1983 · Belgium
Annachiara Margapoti is a mid-career established artist, who originates from Belgium, like other celebrated artists such as Nathalie Latour, Hans Demeulenaere, Michiel Ceulers, Johan Gelper , and Nancy Slangen. Annachiara Margapoti was born in 1983.
Annachiara Margapoti in private collections
Annachiara Margapoti's works can be found on Artland in the following collection: Annachiara Margapoti . This also includes works by other critically acclaimed artists, Farhad Farzali, Willy Spiller, and Philipp Keel.
Historical Context of Belgium
Throughout the 1930s, Belgian art was to play a essential role in Surrealism, especially through the work of Rene Magritte and Paul Delvaux. Other significant Belgian artists of the 20th century include Marcel Broodthaers, Wim Delvoye, Francis Alys and Luc Tuymans. In the late nineteenth century, as the period of the avant-garde in Europe began, the Belgian capital of Brussels was an integral hub for the Art Nouveau movement, which included the architect Victor Horta amongst its founders. The Symbolist movement was also a significant artistic trend that was greatly influenced by Belgian artists. Key practitioners of this important early precursor to Surrealism include Léon Spilliaert, Jean Delville, Fernand Khnopff and James Ensor.
Further Biographical Context for Annachiara Margapoti
Annachiara Margapoti was born in 1983 and was primarily influenced by the 1990s. A collective of artists working in the United Kingdom, who came to be known as the YBAs, or Young British Artists, defined the artistic culture of the 1990s. Affiliated loosely by their age and nationality, they were a diverse collective of practitioners. A number of the YBAs attended the Royal College of Art and Goldsmiths in London, and were favoured by the ‘super collector’ of the time, Charles Saatchi. The most well known member of the group is Damien Hirst, and other members included Chris Ofili, Tracey Emin, Marc Quinn, Gavin Turk, Sarah Lucas and Sam Taylor-Johnson (née Sam Taylor-Wood). The YBAs became known for their use of shock tactics and sensationalism, alongside their use of throwaway materials, wild lifestyles and an attitude that was rebellious yet commercial. Due to the high amount of media coverage that they garnered, they dominated British art during the 1990s, and their work was epitomised in the group show ‘Sensation’. Relational Aesthetics, a term coined by curator Nicholas Bourriaud to describe the act of creating art based on human relations and their social context, became a key idea in the 1990s. Works by artists like Douglas Gordon, Gillian Wearing, Philippe Parenno and Liam Gillick were described as significant artists who worked to this outline.