Contemporary Art in the Americas Arte Contemporáneo en las Américas
Anna Bella Geiger: Circa MMXVIII Anna Bella Geiger: Circa MMXVIII

Anna Bella Geiger: Circa MMXVIII

Anna Bella Geiger

Solar dos Abacaxis Río de Janeiro, Brasil 09/29/2018 –

Curaduría y texto por Bernardo Mosqueira A mediados del siglo XX, cuando ya era un edificio centenario, el Solar dos Abacaxis pasó a tener como propietaria a una importante poeta y feminista brasileña llamada Anna Amélia de Queiroz Carneiro de Mendonça. Esta enérgica visionaria defendía los derechos de las mujeres y de lxs estudiantes e

Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar dos Abacaxis, 2018. Foto por Renato Mangolin. Imagen cortesía de Solar dos Abacaxis Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar dos Abacaxis, 2018. Foto por Renato Mangolin. Imagen cortesía de Solar dos Abacaxis Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar

Radical Women: Latin American Art, 1960-1985 Radical Women: Latin American Art, 1960-1985

Radical Women: Latin American Art, 1960-1985

Curated by Cecilia Fajardo-Hill and Andrea Giunta

Pinacoteca de São Paulo São Paulo, Brasil 08/18/2018 – 11/19/2018

From August 18 to November 19, 2018, the Pinacoteca de São Paulo, a museum of the Secretariat of Culture of the State of São Paulo, presents the major group exhibition Radical Women: Latin American Art, 1960-1985, on display on the first floor of the Pinacoteca. Curated by British Venezuelan art historian and curator Cecilia Fajardo-Hill

Radical Women: Latin American Art 1960-1985. Installation view at Pinacoteca de São Paulo, Brasil, 2018. Image courtesy of Pinacoteca de São Paulo Radical Women: Latin American Art 1960-1985. Installation view at Pinacoteca de São Paulo, Brasil, 2018. Image courtesy of Pinacoteca de São Paulo Radical Women: Latin American Art 1960-1985. Installation view at Pinacoteca de

The real world does not take flight The real world does not take flight

The real world does not take flight

Rodrigo Hernández

Pivô São Paulo, Brasil 09/02/2018 – 10/27/2018

Pivô presents The real world does not take flight in its Annual Exhibitions Programme. This is the first solo show in Brazil by Mexican artist Rodrigo Hernández and is the outcome of a two months residency at Pivô, where the artist developed cardboard sculptures and an installation directly in the exhibition space. The title is appropriated from the

Rodrigo Hernández. The real world does not take flight. Installation at Pivô, São Paulo 2018. Image courtesy of the artist and Pivô Rodrigo Hernández. The real world does not take flight. Installation at Pivô, São Paulo 2018. Image courtesy of the artist and Pivô Rodrigo Hernández. The real world does not take flight. Installation at Pivô,

RISE RISE

RISE

Bárbara Wagner & Benjamin de Burca

Fortes D’Aloia & Gabriel | Galeria São Paulo, Brasil 09/04/2018 – 10/06/2018

Fortes D’Aloia & Gabriel presents RISE, the first exhibition by Bárbara Wagner & Benjamin de Burca at Galeria, showing the most recent film collaboration from the duo. Commissioned by AGYU (Art Gallery of York University, Toronto), the piece investigates the musical universe of a community of young poets, rappers, and singers who meet weekly at a community center

Bárbara Wagner & Benjamin de Burca. RISE. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro. Bárbara Wagner & Benjamin de Burca. RISE. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro. Bárbara Wagner & Benjamin de Burca. RISE. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro. Fortes D’Aloia & Gabriel presents RISE, the

33ª Bienal de São Paulo, Brasil 33ª Bienal de São Paulo, Brasil

33ª Bienal de São Paulo, Brasil

Por Germano Dushá São Paulo, Brasil 09/07/2018 – 12/09/2018

White-label Bienal At the beginning of September, the first edition of the Bienal de São Paulo was opened to the public after the coup d’état, which in August 2016 resulted in the impeachment of the then President, Dilma Rousseff. During this period, Brazil experienced its most heightened political turmoil in recent history and, currently, it

Installation view of Wura-Natasha Ogunji’s exhibition. 33rd Bienal de São Paulo: Affective Affinities, 2018. © Leo Eloy / Estúdio Garagem / Bienal de São Paulo Foundation White-label Bienal A principios de septiembre abrió al público la primera edición de la Bienal de São Paulo realizada tras el golpe de Estado que en agosto de 2016

