Fundação Joana Vasconcelos’s mission is to support those who make Art their path.
Fundação Joana Vasconcelos aims to preserve the artist’s work and the promotion and development of arts and cultural education. Therefore, it is creating a collection of Joana Vasconcelos’s works, as well as other artists’, together with the preservation of the artist’s archive. Furthermore, the foundation awards grants and collaborates on other organisations’s projects and initiatives. Simultaneously, the foundation has charitable purposes and supports causes that are relevant to the society.
AREAS OF ACTIVITY
Joana Vasconcelos was born in 1971. She lives and works in Lisbon. She has exhibited regularly since the mid-1990s. After her participation in the 51st International Art Exhibition – la Biennale di Venezia in 2005, her work became known internationally. Recent highlights of her career include Trafaria Praia, project for the Pavilion of Portugal at the 55th International Art Exhibition – la Biennale di Venezia (2013); a solo exhibition at the Château de Versailles, France (2012); participation in the group exhibition ‘The World Belongs to You’ at the Palazzo Grassi/François Pinault Foundation, Venice (2011); and her first retrospective, held at the Museu Coleção Berardo, Lisbon (2010).
Vasconcelos has had solo exhibitions and projects at the 56th International Art Exhibition – la Biennale di Venezia (2015); Waddesdon Manor - The Rothschild Foundation, Buckinghamshire, United Kingdom (2015); Manchester Art Gallery (2014); Tel Aviv Museum of Art (2013); Palácio Nacional da Ajuda, Lisbon (2013); CENTQUATRE, Paris (2012); Kunsthallen Brandts, Odense, Denmark (2011); Es Baluard, Palma de Mallorca, Spain (2009); Pinacoteca do Estado de São Paulo (2008); Palazzo Nani Bernardo Lucheschi, Venice (2007); The New Art Gallery Walsall, England (2007), CaixaForum, Barcelona (2006); Passage du Désir/BETC EURO RSCG, Paris (2005); Centro Andaluz de Arte Contemporáneo, Seville, Spain (2003), Museu da Eletricidade, Lisbon (2001); and the Museu de Arte Contemporânea de Serralves, Porto, Portugal (2000).
Vasconcelos has participated in numerous group exhibitions, including at the Museo Thyssen-Bornemisza, Madrid (2015); Kulturhuset Stadsteatern, Stockholm (2014); FRAC Bourgogne, Dijon, France (2013); ARTIUM, Vitoria-Gasteiz, Spain (2012); the National Museum of Women in the Arts, Washington, DC (2011); Fundação Calouste Gulbenkian, Lisbon (2010); Garage Center for Contemporary Culture, Moscow (2009); FRAC Île-de-France/Le Plateau, Paris (2008); MUDAM, Luxembourg City (2007); Istanbul Modern (2006); MUSAC, Léon, Spain (2005), Stenersenmuseet, Oslo (2004), MARCO, Vigo, Spain (2003), Műcsarnok, Budapest (2002), and the XXVI Bienal de Arte de Pontevedra, Spain (2000).
Vasconcelos’s work has been featured in many books. Recent highlights include Joana Vasconcelos: Material World (Thames & Hudson, 2015); Nature Morte by Michael Petry (Thames & Hudson, 2013); Sculpture Now by Anna Moszynska (Thames & Hudson, 2013); The Naked Nudeby Frances Borzello (Thames & Hudson, 2012); Arte Portuguesa: História Essencial by Paulo Pereira (Temas e Debates and Círculo de Leitores, 2011); Tactile: High Touch Visuals, edited bySven Ehmann, Matthias Huebner and Robert Klanten (Gestalten, 2009); and Regard sur la sculpture contemporaine by Gérard Xuriguera (FVW, 2008).
Vasconcelos’s work has been featured in the magazines Architectural Digest (Madrid, Milan); Art Actuel (Stains, France); Art+Auction (New York); Artforum (New York); Art Press (Paris), Beaux Arts (Issy-les-Moulineaux, France); Contemporary (London); Flash Art (Milan); Tema Celeste (Milan); and The Art Newspaper (London). Her work has also been featured in various newspapers, including El Mundo (Madrid); El País (Madrid); Financial Times (London); International Herald Tribune (Paris); L’Express (Paris); Le Figaro (Paris); Le Monde (Paris); Libération (Paris); The Daily Telegraph (London); The Guardian (London); The Independent (London); and The New York Times (New York).
Vasconcelos’s work is in various private and public collections, including Amorepacific Museum of Art, Seoul; Caixa Geral de Depósitos, Lisbon; Centro de Artes Visuales Fundación Helga de Alvear, Cáceres, Spain; Domaine Pommery, Reims, France; Fondation Louis Vuitton pour la création, Paris; FRAC Bourgogne, Dijon, France; Fundação EDP, Lisbon; Gerard L. Cafesjian Collection, Yerevan, Armenia; MACE – Coleção António Cachola, Elvas, Portugal; MUSAC, Léon, Spain; Museu Coleção Berardo, Lisbon; National Museum of Women in the Arts, Washington, DC; and the Pinault Collection, Paris and Venice.
RICARDO MENESES DE VASCONCELOS, director of Fundação Joana Vasconcelos
The future must be such that no child is so thwarted by life at birth that it leads them think they must give up on being to exist only as what life obliges them to be.
Agostinho da Silva
Fundação Joana Vasconcelos emerges from the need to formalize practices already developed by the artist’s studio – the conservation of the artist’s artistic and documental heritage; supporting social causes; as well as welcoming internships. However, its greater mission is to create such conditions that anyone may carry out their becoming in the Arts, namely through the awarding of grants or other kinds of support for artistic initiatives. In a world in which the contingencies compel towards the choice for a professional path that is taken as safer, and where the lack of financial capacity often compromises the prosecution of one’s studies and the development of artistic projects, Fundação Joana Vasconcelos is urged to help provide freedom of choice. So that there are lesser those who have to give up being to exist only as which life obliges them to be.