Maurício Ianês, born in Santos, Brazil, in 1973, has been based in Vienna, Austria, since 2021. Ianês graduated in Fine Arts Pedagogy from Fundação Armando Álvares Penteado (FAAP) in São Paulo, Brazil, in 1998. They obtained their Master’s degree in Arts at the University of São Paulo (ECA-USP). Ianês is a PhD researcher in Philosophy at the Department of Cultural Studies of the Akademie der bildenden Künste in Vienna. Since September 2021, Ianês has been teaching in the Transmediale Kunst department at the Universität für Angewandte Kunst in Vienna.
Ianês’s work focuses on the boundaries and possibilities of verbal, visual, and aesthetic languages, their relationship to politics, economy, class, authorship, and labour, as well as their social and political functions. Many of their works invite active participation and co-production with the public and local communities, creating situations of social exchange, collaboration, and conflict management in the production of artworks. This strategy aims to challenge and destabilise the centrality of the market, authorship, and the fixed identity of the artist, as well as criticise the functioning of art institutions and isolationist politics in general. Ianês creates actions, objects, videos, installations, social practices, and environments that reveal the ideological and political undercurrents of language and art.
Ianês has shown their work in relevant international exhibitions, such as “The Disagreement: A Theatre of Dissent” (2024), Neue Kunstverein, Vienna, Austria; “No Intermission” (2022), Carré Theater, Amsterdam, Netherlands; “Somos Muit+s” (2019), Pinacoteca do Estado de São Paulo, São Paulo, Brazil; “Il Coltello nella Carne” (2018), PAC Milano, Milan, Italy; “Terra Comunal – Marina Abramović and Marina Abramović Institute” (2015), SESC Pompéia, São Paulo, Brazil; “Des Choses en Moins, Des Choses en Plus” (2014), Palais de Tokyo, Paris, France; “Avante Brasil” (2013), KIT – Kunst im Tunnel, Düsseldorf, Germany; “O Nome” (2014), solo show, Pinacoteca do Estado de São Paulo, São Paulo, Brazil; “Chambres Sourdes” (2011), Parc Culturel de Rentilly, France; the 2nd Biennial of Montevideo, Uruguay (2014), and the 28th and 29th International São Paulo Biennials (2008 and 2010), São Paulo, Brazil.
Ianês’s work focuses on the boundaries and possibilities of verbal, visual, and aesthetic languages, their relationship to politics, economy, class, authorship, and labour, as well as their social and political functions. Many of their works invite active participation and co-production with the public and local communities, creating situations of social exchange, collaboration, and conflict management in the production of artworks. This strategy aims to challenge and destabilise the centrality of the market, authorship, and the fixed identity of the artist, as well as criticise the functioning of art institutions and isolationist politics in general. Ianês creates actions, objects, videos, installations, social practices, and environments that reveal the ideological and political undercurrents of language and art.
Ianês has shown their work in relevant international exhibitions, such as “The Disagreement: A Theatre of Dissent” (2024), Neue Kunstverein, Vienna, Austria; “No Intermission” (2022), Carré Theater, Amsterdam, Netherlands; “Somos Muit+s” (2019), Pinacoteca do Estado de São Paulo, São Paulo, Brazil; “Il Coltello nella Carne” (2018), PAC Milano, Milan, Italy; “Terra Comunal – Marina Abramović and Marina Abramović Institute” (2015), SESC Pompéia, São Paulo, Brazil; “Des Choses en Moins, Des Choses en Plus” (2014), Palais de Tokyo, Paris, France; “Avante Brasil” (2013), KIT – Kunst im Tunnel, Düsseldorf, Germany; “O Nome” (2014), solo show, Pinacoteca do Estado de São Paulo, São Paulo, Brazil; “Chambres Sourdes” (2011), Parc Culturel de Rentilly, France; the 2nd Biennial of Montevideo, Uruguay (2014), and the 28th and 29th International São Paulo Biennials (2008 and 2010), São Paulo, Brazil.