce different compositions in front of the audience. The notion of intersection links to the idea of collaboration and community. This artwork is a performative manifestation of [[Venn diagrams]], which were forbidden from being taught in elementary schools during the 1970s, as the concept of intersection and collaboration were seen as potentially subversive by the Argentinian dictatorship.<ref name=":0">{{Cite web|title = Amalia Pica|url = http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica/artist/amalia-pica|website = www.guggenheim.org|accessdate = 2015-11-30}}</ref><ref name=":1">{{Cite web|title = Collection Online {{!}} Amalia Pica. A ∩ B ∩ C. 2013 - Guggenheim Museum|url = http://www.guggenheim.org/new-york/collections/collection-online/artwork/33119|website = www.guggenheim.org|accessdate = 2015-12-01}}</ref><ref>{{Cite web|title = Amalia Pica “A ∩ B ∩ C (Line)” at Herald St, London / MOUSSE CONTEMPORARY ART MAGAZINE|url = http://moussemagazine.it/amalia-pica-herald-st/|website = moussemagazine.it|accessdate = 2015-12-08}}</ref>


=====''Catachresis'' (2011-12)=====
=== ''Strangers'' (2008–16) ===
Pica’s performance piece, ''Strangers'', first performed in 2008, was featured in the updated [[Tate Modern]] and focuses on the complex communication between strangers. The work requires two strangers to hold each end of a string of colorful bunting without letting it touch the ground in the limited space. The resulting distance creates a barrier that prevents the linked participants from having an intimate communication. Julie Rodrigues Widholm, director at the DePaul Art Museum, states that, “The bunting suggests a party or communal gathering, and Pica plays with the idea of distance and proximity as it relates to communication.”<ref>{{Cite web|url=http://www.aestheticamagazine.com/amalia-pica/|title=Aesthetica Magazine – Amalia Pica|last=Beesley|first=Ruby|date=May 2013|website=Aesthetica Magazine|access-date=}}</ref>
Metaphors are also part of Pica's work, as she uses figures of speech to describe things that have no name. “An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. Hence, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which attach human qualities to inanimate things. Objects have a space and a weight, a physical presence that eludes language. You can’t speak an object: you have to speak around it. Metaphors are a way of doing that. In a sense, when we talk about the world, it’s always in metaphors.” Pica’s ''Catachresis'' merges distinct and contrasting found materials, such as the leg of a table or the elbow of a pipe, to construct sculptural forms that become new tools of communication and take on identities of their own.<ref name="Amalia Pica - Aesthetica Magazine">{{Cite web|title = Amalia Pica - Aesthetica Magazine|url = http://www.aestheticamagazine.com/amalia-pica/|website = www.aestheticamagazine.com|accessdate = 2015-11-30}}</ref>


=====''Venn diagrams (under the spotlight)'' (2011)=====
=== ''One, No One and One Hundred Thousand'' (2016) ===
In 2016 Amalia Pica participated in the group exhibition “One, No One and One Hundred Thousand” shown in the [[Kunsthalle Wien]] (Vienna). Amalia Pica was one of nine artists who were commissioned to create art that alters continually in contact with visitors; viewers were invited to mount and change the exhibition, resulting in an unlimited number of possible arrangements. The exhibition aimed to question the dominant role of the curator in structuring the exhibition. According to the Kunsthalle Wien, “the main actor of the exhibition will be the spectator who will not act as a consumer but as a co-producer of the artists and the curator.” Pica exhibited her series, ''Joy in paperwork'' (2016).<ref>{{Cite web|url=http://kunsthallewien.at/#/en/exhibitions/one-no-one-and-one-hundred-thousand|title=One, No One and One Hundred Thousand|last=|first=|date=February 19, 2016|website=Kunsthalle Wien|access-date=}}</ref>
Pica’s interest in the relationship between text and image is evident in ''Venn Diagrams (under the Spotlight)'', which consists of two colored circles of light cast from theater spotlights to form a Venn diagram. The Argentinian government banned this diagram from being taught in classrooms in the 1970s, as it was thought to be an incendiary model of social collaboration. “The two circles of light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in the context of Argentinian dictatorship in the 1970s. I’m interested in the ideas that we project onto images and objects: how they resist as much as accommodate them.”<ref name=":1">{{Cite web|title = Collection Online {{!}} Amalia Pica. A ∩ B ∩ C. 2013 - Guggenheim Museum|url = http://www.guggenheim.org/new-york/collections/collection-online/artwork/33119|website = www.guggenheim.org|accessdate = 2015-12-01}}</ref><ref name="Playing Telephone: An Interview with Amalia Pica - Interviews - Art in America">{{Cite web|title = Playing Telephone: An Interview with Amalia Pica - Interviews - Art in America|url = http://www.artinamericamagazine.com/news-features/interviews/playing-telephone-an-interview-with-amalia-pica/|website = www.artinamericamagazine.com|accessdate = 2015-11-30}}</ref>


=====''Hora Catedra'' (2002)=====
=== ''A ∩ B ∩ C'' (2013) ===
Pica is also fascinated with childhood. Possibly her best-known early work, ''Hora Catedra'', explores the lessons and themes of childhood and how they irrevocably stay with us through adult life. In ''Hora Catedra'', Pica proves how what we internalize during our childhood will accompany us through adult life: most Argentinians believe [[Casa de Tucumán|The House of Tucuman]], the site of Argentina’s Declaration of Independence, to be yellow, as it is shown in children’s books. However, it is actually white. The 2002 site-specific installation bathed the building in a bright yellow light, in reference to the misconception.<ref>{{Cite web|title = Amalia Pica {{!}} bola de nieve|url = http://www.boladenieve.org.ar/en/artista/266/pica-amalia|website = www.boladenieve.org.ar|accessdate = 2015-12-07}}</ref><ref name=":2">{{Cite web|title = Artist of the week 196: Amalia Pica|url = http://www.theguardian.com/artanddesign/2012/jun/28/artist-of-week-amalia-pica|website = the Guardian|accessdate = 2015-11-30|first = Skye|last = Sherwin}}</ref><ref name="Aesthetica Magazine – Amalia Pica">{{Cite web|title = Aesthetica Magazine – Amalia Pica|url = http://www.aestheticamagazine.com/amalia-pica/|website = Aesthetica|accessdate = 2015-11-30|language = en-GB}}</ref>


In ''A ∩ B ∩ C'' (read as A intersection B intersection C), Amalia Pica uses translucent colored [[Perspex]] shapes, with which performers will produce different compositions in front of the audience. The notion of intersection links to the idea of collaboration and community. This artwork is a performative manifestation of [[Venn diagrams]], which were forbidden from being taught in elementary schools during the 1970s, as the concept of intersection and collaboration were seen as potentially subversive by the Argentine dictatorship.<ref name=":0">{{Cite web|title = Amalia Pica|url = https://www.guggenheim.org/artwork/33119|website = www.guggenheim.org}}</ref><ref name=":1">{{Cite web|title = Collection Online {{!}} Amalia Pica. A ∩ B ∩ C. 2013 – Guggenheim Museum|url = http://www.guggenheim.org/new-york/collections/collection-online/artwork/33119|website = www.guggenheim.org|accessdate = 2015-12-01}}</ref><ref>{{Cite web|title = Amalia Pica "A ∩ B ∩ C (Line)" at Herald St, London / MOUSSE CONTEMPORARY ART MAGAZINE|url = http://moussemagazine.it/amalia-pica-herald-st/|website = moussemagazine.it|accessdate = 2015-12-08}}</ref>
==Exhibitions==


The inspiration for Pica's exhibition, ''A ∩ B ∩ C'', stems from the dictatorship in her home country of Argentina (1976–1981). ''A ∩ B ∩ C'' critically comments on the banning by the dictatorship of Venn Diagrams in elementary schools. In the [[Solomon R. Guggenheim Museum|Guggenheim Museum]]’s Soundcloud excerpt, Pica discusses her “Art Under the Same Sun” exhibition, housed at the Guggenheim in 2013, sharing her interest in the overlapping and intersecting of individual objects.<ref>{{Cite web|url=https://soundcloud.com/guggenheimmuseum/amalia-pica-a-b-c-2013|title=Amalia Pica, A ∩ B ∩ C, 2013|last=|first=|date=August 23, 2013|website=Soundcloud|access-date=}}</ref>
Amalia Pica's work has been exhibited at the Museum of Contemporary Art in Chicago, the Venice Bienniale, and the [[Tate Modern]] in London. In 2014, her work was included in the group exhibition, ''Under the Same Sun'', presented at the [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York. Her artwork is part of [[Museu d'Art Contemporani de Barcelona|MACBA]], and the Guggenheim's collection.<ref name=":0">{{Cite web|title = Amalia Pica|url = http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica/artist/amalia-pica|website = www.guggenheim.org|accessdate = 2015-11-30}}</ref><ref name=":2">{{Cite web|title = Artist of the week 196: Amalia Pica|url = http://www.theguardian.com/artanddesign/2012/jun/28/artist-of-week-amalia-pica|website = the Guardian|accessdate = 2015-11-30|first = Skye|last = Sherwin}}</ref><ref name=":1">{{Cite web|title = Collection Online {{!}} Amalia Pica. A ∩ B ∩ C. 2013 - Guggenheim Museum|url = http://www.guggenheim.org/new-york/collections/collection-online/artwork/33119|website = www.guggenheim.org|accessdate = 2015-12-01}}</ref><ref>{{Cite web|title = Amalia Pica: "Me gusta el concepto de intimidad cultural"|url = http://www.lanacion.com.ar/1796891-amalia-pica-me-gusta-el-concepto-de-intimidad-cultural|website = www.lanacion.com.ar|accessdate = 2015-12-01}}</ref>


