As Ana Magalhães (curator of this exhibition) explains, Vânia Mignone appeared in the Brazilian art scene and, more specifically, in painting, exactly twenty years ago: a period in which the “last painters” were emerging in the country – members of the extinct Casa 7, and also Leonilson, Leda Catunda, Sergio Romagnolo, Beatriz Milhazes, Paulo Pasta and Daniel Senise, among others – and were soon to seek other possibilities for their initial works. Some moving away from paint while others were plunging definitely into the specificity of that medium, by exploiting color or material, or their constructive and/or ornamental schemes.
It is in this context that the production of Vânia Mignone arises. Apparently belated, her paintings insisted on roaming through an appropriate iconography of mass culture and popular culture extraction. However, between billboards and woodcut, the artist, while continuing reframing images cut directly or indirectly from our complex visual culture, was building her own way, that twenty years later testifies a precursor dimension of a significant portion of the current pictorial production.
Always with one foot backwards of the speed of the current art scene, which spills out more and more artists who “return” to the painting circuit – often eager for the quick consumption of certain desperate collectors in search of the latest “new” – it is the role of a museum of contemporary art to draw the attention to the public to the concrete values that stand out from consolidated practices and in the making of everyday solid ones (beyond the novelties that the art market tries to impose). It was this conviction that led the MAC USP to invite Vânia Mignone to c elebrate her twenty-year career with the public at the Museum, by an exhibition that emphasizes her latest production, but that does not fail to provide an overview of these two decades of Mignone's professional experience.
© 2014 Museu de Arte Contemporânea da Universidade de São Paulo