Laura Vinci

Laura Vinci was born in 1962 in São Paulo, where she lives and works. Recent solo shows include: No ar (Museu de Arte Moderna da Bahia, Salvador, Brazil, 2013); Clara-clara (Arte na Cidade, São Paulo, Brazil, 2012); and Laura Vinci (Carpe Diem Arte e Pesquisa, Lisbon, Portugal, 2010). She participated in the 26th São Paulo Biennial, Brazil (2004); the 2nd, 5th, and 7th editions of the Mercosul Biennial, in Porto Alegre, Brazil (1999, 2005, and 2009); and the 10th Cuenca International Biennial, in Ecuador (2009). As tramas do tempo na arte contemporânea: estética ou poética? (Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil, 2013); Instável (Paço das Artes, São Paulo, Brazil, 2012); Beuys e bem além: ensinar como arte (Instituto Tomie Ohtake, São Paulo, Brazil, 2011); Cantiere arte ambientale (Ex-Macello, Padua, Italy, 2010); and Intempéries — o fim do tempo (Oca, São Paulo, Brazil, 2009) are some of the group shows in which she featured. Her works are included in the collections of the Pinacoteca do Estado de São Paulo, São Paulo, Brazil; Instituto de Arte Contemporânea Inhotim, Brumadinho, Brazil; Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil; and Palazzo delle Papesse, Siena, Italy.
The practice of Laura Vinci includes, primarily, large-scale sculpture and installation. Her works stage interventions in spaces both public and private, and insist viewers to become participants of the work. Whether hanging netted lights from the ceiling, filling the floor with apples, freezing up an exhibiting room, or connecting a network of heated marble pools of water, she is interested in transformation; in constructing an environment where change happens before the viewer’s eyes.
In Máquina do mundo (2005), on view at the Instituto de Arte Contemporânea Inhotim, Vinci places a five ton mound of marble dust on either side of a conveyor belt. As the grains are moved across the gallery, they create an entirely new context for a material that has been used in sculpture since Ancient Greece, allowing the process, change, and transition to be more important than the stability of the fixed object.

Sources:
Photo: http://f.i.uol.com.br/fotografia/2013/03/22/257978-970x600-1.jpeg
Text: https://nararoesler.art/en/artists/45-laura-vinci/