=== ''Amalia Pica'' (2012–13) ===
===Selected Solo Exhibitions===
Previously shown at the [[Chisenhale Gallery]] in London and at the [[List Visual Arts Center|MIT List Visual Arts Center]] in [[Cambridge, Massachusetts]], the exhibition ''Amalia Pica'' uses everyday objects as signifiers of celebration: fiesta lights, flags and banners, [[confetti]], rainbows, photocopies, lightbulbs, drinking glass, beer bottles and cardboard. According to the publishing house, & Pens Press, “Pica’s work is directly dealing with the translation of symbolic language and motivated by how meaning is created and deciphered between the artist and the viewer.”<ref>{{Cite web|url=http://andpens.com/friday-favorite-amalia-pica/|title=Friday Favorite: Amalia Pica|last=|first=|date=August 23, 2013|website=& Penns Press, Los Angeles|access-date=}}</ref>

=== ''Catachresis'' (2011-12) ===

Metaphors are also part of Pica's work, as she uses figures of speech to describe things that have no name. "An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. Hence, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which attach human qualities to inanimate things. Objects have a space and a weight, a physical presence that eludes language. You can’t speak an object: you have to speak around it. Metaphors are a way of doing that. In a sense, when we talk about the world, it's always in metaphors." Pica's ''Catachresis'' merges distinct and contrasting found materials, such as the leg of a table or the elbow of a pipe, to construct sculptural forms that become new tools of communication and take on identities of their own.<ref name="Amalia Pica – Aesthetica Magazine">{{Cite web|title = Amalia Pica – Aesthetica Magazine|url = http://www.aestheticamagazine.com/amalia-pica/|website = www.aestheticamagazine.com|accessdate = 2015-11-30}}</ref>

=== ''Venn diagrams (under the spotlight)'' (2011) ===
Pica's interest in the relationship between text and image is evident in ''Venn Diagrams (under the Spotlight)'', which consists of two colored circles of light cast from theater spotlights to form a [[Venn diagram]]. The Argentine government banned this diagram from being taught in classrooms in the 1970s, as it was thought to be an incendiary model of [[social collaboration]]. "The two circles of light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in the context of Argentine dictatorship in the 1970s. I’m interested in the ideas that we project onto images and objects: how they resist as much as accommodate them."<ref name="Playing Telephone: An Interview with Amalia Pica – Interviews – Art in America" /><ref name=":1" />

=== ''Hora Catedra'' (2002) ===

Pica is also fascinated with childhood. Possibly her best-known early work, ''Hora Catedra'', explores the lessons and themes of childhood and how they irrevocably stay with us through adult life. In ''Hora Catedra'', Pica proves how what we internalize during our childhood will accompany us through adult life: most Argentines believe [[Casa de Tucumán|The House of Tucuman]], the site of Argentina's Declaration of Independence, to be yellow, as it is shown in children's books. However, it is actually white. The 2002 site-specific installation bathed the building in a bright yellow light, in reference to the misconception.<ref>{{Cite web|title = Amalia Pica {{!}} bola de nieve|url = http://www.boladenieve.org.ar/en/artista/266/pica-amalia|website = www.boladenieve.org.ar|accessdate = 2015-12-07|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222114643/http://www.boladenieve.org.ar/en/artista/266/pica-amalia|url-status = dead}}</ref><ref name=":2">{{Cite web|title = Artist of the week 196: Amalia Pica|url = https://www.theguardian.com/artanddesign/2012/jun/28/artist-of-week-amalia-pica|website = The Guardian|accessdate = 2015-11-30|first = Skye|last = Sherwin}}</ref><ref name="Aesthetica Magazine – Amalia Pica">{{Cite web|title = Aesthetica Magazine – Amalia Pica|url = http://www.aestheticamagazine.com/amalia-pica/|website = Aesthetica|accessdate = 2015-11-30|language = en-GB}}</ref>

== Exhibitions ==

Amalia Pica's work has been exhibited at the [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]] in Chicago, the [[Venice Biennale|Venice Bienniale]], and the [[Tate Modern]] in London. In 2014, her work was included in the group exhibition, ''Under the Same Sun'', presented at the [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York. Her artwork is part of [[Museu d'Art Contemporani de Barcelona|MACBA]], and the Guggenheim's collection.<ref name=":0" /><ref name=":1" /><ref name=":2" /><ref>{{Cite web|title = Amalia Pica: "Me gusta el concepto de intimidad cultural"|url = http://www.lanacion.com.ar/1796891-amalia-pica-me-gusta-el-concepto-de-intimidad-cultural|website = www.lanacion.com.ar|accessdate = 2015-12-01}}</ref>

