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Dr Sofia Gotti

Dr Sofia Gotti

Leverhulme Early Career Fellow (from Lent Term 2020)


Biography:

Working in tandem as a scholar and curator, Sofia Gotti is specialised in Latin American contemporary and feminist art practices. Her PhD was an AHRC funded collaborative studentship between Tate Modern and University of the Arts London (UAL) under the aegis of the exhibition The World Goes Pop (Tate Modern, 2015). During the write-up year of her doctorate, she was awarded the Hilla Rebay International Curatorial Fellowship by the Solomon R. Guggenheim Foundation. Since then, she has taught in the UK at The Courtauld Institute of Art, and at Milan’s Nuova Accademia delle Belle Arti (NABA). As a freelance curator, she has collaborated with institutions and galleries including The Feminist Institute, Castello di Rivoli, FM-Centre for Contemporary Art, Mendes Wood DM, Blum&Poe, and Cecilia Brunson Projects.

Research Interests

Her research centres on feminist art practices in Latin America and Italy. At The Courtauld and NABA she has taught courses on Latin American art, and on feminist and postcolonial theory through exhibition histories. For her Leverhulme Early Career Fellowship she will be working on a monograph about Pop, Political Resistance and Sexual Liberation in Latin America. The research seeks to offer a new methodology for the study of Latin American Art between the 1960s and 1980s rooted in cultural difference, contextual specificity. The book hopes to construct a more inclusive and open framework for the understanding of our recent past, which may explain and enlighten the social crises of our time – both of political and moral nature.

Key Publications

Forthcoming:

-          “A State of Alert: Eroticism as Political Activism in South American Drawing,” in Kelly Chorpering et. al. (eds.), The Wiley Blackwell Companion to Contemporary Drawing, ([London]: Wiley Blackwell Publishing, 2019).

-          “Semiotics of the Living Room: South American Proto-Feminist furniture by Teresa Burga, Beatriz González, Teresinha Soares and Feliza Bursztyn,” in Flavia Frigeri and Kristian Handberg (eds.), Multiple Modernisms - New Histories of Art in the Global Postwar Era, (Publishers being approached, 2019).

Paper presented at Multiple Modernisms Conference, Louisiana Museum of Art, Copenhagen, November 2017.

 

Peer Reviewed:

-          Sofia Gotti and Marko Ilić, “Points of Origin: From a History of Alternative Art to a History of Alternative Institutions,” in Meredith A. Brown and Michelle Fischer (eds.), Collaboration and its (Dis)Contents Art, Architecture, and Photography since 1950, (London: Courtauld Books Online, 2017).

-          ‘Popau, Pop or an “American way of living?” An introduction to “From Stamps to Bubbles,” by Aracy A. Amaral,’ in ARTMargins, (Cambridge, MA: MIT Press, Vol. 5, Issue 2, 2016).

-          ‘A Pantagruelian Pop: Teresinha Soares’s “Erotic Art of Contestation,”’ Tate Papers, no.24, Autumn 2015.

Reprinted in: Adriano Pedrosa, Camila Bechelany and Rodrigo Moura (eds.), Quem Tem Medo de Teresinha Soares?, (exh. cat., São Paulo: MASP, 2017).

 

Exhibition Catalogues, Articles and Essays:

-          Visions of Brazil: Reimaging Modernity from Tarsila to Sonia, (exh. Cat, New York: Blum & Poe, 2019).

-          “Sensible Ecstasy in the works of Mandy El-Sayegh” Flash Art International Online, May 2019.

-          “Il bilinguismo radicale di Anna Maria Maiolino,” Flash Art Italia Online, 22 May 2019.

-          “Il Soggetto Imprevisto. 1978 Arte e Femminismo in Italia FM Centro per l’Arte Contemporanea /

-          Milano,” Flash Art Italia, #344, pp. 150-151.

-          Dadamaino: A Full Time Struggle, (exh. cat., New York: Mendes Wood DM, 2018).

-          Sergio Lombardo: Gesti Tipici and Monochromes, (exh. cat, London: Sprovieri, 2017).

-          “Waltercio Caldas: An Introduction,” in Waltercio Caldas, (exh. cat., London: Cecilia Brunson Projects, 2017).

-          “Eroticism, humour and Graves: A conversation with Teresinha Soares,” N.paradoxa, Vol. 36 (London: KT Press, July 2015).