Joana Vasconcelos

My collaboration with Maria Grazia Chiuri and Dior remains one of the most meaningful projects I have been a part of. Maria Grazia’s extraordinary vision blends a powerful feminist message with a profound appreciation for craftsmanship and artisanal techniques, values that resonate deeply with my own artistic practice. This partnership was for the Autumn/Winter 2023-2024 collection, for which I created a monumental, site-specific textile installation for the Jardin des Tuileries in Paris. The work, titled Valkyrie Miss Dior, was a tribute to Dior’s legacy, incorporating fabrics from the collection into a vast, dynamic structure. Entirely handcrafted, the installation measured 24 meters in length, stood 7 meters tall, and weighed over a ton. Its metamorphic design featured multiple tentacle-like arms that hung from the ceiling, allowing the models to interact with the piece as they walked through it during the show.
What made this collaboration particularly meaningful was Maria Grazia’s profound respect for Dior’s history, especially her connection to Christian Dior’s sister, Ginette Dior (Miss Dior). Ginette’s story as a florist, a French Resistance fighter, and an emblem of elegance and resilience inspired both the collection and the installation. Through Valkyrie Miss Dior, I sought to honour her spirit and legacy, celebrating strong, resilient women. Fashion has always been a powerful medium of expression for me, and working with Dior, especially under Maria Grazia’s leadership, allowed me to explore the intersection of visual art and fashion in a completely new way. Her understanding of the importance of manual craftsmanship and the stories that clothing can tell made this collaboration truly exceptional. Creating something that resonated emotionally and visually on such a grand stage was a dream come true.

Certainly, collaborations that span years, especially with esteemed brands like Dior, are unique and deeply rewarding. Working with them in 2013 with J’Adore Miss Dior and again in 2019 with Lady Dior allowed me to build a profound understanding of their values, traditions, and creative spirit. Such long-term relationships aren’t exceedingly common in the art world, where projects are often transient. However, when they do occur, they are a testament to the strength of the connection between the artist and the institution. It’s about more than professional alignment; it’s about shared values, a harmony of purpose, and the willingness to grow together over time. These bonds become part of the narrative we build as creators, enriching both our work and the identity of the brand. In my case, Dior's appreciation for craftsmanship, innovation, and cultural dialogue resonates deeply with my artistic ethos. Sustaining such a relationship over a decade is rare, but when it happens, it’s a beautiful synergy that amplifies creativity on both sides.

One of the most significant moments this year was undoubtedly opening MICAS with my solo exhibition, Transcending the Domestic, in October. This exhibition allowed me to engage deeply with the space's architectural grandeur while exploring the tensions between everyday life and the search for emotional and spiritual release, themes that are central to my artistic practice. It was a unique opportunity to create a dialogue between my work and the remarkable cultural context of Malta. Another highlight was my collaboration with Dior for the creation of Valkyrie Miss Dior. This project provided a space to merge my artistic vision with the brand's legacy of haute couture and craftsmanship. It became a harmonious conversation between my sculptural language and the Maison's narrative, bridging the worlds of art and fashion in a meaningful way.
Finally, the incredible reception of my work this year has been immensely gratifying. My solo exhibition at Gottorf Castle, Le Château des Valkyries, in Germany became the most-visited exhibition there in twenty-five years. Back in Lisbon, breaking visitation records at MAAT with Plug-In was particularly special. Lisbon is my home, and witnessing the local community’s enthusiasm and engagement with my work was profoundly rewarding.

I am profoundly honoured to be named BRAFA’s Guest of Honour, especially as the fair marks its 70th anniversary, a remarkable milestone that highlights both its historical significance and its enduring influence on the global art world. It is particularly meaningful to me as the first female artist to hold this position, a recognition that adds an extra layer of pride to this incredible opportunity. Throughout my career, I have often found myself being the first woman to achieve certain milestones, such as in Bilbao, Versailles, and now the first female guest of honour at BRAFA. BRAFA’s 70th anniversary is a testament to its role as a beacon for art connoisseurs and collectors, creating a space where the past, present, and future of art converge. Being part of this momentous celebration is not only a privilege but also an exciting chance to engage with an institution renowned for its dedication to cultural preservation and artistic innovation.