=== Selected solo exhibitions ===
{| class="wikitable" style="width:80%;"
{| class="wikitable" style="width:80%;"
|-
|-
| style="width: 50pt;" |'''Date'''
| style="width: 50pt;" |'''Date'''
| style="width: 250pt;" | '''Exhibition'''
| style="width: 250pt;" | '''Exhibition'''
| style="width: 300pt;" | '''Place'''
| style="width: 300pt;" | '''Place'''
|-
|-
|2016
| 2014 || ''A ∩ B ∩ C''<ref>{{Cite web|title = Van Abbemuseum: Detail|url = http://vanabbemuseum.nl/en/programme/detail/?cHash=06f8a684b62ec29a8535f5487a3e9ff1&tx_vabdisplay_pi1%255Bptype%255D=18&tx_vabdisplay_pi1%255Bproject%255D=1262|website = vanabbemuseum.nl|accessdate = 2015-11-30}}</ref> || [[Van Abbemuseum]], Eindhoven
|''Strangers''<ref>{{Cite web|url=http://www.tate.org.uk/research/publications/performance-at-tate/case-studies/amalia-pica|title=Performance at Tate: Into the Space of Art|last=Finbow|first=Acatia|date=October 2016|website=Tate Modern|archive-url=https://web.archive.org/web/20170328105713/http://www.tate.org.uk/research/publications/performance-at-tate/case-studies/amalia-pica|archive-date=2017-03-28|url-status=dead|access-date=}}</ref>
|[[Tate Modern|TATE Modern]], London
|-
|-
| 2014|| ''A ∩ B ∩ C''<ref>{{cite web|last1=Fletcher|first1=Annie|title=Amalia Pica A-B-C (Line)|url=https://vanabbemuseum.nl/en/programme/programme/amalia-pica/|website=Van Abbe Museum|accessdate=22 October 2016}}</ref><ref>{{Cite web|url=https://soundcloud.com/guggenheimmuseum/amalia-pica-a-b-c-2013|title=Amalia Pica, A ∩ B ∩ C, 2013|last=|first=|date=2015|website=Soundcloud|access-date=}}</ref>|| [[Van Abbemuseum]], Eindhoven
| 2014 || ''One thing after another''<ref>{{Cite web|title = One Thing After Another - La criée|url = http://www.criee.org/Amalia-Pica,1313?periode=Archives|website = www.criee.org|accessdate = 2015-11-30}}</ref> || La Criée, Centre d'Art Contemporain, Rennes, France
|-
|-
| 2014 || ''Dessauerstrasse''<ref name="MATERIAL">{{Cite web|title = "MATERIAL" {{!}} KÖNIG GALERIE {{!}} Dessauerstrasse|url = http://www.koeniggalerie.com/exhibitions/1673/material/|website = König Galerie|accessdate = 2015-11-30}}</ref> ||König Galerie, Berlin
| 2014|| ''One thing after another''<ref>{{Cite web|title = One Thing After Another – La criée|url = http://www.criee.org/Amalia-Pica,1313?periode=Archives|website = www.criee.org|access-date = 2015-11-30|archive-url = https://web.archive.org/web/20151208174347/http://www.criee.org/Amalia-Pica,1313?periode=Archives|archive-date = 2015-12-08|url-status = dead}}</ref> || La Criée, Centre d'Art Contemporain, Rennes, France
|-
|-
| 2014 || ''Switchboard''<ref>{{Cite web|title = Amalia Pica|url = http://www.mostyn.org/exhibition/amalia-pica|website = MOSTYN|accessdate = 2015-11-30}}</ref> || Mostyn, Wales
| 2014|| ''Dessauerstrasse''<ref name="MATERIAL">{{Cite web|title = "MATERIAL" {{!}} KÖNIG GALERIE {{!}} Dessauerstrasse|url = http://www.koeniggalerie.com/exhibitions/1673/material/|website = König Galerie|accessdate = 2015-11-30|archive-date = 2015-12-23|archive-url = https://web.archive.org/web/20151223120615/http://www.koeniggalerie.com/exhibitions/1673/material/|url-status = dead}}</ref> ||König Galerie, [[Berlin]]
|-
|-
| 2013 || ''Memorial for Intersections''<ref>{{Cite web|title = Amalia Pica : Kunsthalle Lissabon|url = http://www.kunsthalle-lissabon.org/index.php?/brevemente/amalia-pica/|website = www.kunsthalle-lissabon.org|accessdate = 2015-11-30}}</ref> || Kunsthalle, Lisbon
| 2014|| ''Switchboard''<ref>{{Cite web|title = Amalia Pica|url = http://www.mostyn.org/exhibition/amalia-pica|website = MOSTYN|accessdate = 2015-11-30|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222122031/http://www.mostyn.org/exhibition/amalia-pica|url-status = dead}}</ref> || [[Mostyn]], Wales
|-
|-
| 2013 || ''Low Visibility''<ref>{{Cite web|title = "Low Visibility" {{!}} KÖNIG GALERIE {{!}} Dessauerstrasse|url = http://www.koeniggalerie.com/exhibitions/1689/low-visibility/|website = König Galerie|accessdate = 2015-11-30}}</ref> || König Galerie, Berlin
| 2013|| ''Memorial for Intersections''<ref>{{Cite web|title = Amalia Pica : Kunsthalle Lissabon|url = http://www.kunsthalle-lissabon.org/index.php?/brevemente/amalia-pica/|website = www.kunsthalle-lissabon.org|accessdate = 2015-11-30}}</ref> || Kunsthalle, [[Lisbon]]
|-
|-
| 2013 || ''A ∩ B ∩ C''<ref>{{Cite web|title = Museo Tamayo|url = http://museotamayo.org/exposicion/a-b-c-un-proyecto-de-amalia-pica|website = museotamayo.org|accessdate = 2015-11-30}}</ref> || [[Museo Rufino Tamayo, Mexico City|Museo Tamayo]], Mexico City
| 2013|| ''Low Visibility''<ref>{{Cite web|title = "Low Visibility" {{!}} KÖNIG GALERIE {{!}} Dessauerstrasse|url = http://www.koeniggalerie.com/exhibitions/1689/low-visibility/|website = König Galerie|accessdate = 2015-11-30|archive-date = 2015-12-23|archive-url = https://web.archive.org/web/20151223112823/http://www.koeniggalerie.com/exhibitions/1689/low-visibility/|url-status = dead}}</ref> || König Galerie, Berlin
|-
|-
| 2013 || ''Ascendant Artists: Amalia Pica''<ref>{{Cite web|title = MCA – Exhibitions: Amalia Pica|url = https://mcachicago.org/Exhibitions/2013/Amalia-Pica|website = mcachicago.org|accessdate = 2015-12-16}}</ref> || [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]], Chicago
| 2013|| ''A ∩ B C''<ref>{{Cite web|title = Museo Tamayo|url = http://museotamayo.org/exposicion/a-b-c-un-proyecto-de-amalia-pica|website = museotamayo.org|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151222132101/http://museotamayo.org/exposicion/a-b-c-un-proyecto-de-amalia-pica|archive-date = 2015-12-22|url-status = dead}}</ref> || [[Museo Rufino Tamayo, Mexico City|Museo Tamayo]], Mexico City
|-
|-
| 2013|| ''Ascendant Artists: Amalia Pica''<ref>{{Cite web|title = MCA – Exhibitions: Amalia Pica|url = https://mcachicago.org/Exhibitions/2013/Amalia-Pica|website = mcachicago.org|accessdate = 2015-12-16}}</ref><ref>{{Cite web|url=http://andpens.com/friday-favorite-amalia-pica/|title=Friday Favorite: Amalia Pica|last=|first=|date=August 23, 2013|website=& Pens Press, Los Angeles|access-date=}}</ref> || [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]], Chicago
| 2013 || ''Amalia Pica''<ref name="MIT List Visual Arts Center">https://listart.mit.edu/exhibitions/amalia-pica</ref> || [[MIT List Visual Arts Center]], Cambridge
|-
|-
| 2013|| ''Amalia Pica''<ref name="MIT List Visual Arts Center" /> || [[MIT List Visual Arts Center]], Cambridge
| 2012 || ''Amalia Pica''<ref>{{Cite web|title = Archive Past Exhibitions Amalia Pica {{!}} Chisenhale Gallery|url = http://chisenhale.org.uk/archive/exhibitions/index.php?id=123|website = chisenhale.org.uk|accessdate = 2015-11-30}}</ref> || [[Chisenhale Gallery]], London
|-
|-
| 2012 || ''On Paper''<ref>{{Cite web|title = On paper|url = http://www.basis-frankfurt.de/en/exhibition/paper|website = basis Frankfurt e.V. production and exhibition platform|accessdate = 2015-11-30}}</ref> || Basis, Frankfurt
| 2012|| ''Amalia Pica''<ref>{{Cite web|title = Archive Past Exhibitions Amalia Pica {{!}} Chisenhale Gallery|url = http://chisenhale.org.uk/archive/exhibitions/index.php?id=123|website = chisenhale.org.uk|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151222141223/http://chisenhale.org.uk/archive/exhibitions/index.php?id=123|archive-date = 2015-12-22|url-status = dead}}</ref> || [[Chisenhale Gallery]], London
|-
|-
| 2012 || ''For Shower Singers''<ref>{{Cite web|title = Amalia Pica at Modern Art Oxford {{!}} Oxford Today|url = http://www.oxfordtoday.ox.ac.uk/culture/events/amalia-pica-modern-art-oxford|website = www.oxfordtoday.ox.ac.uk|accessdate = 2015-11-30}}</ref> || [[Modern Art Oxford]], Oxford, United Kingdom
| 2012|| ''On Paper''<ref>{{Cite web|title = On paper|url = http://www.basis-frankfurt.de/en/exhibition/paper|website = basis Frankfurt e.V. production and exhibition platform|accessdate = 2015-11-30}}</ref> || Basis, [[Frankfurt]]
|-
|-
| 2011 || ''Amalia Pica: UMMA Projects''<ref>{{Cite web|title = Amalia Pica: UMMA Projects|url = https://www.flickr.com/photos/umma_museum/albums/72157626863114756|website = Flickr - Photo Sharing!|accessdate = 2015-11-30}}</ref> || [[University of Michigan Museum of Art]], Ann Arbor, Michigan
| 2012|| ''For Shower Singers''<ref>{{Cite web|title = Amalia Pica at Modern Art Oxford {{!}} Oxford Today|url = http://www.oxfordtoday.ox.ac.uk/culture/events/amalia-pica-modern-art-oxford|website = www.oxfordtoday.ox.ac.uk|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151222105600/http://www.oxfordtoday.ox.ac.uk/culture/events/amalia-pica-modern-art-oxford|archive-date = 2015-12-22|url-status = dead}}</ref> || [[Modern Art Oxford]], Oxford, United Kingdom
|-
|-
| 2011 || ''Endymion’s Journey''<ref>{{Cite web|title = Marc Foxx - AMALIA PICA|url = http://www.marcfoxx.com/exhibitions/1441|website = www.marcfoxx.com|accessdate = 2015-11-30}}</ref> || Marc Foxx Gallery, Los Angeles
| 2011|| ''Amalia Pica: UMMA Projects''<ref>{{Cite web|title = Amalia Pica: UMMA Projects|url = https://www.flickr.com/photos/umma_museum/albums/72157626863114756|website = Flickr – Photo Sharing!|accessdate = 2015-11-30}}</ref><ref>{{Cite web|title=UMMA Magazine {{!}} May – June 2011|url=https://issuu.com/umma-infotech/docs/umma-magazine-2011-05-06|access-date=2020-11-10|website=Issuu|language=en}}</ref>|| [[University of Michigan Museum of Art]], Ann Arbor, Michigan
|-
| 2011|| ''[[Endymion (mythology)|Endymion]]'s Journey''<ref>{{Cite web|title = Marc Foxx – AMALIA PICA|url = http://www.marcfoxx.com/exhibitions/1441|website = www.marcfoxx.com|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151222102730/http://www.marcfoxx.com/exhibitions/1441|archive-date = 2015-12-22|url-status = dead}}</ref> || Marc Foxx Gallery, Los Angeles
|-
|2010
|''Amalia Pica: babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada''<ref>{{Cite web|url=http://www.konsthall.malmo.se/o.o.i.s/4621.|title=AMALIA PICA – babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada|last=|first=|date=|website=www.konsthall.malmo.se|archive-url=https://web.archive.org/web/20171017145845/http://www.konsthall.malmo.se/o.o.i.s/4621.|archive-date=2017-10-17|url-status=dead|access-date=2017-03-27}}</ref>
|[[Malmö Konsthall]], Malmö
|}
|}