Valeska Soares: Entrementes

Valeska Soares: Entrementes

Valeska Soares

Pinacoteca de São Paulo São Paulo, Brasil 08/04/2018 – 09/22/2018

The Pinacoteca de São Paulo, a museum of the São Paulo State Secretariat for Culture, presents the exhibition Valeska Soares: Entrementes [In the Meantime] from August 4 to October 22, 2018. Curated by Júlia Rebouças, the exhibition occupies the fourth floor and the entrance space of Pina Estação and presents a selection of Valeska Soares’

Exhibition view of Valeska Soares: Entrementes at Pinacoteca de São Paulo, 2018. Courtesy of Pinacoteca de São Paulo Exhibition view of Valeska Soares: Entrementes at Pinacoteca de São Paulo, 2018. Courtesy of Pinacoteca de São Paulo Exhibition view of Valeska Soares: Entrementes at Pinacoteca de São Paulo, 2018. Courtesy of Pinacoteca de São Paulo The

Superficies sensibles | Piel | Muro | Imagen Superficies sensibles | Piel | Muro | Imagen

Superficies sensibles | Piel | Muro | Imagen

Curada por Vidal Jr. y Laila Melchior

CAIXA Cultural Río de Janeiro Río de Janeiro, Brasil 01/09/2018 – 03/04/2018

La CAIXA Cultural Río de Janeiro presenta la exposición colectiva Superficies sensibles | Piel | Muro | Imagen, que reúne trabajos de 21 jóvenes artistas contemporáneos brasileños, realizados a principios del siglo XXI. La exposición aborda la temática de la superficie como potencia, posibilidad crítica y estética, presentando obras que están conectadas al pasado de

Exposición colectiva. Vista de la exposición Superficies sensibles | Piel | Muro | Imagen, en CAIXA Cultural Río de Janeiro, Río de Janeiro, Brasil, 2018. Cortesía de CAIXA Cultural Río de Janeiro Exposición colectiva. Vista de la exposición Superficies sensibles | Piel | Muro | Imagen, en CAIXA Cultural Río de Janeiro, Río de Janeiro,

Baroque and Chasm

Baroque and Chasm

Max Gómez Canle

Casa Triângulo São Paulo, Brazil 11/25/2017 – 12/23/2017

There is no origin, or everything is conceived together, in this miracle. All of these distances that hang here on the walls are spaces of time, color, brushes, rhythm, form… They are paintings, but they are magic mirrors. They enchant us with the possibility of telling the life of what we do, as though we

Max Gómez Canle. Installation view at Baroque and Chasm, Casa Triângulo, Sao Paulo, 2017. Courtesy of Casa Triangulo Max Gómez Canle. Installation view at Baroque and Chasm, Casa Triângulo, Sao Paulo, 2017. Courtesy of Casa Triangulo Max Gómez Canle. Installation view at Baroque and Chasm, Casa Triângulo, Sao Paulo, 2017. Courtesy of Casa Triangulo There

Detrito Federal | Quarto Ideal: estilo e espaço no centro de Brasília

Detrito Federal | Quarto Ideal: estilo e espaço no centro de Brasília

Esvin Alarcón Lam | Sergio Pinzón

Casa Niemeyer Brasilia, Brasil 11/22/2017 – 01/31/2018

Durante la cuarta semana de Residencia Artística Internacional OCA, realizada por la Casa de Cultura de América Latina — CAL / Universidad de Brasília, el artista guatemalteco Esvin Alarcón Lam, proveniente de Guatemala, presenta su muestra Detrito Federal, con curaduría de Ana Avelar. Una forma de continuar su investigación y propuesta iniciada hace algunos años

Esvin Alarcón Lam. Vista de la exhibición Detrito Federal, Casa Niemeyer, Brasilia, 2017. Cortesía del artista Sergio Pinzón. Vista de la exhibición Quarto Ideal: estilo e espaço no centro de Brasília, Casa Niemeyer, Brasilia, 2017. Cortesía del artista Esvin Alarcón Lam. Vista de la exhibición Detrito Federal, Casa Niemeyer, Brasilia, 2017. Cortesía del artista Durante

Arthur, Janina, Marco e Pedro Arthur, Janina, Marco e Pedro

Arthur, Janina, Marco e Pedro

Arthur Chaves, Janina McQuoid, Marco Veloso, Pedro França

Jacaranda Rio de Janeiro, Brasil 09/30/2017 – 11/18/2017

A friar went around asking. Arrived at the door of a farmer, who did not want to give him alms. The friar was falling in hunger and said: – I will see about making stone soup! And took a stone from the ground, shook off its dirt and started to admire it, to see if it

Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França A