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Antonio Dias, ‘Leda's apprenticeship I’, 1987, Mul.ti.plo Espaço Arte
Antonio Dias, ‘Leda's apprenticeship I’, 1987, Mul.ti.plo Espaço Arte
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Antonio Dias

Leda's apprenticeship I, 1987

Aquarela e recorte sobre Papel do Nepal / Watercolor and cut on Nepali paper
13 × 13 in
33 × 33 cm
Location
Rio de Janeiro
About the work
Medium
Drawing, Collage or other Work on Paper
Antonio Dias
Brazilian, 1944–2018
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Among the leading contemporary artists in his native Brazil, Antonio Dias has been ranging across media since the 1960s, producing conceptual works through which he critiques politics and political oppression, society, and the art market. Intentionally impossible to categorize neatly, his work bears influences from varied artistic movements, including Pop Art and Minimalism. Dias gained recognition in the 1960s with his lush drawings and assemblages full of ironically playful critique of Brazilian social structures and the military dictatorship that had recently forced itself into power. In 1966, with his country in the grip of authoritarian rule, Dias moved to Milan, where he spent the next decade creating a body of work grounded in formal rigor and offering open-ended reflections on sex, the self, art, and politics—themes that continue to drive his quietly challenging work.

Antonio Dias, ‘Leda's apprenticeship I’, 1987, Mul.ti.plo Espaço Arte
Antonio Dias, ‘Leda's apprenticeship I’, 1987, Mul.ti.plo Espaço Arte
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Medium
Drawing, Collage or other Work on Paper
Antonio Dias
Brazilian, 1944–2018
Follow

Among the leading contemporary artists in his native Brazil, Antonio Dias has been ranging across media since the 1960s, producing conceptual works through which he critiques politics and political oppression, society, and the art market. Intentionally impossible to categorize neatly, his work bears influences from varied artistic movements, including Pop Art and Minimalism. Dias gained recognition in the 1960s with his lush drawings and assemblages full of ironically playful critique of Brazilian social structures and the military dictatorship that had recently forced itself into power. In 1966, with his country in the grip of authoritarian rule, Dias moved to Milan, where he spent the next decade creating a body of work grounded in formal rigor and offering open-ended reflections on sex, the self, art, and politics—themes that continue to drive his quietly challenging work.

Antonio Dias

Leda's apprenticeship I, 1987

Aquarela e recorte sobre Papel do Nepal / Watercolor and cut on Nepali paper
13 × 13 in
33 × 33 cm
Location
Rio de Janeiro
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Other works from Mul.ti.plo Espaço Arte
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