===Selected Group Exhibitions===
=== Selected group exhibitions ===
{| class="wikitable" style="width:80%;"
{| class="wikitable" style="width:80%;"
|-
|-
Line 66: Line 99:
| style="width: 300pt;" | '''Place'''
| style="width: 300pt;" | '''Place'''
|-
|-
|2019
| 2015 || ''Under the Same Sun: Art from Latin America Today''<ref>{{Cite web|title = Exposicion Bajo un mismo sol|url = http://unmismosol.info/|website = Bajo un mismo sol|accessdate = 2015-11-30}}</ref> || [[Museo Jumex]], Mexico City (Guggenheim touring)
|''Fly me to the Moon. The Moon landing: 50 years on''<ref>{{Cite web|url=http://www.kunsthaus.ch/en/exhibitions/current/fly-me-to-the-moon/|title=Fly me to the Moon. The Moon landing: 50 years on|last=|first=|date=|website=Kunsthaus Zürich|access-date=14 April 2019}}</ref>
|[[Kunsthaus Zürich]], Zürich, CH
|-
|-
|2019
| 2015 || ''Material''<ref name="MATERIAL"/>|| König Galerie, Berlin
|''Iteraciones sobre lo no mismo''<ref>{{Cite web|url=https://www.macba.com.ar/exhibiciones/actuales/830-iteraciones-sobre-lo-no-mismo|title=Iteraciones sobre lo no mismo|last=|first=|date=|website=Museo de Arte Contemporáneo Buenos Aires|access-date=14 April 2019}}</ref>
|[[Museo de Arte Contemporáneo Buenos Aires|Museo de Arte Contemporáneo de Buenos Aires]], Buenos Aires, Argentina
|-
|-
|2019
| 2015 || ''Display Show''<ref>{{Cite web|title = Eastside Projects {{!}} Display Show|url = http://www.eastsideprojects.org/exhibitions/display-show/|website = www.eastsideprojects.org|accessdate = 2015-11-30}}</ref> || [[Eastside Projects]], Birmingham, UK, touring to Stroom den Haag, The Hague, NL
|''Concrete Contemporary''<ref>{{Cite web|url=https://www.hauskonstruktiv.ch/enUS/exhibitions/upcoming/concrete-contemporary.htm|title=Concrete Contemporary|last=|first=|date=7 February – 5 May 2019|website=Museum Haus Konstruktiv|access-date=14 April 2019}}</ref>
|[[Haus Konstruktiv|Museum Haus Konstruktiv]], Zürich, Switzerland
|-
|-
|2019
| 2015 || ''Beauty Codes''<ref>{{Cite web|title = fondazione giuliani » Beauty Codes (order/disorder/chaos)|url = http://www.fondazionegiuliani.org/category/exhibitions/beauty-codes-orderdisorderchaos-en/?lang=en&lang=en|website = www.fondazionegiuliani.org|accessdate = 2015-11-30}}</ref> || Fondazione Giuliani, Rome
|''Is This Tomorrow?''<ref>{{Cite web|url=https://www.whitechapelgallery.org/exhibitions/is-this-tomorrow/|title=Is This Tomorrow?|last=|first=|date=|website=Whitechapel Gallery|access-date=14 April 2019}}</ref>
|[[Whitechapel Gallery]], London, UK
|-
|-
|2019
| 2015 || ''Repetition and Difference''<ref>{{Cite web|title = Repetition and Difference|url = http://thejewishmuseum.org/exhibitions/repetition-and-difference|website = The Jewish Museum|accessdate = 2015-11-30}}</ref> || [[Jewish Museum (Manhattan)|The Jewish Museum]], New York
|''After Leaving / Before Arriving''<ref>{{Cite web|url=https://bienale.lt/2019/en/concept-of-12th-kaunas-biennial/|title=After Leaving / Before Arriving|last=|first=|date=|website=Kaunas Biennial|access-date=14 April 2019}}</ref>
|12th [[Kaunas]] Biennial, Lithuania
|-
|-
|2018
| 2015 || ''Group Exhibition''<ref>{{Cite web|title = Marc Foxx - LEONOR ANTUNES, ANNE COLLIER, LUISA LAMBRI, CARTER MULL, ANNETE KELM, AMALIA PICA, MATTHEW RONAY, MAAIKE SCHOOREL, FRANCES STARK, HIROSHI SUGITO, MATEO TANNATT|url = http://www.marcfoxx.com/exhibitions/1603|website = www.marcfoxx.com|accessdate = 2015-11-30}}</ref> || Marc Foxx Gallery, Los Angeles
|''12th Shanghai Biennale''<ref>{{Cite web|url=http://www.powerstationofart.org/en/exhibition/The-12th-Shanghai-Biennale-Proregress-2.html|title=12th Shanghai Biennale|last=|first=|date=|website=Power Station of Art|access-date=14 April 2019}}</ref>
|[[Power Station of Art]], Shanghai, China
|-
|-
|2018
| 2014 || ''Histories II: Works from the Serralves Collection''<ref>{{Cite web|title = Fundação de Serralves - Serralves|url = http://www.serralves.pt/en/thinking/visit/guided-tours-in-portuguese-sign-language//activities/guided-tour-histories-works-from-the-serralves-collection-2/|website = Serralves|accessdate = 2015-11-30|language = en-EN}}</ref>|| [[Serralves|Museu Serralves]], Porto, Portugal
|''Darbyshire, Gander, Pica, Starling''<ref>{{Cite web|url=https://www.southbankcentre.co.uk/whats-on/126518-darbyshire-gander-pica-starling-2018|title=Darbyshire, Gander, Pica, Starling|last=|first=|date=|website=Southbank Centre|access-date=14 April 2019}}</ref>
|[[Hayward Gallery]], London, UK
|-
|2017
|''Double Edge''<ref>{{Cite web|url=https://www.creativefolkestone.org.uk/artists/amalia-pica/|title=Double Edge|last=|first=|date=|website=Creative Folkestone|access-date=14 April 2019}}</ref>
|[[Folkestone Triennial]], Folkestone Triennial, [[Folkestone]], UK
|-
|2017
|''Soundtracks''<ref>{{Cite web|url=https://www.sfmoma.org/exhibition/soundtracks/|title=Soundtracks|last=|first=|date=|website=San Francisco Museum of Modern Art|access-date=14 April 2019}}</ref>
|[[San Francisco Museum of Modern Art]], San Francisco, US
|-
|2017
|''Curators’ series #10: Greater than the sum, curated by Kunsthalle Lissabon''<ref>{{Cite web|url=http://davidrobertsartfoundation.com/exhibition/exhibition-curators-series-10-greater-sum-kunsthalle-lissabon-4-may-29-jul-2017/|title=Curators’ series #10: Greater than the sum, curated by Kunsthalle Lissabon|last=|first=|date=|website=David Roberts Art Foundation|access-date=14 April 2019}}</ref>
|[[David Roberts Art Foundation]], London, UK
|-
|2017
|''Monumentos, anti-monumentos y nueva escultura pública''<ref>{{Cite web|url=https://mxcity.mx/2017/12/monumentos-anti-monumentos-y-nueva-escultura-publica-en-el-chopo/|title=Monumentos, anti-monumentos y nueva escultura pública|last=|first=|date=|website=mxcity.mx|access-date=14 April 2019}}</ref>
|[[Museo de Arte Zapopan]], [[Zapopan|Zapopan, Mexico]]
|-
|2016
|''One, No One and One Hundred Thousand''<ref>{{Cite web|url=http://kunsthallewien.at/#/en/exhibitions/one-no-one-and-one-hundred-thousand|title=One, No One and One Hundred Thousand|last=|first=|date=19 February 2016|website=Kunsthalle Wien|access-date=}}</ref>
|Kunsthalle Wien, Zürich, Switzerland
|-
| 2016 || ''Under the Same Sun: Art from Latin America Today''<ref>{{cite web|last1=Huerta|first1=JF|title=Bajo un mismo sol &#124; Museo Jumex|url=http://artindf.com/bajo-un-mismo-sol-museo-jumex/|website=Art in DF|accessdate=22 October 2016|archive-url=https://web.archive.org/web/20161023050940/http://artindf.com/bajo-un-mismo-sol-museo-jumex/|archive-date=23 October 2016|url-status=dead}}</ref>|| [[Museo Jumex]], Mexico City (Guggenheim touring)
|-
| 2015 || ''Material''<ref name="MATERIAL" />|| König Galerie, Berlin
|-
| 2015 || ''Display Show''<ref>{{Cite web|title = Eastside Projects {{!}} Display Show|url = http://www.eastsideprojects.org/exhibitions/display-show/|website = www.eastsideprojects.org|accessdate = 2015-11-30}}</ref> || [[Eastside Projects]], Birmingham, UK, touring to Stroom den Haag, The Hague, NL
|-
| 2015 || ''Beauty Codes''<ref>{{Cite web|title = fondazione giuliani » Beauty Codes (order/disorder/chaos)|url = http://www.fondazionegiuliani.org/category/exhibitions/beauty-codes-orderdisorderchaos-en/?lang=en&lang=en|website = www.fondazionegiuliani.org|accessdate = 2015-11-30|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222114425/http://www.fondazionegiuliani.org/category/exhibitions/beauty-codes-orderdisorderchaos-en/?lang=en&lang=en|url-status = dead}}</ref> || Fondazione Giuliani, Rome
|-
| 2015 || ''Repetition and Difference''<ref>{{Cite web|title = Repetition and Difference|url = http://thejewishmuseum.org/exhibitions/repetition-and-difference|website = The Jewish Museum|accessdate = 2015-11-30}}</ref> || [[Jewish Museum (Manhattan)|The Jewish Museum]], New York
|-