As an artist, I believe fairs like BRAFA hold immense significance, especially during turbulent times. They provide a vital platform for fostering dialogue, cultural exchange, and mutual understanding, qualities that are crucial in today’s world. By bringing together diverse creative voices and connecting them with collectors, institutions, and the public, fairs like BRAFA create spaces where art becomes a universal language, bridging divides and inspiring hope. What makes fairs particularly meaningful is their ability to showcase a dialogue between different artistic periods and styles. This interplay reflects the resilience and adaptability of art, reminding us of its timeless ability to connect people across cultures and generations. At a time when the world feels fragmented, such interactions reaffirm the role of art as a unifying force, one that nurtures creativity and encourages collective reflection.
I have always found inspiration in both the craftsmanship of ancient art and the innovation of modern masters. For example, artists like Bernini, with his masterful use of scale and material, and Louise Bourgeois, whose work delves deeply into emotion and form, remind us that art has always been a reflection of its time while maintaining a connection to the eternal. Events like BRAFA allow us to celebrate these connections, honouring tradition while embracing new perspectives. In this sense, fairs are more than just exhibitions; they are essential gatherings where creativity meets community. They remind us of the enduring power of art to bring people together, spark conversation, and provide a sense of continuity in an ever-changing world.

BRAFA is such an extraordinary fair because it brings together a rich diversity of art across time, geography, and mediums. The opportunity to explore this breadth, from ancient treasures to contemporary innovations, is always inspiring. Rather than focusing on one specific piece, I’m most excited about the dialogue between these different eras and styles. The way artworks from vastly different contexts can speak to each other and resonate with viewers is what I find most thrilling. That said, I always look forward to encountering pieces by the masters whose craftsmanship and timeless artistry continue to captivate me. For me, the most exciting "artwork" isn’t necessarily one object but the collective experience of the fair itself, the opportunity to immerse oneself in a world of creativity and to witness the intersections of personal, cultural, and artistic expression. BRAFA creates a space where the past and present converge, and that is where the true magic of art lies.

The first time I felt the art world truly take notice of my work was with The Bride, one of my most iconic pieces. It marked a turning point in my career and was pivotal in gaining recognition from industry professionals and institutions. The scale and impact of the piece, combined with its thematic depth, seemed to resonate widely. The Bride encapsulates many of the ideas central to my practice: femininity, domesticity, and the interplay between tradition and innovation. By reimagining the bridal symbol as a chandelier made entirely of tampons, it challenges conventional narratives and societal norms while celebrating the strength and beauty of femininity. It’s a deeply feminist work that uses humour and irony to invite reflection and dialogue, qualities that have become a hallmark of my artistic approach. That moment of recognition with the showing of the artwork at the first Venice Biennale curated by a woman felt like an acknowledgement not just of the work itself but of the broader conversations it aimed to spark. It was deeply gratifying to see experts engage with the themes I’ve been passionate about: the female experience, consumerism, and the power of everyday materials to hold extraordinary meaning. It was also a reminder of the transformative potential of art to both connect with people and challenge perspectives.

As someone who travels extensively and engages with the global art scene, I’ve noticed a few cities that are particularly dynamic in nurturing young and emerging talent. Lisbon, of course, holds a special place in my heart, not just because it’s my home, but because of its flourishing contemporary art scene. The city is buzzing with energy, with a growing network of galleries, artist-run spaces, and events like ARCOlisboa that provide a platform for new voices. Seoul is another city to watch. The contemporary art scene there is exploding, with a focus on cutting-edge practices and a strong presence in both the digital and physical realms. Young artists from Korea are gaining international recognition, and the city’s cultural institutions and galleries are providing robust support. These cities, among others, are fostering environments where young and emerging artists can thrive, and they’re shaping the future of the art world in exciting ways.

I’ll be showcasing some works at La Patinoire Royale, opening on February 1st. I’ll be travelling to Madrid in February, where I’ll be opening Flamboyant, a solo inaugural exhibition at Liria Palace. I will be showcasing some of my most iconic works, including Marylin, Valkyrie Thyra, and Flaming Heart. Looking ahead to 2025, it promises to be another exciting and busy year, and I couldn’t be more thrilled. Mostly, I want to continue to do what I have been doing so far, pursuing my art wherever it takes me.