Sofia Gotti

University of Cambridge, History of Art, Faculty Member

Tate, Research Department, CDA Student

University of the Arts London, Chelsea, Graduate Student

The Courtauld Institute of Art, History of Art, Faculty Member

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I am associated lecturer and Leverhulme Early Career Fellow at the University of Cambridge. In the past, I have taught at The Courtauld Institute of Art, London, and the Nuova Accademia delle Belle Arti (NABA) in Milan. My research focuses on feminist art practices in Latin America and Italy. Combining scholarly research and curatorial practice, I have worked with organizations including The Feminist Institute, Castello di Rivoli, FM-Centre for Contemporary Art, Tate Modern and the Solomon R. Guggenheim Foundation.

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Talks by Sofia Gotti

"A Semiotic Art of Art, Indexes, Symbols:" Popcreto in the works of Mira Schendel

This paper looks at some of Mira Schendel’s minor works in relation to Pop art in Brazil in the 1... more This paper looks at some of Mira Schendel’s minor works in relation to Pop art in Brazil in the 1960s. Considering her practice within the São Paulo cultural milieu, Schendel appears tangential to the major groups that emerged in the city (including the Concretists in the late 1950s). However, her dialogue with artists and intellectuals, such as Haroldo de Campos or Mario Schenberg, suggests an understanding of her work as a continuous semantic investigation, rather than a succession of ‘series’. Through an exploration of Schendel’s relationship with de Campos, this paper will assess her experimentation with collage and still life to determine her connection to Waldemar Cordeiro’s 1964 ‘Popcrete’ works.

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Papers by Sofia Gotti

"A Pantagruelian Pop: Teresinha Soares’s 'Erotic Art of Contestation,'" Tate Papers, n. 24, Autumn 2015.

This article provides an overview of the work produced by Brazilian artist Teresinha Soares in th... more This article provides an overview of the work produced by Brazilian artist Teresinha Soares in the late 1960s and early 1970s and examines the various terms that have been used to describe and define it. With respect to the specificity of Soares’s work the article proposes that the adjective ‘Pantagruelian’ can be annexed to ‘pop’ to reveal its rootedness in popular traditions and folklore in Brazil.

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Other by Sofia Gotti

Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble,” ARTMargins, Vol. 5, No. 2, June 2016.

The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian... more The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.

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"Eroticism, humour and Graves: A conversation with Teresinha Soares," n.paradoxa, vol. 36, July 2015.

This interview published in n.paradoxa in English examines Teresinha Soares work in the period 19... more This interview published in n.paradoxa in English examines Teresinha Soares work in the period 1965-1976 when she organised installations and performances like the 3 versions of Tumulos / Graves (1972-1973) and her album of prints Eurotica (1970). These works have come again to attention recently as renewed interest in this period of Brazilian art and the women members of the avantgarde circles has been reconsidered. In the interview, Teresinha Soares discusses how "free sexual exercise demands social and political freedom": a statement explored in her artworks, her plays, poetry and her life. Her poem 'News by Morning' is also reproduced in Portugese and English.

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