| 2015 || ''Group Exhibition''<ref>{{Cite web|title = Marc Foxx – LEONOR ANTUNES, ANNE COLLIER, LUISA LAMBRI, CARTER MULL, ANNETE KELM, AMALIA PICA, MATTHEW RONAY, MAAIKE SCHOOREL, FRANCES STARK, HIROSHI SUGITO, MATEO TANNATT|url = http://www.marcfoxx.com/exhibitions/1603|website = www.marcfoxx.com|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151222173141/http://www.marcfoxx.com/exhibitions/1603|archive-date = 2015-12-22|url-status = dead}}</ref> || Marc Foxx Gallery, Los Angeles
|-
| 2014 || ''Histories II: Works from the Serralves Collection''<ref>{{Cite web|title = Fundação de Serralves – Serralves|url = http://www.serralves.pt/en/thinking/visit/guided-tours-in-portuguese-sign-language//activities/guided-tour-histories-works-from-the-serralves-collection-2/|website = Serralves|accessdate = 2015-11-30|language = en-EN|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222102330/http://www.serralves.pt/en/thinking/visit/guided-tours-in-portuguese-sign-language//activities/guided-tour-histories-works-from-the-serralves-collection-2/|url-status = dead}}</ref>|| [[Serralves|Museu Serralves]], Porto, Portugal
|-
|-
| 2014 || ''The Reluctant Narrator'' <ref>{{Cite web|title = The Reluctant Narrator {{!}} Museu Berardo|url = http://en.museuberardo.pt/exhibitions/reluctant-narrator|website = en.museuberardo.pt|accessdate = 2015-11-30}}</ref> || [[Berardo Collection Museum|Museu Berardo]], Lisbon
| 2014 || ''The Reluctant Narrator'' <ref>{{Cite web|title = The Reluctant Narrator {{!}} Museu Berardo|url = http://en.museuberardo.pt/exhibitions/reluctant-narrator|website = en.museuberardo.pt|accessdate = 2015-11-30}}</ref> || [[Berardo Collection Museum|Museu Berardo]], Lisbon
|-
|-
| 2014 || ''Under the Same Sun: Art from Latin America Today''<ref>{{Cite web|title = Guggenheim UBS MAP Global Art Initiative - Latin America|url = http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica|website = www.guggenheim.org|accessdate = 2015-12-01}}</ref> || [[Solomon R. Guggenheim Museum]], New York
| 2014 || ''Under the Same Sun: Art from Latin America Today''<ref>{{Cite web|title = Guggenheim UBS MAP Global Art Initiative Latin America|url = http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica|website = www.guggenheim.org|accessdate = 2015-12-01|archive-date = 2015-11-15|archive-url = https://web.archive.org/web/20151115052949/http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica|url-status = dead}}</ref> || [[Solomon R. Guggenheim Museum]], New York
|-
|-
| 2013 || ''Audible Forces''<ref>{{Cite web|title = Exhibit320 - Art Gallery, Contemporary Art Space, Art Gallery in India|url = http://www.exhibit320.com/exhibitiondetail.html?ex=EXH00030|website = www.exhibit320.com|accessdate = 2015-11-30}}</ref> || F-320, New Delhi
| 2013 || ''Audible Forces''<ref>{{Cite web|title = Exhibit320 Art Gallery, Contemporary Art Space, Art Gallery in India|url = http://www.exhibit320.com/exhibitiondetail.html?ex=EXH00030|website = www.exhibit320.com|accessdate = 2015-11-30}}</ref> || F-320, [[New Delhi|New Delhi, India]]
|-
|-
| 2013 || ''The Printed Room: Emmy Moore's Journal''<ref>{{Cite web|title = Salts Switzerland|url = http://www.salts.ch/#/en/exhibitions|website = www.salts.ch|accessdate = 2015-11-30}}</ref> || Salts, Birsfelden, Switzerland
| 2013 || ''The Printed Room: Emmy Moore's Journal''<ref>{{Cite web|title = Salts Switzerland|url = http://www.salts.ch/#/en/exhibitions|website = www.salts.ch|accessdate = 2015-11-30}}</ref> || Salts, [[Birsfelden]], Switzerland
|-
|-
| 2013 || ''When Attitudes Became Form Become Attitudes''<ref>{{Cite web|title = Museum of Contemporary Art Detroit|url = http://www.mocadetroit.org/past-exhibitions.html|website = www.mocadetroit.org|accessdate = 2015-11-30}}</ref> || [[MOCAD]] Detroit, Michigan
| 2013 || ''When Attitudes Became Form Become Attitudes''<ref>{{Cite web|title = Museum of Contemporary Art Detroit|url = http://www.mocadetroit.org/past-exhibitions.html|website = www.mocadetroit.org|accessdate = 2015-11-30|archive-url = https://web.archive.org/web/20151120103118/http://www.mocadetroit.org/past-exhibitions.html|archive-date = 2015-11-20|url-status = dead}}</ref> || [[MOCAD]] Detroit, Michigan
|-
|-
| 2013 || ''Version Control''<ref>{{Cite web|title = Version Control Arnolfini|url = http://www.arnolfini.org.uk/whatson/version-control|website = www.arnolfini.org.uk|accessdate = 2015-11-30|language = en|last = admin}}</ref> || [[Arnolfini]], Bristol, United Kingdom
| 2013 || ''Version Control''<ref>{{Cite web|title = Version Control Arnolfini|url = http://www.arnolfini.org.uk/whatson/version-control|website = www.arnolfini.org.uk|accessdate = 2015-11-30|last = admin}}</ref> || [[Arnolfini, Bristol|Arnolfini]], Bristol, United Kingdom
|-
|-
| 2013 || ''Project Space: Ruins in Reverse''<ref>{{Cite web|title = Project Space: Ruins in Reverse {{!}} Tate|url = http://www.tate.org.uk/whats-on/tate-modern/exhibition/project-space-ruins-reverse|website = www.tate.org.uk|accessdate = 2015-11-30}}</ref> || [[TATE Modern]], London
| 2013 || ''Project Space: Ruins in Reverse''<ref>{{Cite web|title = Project Space: Ruins in Reverse {{!}} Tate|url = http://www.tate.org.uk/whats-on/tate-modern/exhibition/project-space-ruins-reverse|website = www.tate.org.uk|accessdate = 2015-11-30}}</ref> || [[TATE Modern]], London
|-
|-
| 2012 || ''Chronic Listeners''<ref>{{Cite web|title = Archive - Kunst Halle Sankt Gallen|url = http://www.kunsthallesanktgallen.ch/en/exhibitions/archive.html?year=2012#en/3/events/amalia-picakarsten-foedingermark-pezinger-verlag.html|website = www.kunsthallesanktgallen.ch|accessdate = 2015-11-30}}</ref> || Kunst Halle Sankt Gallen, St Gallen, Switzerland
| 2012 || ''Chronic Listeners''<ref>{{Cite web|title = Archive Kunst Halle Sankt Gallen|url = http://www.kunsthallesanktgallen.ch/en/exhibitions/archive.html?year=2012#en/3/events/amalia-picakarsten-foedingermark-pezinger-verlag.html|website = www.kunsthallesanktgallen.ch|accessdate = 2015-11-30|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222092321/http://www.kunsthallesanktgallen.ch/en/exhibitions/archive.html?year=2012#en/3/events/amalia-picakarsten-foedingermark-pezinger-verlag.html|url-status = dead}}</ref> || Kunst Halle Sankt Gallen, [[St. Gallen]], Switzerland
|-
|-
| 2012 || ''Common Ground''<ref>{{Cite web|title = Public Art Fund : Common Ground|url = http://www.publicartfund.org/view/exhibitions/5494_common_ground|website = www.publicartfund.org|accessdate = 2015-11-30}}</ref> || [[Public Art Fund]], New York
| 2012 || ''Common Ground''<ref>{{Cite web|title = Public Art Fund : Common Ground|url = http://www.publicartfund.org/view/exhibitions/5494_common_ground|website = www.publicartfund.org|accessdate = 2015-11-30}}</ref> || [[Public Art Fund]], New York
|-
|2012
|''The Ungovernables''<ref>{{Cite web|url=https://www.newmuseum.org/exhibitions/view/the-ungovernables|title=THE UNGOVERNABLES, 2012 NEW MUSEUM TRIENNIAL|last=|first=|date=|website=New Museum|access-date=2017-03-27}}</ref>
|[[New Museum]], New York
|-
|2012
|''Silence''<ref>{{Cite web|url=https://www.menil.org/exhibitions/24-silence|title=Silence|last=|first=|date=|website=Menil|access-date=2018-10-17}}</ref>
|[[Menil Collection]], Houston
|-
|2010
|''Map Marathon''<ref>{{Cite web|url=https://www.wired.com/2010/10/map-marathon-for-the-21st-century-london/.|title=Map marathon for the 21st century, London|last=Sterling|first=Bruce|date=2010-10-15|website=Wired|access-date=}}</ref>
|[[Serpentine Galleries|Serpentine Gallery]], London
|-
|2008
|''World Event''<ref>{{Cite web|url=http://www.kunsthallebasel.ch/en/exhibition/word-event-2/|title=World Event|last=|first=|date=|website=|access-date=}}</ref>
|[[Kunsthalle Basel]], Basel
|-
|2007
|''Drawing Typologies''<ref>{{Cite web|url=http://www.stedelijk.nl/en/exhibitions/drawing-typologies-proposal-for-municipal-art-acquisitions-drawings|title=Drawing typologies – proposal for municipal art acquisitions drawings|last=|first=|date=|website=|access-date=}}</ref>
|[[Stedelijk Museum Amsterdam|Stedelijk Museum]], Amsterdam
|}
|}


