Antonio Manuel, ‘Drank Blood Laughing’, 1973, Galeria Luisa Strina

About Antonio Manuel

Alongside Artur Barrio and Cildo Meireles, Antonio Manuel began producing performances and installations amid the repressive climate of Brazil in the 1960s and ’70s. Manuel evaded systems of state control, circulating censored artworks in newspapers and creating performances as metaphors for oppression, such as one in which participants hammer away at locked boxes containing newspaper clippings. Working with both minimal forms and solid primary colors, Manuel has recently shifted away from overt politics, instead investigating formal modernist paradigms and echoing neo-concrete artists, such as Lygia Clark and Hélio Oiticica, who were influential during his early career. The artist has been a participant in multiple editions of the Venice Biennale.

Brazilian, b. 1947, Aveiro, Portugal