Contemporary Art in the Americas Arte Contemporáneo en las Américas
Ressaca Ressaca

Ressaca

Lucas Simões

Casa Triângulo São Paulo, Brazil 08/11/2018 – 09/15/2018

The Portuguese word ressaca translates to either “hangover” or “undertow” in English—in both cases meaning an aftermath or something that produces an effect. The abnormal movement of the undertow of large waves. The physical symptoms that appear when the toxic effects begin to leave the body. The nausea and the storm surge that submerges the

Ressaca, 2018. Courtesy of Casa Triângulo Series you text nothing like you look, 2018. Courtesy of Casa Triângulo Bruno de Almeida. Exhibition view of Ressaca at Casa Triângulo, São Paulo, 2018. Courtesy of  Casa Triângulo The Portuguese word ressaca translates to either “hangover” or “undertow” in English—in both cases meaning an aftermath or something that produces an effect. The abnormal

Mínimo, múltiplo, comum Mínimo, múltiplo, comum

Mínimo, múltiplo, comum

Curated by José Augusto Ribeiro

Pinacoteca de São Paulo São Paulo, Brazil 05/19/2018 – 09/17/2018

The Pinacoteca de São Paulo and the São Paulo State Secretariat for Culture present, from May 19th through September 17th, 2018, the group show Mínimo, múltiplo, comum [Minimum, multiple, common], held on the second floor of the Pina Estação building. The exhibition brings together more than one hundred works of art by six artists from

Group show. Exhibition view of Mínimo, múltiplo, comum at Pinacoteca de São Paulo Brazil, 2018. Courtesy of Pinacoteca de São Paulo Group show. Exhibition view of Mínimo, múltiplo, comum at Pinacoteca de São Paulo Brazil, 2018. Courtesy of Pinacoteca de São Paulo Group show. Exhibition view of Mínimo, múltiplo, comum at Pinacoteca de São Paulo Brazil, 2018. Courtesy of Pinacoteca de São Paulo The

1:1 | Deyson Gilbert – Leopoldo Ponce

1:1 | Deyson Gilbert – Leopoldo Ponce

Deyson Gilbert and Leopoldo Ponce

Galeria Jaqueline Martins São Paulo, Brazil 08/07/2018 – 10/13/2018

Galeria Jaqueline Martins presents the second edition of the project 1:1, featuring a new work by artists Deyson Gilbert and Leopoldo Ponce, curated by Bruno de Almeida. For this edition of the project, which explores the relationship between the gallery and its urban context through works that take place in the exhibition space and, simultaneously,

Deyson Gilbert and Leopoldo Ponce. Installation view of 1:1 at Galeria Jaqueline Martins, São Paulo, 2018. Courtesy of Galeria Jaqueline Martins Deyson Gilbert and Leopoldo Ponce. Installation view of 1:1 at Museum Santa Casa de São Paulo, São Paulo, 2018. Courtesy of Galeria Jaqueline Martins Deyson Gilbert and Leopoldo Ponce. Installation view of 1:1 at Galeria Jaqueline Martins, São

Histórias afro-atlânticas Histórias afro-atlânticas

Histórias afro-atlânticas

Group show

Instituto Tomie Ohtake & Museu de Arte de São Paulo São Paulo, Brazil 06/28/2018 – 10/21/2018

More than 400 works, over five centuries of production, from around 210 artists from Brazil and abroad, from various contexts and times, occupy both institutions. At Instituto Tomie Ohtake, two exhibition rooms will be occupied, while at MASP all the temporary exhibition spaces will be dedicated to the show. Among the participating artists there are

Group show. Exhibition view of Histórias afro-atlânticas at Museu de Arte de São Paulo, São Paulo, Brazil, 2018. Courtesy of MASP and Instituto Tomie Ohtake Group show. Exhibition view of Histórias afro-atlânticas at Museu de Arte de São Paulo, São Paulo, Brazil, 2018. Courtesy of MASP and Instituto Tomie Ohtake Group show. Exhibition view of Histórias afro-atlânticas at Museu de Arte de

Body and Construction

Body and Construction

Ivens Machado

Carpintaria Rio de Janeiro, Brazil 05/19/2018 – 07/28/2018

  Carpintaria, Fortes D’Aloia & Gabriel’s venue in Rio de Janeiro, presents Corpo e construção [Body and Construction], Ivens Machado’s first gallery exhibition after his sudden passing in 2015. The show presents six sculptures made from 1991 to 2005, a photo tryptic from Performance with Surgical Bandages, 1973, and a series of photographic records of

