Exhibition
Amalia Pica
Saturday, Apr 27–Sunday, Aug 11, 2013

Amalia Pica, Installation view, 54th Venice Biennale: ILLUMInations, 2011
Photo: Kiki Triantafyllou, courtesy of the artist and Galerie Diana Stigter, Amsterdam
Born in Argentina and based in London, artist Amalia Pica explores metaphor, communication, and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances, and installations. The MCA exhibition Amalia Pica is the artist’s first major solo museum show in the United States and includes approximately 15 of her most significant works from the last seven years, in addition to new commissions. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting, cardboard, and other found materials, Pica creates work that is formally beautiful and conceptually rigorous while addressing fundamental issues of communication—such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take. She is particularly interested in the role of the artist in conveying messages to audiences and the translation of thought to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, confetti, and rainbows.













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Having grown up in Argentina, Pica is attracted to the limits and failures of language and concerned with what it means to have a platform to speak out from. Her work raises questions about individual versus collective speech in the context of extreme political situations, such as those in 1970s Argentina or present-day Afghanistan, and demonstrates how open communication is a right in some regions of the world and a privilege in others.
In addition to new work, the exhibition will include Strangers, an in-gallery performance in which two people who have never met before hold a bunting between them for a specific duration.
This exhibition is co-organized by the Museum of Contemporary Art Chicago and MIT List Visual Arts Center. It is cocurated by Julie Rodrigues Widholm, Pamela Alper Associate Curator at MCA Chicago, and João Ribas, Curator at MIT List Visual Arts Center.

Amalia Pica: I think that a lot of my work stems from that maybe almost childish desire to be understood and I think that a lot of the ways that we invent to talk to each other have to do with that extreme desire to reach almost like a hundred percent of empathy with other people, that will never happen, but the fact that we try, I think it’s beautiful some how.
I’m very interested in communication, but that’s not how I would have defined it when I first started making these works, that ultimately are about communication, but it’s basically the idea of what the parallel could be between sending a message, let’s say, or making an artwork and how unclear that message is, is the fact we cannot necessarily call it communication. So it means communication is a more useful parallel or metaphor for art making because there will always be this slight misunderstanding.
An example is this Switchboard Pavilion that I am presenting here for the first time at the MCA. The idea of this sort of – walls that connect these cans with strings in random ways so that they seem to invite communication, but they also complicate it by making it not very clear which can the person might be listening or talking into.
There’s this idea about artists who work with ideas that you have the idea and you make it into an object. But there’s a reason why you make it into an object. You are trying to find something out while you make these ideas into an object.
I’m interested in the role that understanding place when looking at an object and how, very often, people just look at something and go “I don’t understand it.” But how a lot of people might feel more comfortable looking at art understand that they don’t need to understand it. The concept of miscommunication is a more apt metaphor for art-making than communication itself.
I don’t try to be obscure in my work given that sometimes that just happens, but that is very important to me—like I make work and I think, “What would my mom think of it?”













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Related Content
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Audio
Audio Tour: Amalia Pica
Pamela Alper Associate Curator Julie Rodrigues Widholm discusses specific works featured in Amalia Pica's exhibition. -
Book
Amalia Pica
Radius-cut board cover with PVC dust jacket; 112 pages. Published by MCA Chicago, with MIT List Visual Arts Center and ARTBOOK | D.A.P.
Funding
Support for Amalia Pica is generously provided by the Margot and W. George Greig Ascendant Artist Fund. Additional generous support is provided by the Chauncey and Marion D. McCormick Family Foundation; Mary Ittelson; Ashlee Jacob; Nancy Lauter McDougal and Alfred L. McDougal; Martin Modahl; James Keith Brown and Eric Diefenbach; Larry Mathews and Brian Saliman; Marc Foxx and Rodney Hill, Marc Foxx Gallery, Los Angeles; the Consulate General of Argentina in Chicago; Phillips; Galerie Diana Stigter, Amsterdam; and Herald St, London.
MCA Chicago is a proud member of Museums in the Park and receives major support from the Chicago Park District.
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