Frida Baranek holds a Master’s degree in Industrial Design from Central Saint Martins in London in 2012 and studied Architecture at the University of Santa Úrsula Rio de Janeiro (1984). From 1978 to 1983, she began developing her practice of sculpture in studios at the Museum of Modern Art and School of Visual Arts, both in Rio de Janeiro. In 2013, the Museum of Modern Art of Rio de Janeiro made a retrospective of her work with the exhibition “Confrontos” Her work was included in São Paulo Biennial (1989), Bienalle di Venezia – Aperto (1990), MOMA in New York (1993), Maison was Latine (1995), MAM São Paulo (1995, 1988), Ludwig Museum in Koblenz (2005), and many others. Raquel Arnaud Gallery in São Paulo, which represents the artist since 1990, has put her pieces in several solo and group exhibitions. Her work is part of many public and private collections, such as the collection of Patrícia Phelps de Cisneros in New York; The National Museum of Women in the Arts, Washington, D.C .; The LEF Foundation in San Francisco; Washington University Art Museum, St. Louis; The Loumeier Foundation in St. Louis; as well as in the “Ministere de la culture, Fonds National d’Art Contemporain” in France; at the Pusan Metropolitan Art Museum in South Korea; the museums of modern art in Rio de Janeiro and São Paulo, Frost Museum in Miami and Museum of Art of Rio de Janeiro (MAR). In 2019 was granted with the Joan Mitchell Foundation’s Painters & Sculptors Grant. Frida has lived and worked in Rio de Janeiro, São Paulo, Paris, Berlin, London and New York. She currently has studios in Rio de Janeiro and Miami.
The appropriation of industrial materials has been part of Frida Baranek’s creative process since the early 1990s. “Unclassified” is the name of Frida’s piece exhibited at the Museum of Modern Art (MoMA) in New York, created from surplus materials from the American military industry.
In 2022, when Frida spoke to us about her work process and her ongoing reflection on “the industry, nature, and where we are headed with all this,” it became clear that her participation in AW should be integrated into the Residências Artísticas No Entulho program. Since then, in an experimental format current in the NE residencies, and with the support of AW’s technicians, Frida has been visiting the factory frequently to observe and explore the various materials that arise from the daily surplus production at the ArtWorks factory.
Credits
resources: ferro, aço, vidro, latão, betuminosas, latão, material electrónico, motorizaçãoformat: open housephotography and vídeo: Bruno Lança e Bernardo Bordalo
