Contemporary Art in the Americas Arte Contemporáneo en las Américas
Tem que manter isso aí, viu?

Tem que manter isso aí, viu?

Evandro Prado

Centro Cultural São Paulo São Paulo, Brazil 05/25/2019 – 08/25/2019

President of the Republic for two consecutive terms, Dilma Rousseff began to appear systematically in the mass media when she became a candidate in 2010 for the highest political office in Brazil. Since then, the visual artist Evandro Prado, owner of a critical interest in institutions such as religious groups, police and the press, has

Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos President of the Republic for two consecutive

Instant Weather Prediction Instant Weather Prediction

Instant Weather Prediction

Eduardo Navarro

Pivô São Paulo 06/15/2019 – 07/27/2019

Continuing its annual exhibition program of 2019, Pivô presents Instant Weather Prediction: the first solo show by the Argentinian artist Eduardo Navarro in Brazil. In his work Eduardo Navarro investigates possible points of convergence between art and science, dedicating special attention to the possibility of dialogue between natural forces and species. The artist frequently works with

Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Continuing its annual exhibition program of 2019, Pivô presents Instant Weather Prediction: the first solo show by the Argentinian artist Eduardo Navarro in

Djanira: Picturing Brazil Djanira: Picturing Brazil

Djanira: Picturing Brazil

Djanira da Motta e Silva

Museu de Arte de São Paulo São Paulo, Brazil 03/01/2019 – 05/19/2019

This is the first large monographic exhibition dedicated to the work of Djanira da Motta e Silva (Avaré, São Paulo, 1914–1979, Rio de Janeiro) since her death, forty years ago. Largely self-taught and coming from a working background, the artist emerged on the Brazilian art scene in the 1940s. Although she developed a solid career

Djanira da Motta, Candomblé (Estudo de mural) (1967). Guache, 60 x 90 cm, Museus Castro Maya collection – IBRAM/MinC, Rio de Janeiro, photo: Jamie Acioli Djanira da Motta, Onírico (1950). Oil on canvas, 70,5 x 89,5 cm, Evandro Carneiro collection, Rio de Janeiro, photo: Jaime Acioli Djanira da Motta, Mina de Ferro, Itabira, MG (1976). Acrylic on wood, 220,5 x

Baile da Aurora Sincera Baile da Aurora Sincera

Baile da Aurora Sincera

Curated by Bernardo Mosqueira

Solar dos Abacaxis Rio de Janeiro, Brazil 02/09/2019 – 02/09/2019

Artists: Ana Clara Tito, Ana Matheus Abbade, Arthur Chaves, Bárbara Wagner, Benjamin de Burca, Bruna Amaro, Carlos Vergara, Denilson Baniwa, Enrica Bernardelli, Fernanda Zerbini, Hélio Oiticica, Jo Serfaty e Mariana Kaufman, Juliana dos Santos, Maria Palmeiro, Marcos Chaves, Mariana Paraizo, Mariwô, Nathalie Nery, Natali Tubenchlak, Opavivará!, Rafael Bandeira, Rivane Neuenschwander e Cao Guimarães, Tiago Sant’Ana Curatorship:

Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Artists: Ana Clara Tito, Ana Matheus Abbade, Arthur Chaves, Bárbara Wagner, Benjamin de Burca, Bruna Amaro, Carlos Vergara, Denilson Baniwa, Enrica Bernardelli, Fernanda

Riposatevi Riposatevi

Riposatevi

Lúcio Costa

MAC Niterói Niterói, Río de Janeiro, Brasil 12/18/2018 – 03/17/2019

Reinstallation of a show conceived by the great architect and urbanist Lúcio Costa for the Milan Triennial architecture exhibition in 1964, when Brazil participated for the first time. The event took place following the military coup and four years after the inauguration of Brasília. “Each country was free to think about their participation in this

Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Era el año de 1964. La Trienal de Milán, evento dedicado al diseño y a la arquitectura, llegaba a su décima tercera edición.

Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil

Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil

By Amanda Carneiro São Paulo, Brazil 12/08/2018 – 03/04/2019

Given the extraordinary and consistent artistic production of Rosana Paulino, now on display at the Pinacoteca del Estado de Sāo Paulo, it seems reasonable to question why it took so long to be able to enjoy a monographic exhibition of the artist in a grand Brazilian institution. The exhibiton, extensive, goes through her work of

Rosana Paulino: a costura da memória. Vista de instalación en Pinacoteca de São Paulo, 8 de diciembre, 2018 – 4 de marzo, 2019. Fotografía: Isabella Matheus / Pinacoteca. Imagen cortesía de Pinacoteca de São Paulo Ante la extraordinaria y consistente producción artística de Rosana Paulino, ahora en exhibición en la Pinacoteca del Estado de São

Conversations in Gondwana Conversations in Gondwana

Conversations in Gondwana

Curated by Juliana Caffé and Juliana Gontijo

São Paulo Cultural Center São Paulo, Brazil 02/07/2019 – 04/07/2019

Conversations in Gondwana is a platform of research and experimentation in contemporary art between countries of the global South. For the first edition of the project, curators Juliana Caffé and Juliana Gontijo invited five duos formed by artists from South Africa and Brazil to keep in contact during a year. These exchanges resulted in the

Ana Hupe, Muito futuro para uma só memória (2017). Photography. Courtesy of the artist Cinthia Marcelle and Jean Meeran, Capa Morada (2003). Photo series. Courtesy of the artists and Vermelho Gallery Marcelo Moscheta, Equalizador para horizontes distantes (2014). Photography. Courtesy of the artist Conversations in Gondwana is a platform of research and experimentation in contemporary

Systema-cinema: Ecstasy & Exercise Systema-cinema: Ecstasy & Exercise

Systema-cinema: Ecstasy & Exercise

Ricardo Basbaum

Galeria Jaqueline Martins São Paulo, Brazil 12/08/2018 – 03/01/2019

The project 1:1 explores the relationship between the gallery and its urban context through the connection among the exhibition space and other pre-existing places in its vicinity. In each of the project’s editions, an artist is invited to conceive a bipartite work, which occupies an exhibition room in the gallery and, simultaneously, a second space

Ricardo Basbaum, Systema-cinema: Ecstasy & Exercise (2018). Project 1:1 at Galeria Jaqueline Martins. Installation view. Photo by Haroldo Saboia. Image courtesy by the curator Ricardo Basbaum, Systema-cinema: Ecstasy & Exercise (2018). Project 1:1 at Galeria Jaqueline Martins. Installation view. Photo by Haroldo Saboia. Image courtesy by the curator Ricardo Basbaum, Systema-cinema: Ecstasy & Exercise (2018).

Caraíva

Caraíva

Luisa Brandelli

Zipper Galeria São Paulo, Brazil 01/15/2019 – 02/23/2019

The sea is already closer to the beach­‐mat. Lala plays on the beach while the tide goes up. The day was already good and became lighter after her father understood that it was better to leave the bluetooth loudspeaker off. In the morning, the people under the parasol next to theirs scowled and said something

Luisa Brandelli, Caraíva (2019). Installation view. Image courtesy of the artist Luisa Brandelli, Caraíva (2019). Installation view. Image courtesy of the artist Luisa Brandelli, Caraíva (2019). Installation view. Image courtesy of the artist The sea is already closer to the beach­‐mat. Lala plays on the beach while the tide goes up. The day was already

Campos de Invisibilidade

Campos de Invisibilidade

Curated by Cláudio Bueno and Ligia Nobre

Sesc Belenzinho São Paulo, Brazil 11/09/2018 – 02/03/2019

What is outside our field of vision does not cease to exist To open this exhibition with such a statement invites us to reflect on the ecology of problems mobilized by what we shall name here global technological infrastructure. Namely social, economic, technical, symbolic, spiritual, cultural, sexual, political, geographic, environmental aspects, all of which are

 Louis Henderson, Lettre du voyant (2013). Vídeo. Image courtesy of Agência Galo Campos de Invisibilidade (2018). Performance by Aretha Sadick. Photo credits: Marcos Cimardi Campos de Invisibilidade (2018). Installation view. Photo credits: Marcos Cimardi What is outside our field of vision does not cease to exist To open this exhibition with such a statement invites us to reflect on