MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, On the Origins of Art I-II [film still], single channel HD video, hyper realistic sound with tactile dimension, 6:54sec loop

MARIA FERNANDA CARDOSO's video installation On the Origins of Art I-II is now on show at the MCA in their new exhibition The lover circles his own heart. The exhibition presents artworks from the MCA collection that deal with the theme of relationships.

The subject of Cardoso's video work is the Maratus, a tiny Australian spider commonly known as the peacock spider. The artist has recorded their ostentatious mating ritual using HD macro cinematography and a laser vibrometer, capturing the male spider's colourful dance and the distinctive beat it makes with its vibrating abdomen. With this work, Cardoso argues that humans are not alone in their production and appreciation of the arts – the spider's complex system of courtship has, after all, created a discerning aesthetic sense among the females, who will either choose or reject the male based on his choreographed performance!

The exhibition continues at the MCA until 22 September.

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MARIA FERNANDA CARDOSO

The Tate Modern has produced a documentary on MARIA FERNANDA CARDOSO.

Major works by Cardoso, including Actual Size I and Actual Size II were acquired last year by the Tate and the Museum of Contemporary Art, as part of a joint acquisition program aimed at bringing Australian art into the international spotlight.

In this film we visit Cardoso’s home and studio to discover more about her work.

Watch the film here >

Maria Fernanda Cardoso, Actual Size IV Maratus harrissi, 2019, deep focus microscopy, pigment print on premium photo paper, 150 x 190 cm

MARIA FERNANDA CARDOSO

Image: Maria Fernanda Cardoso, Sheep (Red) (detail), 2002, dyed sheep skins, dimensions variable.

MARIA FERNANDA CARDOSO is featured in Materiales en expansión, opening today. Curated by María Teresa Guerrero, the exhibition celebrates 30 years of the Espacio Alterno Gallery at the University of Los Andes, Bogotá, Colombia.

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MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Intromittent organ of the Allonuncia Grandis (Harvestman) Opiliones, 2009, archival pigment print, 2002 x 90 cm.

MARIA FERNANDA CARDOSO is included in La Vuelta at Museo De Arte Moderno de Medellín, Colombia.

La Vuelta showcases the work of twenty-six Colombian artists and photographers of different generations. For the traditional genres of portrait and landscape photography to experimental and investigative practices, the exhibition explores how contemporary artists who use photography and its expanded forms perceive and experience the varied and changing cultural, social, and political landscapes in a country marked by a history of sixty years of armed conflict.

The exhibition continues until 17 February.

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MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, On the Origins of Art I and II, 2016, Film Still.

Elizabeth Ann Macgregor, Director of the Museum of Contemporary Art, discusses MARIA FERNANDA CARDOSO on this week's 'Self Improvement' with Richard Glover on ABC Radio Sydney.

Major works by Cardoso, including her video work 'On the Origins of Art I & II' have been acquired by the Museum of Contemporary Art and the Tate, as part of a joint acquisition program that aims to bring Australian art into the international spotlight.

Interview >

MARIA FERNANDA CARDOSO

Portrait of Maria Fernanda Cardoso by Janie Barrett, Courtesy of The Sydney Morning Herald.

A wonderful feature article on MARIA FERNANDA CARDOSO in The Sydney Morning Herald today.

Quoted in the article, "I'm free. Being an artist for me is about freedom. I do anything I want. Any thought I have I can pursue. Nobody tells me what to do, only myself and my curiosity," she says.

Read the article here >

MARIA FERNANDA CARDOSO

Works from MARIA FERNANDA CARDOSO's series 'It's Not Size That Matters, It Is Shape' have been included in the exhibition 'Digital Animalities: Rendering' at CONTACT Gallery in Toronto, Canada. The exhibition explores human animal interactions, with a focus on the evolving space of animality in contemporary digital culture.

The exhibition is now open and continues until 15 December.

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Maria Fernanda Cardoso, Intromitent organ of the Thelbunus mirabilis (Tasmanian harvestman) Opiliones from the series It’s not size that matters, it is shape, 2008-09, resin, glass, metal, 28 x 6 x 6cm.

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Male peacock spider, whole body, Maratus speciosus, pigment print, 2018, 152 x 152 cm.

See eight different kinds of Maratus spiders singing and dancing at the world premier of MARIA FERNANDA CARDOSO's On the Origins of Art III–VIII. The screening will be at Bundanon Homestead from 6.30 –9.30 pm Saturday September 29 as part of MICRO: Little things mean a lot.

The Bundanon’s annual spring event brings scientists, artists and community voices together to share knowledge and ideas arising from the Bundanon sites through discussions, presentations and experiences. For more information, click here.

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Naked Flora #6: One Wife, five husbands, digital print, acrylic face, 45 x 30cm.

MARIA FERNANDA CARDOSO is included in the exhibition Human Non Human at the Powerhouse Museum.

Human Non Human asks the questions: What makes us human? How might humans adapt in the future?  The immersive installations combine architecture, design, biotechnology, botany, chemistry, film and performance, offering space in which to consider the past, present and possible futures of human and non-human relationships.

The exhibition opens 7 August 2018 and continues until 27 January 2019.

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Review >

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO will create a major new series of sculptures from approximately 4,000 cubic-metres of ‘yellow Sydney’ sandstone, harvested and commissioned by TWT Property Group.  The sandstone has been quarried from 15 layers on the site of TWT's upcoming NewLife Pyrmont development and will be incorporated into the design of the buildings.

Cardoso was selected from a list of leading Australian artists. Her proposal was selected as the most outstanding site-specific concept reflecting the beauty and importance of the sandstone. 

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Portrait of Maria Fernanda Cardoso

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO has an amazing new public artwork in Green Square, the City of Sydney’s new community and cultural precinct. MARIA FERNANDA's work, While I Live I Will Grow' sits at the entrance of the precinct and is made of sandstone and Queensland bottle trees. 

The precinct will be launched officially on Saturday 26 May and MARIA FERNANDA will be in conversation with Green Square curatorial advisor Amanda Sharrad between 1.30pm – 2pm.

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Maria Fernanda Cardoso, Where I Live I Grow, sandstone, queensland bottle trees, 2018.

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300 grams.

Major works by MARIA FERNANDA CARDOSO, including Actual Size I and Actual Size II have been acquired by the Tate London and the Museum of Contemporary Art, as part of a joint acquisition program that aims to bring Australian art into the international spotlight.

These works were shown at the beginning of the year at ARC ONE gallery in the exhibition, The Art of Seduction. In this exhibition, Cardoso looked at the complex behaviour of miniscule animals to explore notions of sexual selection and how that might relate to our aesthetic sense.  Along with the spectacular video work On the Origins of Art, this body of work also represented Australia in the Cuenca Biennial.

Elizabeth Ann Macgregor, Director of the MCA has said that the works will be shared by both major institutions. 

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MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300gr, 152.4 x 152.4 cm. 

MARIA FERNANDA CARDOSO's work can be seen in QUEENIE: Selected artwork by female artists from El Museo del Barrio's collection in New York. 

QUEENIE features a selection of artworks by female artists across various media from the Permanent Collection of El Museo del Barrio. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences.

As a collaboration between two East Harlem cultural institutions, El Museo del Barrio and Hunter East Harlem Gallery, QUEENIE provides a platform for the underrepresented presence of the female  voice in the community. The exhibition runs 21 March - 23 June, 2018.

Read more here > 

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO's 'The Art of Seduction' has been featured in the Good Weekend Magazine, on Saturday 17 February. 

You can read John McDonald's article here. 

Maria Fernanda Cardoso, Look at me! I am an artist from Australia. Maratus splendens, 2018, lenticular print, 10.2 x 15.2cm. 

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO's works will be shown in Chaos & Order: 120 Years of Collecting at RMIT, an exhibition which will run at RMIT Gallery from 13 April to 9 June 2018. Drawn from the University Art Collection, Chaos & Order is an ambitious survey of artwork collected by RMIT over the last century.

Maria Fernanda Cardoso, Naked Flower #1: One wife, three husbands, 2013, digital print, acrylic face mounted on aluminium, 45 x 30 cm.

MARIA FERNANDA CARDOSO

Shepparton Art Museum's summer exhibition, Cover Versions: Mimicry and Resistance, explored ideas around mimicry and impersonation, re-performance or reiteration—expanding on the notion of the cover version and its subversive potential within the digital age. 

The exhibition included video works from MARIA FERNANDA CARDOSO, and received the following press coverage: 

Artlink

Memo Review

ArtGuide Australia

Un. Projects

Image: Maria Fernanda Cardoso, Leaves / Hojas, installation view, 2017, courtesy Shepparton Art Museum as part of Cover Versions: Mimicry and Resistance. Image: Serana Hunt.

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Intromitent organ of the Allonuncia Grandis 2(Harvestman) Opiliones, 2009.

MARIA FERNANDA CARDOSO's work will be included in Le monde tel qu'il va! [The World as it is!] as part of Les Rencontres d'Arles, France. The eight free exhibitions run from 1 November 2017 to 7 January 2018 at the J1 Hanger, Quay of the Joliette in Marseille.

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MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO is working on a major public installation for Green Square in Sydney. Titled While I Live I Will Grow, the work features a large spiral sandstone sculpture is centre stage in a bottle tree colony that will, over time, mature into magnificent bottle-shaped giants. The trees will grow together alongside communities in the new suburb of Green Square.

While I Live I Will Grow will be on view in Green Square from December 2017.

Read more about the installation here.

Maria Fernanda Cardoso with a maquette for While I LIve I Will Grow. Image courtesy of City of Sydney.

MARIA FERNANDA CARDOSO

The eclectic collection of models in A Working Model of the World is opening in New York City at the Sheila C Johnson Design Centre, Parsons School of Design / The New School. 

MARIA FERNANDA CARDOSO's maquette, Microfossil Pollen Found Here, is included in this major group exhibition which explores the way models are used to create and share knowledge. A Working Model of the World investigates the practical, philosophical and symbolic work that models do for us, and asks how we use models to contemplate, experiment, invent and teach.

The exhibition opens Thursday 28 September 6-8pm (with curator's walk-through from 5.30pm). 

It continues to 13 December 2017. 

Image:  Maria Fernanda Cardoso, Microfossil Pollen Found Here, 2014.

MARIA FERNANDA CARDOSO & NIKE SAVVAS

Congratulations to MARIA FERNANDA CARDOSO and NIKE SAVVAS, who have been invited to show work in the 2018 Adelaide Biennial of Australian Art, curated by Erica Green, founding Director of the Anne & Gordon Samstag Museum of Art. Inaugurated in 1990, the Adelaide Biennial is the country’s longest-running survey of contemporary Australian art and an important platform for Australian artists to realise new works and projects of a scale that require an institutional context for their conception, realisation and presentation. 

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