Ivens Machado. Corpo e construção [Body and Construction]. Exhibition view at Carpintaria, Rio de Janeiro, 2018. © Acervo Ivens Machado. Photo: Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de JaneiroIvens Machado. Sem título [Untitled], 2002. Iron, pigment and cement, 245 x 21 x 22 cm. © Acervo Ivens Machado. Photo: Eduardo Ortega. Courtesy Fortes

aqui now here agora nowhere

aqui now here agora nowhere

Pedro Caetano

Luciana Brito Galeria São Paulo, Brazil 06/12/2018 – 08/18/2018

Luciana Brito Galeria presents Pedro Caetano’s (b. 1979, São Paulo) first solo show at the gallery, aqui now here agora nowhere. The most recent addition to the gallery’s roster of representations, Pedro Caetano was enthusiastically received by critics, curators and collectors at the latest editions of the art fairs Art Basel Miami Beach and SP-Arte,

Pedro Caetano. Exhibition view of aqui now here agora nowhere at Luciana Brito Galeria, São Paulo, Brazil, 2018. Courtesy of Luciana Brito Galeria Pedro Caetano. Exhibition view of aqui now here agora nowhere at Luciana Brito Galeria, São Paulo, Brazil, 2018. Courtesy of Luciana Brito Galeria Pedro Caetano. Exhibition view of aqui now here agora

Roly-Poly

Roly-Poly

Flora Rebollo, Thiago Barbalho and Yuli Yamagata

Pivô São Paulo, Brazil 06/09/2018 – 07/21/2018

Pivô presents the group show Roly-Poly in its Annual Exhibitions Programme with the artists Flora Rebollo, Thiago Barbalho and Yuli Yamagata. The project takes over the institution’s second floor exhibition space, and is the outcome of an encounter initiated during these artists’ participation at Pivô Research residency programme, between 2017 and 2018. The spiral is

Installation view, Roly-Poly, 2018, Flora Rebollo, Thiago Barbalho and Yuli Yamagata at Pivô, São Paulo. Image courtesy of Pivô Installation view, Roly-Poly, 2018, Flora Rebollo, Thiago Barbalho and Yuli Yamagata at Pivô, São Paulo. Image courtesy of Pivô Installation view, Roly-Poly, 2018, Flora Rebollo, Thiago Barbalho and Yuli Yamagata at Pivô, São Paulo. Image courtesy

Hilma af Klint: Mundos Possíveis

Hilma af Klint: Mundos Possíveis

Hilma af Klint

Pinacoteca de São Paulo São Paulo, Brazil 03/03/2018 – 07/16/2018

Pinacoteca de São Paulo, a museum of the São Paulo State Secretariat of Culture, opened on March 3 the exhibition “Hilma af Klint: Mundos Possíveis,” [Hilma af Klint: Possible Worlds]. It is the first exhibition of the 2018 calendar, and one of the year’s major highlights. Sponsored by Banco Bradesco and Ultra and with support

Hilma af Klint. Exhibition view of Mundos Possíveis, at Pinacoteca de São Paulo, São Paulo, Brazil, 2018. Photo: Isabella Matheus. Courtesy of Pinacoteca de São Paulo Hilma af Klint. Exhibition view of Mundos Possíveis, at Pinacoteca de São Paulo, São Paulo, Brazil, 2018. Photo: Isabella Matheus. Courtesy of Pinacoteca de São Paulo Hilma af Klint. Exhibition view

After Nature

After Nature

Franz Manata & Saulo Laudares

São Paulo, Brazil 04/07/2018 – 06/23/2018

After Nature: a proliferation of hybrids The term “exhibition” has long been unable to define those contemporary artistic practices that absorbed the idea of expanding aesthetic experience beyond a modern project. The architecture that receives the works always ends up simulating fake neutrality (the white cube). It is hard to nullify layers of history, project and memory of expository

Installation view, 2018. Image courtesy of Sé, São Paulo. ThePlace, 1998-2018. Image courtesy of Sé, São Paulo Usutópico (cartaz), 2006. Image courtesy of Sé, São Paulo After Nature: a proliferation of hybrids The term “exhibition” has long been unable to define those contemporary artistic practices that absorbed the idea of expanding aesthetic experience beyond a modern project.

The Little Death The Little Death

The Little Death

Carla Chaim

Raquel Arnaud Gallery São Paulo, Brazil 04/09/2018 – 06/10/2018

Struggle When looking at today’s artistic production, a large part of it deals directly with social problems. Artists, curators, galleries, museums, etc. are using “street” language, the grammar of struggle and political engagement which mirrors the militant tone that belongs to (or seems to belong to) everyone. In fact, it could not be otherwise. Brazil’s current scenario is particularly

Installation view: Carla Chaim, The Little Death, at Raquel Arnaud Gallery, 2018. Photo: Ding Musa. Image courtesy of Raquel Arnaud Gallery Installation view: Carla Chaim, The Little Death, at Raquel Arnaud Gallery, 2018. Photo: Ding Musa. Image courtesy of Raquel Arnaud Gallery Installation view: Carla Chaim, The Little Death, at Raquel Arnaud Gallery, 2018. Photo: