Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well.<\/p>\n
Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman\u2019s work was included in Companion Pieces: New Photography 2020 <\/i>at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens.<\/p>\nMaria Antelman, Conjurer, 2024. Archival pigment print, 21 1\/2 x 27 1\/2 inches. \u00a9 Maria Antelman.\u00a0Courtesy\u00a0Yancey\u00a0Richardson, New York<\/figcaption><\/figure>\nMaria Antelman, Hypnos, 2020. Archival pigment print, 58 x 52 inches. \u00a9 Maria Antelman.\u00a0Courtesy\u00a0Yancey\u00a0Richardson, New York<\/figcaption><\/figure>\nMaria Antelman, Hall of Mirrors, 2020. Archival pigment print, 39 x 19 inches. \u00a9 Maria Antelman.\u00a0Courtesy\u00a0Yancey\u00a0Richardson, New York<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"
Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an […]<\/p>\n","protected":false},"author":1,"featured_media":844,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","spay_email":""},"categories":[11],"tags":[],"jetpack_featured_media_url":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-content\/uploads\/2021\/06\/wybcxlogoforweb-big-1sq-e1491800568261.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/posts\/22951"}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/comments?post=22951"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/posts\/22951\/revisions"}],"predecessor-version":[{"id":22990,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/posts\/22951\/revisions\/22990"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/media\/844"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/media?parent=22951"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/categories?post=22951"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/praxis\/wp-json\/wp\/v2\/tags?post=22951"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"\"](\"https:\/\/museumofnonvisibleart.com\/praxis\/wp-content\/uploads\/2025\/09\/Antelman_Headshot-Credit-Adam-Axel.jpg\")
Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well.<\/p>\n![\"\"](\"https:\/\/museumofnonvisibleart.com\/praxis\/wp-content\/uploads\/2025\/09\/Antelman-Conjurer-2024.jpg\")
![\"\"](\"https:\/\/museumofnonvisibleart.com\/praxis\/wp-content\/uploads\/2025\/09\/Antelman-Hypnos-2020.jpg\")
![\"\"](\"https:\/\/museumofnonvisibleart.com\/praxis\/wp-content\/uploads\/2025\/09\/Antelman-Hall-of-Mirrors-2020.jpg\")