== Recognition and awards ==
== Recognition and awards ==


Amalia Pica was awarded a CIFO grant, from the Cisneros Fontanals Art Foundation, in 2011.<ref>{{Cite web|title = CIFO Artists|url = http://www.cifo.org/index.php/cifo-artists/item/407-cifo-artists|website = www.cifo.org|accessdate = 2015-11-30}}</ref> In that same year, her work was part of the ILLUMInazioni project in the [[Venice Biennale]]. <ref name="Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica"/><ref>{{Cite web|title = La Biennale di Venezia - Artists|url = http://www.labiennale.org/en/art/archive/54th-exhibition/artists/|website = www.labiennale.org|accessdate = 2015-12-07}}</ref> Also in 2011, Pica received the illy Prize—aimed at celebrating the most innovative artist of the international art fair Art Rotterdam—and the [[Paul Hamlyn]] Foundation Award, established by one of the largest independent grant-making foundations in the UK.<ref>{{Cite web|title = illy Announces 2011 Illy Prize Winners During Art Rotterdam|url = http://popsop.com/2011/02/illy-announces-2011-illy-prize-winners-during-art-rotterdam/|website = popsop.com|accessdate = 2015-11-30}}</ref><ref>{{Cite web|title = Amalia Pica {{!}} Paul Hamlyn Foundation|url = http://artists.phf.org.uk/artist/amalia-pica/|website = artists.phf.org.uk|accessdate = 2015-11-30}}</ref>
Amalia Pica was awarded a CIFO grant, from the Cisneros Fontanals Art Foundation, in 2011.<ref>{{Cite web|title = CIFO Artists|url = http://www.cifo.org/index.php/cifo-artists/item/407-cifo-artists|website = www.cifo.org|accessdate = 2015-11-30}}</ref> In that same year, her work was part of the ILLUMInazioni project in the [[Venice Biennale]].<ref name="Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica" /><ref>{{Cite web|title = La Biennale di Venezia Artists|url = http://www.labiennale.org/en/art/archive/54th-exhibition/artists/|website = www.labiennale.org|accessdate = 2015-12-07}}</ref> Also in 2011, Pica received the illy Prize—aimed at celebrating the most innovative artist of the international art fair Art Rotterdam—and the [[Paul Hamlyn]] Foundation Award, established by one of the largest independent grant-making foundations in the UK.<ref>{{Cite web|title = illy Announces 2011 Illy Prize Winners During Art Rotterdam|url = http://popsop.com/2011/02/illy-announces-2011-illy-prize-winners-during-art-rotterdam/|website = popsop.com|accessdate = 2015-11-30|archive-date = 2015-12-22|archive-url = https://web.archive.org/web/20151222165006/http://popsop.com/2011/02/illy-announces-2011-illy-prize-winners-during-art-rotterdam/|url-status = dead}}</ref><ref>{{Cite web|title = Amalia Pica {{!}} Paul Hamlyn Foundation|url = http://artists.phf.org.uk/artist/amalia-pica/|website = artists.phf.org.uk|accessdate = 2015-11-30}}</ref>


In 2012, Amalia Pica was the recipient of The Future Generation Art Prize, which she received for an installation of her works focusing on communication and listening. Featured works are ''Sorry for the metaphor'', ''Acoustic Radar in Cardboard'', ''Under the Spotlight: Red on Red'' and ''Eavesdropper''. The artist herself explains that “the way [she] installs [her] shows are more like conversations between different pieces…the works kind of shift meaning every time there’s a new company of other works.” Pica’s interest in human modes of communication extends to exploration of the human desire to be understood despite the imperfections of those forms of communication.<ref>{{Cite web|url=https://www.youtube.com/watch?v=8NcMoF0pvbw|title=Future Generation Art Prize 2012 – Amalia Pica, Argentina|last=|first=|date=Dec 3, 2012|website=YouTube|access-date=}}</ref>
In 2013, she was one of the finalists for the Pinchuk Foundation's Future Generation Art Prize.<ref>{{Cite web|title = “The Future Generation Art Prize@Venice 2013” / PinchukArtCentre|url = http://pinchukartcentre.org/en/exhibitions/past/22720|website = PinchukArtCentre.org|accessdate = 2015-11-30}}</ref>

In 2013, she was one of the finalists for the Pinchuk Foundation's Future Generation Art Prize.<ref>{{Cite web|title="The Future Generation Art Prize@Venice 2013" / PinchukArtCentre|url = http://pinchukartcentre.org/en/exhibitions/past/22720|website = PinchukArtCentre.org|accessdate = 2015-11-30}}</ref> In 2020, she was awarded the [[Zurich Art Prize]].<ref>{{Cite web |last= |date=February 19, 2022 |title=Proyectos Ultravioleta announces representation of Amalia Pica |url=https://artdaily.cc/news/143944/Proyectos-Ultravioleta-announces-representation-of-Amalia-Pica#.YzfkxuzMJUk |access-date=2022-10-01 |website=Artdaily.cc |language=English}}</ref>


== References ==
== References ==
{{Reflist}}

== External links ==
* [https://www.youtube.com/watch?v=OmuW53P-WqE Video: "Amalia Pica – 'Can Joy Be a Form of Resistance?' | TateShots"] from the [[Tate]]
* [https://www.kingscross.co.uk/semaphores ''Semaphores'' by Amalia Pica] at [[Kings Cross, London|King's Cross]]

{{Authority control}}


{{DEFAULTSORT:Pica, Amalia}}
{{DEFAULTSORT:Pica, Amalia}}
[[Category:Argentinian artists]]
[[Category:1978 births]]
[[Category:1978 births]]
[[Category:21st-century artists]]
[[Category:Living people]]
[[Category:21st-century women artists]]
[[Category:21st-century Argentine women artists]]
[[Category:contemporary artists]]
[[Category:Argentine contemporary artists]]
[[Category:People from Neuquén]]
[[Category:Women performance artists]]
[[Category:Argentine emigrants to the United Kingdom]]
[[Category:Argentine women sculptors]]
[[Category:21st-century sculptors]]

Latest revision as of 19:37, 26 August 2024

Amalia Pica
Born1978
EducationRijksakademie van Beeldende Kunsten
Instituto Universitario Nacional del Arte
Escuela Nacional de Bellas Artes P.P
Clínica de Obra con Tulio de Sagastizabal
Now speak! by Pica, Krimpertplein, Amsterdam-Zuidoost (2021)

Amalia Pica (born 1978 in Neuquén, Argentina) is a London-based Argentine artist who explores metaphor, communication, and civic participation through sculptures, installations, photographs, projections, live performances, and drawings.[1] Pica currently works and lives in London.[2]

Early life and education

[edit]

Pica was born in Neuquén, Argentina, in 1978. She earned a BA from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón in Buenos Aires in 2003. From 2004 to 2005, she held an artist residency at the Rijksakademie van beeldende kusten.[3][4]

Influences and work

[edit]

Pica was born in the late 1970s during the Dirty War, a period of state terrorism in Argentina. In light of this fact, Pica's work raises questions about the role of government, language and communication, and human connections. Much of her work explores fundamental issues of communication, such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take.

Victor Grippo, Cildo Meireles, Lygia Clark and Hélio Oiticica, among others, were the artists that Pica first studied.[5]

Strangers (2008–16)

[edit]

Pica’s performance piece, Strangers, first performed in 2008, was featured in the updated Tate Modern and focuses on the complex communication between strangers. The work requires two strangers to hold each end of a string of colorful bunting without letting it touch the ground in the limited space. The resulting distance creates a barrier that prevents the linked participants from having an intimate communication. Julie Rodrigues Widholm, director at the DePaul Art Museum, states that, “The bunting suggests a party or communal gathering, and Pica plays with the idea of distance and proximity as it relates to communication.”[6]

One, No One and One Hundred Thousand (2016)

[edit]

In 2016 Amalia Pica participated in the group exhibition “One, No One and One Hundred Thousand” shown in the Kunsthalle Wien (Vienna). Amalia Pica was one of nine artists who were commissioned to create art that alters continually in contact with visitors; viewers were invited to mount and change the exhibition, resulting in an unlimited number of possible arrangements. The exhibition aimed to question the dominant role of the curator in structuring the exhibition. According to the Kunsthalle Wien, “the main actor of the exhibition will be the spectator who will not act as a consumer but as a co-producer of the artists and the curator.” Pica exhibited her series, Joy in paperwork (2016).[7]

A ∩ B ∩ C (2013)

[edit]

In A ∩ B ∩ C (read as A intersection B intersection C), Amalia Pica uses translucent colored Perspex shapes, with which performers will produce different compositions in front of the audience. The notion of intersection links to the idea of collaboration and community. This artwork is a performative manifestation of Venn diagrams, which were forbidden from being taught in elementary schools during the 1970s, as the concept of intersection and collaboration were seen as potentially subversive by the Argentine dictatorship.[8][9][10]

The inspiration for Pica's exhibition, A ∩ B ∩ C, stems from the dictatorship in her home country of Argentina (1976–1981). A ∩ B ∩ C critically comments on the banning by the dictatorship of Venn Diagrams in elementary schools. In the Guggenheim Museum’s Soundcloud excerpt, Pica discusses her “Art Under the Same Sun” exhibition, housed at the Guggenheim in 2013, sharing her interest in the overlapping and intersecting of individual objects.[11]

Amalia Pica (2012–13)

[edit]

Previously shown at the Chisenhale Gallery in London and at the MIT List Visual Arts Center in Cambridge, Massachusetts, the exhibition Amalia Pica uses everyday objects as signifiers of celebration: fiesta lights, flags and banners, confetti, rainbows, photocopies, lightbulbs, drinking glass, beer bottles and cardboard. According to the publishing house, & Pens Press, “Pica’s work is directly dealing with the translation of symbolic language and motivated by how meaning is created and deciphered between the artist and the viewer.”[12]

Catachresis (2011-12)

[edit]

Metaphors are also part of Pica's work, as she uses figures of speech to describe things that have no name. "An object that has no name—that, in a way, escapes language—by invoking something entirely unrelated. Hence, we get phrases like ‘leg of the chair’ or ‘neck of the bottle’ which attach human qualities to inanimate things. Objects have a space and a weight, a physical presence that eludes language. You can’t speak an object: you have to speak around it. Metaphors are a way of doing that. In a sense, when we talk about the world, it's always in metaphors." Pica's Catachresis merges distinct and contrasting found materials, such as the leg of a table or the elbow of a pipe, to construct sculptural forms that become new tools of communication and take on identities of their own.[13]

Venn diagrams (under the spotlight) (2011)

[edit]

Pica's interest in the relationship between text and image is evident in Venn Diagrams (under the Spotlight), which consists of two colored circles of light cast from theater spotlights to form a Venn diagram. The Argentine government banned this diagram from being taught in classrooms in the 1970s, as it was thought to be an incendiary model of social collaboration. "The two circles of light are nothing but forms until the caption situates them historically, cluing you to their perception as subversive in the context of Argentine dictatorship in the 1970s. I’m interested in the ideas that we project onto images and objects: how they resist as much as accommodate them."[5][9]

Hora Catedra (2002)

[edit]

Pica is also fascinated with childhood. Possibly her best-known early work, Hora Catedra, explores the lessons and themes of childhood and how they irrevocably stay with us through adult life. In Hora Catedra, Pica proves how what we internalize during our childhood will accompany us through adult life: most Argentines believe The House of Tucuman, the site of Argentina's Declaration of Independence, to be yellow, as it is shown in children's books. However, it is actually white. The 2002 site-specific installation bathed the building in a bright yellow light, in reference to the misconception.[14][15][16]

Exhibitions

[edit]

Amalia Pica's work has been exhibited at the Museum of Contemporary Art in Chicago, the Venice Bienniale, and the Tate Modern in London. In 2014, her work was included in the group exhibition, Under the Same Sun, presented at the Guggenheim Museum in New York. Her artwork is part of MACBA, and the Guggenheim's collection.[8][9][15][17]

Selected solo exhibitions

[edit]
Date Exhibition Place
2016 Strangers[18] TATE Modern, London
2014 A ∩ B ∩ C[19][20] Van Abbemuseum, Eindhoven
2014 One thing after another[21] La Criée, Centre d'Art Contemporain, Rennes, France
2014 Dessauerstrasse[22] König Galerie, Berlin
2014 Switchboard[23] Mostyn, Wales
2013 Memorial for Intersections[24] Kunsthalle, Lisbon
2013 Low Visibility[25] König Galerie, Berlin
2013 A ∩ B ∩ C[26] Museo Tamayo, Mexico City
2013 Ascendant Artists: Amalia Pica[27][28] Museum of Contemporary Art, Chicago
2013 Amalia Pica[3] MIT List Visual Arts Center, Cambridge
2012 Amalia Pica[29] Chisenhale Gallery, London
2012 On Paper[30] Basis, Frankfurt
2012 For Shower Singers[31] Modern Art Oxford, Oxford, United Kingdom
2011 Amalia Pica: UMMA Projects[32][33] University of Michigan Museum of Art, Ann Arbor, Michigan
2011 Endymion's Journey[34] Marc Foxx Gallery, Los Angeles
2010 Amalia Pica: babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada[35] Malmö Konsthall, Malmö

Selected group exhibitions

[edit]
Date Exhibition Place
2019 Fly me to the Moon. The Moon landing: 50 years on[36] Kunsthaus Zürich, Zürich, CH
2019 Iteraciones sobre lo no mismo[37] Museo de Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina
2019 Concrete Contemporary[38] Museum Haus Konstruktiv, Zürich, Switzerland
2019 Is This Tomorrow?[39] Whitechapel Gallery, London, UK
2019 After Leaving / Before Arriving[40] 12th Kaunas Biennial, Lithuania
2018 12th Shanghai Biennale[41] Power Station of Art, Shanghai, China
2018 Darbyshire, Gander, Pica, Starling[42] Hayward Gallery, London, UK
2017 Double Edge[43] Folkestone Triennial, Folkestone Triennial, Folkestone, UK
2017 Soundtracks[44] San Francisco Museum of Modern Art, San Francisco, US
2017 Curators’ series #10: Greater than the sum, curated by Kunsthalle Lissabon[45] David Roberts Art Foundation, London, UK
2017 Monumentos, anti-monumentos y nueva escultura pública[46] Museo de Arte Zapopan, Zapopan, Mexico
2016 One, No One and One Hundred Thousand[47] Kunsthalle Wien, Zürich, Switzerland
2016 Under the Same Sun: Art from Latin America Today[48] Museo Jumex, Mexico City (Guggenheim touring)
2015 Material[22] König Galerie, Berlin
2015 Display Show[49] Eastside Projects, Birmingham, UK, touring to Stroom den Haag, The Hague, NL
2015 Beauty Codes[50] Fondazione Giuliani, Rome
2015 Repetition and Difference[51] The Jewish Museum, New York
2015 Group Exhibition[52] Marc Foxx Gallery, Los Angeles
2014 Histories II: Works from the Serralves Collection[53] Museu Serralves, Porto, Portugal
2014 The Reluctant Narrator [54] Museu Berardo, Lisbon
2014 Under the Same Sun: Art from Latin America Today[55] Solomon R. Guggenheim Museum, New York
2013 Audible Forces[56] F-320, New Delhi, India
2013 The Printed Room: Emmy Moore's Journal[57] Salts, Birsfelden, Switzerland
2013 When Attitudes Became Form Become Attitudes[58] MOCAD Detroit, Michigan
2013 Version Control[59] Arnolfini, Bristol, United Kingdom
2013 Project Space: Ruins in Reverse[60] TATE Modern, London
2012 Chronic Listeners[61] Kunst Halle Sankt Gallen, St. Gallen, Switzerland
2012 Common Ground[62] Public Art Fund, New York
2012 The Ungovernables[63] New Museum, New York
2012 Silence[64] Menil Collection, Houston
2010 Map Marathon[65] Serpentine Gallery, London
2008 World Event[66] Kunsthalle Basel, Basel
2007 Drawing Typologies[67] Stedelijk Museum, Amsterdam

