My practice is the result of my interest in the eroticism and geometry manifested through painting and installation. My recent work has largely referenced the human body and gender conditions; abstract and geometrical representations of bodies are made with diverse materials such as paint, sand, plaster, wood, fake fruits and shampoo, and more traditional oil paints.

A more inclusive vision of sexuality can change and improve the way we live. This has been made apparent through the contributions of Feminists and queer theoreticians. This is also a space where I locate dialogues that are informative for my work. I play with gender pictorially, mixing spiritual values, historical appreciations, esthetics and styles.

I am interested in the anthropological importance of decoration as a process and in its application in objects, and I play with this by challenging fixed ideas and unconscious meaning. How does a mind sense the materialities and shapes of things? Why do we make decisions in one way and not in another? Is there a place where these dualisms are simultaneously possible? I convert everyday materials into something new, as in Manzanas [Apples] where geometric forms adorn fake plastic fruits.

My work as a painter engages a diversity of formats and media, from easel painting and installation, to the organization of cultural projects and results of the relationships between artists. I have participated actively with artist collectives like as Kiosko De Artistas, and in projects of colleagues, clinical workshops and research meetings. I co-founded PintorAs [Female Painters], a project that includes 20 women artists from Argentina. As a curator, I organized the exhibitions Rework and Figuras [Figures], as a way to collectively investigate answers to questions of deep personal interest.

Adriana Minoliti, 2010.

About the amateurism

I think the power of the enthusiast is its interest in something, but in his act as an external that is not governed by the laws of the profession, but his passion. This kind of external being is a feminine quality par excellence; for example, in the call to the program, you have listed a number of inventors, explorers and artists: all male characters. Linda Nochlin explained it well when she wrote "Why Have There Been No GreatWomen Artists?"
Passion is opposed to reason in the Western mind in the same way that we oppose order and chaos, in the same way that opposites are generated as the feminine and masculine factor. This form of dichotomy in understanding the world makes to grace a path by underestimating the other: to extol the genius it underestimated the lover. To exalt reason and profession, passion is underestimated.

These places were always defined in our culture as male and female, then in the shadows of history is the role of women who have managed to cultivate the passions, the nature, the body, as the only refuge for a special sensibility, a sixth sense: the otherness. So it's the hand of feminism, with its growth, speed and reflections, which is new forces that do shake the paradigms. Queer theories delve into the other, which does not follow the norm and is fed by the quest for freedom of thought. Well as Latin American artist I work as an external. The crisis forced new ways of grouping, of working together, revealing the true depths of relationships, developing the technologies of friendship.

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