Contemporary Art in the Americas Arte Contemporáneo en las Américas
LOCAL DA AÇÃO LOCAL DA AÇÃO

LOCAL DA AÇÃO

CARNI Coletivo, ReOcupa and Tupinambá Lambido

Solar dos Abacaxis Rio de Janeiro, Brazil August 1, 2020 –

In Brazil, a web of overlapping crises have made this country a dense entanglement of political disputes. On one hand, dark political forces are rushing to dismantle democratic rights and institutions conquered through years of popular political struggle, taking advantage of the atmosphere of fear, perplexity, and suffering set by the pandemic. On the other

Ariana Nuala and Abiniel João Nascimento’s action IN-OUT conceived as part of Coletivo CARNI’s Inserção em Circuitos Mercadinhológicos (Insertions into Market Circuits). Picture by Ariana Nuala and Letícia Barros Reocupa’s Fumaça Antifascista (Antifascist Smoke) at Ocupação 9 de Julho – MSTC in São Paulo Wheatpaste posters from Tupinambá Lambido’s 2017 campaign at Rio de Janeiro.

M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora

M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora

Curated by Patricia Wagner

VIVA Projects Brazil August 31, 2020 – October 25, 2020

Faced with a pandemic that makes the fragility of the Brazilian democratic process even more evident, the M.A.P.A.—Modes of Action to Propagate Art—launches its first ever edition with the show In the Heat of the Moment on August 31st bringing art to the public space and provoking reflections through art about social and political chaos.

Aline Motta (Rio Blanco) at M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora (2020).. Credits: Odair Leal Traplev (Salvador) at M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora (2020). Credits: Felipe Iruatã M.A.P.A. (Modos de Ação para Propagar Arte). No Calor da Hora (2020). Installation view. Image courtesy of VIVA Projects

Calçado de Monstro

Calçado de Monstro

Estileras

HOA - SP-Arte - MAI São Paulo, Brazil August 24, 2020 – September 30, 2020

Calçado de Monstro (Monster Shoes) is one of Estileras’ lines of research that arises from the tension created between abolishing divisions by gender, exposing fashion’s exclusionary hypocrisy and reframing the residues of this industry. Discarded shoes are transformed into wearable sculptures, symbols of rupture with the acceptable, and their mutation process is a proposal for

Boni wears Calçado de Monstro Falaram Desleixo made by them during the live performance Webseries Calçado de Monstro EP07. Photo taken right after it was created Brendy wears Calçado de Monstro made by her during the live performance Calçados de Monstro at SP-arte 2018. Photo taken right after it was created Enantios Dromos wears Calçado de

I AM NOT AN AFROFUTURIST I AM NOT AN AFROFUTURIST

I AM NOT AN AFROFUTURIST

biarritzzz

Pivô Satellite São Paulo, Brazil August 24, 2020 – September 24, 2020

biarritzzz is the second artist to be featured in the digital platform Pivô Satellite. EU NÃO SOU AFROFUTURISTA (I am not an afrofuturist) is a web-specific sound-visual album with 11 tracks and several collaborators, launched on August 24, 2020, as part of the digital exhibition ​O dias antes da quebra​ (The days before the crash),

biarritzzz, I AM NOT AN AFROFUTURIST (2020). Image courtesy of Pivô biarritzzz, I AM NOT AN AFROFUTURIST (2020). Image courtesy of Pivô biarritzzz, kAPTURA ou sURTAH remix (2020). Image courtesy of Pivô biarritzzz is the second artist to be featured in the digital platform Pivô Satellite. EU NÃO SOU AFROFUTURISTA (I am not an afrofuturist) is

Lightning rods for confusing energies Lightning rods for confusing energies

Lightning rods for confusing energies

Rebeca Carapiá

Pivô São Paulo, Brazil July 24, 2020 –

The installation Lightning rods for confusing energies, by Rebeca Carapiá, opens the project Pivô Satellite on July 24th. Relating 3D modelling, iron and copper, the work simulates in its performance an assembly guide as a strategy of collective emancipation and spirituality. Along with Carapiá, biarritzzz, Diego Araúja and Raylander Mártis dos Anjos are the artists

Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô The installation Lightning rods for confusing energies, by Rebeca Carapiá, opens the project Pivô Satellite on

How to inhabit the present? How to inhabit the present?