Recognition and awards

[edit]

Amalia Pica was awarded a CIFO grant, from the Cisneros Fontanals Art Foundation, in 2011.[68] In that same year, her work was part of the ILLUMInazioni project in the Venice Biennale.[4][69] Also in 2011, Pica received the illy Prize—aimed at celebrating the most innovative artist of the international art fair Art Rotterdam—and the Paul Hamlyn Foundation Award, established by one of the largest independent grant-making foundations in the UK.[70][71]

In 2012, Amalia Pica was the recipient of The Future Generation Art Prize, which she received for an installation of her works focusing on communication and listening. Featured works are Sorry for the metaphor, Acoustic Radar in Cardboard, Under the Spotlight: Red on Red and Eavesdropper. The artist herself explains that “the way [she] installs [her] shows are more like conversations between different pieces…the works kind of shift meaning every time there’s a new company of other works.” Pica’s interest in human modes of communication extends to exploration of the human desire to be understood despite the imperfections of those forms of communication.[72]

In 2013, she was one of the finalists for the Pinchuk Foundation's Future Generation Art Prize.[73] In 2020, she was awarded the Zurich Art Prize.[74]

References

[edit]
  1. ^ Chatruc, Celina (2015-05-29). "Amalia Pica: "Me gusta el concepto de intimidad cultural"". La Nación. Retrieved 2015-12-09.
  2. ^ "Amalia Pica". Tanya Bonakdar Gallery. Retrieved 2024-08-15.
  3. ^ a b "Amalia Pica". MIT List Visual Arts Center. Retrieved 2015-12-07.
  4. ^ a b "Jóvenes artistas argentinos en el exterior, parte 2: Irene Kopelman y Amalia Pica". #BellasArtes (in European Spanish). Retrieved 2015-12-07.
  5. ^ a b "Playing Telephone: An Interview with Amalia Pica – Interviews – Art in America". www.artinamericamagazine.com. Retrieved 2015-11-30.
  6. ^ Beesley, Ruby (May 2013). "Aesthetica Magazine – Amalia Pica". Aesthetica Magazine.
  7. ^ "One, No One and One Hundred Thousand". Kunsthalle Wien. February 19, 2016.
  8. ^ a b "Amalia Pica". www.guggenheim.org.
  9. ^ a b c "Collection Online | Amalia Pica. A ∩ B ∩ C. 2013 – Guggenheim Museum". www.guggenheim.org. Retrieved 2015-12-01.
  10. ^ "Amalia Pica "A ∩ B ∩ C (Line)" at Herald St, London / MOUSSE CONTEMPORARY ART MAGAZINE". moussemagazine.it. Retrieved 2015-12-08.
  11. ^ "Amalia Pica, A ∩ B ∩ C, 2013". Soundcloud. August 23, 2013.
  12. ^ "Friday Favorite: Amalia Pica". & Penns Press, Los Angeles. August 23, 2013.
  13. ^ "Amalia Pica – Aesthetica Magazine". www.aestheticamagazine.com. Retrieved 2015-11-30.
  14. ^ "Amalia Pica | bola de nieve". www.boladenieve.org.ar. Archived from the original on 2015-12-22. Retrieved 2015-12-07.
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  16. ^ "Aesthetica Magazine – Amalia Pica". Aesthetica. Retrieved 2015-11-30.
  17. ^ "Amalia Pica: "Me gusta el concepto de intimidad cultural"". www.lanacion.com.ar. Retrieved 2015-12-01.
  18. ^ Finbow, Acatia (October 2016). "Performance at Tate: Into the Space of Art". Tate Modern. Archived from the original on 2017-03-28.
  19. ^ Fletcher, Annie. "Amalia Pica A-B-C (Line)". Van Abbe Museum. Retrieved 22 October 2016.
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  21. ^ "One Thing After Another – La criée". www.criee.org. Archived from the original on 2015-12-08. Retrieved 2015-11-30.
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  26. ^ "Museo Tamayo". museotamayo.org. Archived from the original on 2015-12-22. Retrieved 2015-11-30.
  27. ^ "MCA – Exhibitions: Amalia Pica". mcachicago.org. Retrieved 2015-12-16.
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  30. ^ "On paper". basis Frankfurt e.V. production and exhibition platform. Retrieved 2015-11-30.
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  33. ^ "UMMA Magazine | May – June 2011". Issuu. Retrieved 2020-11-10.
  34. ^ "Marc Foxx – AMALIA PICA". www.marcfoxx.com. Archived from the original on 2015-12-22. Retrieved 2015-11-30.
  35. ^ "AMALIA PICA – babble, blabber, chatter, gibber, jabber, patter, prattle, rattle, yammer, yada yada yada". www.konsthall.malmo.se. Archived from the original on 2017-10-17. Retrieved 2017-03-27.
  36. ^ "Fly me to the Moon. The Moon landing: 50 years on". Kunsthaus Zürich. Retrieved 14 April 2019.
  37. ^ "Iteraciones sobre lo no mismo". Museo de Arte Contemporáneo Buenos Aires. Retrieved 14 April 2019.
  38. ^ "Concrete Contemporary". Museum Haus Konstruktiv. 7 February – 5 May 2019. Retrieved 14 April 2019.
  39. ^ "Is This Tomorrow?". Whitechapel Gallery. Retrieved 14 April 2019.
  40. ^ "After Leaving / Before Arriving". Kaunas Biennial. Retrieved 14 April 2019.
  41. ^ "12th Shanghai Biennale". Power Station of Art. Retrieved 14 April 2019.
  42. ^ "Darbyshire, Gander, Pica, Starling". Southbank Centre. Retrieved 14 April 2019.
  43. ^ "Double Edge". Creative Folkestone. Retrieved 14 April 2019.
  44. ^ "Soundtracks". San Francisco Museum of Modern Art. Retrieved 14 April 2019.
  45. ^ "Curators' series #10: Greater than the sum, curated by Kunsthalle Lissabon". David Roberts Art Foundation. Retrieved 14 April 2019.
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  48. ^ Huerta, JF. "Bajo un mismo sol | Museo Jumex". Art in DF. Archived from the original on 23 October 2016. Retrieved 22 October 2016.
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  57. ^ "Salts Switzerland". www.salts.ch. Retrieved 2015-11-30.
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  59. ^ admin. "Version Control – Arnolfini". www.arnolfini.org.uk. Retrieved 2015-11-30.
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  63. ^ "THE UNGOVERNABLES, 2012 NEW MUSEUM TRIENNIAL". New Museum. Retrieved 2017-03-27.
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  65. ^ Sterling, Bruce (2010-10-15). "Map marathon for the 21st century, London". Wired.
  66. ^ "World Event".
  67. ^ "Drawing typologies – proposal for municipal art acquisitions drawings".
  68. ^ "CIFO Artists". www.cifo.org. Retrieved 2015-11-30.
  69. ^ "La Biennale di Venezia – Artists". www.labiennale.org. Retrieved 2015-12-07.
  70. ^ "illy Announces 2011 Illy Prize Winners During Art Rotterdam". popsop.com. Archived from the original on 2015-12-22. Retrieved 2015-11-30.
  71. ^ "Amalia Pica | Paul Hamlyn Foundation". artists.phf.org.uk. Retrieved 2015-11-30.
  72. ^ "Future Generation Art Prize 2012 – Amalia Pica, Argentina". YouTube. Dec 3, 2012.
  73. ^ ""The Future Generation Art Prize@Venice 2013" / PinchukArtCentre". PinchukArtCentre.org. Retrieved 2015-11-30.
  74. ^ "Proyectos Ultravioleta announces representation of Amalia Pica". Artdaily.cc. February 19, 2022. Retrieved 2022-10-01.
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