Contemporary Art in the Americas Arte Contemporáneo en las Américas
We live in the best city of South America We live in the best city of South America

We live in the best city of South America

Curated by Bernardo José de Souza and Victor Gorgulho

Fundação Iberê Camargo Porto Alegre, Brazil 09/30/2017 – 02/04/2018

Possibly the most explosive of movements in Brazilian culture, Tropicalism is now five decades old since its first signs of life in 1967. The much talked about anniversary of the movement, however, imposes the urgency of a critical revision that surpasses any other fleeting impulse for mere celebrations. Half a century after its release, the

Carlos Vergara, Poder, da série Carnaval, 1972. Print. Courtesy of the artist Traplev, Sganzerla sampler, 2016. Hand painting on plastic canvas. Courtesy of the artist Maria Sábato, Lava-Jato – Lavagem integral, 2016. Courtesy of the artist Possibly the most explosive of movements in Brazilian culture, Tropicalism is now five decades old since its first signs

Polyethylene-Insulated Smear Polyethylene-Insulated Smear

Polyethylene-Insulated Smear

Nina Canell

Mendes Wood DM São Paulo, Brazil 11/27/2017 – 01/30/2018

Ready to join the migration my mail might have gotten lost from server to floral chorus in a spam filter taking the infinitesimal conduction of trees into account in the process so that you don’t think I’m entirely some sort of medieval hermit with vegetable metabolism marked unread on an epic almost sentimental journey of

Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes Wood DM Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes Wood DM Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes

MARGINALIA #31

MARGINALIA #31

by Lyz Parayzo 12/01/2017 – 12/31/2017

Among the images I picked for this edition of the Marginalia section, I made a curatorial work with documentation from two presentations of my performance FATO-INDUMENTO, one of them in the School of Visual Arts of Parque Lage and one more in Tato Gallery. The action is carried out from a male body, which is wrapped little by

Comencé mi selección de imágenes para esta edición de la sección Marginalia con una selección de registros de dos de las presentaciones de mi actuación FATO-INDUMENTO, una en la Escuela de Artes Visuales del Parque Lage y otra en la Galería Tato. La acción se lleva a cabo a partir del cuerpo masculino, mismo que es

20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo 20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo

20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo

by Dorothée Dupuis São Paulo, Brazil 10/03/2017 – 01/14/2018

Videobrasil 2017: For Fairer Trades It was amidst the various affairs of censorship that occurred in Brazil’s art world over the course of 2017 that the 20th Videobrasil Festival opened last October. Censorship in this case was the sign of the hardening of Brazilian politics following Dilma Rousseff’s impeachment last year, and of the rise of conservative forces

Tatewaki Nio, Neo-andina #102, de la serie Neo-andina (2016). Imagen cortesía de 20º Festival de Arte Contemporânea Sesc_Videobrasil Videobrasil 2017: Por comercios más justos Fue entre varios casos de censura ocurridos durante el año 2017 en el mundo del arte en Brasil que el 20° Festival Videobrasil inició el pasado octubre. La censura, en este caso,

Rurais Rurais

Rurais

Adriano Amaral

Galeria Jaqueline Martins São Paulo, Brazil 11/11/2017 – 01/20/2018

We live in a paradoxical time where instability has become a permanent state. Technological developments, especially the so-called digital revolution, have completely changed how we relate to the world, progressively contaminating all areas of our life. Distinctions between fields such as work and leisure or economy and ecology have grown impractical. This breaking down of

Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins We

O Sagrado é Amor O Sagrado é Amor

O Sagrado é Amor

Ernesto Neto

Fortes D'Aloia & Gabriel São Paulo, Brazil 10/21/2017 – 12/02/2017

Fortes D’Aloia & Gabriel presents O Sagrado é Amor [The Sacred is Love], the new exhibition by Ernesto Neto at our Galeria site. The artist shows wearable sculptures and an installation that invite the public to slow down the chaotic rhythm of urban life and to enjoy moments of introspection, calming the mind and activating the

Exhibition view of O Sagrado é Amor, 2017. Courtesy of Fortes D’Aloia & Gabriel. Selfie Amor, 2017. Gouache on paper, 35 x 44 x 3.5 cm. Courtesy of Fortes D’Aloia & Gabriel. O Silêncio é uma Forma de Oração, 2017. Copper, 20 x 15 cm (each, approx.). Courtesy of Fortes D’Aloia & Gabriel. Fortes D’Aloia &

Solange Pessoa Solange Pessoa

Solange Pessoa

Solange Pessoa

Blum & Poe Los Angeles, California, USA 09/09/2017 – 10/14/2017

Blum & Poe presents a solo exhibition of paintings, sculpture, and installations by Brazilian artist Solange Pessoa, her first in the US. Pessoa hails from the state of Minas Gerais—the land of Baroque and Rococo, soapstone mines, vast celestial nightscapes, and reserved temperaments—elements inextricable from her philosophical practice, channeled in her work. The concepts of

Solange Pessoa. Untitled, from Botânica series, 2017. Oil on canvas. 44 1/2 x 45 11/16 x 1 7/8 inches (113 x 116 x 4.8 centimeters). © Solange Pessoa, Courtesy Mendes Wood DM and Blum & Poe, Los Angeles/New York/TokyoPhoto: Bruno Leão Installation view, 2017. Blum & Poe, Los Angeles. © Solange Pessoa, Courtesy of the

Wrong Happy Hour Wrong Happy Hour

Wrong Happy Hour

Aki Sasamoto

Mendes Wood DM São Paulo, Brazil 08/12/2017 – 09/16/2017

It is with great pleasure that Mendes Wood DM presents the first solo exhibition by Japanese artist Aki Sasamoto in Brazil. The show springs from a performance titled Wrong Happy Hour. For this project, the artist has gathered drawings, installations, videos and performances. Sasamoto’s practice draws on the common ground between sculpture and performance, using

Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM It is with great pleasure that Mendes Wood DM presents the first solo exhibition by Japanese

Interiors Interiors

Interiors

Dan Coopey

Pivô São Paulo, Brazil 06/04/2017 – 09/02/2017

Pivô’s Hello Again program aims to introduce the space and to welcome the visitor. The title is inspired by the homonymous work by the Israeli artist Haim Steinbach, which welcomes the visitor at the same time in which a reencounter is celebrated. The space, located at Pivô’s reception, is the transitional room between Copan’s pedestrian street and the

Dan Coopey, Interiors, 2017. Installation view. Image courtesy of Pivô. Photo: Everton Ballardin Dan Coopey, Interiors, 2017. Installation view. Image courtesy of Pivô. Photo: Everton Ballardin Dan Coopey, Interiors, 2017. Installation view. Image courtesy of Pivô. Photo: Everton Ballardin Pivô’s Hello Again program aims to introduce the space and to welcome the visitor. The title is inspired by the

Garden Garden

Garden

Bruno Cançado

Central Galeria São Paulo, Brazil 08/10/2017 – 09/23/2017

The garden represents a dream of the world, that transports you out of the world. Jean Chevalier It is necessary to start with an assumption: gardens are an image of the excellence of the imposition of man’s power, in this case applied to nature. Believing that it is up to us humans to transform or

Bruno Cançado, Jardim, 2017. Courtesy of Central Galeria. Bruno Cançado, Jardim, 2017. Courtesy of Central Galeria. Untitled, 2017. Concret and river stone, 36x40x36 cm. Courtesy of Central Galeria The garden represents a dream of the world, that transports you out of the world. Jean Chevalier It is necessary to start with an assumption: gardens are an image