How to inhabit the present?

Curatorship by Érika Nascimento

Simone Cadinelli Contemporary Art Rio de Janeiro, Brazil July 20, 2020 – August 22, 2020

Act 1 – It’s all codified fog  […] there are three presents, the present of the past which is memory, the present of the future which is expectation, and the present of the present which is intuition (or attention). This threefold present is the organizing principle of temporality […] —Ricoeur, 2000, p. 360 This is

PV Dias, Embaixo da Escola (2020). Video. Image courtesy of Simone Cadinelli Contemporary Art Moisés Patrício, Aceita? (2020). Video in a loop. Image courtesy of Simone Cadinelli Contemporary Art Gabriela Noujaim, O Fogo (2019). Video. Image courtesy of Simone Cadinelli Contemporary Art Act 1 – It’s all codified fog  […] there are three presents, the

Aglomeração

Aglomeração

Antonio Henrique Amaral

Instituto Tomie Ohtake São Paulo, Brazil June 28, 2020 –

Initially in a virtual format, the project will then go on to be featured in the cultural institute’s physical space with the aim of deepening the work—which at the current moment seems nearly premonitory—of one of the key Brazilian artists of the 20th century. — Some venues that seek to remain active in their role

Antonio Henrique Amaral, Consensus (1967). Woodcut. Image courtesy of Instituto Tomie Ohtake Antonio Henrique Amaral, De boca aberta (1966). Image courtesy of Instituto Tomie Ohtake Antonio Henrique Amaral, Bicho (2008). Image courtesy of Instituto Tomie Ohtake Initially in a virtual format, the project will then go on to be featured in the cultural institute’s physical space with the aim of deepening the

QUE VÃO QUE VEM

QUE VÃO QUE VEM

pedro frança & Victor Gerhard

Galeria Jaqueline Martins São Paulo, Brazil June 25, 2020 – August 25, 2020

Galeria Jaqueline Martins announces an online show using the gallery’s facilities, which are currently closed, as a springboard for virtual speculation. The rules that normally apply to exhibition facilities have been suspended in this digital environment. A bonfire burns in the middle of the exhibition room as a bored ghost, captured by security cameras, strolls

QUE VÃO QUE VEM (2020). Installation view. Image courtesy of Galeria Jaqueline Martins pedro frança, Sem título (fogo) (2020). Image courtesy of Galeria Jaqueline Martins Galeria Jaqueline Martins announces an online show using the gallery’s facilities, which are currently closed, as a springboard for virtual speculation. The rules that normally apply to exhibition facilities have been suspended

Lucia Laguna

Lucia Laguna

Lucia Laguna

Fortes D’Aloia & Gabriel São Paulo, Brazil March 5, 2020 – July 31, 2020

Fortes D’Aloia & Gabriel is pleased to announce an exhibition of new work by Lucia Laguna. This is the artist’s second solo at the gallery and her first after the comprehensive overview show held at MASP in 2018. In this new set of paintings Lucia follows up on the three series—Jardins (Gardens), Paisagens (Landscapes) and Estúdios

Lucia Laguna, Paisagem n. 121, 2019. Acrylic and oil on canvas. © Lucia Laguna. Photo: Eduardo Ortega. Courtesy of Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro Lucia Laguna, Paisagem n. 118, 2019. Acrylic and oil on canvas, diptych. © Lucia Laguna. Photo: Eduardo Ortega. Courtesy of Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro. Lucia

The Ballad The Ballad

The Ballad

Caroline Mesquita

Pivô São Paulo, Brazil May 8, 2020 – May 24, 2020

With the opening of Caroline Mesquita’s show, In Vivo, postponed until Pivô resumes its public activities, the French artist has her video The Ballad (2017) screened at Pivô’s website. The Ballad is available online until May 24 at www.pivo.org.br, as a courtesy by the artist and the galleries carlier | gebauer and UNION PACIFIC. The film was part

© Caroline Mesquita, The Ballad (2017). Courtesy of the artist and the galleries carlier | gebauer and UNION PACIFIC © Caroline Mesquita, The Ballad (2017). Courtesy of the artist and the galleries carlier | gebauer and UNION PACIFIC © Caroline Mesquita, The Ballad (2017). Courtesy of the artist and the galleries carlier | gebauer and