Beth MOYSÉS (b. 1960, São Paulo) graduated in Fine Arts at the Fundação Armando Alvares Penteado (São Paulo) in 1983 and completed her Doctorate in 2004 at the Universidad Estatal de Campinas (São Paulo).
Her artistic career began in the 90s, departing from very marked auteuriel poetics, underlining her active compromise with the contemporary world. As an artist, she draws on the notion of the concatenation of moments that mark the passage of the years, giving sense and density to her development as an artist, as can be gleaned from her biography. The images and contents stored from childhood provide fuel for an ideologically jolting discourse, of great plastic force, open to intuitive interpretation and likely to create immediate, emotional impact.
Her artistic concerns focused, from very early on, on the real situation of women, whose emotional relations, especially those taking place in contexts of violence, become the centre of her plastic endeavours. All her production, whether on photographic support, video, object, installation, performance, drawing, etc..., is aimed at denouncing such situations and problems. Through her work, objects and daily ritual become the narrative genre supports that often acquire a choreographic character.
She has participated in Biennales such as the Cartagena de Indias Biennale in 2014 or Panama in 2013, and has presented her projects at individual exhibitions at many galleries, museums and cultural centres. Among them: El plato de mi Padre (Galería Fernando Pradilla, Madrid, 2011); Y pasa (Museo Nacional Centro de Arte Reina Sofía, Madrid, 2008); Lecho Rojo (Museo DA2, Salamanca; Institut Valencià d'Art Modern IVM (Valencia) and Centro Andaluz de Arte Contemporáneo CAAC (Seville, 2007).
In 2005, she presented Cárcel de Amor at Museo Nacional Centro de Arte Reina Sofía (Madrid); Art in Feminine at Fundació Pilar y Joan Miró (Palma de Mallorca) and La Costilla Maldita at Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria). In 2004, she showed her work at The British Council and MAC-USP (São Paulo). In 2002, at the Museo del Barrio (NY); Casa de América in Madrid and Photoespaña. In 2001, she presented Virgin Territory at The National Museum of Women in the Arts (Washington). She is actively involved with the Galeria Thomas Cohn (São Paulo) and the Galería Fernando Pradilla (Madrid). Since 2000 she has, until today, been doing public performances with women's groups in different countries across the world.
For her collaboration in RE-ACTION, entitled Relato de una Mujer, she has chosen to present a version specially adapted for the Diluidas en Agua performance, which will be staged for the inauguration of each of the itinerant events. In it, a female performer shall wear an impeccably white dress bearing on the back, handwritten in red ink, the testimony of a woman who has been the victim of physical abuse, and who has kept it a secret all her life. When she removes that dress in public she will reveal the text then wash it off in a washbasin. The ink will stain the water, turning it into a liquid charged with symbolism, which will lead the spectator into a network of possible interpretations with one common denominator: sacrifice and violence.
Beth Moysés lives and works in São Paulo, Brazil.
Her artistic career began in the 90s, departing from very marked auteuriel poetics, underlining her active compromise with the contemporary world. As an artist, she draws on the notion of the concatenation of moments that mark the passage of the years, giving sense and density to her development as an artist, as can be gleaned from her biography. The images and contents stored from childhood provide fuel for an ideologically jolting discourse, of great plastic force, open to intuitive interpretation and likely to create immediate, emotional impact.
Her artistic concerns focused, from very early on, on the real situation of women, whose emotional relations, especially those taking place in contexts of violence, become the centre of her plastic endeavours. All her production, whether on photographic support, video, object, installation, performance, drawing, etc..., is aimed at denouncing such situations and problems. Through her work, objects and daily ritual become the narrative genre supports that often acquire a choreographic character.
She has participated in Biennales such as the Cartagena de Indias Biennale in 2014 or Panama in 2013, and has presented her projects at individual exhibitions at many galleries, museums and cultural centres. Among them: El plato de mi Padre (Galería Fernando Pradilla, Madrid, 2011); Y pasa (Museo Nacional Centro de Arte Reina Sofía, Madrid, 2008); Lecho Rojo (Museo DA2, Salamanca; Institut Valencià d'Art Modern IVM (Valencia) and Centro Andaluz de Arte Contemporáneo CAAC (Seville, 2007).
In 2005, she presented Cárcel de Amor at Museo Nacional Centro de Arte Reina Sofía (Madrid); Art in Feminine at Fundació Pilar y Joan Miró (Palma de Mallorca) and La Costilla Maldita at Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria). In 2004, she showed her work at The British Council and MAC-USP (São Paulo). In 2002, at the Museo del Barrio (NY); Casa de América in Madrid and Photoespaña. In 2001, she presented Virgin Territory at The National Museum of Women in the Arts (Washington). She is actively involved with the Galeria Thomas Cohn (São Paulo) and the Galería Fernando Pradilla (Madrid). Since 2000 she has, until today, been doing public performances with women's groups in different countries across the world.
For her collaboration in RE-ACTION, entitled Relato de una Mujer, she has chosen to present a version specially adapted for the Diluidas en Agua performance, which will be staged for the inauguration of each of the itinerant events. In it, a female performer shall wear an impeccably white dress bearing on the back, handwritten in red ink, the testimony of a woman who has been the victim of physical abuse, and who has kept it a secret all her life. When she removes that dress in public she will reveal the text then wash it off in a washbasin. The ink will stain the water, turning it into a liquid charged with symbolism, which will lead the spectator into a network of possible interpretations with one common denominator: sacrifice and violence.
Beth Moysés lives and works in São Paulo, Brazil.