Contemporary Art in the Americas Arte Contemporáneo en las Américas
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

Recent Paintings and Reliefs

Recent Paintings and Reliefs

Valdirlei Dias Nunes

Casa Triângulo São Paulo, Brazil 07/01/2017 – 08/05/2017

With an art career spanning nearly three decades, Valdirlei Dias Nunes is a singular artist among his generation. Born in the interior of the state of Paraná, he earned a degree in pharmacy and in biochemistry before moving to São Paulo in the early 1990s, when he began to participate in exhibitions held at galleries

Installation view. Valdirlei Dias Nunes, Recent Paintings and Reliefs. Courtesy of Casa Triângulo. Photo: Edouard Fraipont. Relevo n. 1, 2017. Water based enamel on MDF and cedar wood. 103 x 110 cm. Courtesy of Casa Triângulo. Photo: Edouard Fraipont. Sem título, 2017. Acrylic on canvas. 50 x 30 cm. Courtesy of Casa Triângulo. Photo: Edouard Fraipont.

The Telomeric Cut

The Telomeric Cut

Felipe Meres

Mendes Wood DM São Paulo, Brazil 05/25/2017 – 07/29/2017

Mendes Wood DM presents The Telomeric Cut, Felipe Meres’s first project in São Paulo. Working across media, Meres’s work weaves entanglements between scientific desire and the indeterminate matter that ceaselessly evades its grasp. The exhibition features all new work, including a series of microscopic images that unfurl in the shape of pigment prints and sculptures. Devised around the concept of

Felipe Meres, The Telomeric Cut. Installation view. Courtesy of the artist. Felipe Meres, The Telomeric Cut. Installation view. Courtesy of the artist. Weave We Weavers, 2017. Electron micrograph, pigment print on silk, polyurethane, woven aluminum, polished steel. 191 × 51 cm / 75.2 × 20.8 in. Courtesy of the artist. Mendes Wood DM presents The Telomeric Cut, Felipe

MARGINALIA #25

MARGINALIA #25

By Maura Grimaldi 06/01/2017 – 06/30/2017

For Marginalia #25, Micro Centro de Estudos em Projeções [Micro Center for Studies in Projections] edits a sequence of images from the materials of its archives. Rescuing part of the memory of Brazilian education throughout the 20th century, the presented frames were extracted from the so-called diafilmes. Diafilmes were 135 mm positive films to be projected frame by frame (fixed projection)

Para Marginalia #25, Micro Centro de Estudos em Projeções [Micro Centro para Estudios en Proyecciones] edita una secuencia de imágenes a partir de los materiales de sus archivos. Rescatando parte de la memoria de la educación brasileña del siglo XX, los cuadros presentados fueron extraídos de los llamados diafilmes. Los diafilmes eran películas en positivo de 135 mm diseñadas

newflags among pedagogical cushions newflags among pedagogical cushions

newflags among pedagogical cushions

Traplev

São Paulo, Brazil 04/02/2017 – 06/03/2017

This exhibition offers a moment as an experience to be lived, not mediated and even less mediatized. Hence the need for an indeterminate zone beyond what is given, beyond the spectator and the work of art, beyond the sayable and visible, again: the reverse of the imaginary. Marked by excess and repetition, this exhibition is

Traplev, new flags among pedagogical cushions, 2017. Courtesy of Sé Galeria. Photo: Pedro Victor Brandão Traplev, new flags among pedagogical cushions, 2017. Courtesy of Sé Galeria. Photo: Pedro Victor Brandão Traplev, Pedagogical cushions – prototype 1 (in process) , 2017. First set of 17 cushions on furniture designed in collaboration with Daniel Acosta. Set of

Boom Boom

Boom

Alexandre da Cunha

Pivô São Paulo, Brazil 04/01/2017 – 06/10/2017

Pivô presents a solo exhibition by the artist Alexandre da Cunha as part of its Annual Exhibition Program. The program aims to present an overview of the recent contemporary production enabling new projects of mid-career national and international artists. The show comprises new-commissions along with a selection of previous works. The exhibition is the result

Mix (Boom), 2017. Concrete mixer. Variable dimensions. Photo: Everton Ballardin. Courtesy of Pivô, São Paulo Installation view: (left) Romana, 2016. Towel, carpet, robe, wool. 213,5 x 152,2 x 2 cm; (right) Garden Court, 2016. Towel, carpet, robe, wool. 213,5 x 152,2 x 2 cm. Photo: Everton Ballardin. Courtesy of Pivô, São Paulo Installation view: (left)