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

Building Material: Process and Form in Brazilian Art

Building Material: Process and Form in Brazilian Art

Rodrigo Cass, Ivens Machado, Paulo Monteiro, and more...

Hauser & Wirth Los Angeles, California, USA 09/14/2017 – 10/18/2017

The exhibition begins with a series of geometric abstractions rendered in Formica by de Barros, along with silver gelatin photographs from both the beginning and end of his career. In their use of Formica, a plastic laminate that became particularly popular and even ubiquitous in Brazilian homes, offices, and stores during the postwar era, de

Erika Verzutti, Flowers, 2017. Papier mache, polystyrene and wax. 53 x 66 x 8 cm | 20 7/8 x 26 x 3 1/8 in. Courtesy Fortes D’Aloia & Gabriel. Photo: Ding Musa Erika Verzutti, Dark Matter, 2016. Papier mache and styrofoam. 51 x 76 x 11 cm | 20 1/8 x 29 7/8 x 4 3/8

White Lies

White Lies

Lucas Simões

Lora Reynolds Gallery Austin, Texas, USA 04/08/2017 – 05/27/2017

Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper, and sometimes thin sheets of wood, copper, or brass. Simões precisely aligns hundreds of sheets of paper and pinches them between or drapes them over concrete forms without internal supports or glue —only gravity

Lucas Simões, White Lies 7, 2017. Concrete, paper, gold leaf, and steel. 57 x 13-1/4 x 10-3/4 inches. Courtesy of the artist. Installation view. Courtesy of the artist. Installation view. Courtesy of the artist. Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper,