Sao Paulo Brazil
Trying to be earth, trying to be water, trying to be forest – as she incorporates herself into nature, in performances recorded in photography and video, Luciana Magno, hailing from the North of the country, creates poignant and delicate epiphanies, which embed the flow of life and death, of chaos and balance, and of resilience, in the face of devastation.
Born in Belém do Pará (1987), Luciana Magno centers her research on her own body, integrating it to the landscape, and, through social, anthropological and cultural references, promoting enchantment and reflection on human action and its effects on the environment, on beings, on peoples and on communities. In her works, performances that the artist herself records in photography and video, hair, legs, trunks, seaweed, vines, water, trees and stones gain organicity, becoming a single body, where human and nature are not distinguished. From there on, Luciana creates emblematic situations, in gestures and attitudes that range from celebration to confrontation (even taking risks, as when she photographs herself naked amid illegally logged timber), in multidimensional work that brings up issues such as the impact of human interventions in the Amazon region, female and indigenous peoples’ symbology, and the contradictions of development. Along with Luciana, a side of Brazil is also revealed in her works, in all its diversity, complexity, and, it must be said, cruelty. Luciana Magno has a degree in Visual Arts and Image Technology from the University of Amazônia, Belém, and a Masters degree in arts from the Federal University of Pará. She was the winner of the 10th edition of the Rede Nacional Funarte Visual Arts Program; Winner of the Kaaysa Artistic Residency 2017 and the Pipa Online Prize 2015. Nominated for the Pipa Online Award 2018. She has artwork in the collections of Museu de Arte do Rio, Museu de Arte Contemporânea do Rio Grande do Sul, Museu da Universidade Federal do Pará, Fundação Romulo Maiorana, Instituto Pipa and Associação Cultural VideoBrasil.
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Each work is an attempt to be another material, being that… it’s the thought of the terrane, of trying to be earth, trying to be stone, trying to be water, trying to be forest, the attempt to incorporate these materials, more than mimicry.
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Luciana Magno
Uatumã, 2023
Pigmento mineral sob papel de algodão
45 x 30 cm
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Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
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Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
53 x 80 cm
Cabelos, pernas, troncos, algas, cipós, árvores e pedras ganham uma organicidade e passam a pertencer a único corpo que não dissocia ser humano e natureza (…) para compreender verdadeiramente aquilo que há de fundamental no ser humano é necessário percebê-lo ao mesmo tempo como indivíduo e totalidade.
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Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
Luciana Magno
Belterra/Floresta Nacional do Tapajós, 2014
Video instalação
Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
Luciana Magno
Sem título (Série Orgânicos), 2014
Pigmento sobre papel de algodão
80 x 120 cm
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Luciana Magno
Eko Kanhy (Série Orgânicos), 2012
Pigmento sobre papel algodão e metacrilato
38 x 67 cm
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Luciana Magno
A iminência do lodo, 2014
Video instalação
Luciana Magno
Serra Pelada, 2014
Video instalação
Luciana Magno
Xingu, 2014
vídeo instalação
Luciana Magno
Devir tubérculo , 2019
Video instalacao
Luciana Magno
CI, 2016
Video instalação
Luciana Magno
Figueira Selvagem, 2014
Video instalação
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Luciana Magno
Sem título (Série Orgânicos), 2021
Pigmento sobre papel de algodão
80 x 120 cm
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INTERVIEW | In the video above, Luciana Magno talks about Transamazônica, a video-performance in which she places her female body in a situation of vulnerability and, at the same time, resistance. As a truck passageway and male territory par excellence – and a symbol of a certain model of development – the road receives the artist’s naked body; the position in which she finds herself is the same in which the Indians of the region are buried. The performance provides an understanding of the woman’s body as an expanded reality, which at any moment can be unleashed without permission, just like the forest itself. Immobile, Luciana is reconverted into nature.
