Beatriz Milhazes, Pink Sunshine, 2021

Beatriz Milhazes

Pink Sunshine, 2021

Chromolithography on Fabriano Disegno 5, 300 g paper

hand-signed by the artist on a label on the verso of the artwork

18 7/10 × 22 4/5 inches

Unframed

Provenance:
Museum in Progress, Vienna, Austria

Publisher: Museum in Progress, Vienna, Austria, Printer: Workshop Zein Editions, Vienna

This beautiful limited edition lithograph was published by Museum in Progress in Vienna, Austria to raise funds for Beatriz Milhazes Safety Curtain project at the Vienna State Opera. It is hand signed on a label on the back, and is accompanied by an official COA from the museum. More about Safety Curtain (see additional photographs):
For the 24th "Safety Curtain" at the Wiener Staatsoper, the jury (Daniel Birnbaum, Bice Curiger and Hans-Ulrich Obrist) selected the renowned Brazilian artist Beatriz Milhazes. She is the first Latin American artist of the project. Her work "Pink Sunshine" can be seen by the audience from 21 October 2021 until the end of June 2022 before the start of the performances, during the intermissions and at the end of the performances. "Safety Curtain" is an exhibition series conceived by museum in progress (mip.at) in cooperation with Wiener Staatsoper that has been transforming the safety curtain of the main stage into an exhibition space for contemporary art since 1998. The large-format pictures (176 square metres) are fixed on the safety curtain with magnets.
The exhibition series "Safety Curtain" is a project of museum in progress in cooperation with the Vienna State Opera and the Bundestheater-Holding. Management: Kaspar Mühlemann Hartl, Alois Herrmann. The "Safety Curtain" 2021/2022 is supported by: PRIVAT BANK of the Raiffeisenlandesbank Oberösterreich, ART for ART, Barta & Partner, Brazilian Embassy Vienna, Johann Kattus and Hotel Topazz Lamée. Media partners: Die Furche and Die Presse.

Beatriz Milhazes biography:
Beatriz Milhazes’s work bursts with a chromatic and freeing vitality. Renowned for her visual language rooted in painting, collage, and printmaking, she draws on her native Rio de Janeiro.
Her use of color and geometry is mined from place—the botanical gardens and the Tijuca forest near her studio, the surrounding city, its ocean front, and the cultural motifs of Brazil—and from memory. “My challenge has always been the same. I’m interested in life and my surroundings, but to make it work as a painting, I do need to think as a geometric and conceptual artist in my studio practice.” This process culminates in the artist’s patented form of abstraction, which she has termed “chromatic free geometry.” In the 1980s, she headed a new generation of artists—Geração 80 or 80s Generation—that embraced painting over the conceptual practices of the 1970s. Marked by the seminal exhibition Como vai você geração 80? (How Are You 80s Generation?) in 1984, this return to painting saw a freedom in process, in the studio as a space for action, and in a rich and amalgamated form of Brazilian art making influenced by European Modernism, the Baroque, and the Antropofagia of the late-1920s.
-Courtesy of PACE Gallery

This work ships flat, not rolled