Contemporary Art in the Americas Arte Contemporáneo en las Américas
21st Contemporary Art Biennial Sesc_Videobrasil | Imagined Communities 21st Contemporary Art Biennial Sesc_Videobrasil | Imagined Communities

21st Contemporary Art Biennial Sesc_Videobrasil | Imagined Communities

São Paulo, Brazil October 9, 2019 – February 2, 2020

For more information visit: Sesc_Videobrasil Facebook / Instagram / Twitter The presence of nationalism as a means to understanding the disputes that mark our time. That is the background of the 21st Contemporary Art Biennial Sesc_Videobrasil | Imagined Communities, which will run from October 9, 2019 through February 2, 2020, at Sesc 24 de Maio, in São Paulo,

For more information visit: Sesc_Videobrasil Facebook / Instagram / Twitter The presence of nationalism as a means to understanding the disputes that mark our time. That is the background of the 21st Contemporary Art Biennial Sesc_Videobrasil | Imagined Communities, which will run from October 9, 2019 through February 2, 2020, at Sesc 24 de Maio, in São Paulo,

Manjar. Ontem, Hoje, Agora Manjar. Ontem, Hoje, Agora

Manjar. Ontem, Hoje, Agora

Curated by Catarina Duncan

Solar Dos Abacaxis Rio de Janeiro, Brazil September 20, 2019 –

We’re all over a territory in dispute Starting from the principle of an adinkra (vocabulary of symbols of the Akan people of the present region of Ghana) called Sankofa, this Manjar returns to the past to re-signify the present and build the future. Yesterday, Solar’s activities began on December 8, 2015. Since then, 35 exhibitions

Traplev, Sampler after Sgazerla (2016). Installation view. Photo by Rafael Salim OPAVIVARÁ!, Cangaço, 2015. Installation view. Photo by Rafael Salim Manjar. Ontem, Hoje, Agora (2019). Installation view. Photo by Rafael Salim We’re all over a territory in dispute Starting from the principle of an adinkra (vocabulary of symbols of the Akan people of the present

Jamais me olharás lá de onde te vejo Jamais me olharás lá de onde te vejo

Jamais me olharás lá de onde te vejo

Éder Oliveira, Regina Parra and Virginia de Medeiros

Instituto Tomie Ohtake São Paulo, Brazil August 8, 2019 – September 29, 2019

Instituto Tomie Ohtake’s Curatorial Design and Research Center has organized the eighth iteration of its Arte Atual (Current Art) program with artists Éder Oliveira, Regina Parra and Virgínia de Medeiros posing their reflections on portraiture as a pictorial genre and a way of recognizing subjects and assigning identity to them. The exhibition’s title—You Will Never

Jamais me olharás lá de onde te vejo (2019). Installation view. Image courtesy of Instituto Tomie Ohtake. Photo by Ricardo Miyada Jamais me olharás lá de onde te vejo (2019). Installation view. Image courtesy of Instituto Tomie Ohtake. Photo by Ricardo Miyada Jamais me olharás lá de onde te vejo (2019). Installation view. Image courtesy of Instituto Tomie Ohtake. Photo by Ricardo Miyada Instituto

Human Supremacy: The Failed Project

Human Supremacy: The Failed Project

Daniel Lie

Casa do Povo São Paulo, Brazil August 10, 2019 – September 29, 2019

Human Supremacy: The Failed Project is a site-specific installation thought as a votive offering to Casa do Povo. The work by Daniel Lie occupies two extremities of the building: the underground floor, where the former and currently deactivated TAIB theater is located, and the terrace, used for several different purposes on a daily basis. The

Daniel Lie, Human Supremacy: The Failed Project (2019). Installation view. Photo by Edouard Fraipont Daniel Lie, Human Supremacy: The Failed Project (2019). Installation view. Photo by Edouard Fraipont Daniel Lie, Human Supremacy: The Failed Project (2019). Installation view. Photo by Edouard Fraipont Human Supremacy: The Failed Project is a site-specific installation thought as a votive offering to Casa do Povo. The

We are Many: Experiments in Collectivity We are Many: Experiments in Collectivity

We are Many: Experiments in Collectivity

Curated by Amanda Arantes, Fernanda Pitta and Jochen Volz

Pinacoteca de São Paulo São Paulo, Brazil August 10, 2019 – October 28, 2019

Pinacoteca de São Paulo, the museum of São Paulo State Secretariat for Culture and Creative Economy presents the group exhibition We are Many: Experiments in Collectivity, which investigates artistic practice as a collective exercise. Curated by Amanda Arantes, Fernanda Pitta and Jochen Volz, the show presents artistic experiences designed as direct or indirect dialogues with Joseph Beuys’ production,

Joseph Beuys, Honigpumpe am Arbeitsplatz [Bomba de mel no local de trabalho] (1977). Vista da instalação. Photo by Levi Fanan / Pinacoteca Mônica Nador and JAMAC, Projeto Educativa Extramuros (2019). Photo by Levi Fanan / Pinacoteca Vivian Caccuri, Ode ao Triângulo (2019). Installation view. Photo by Levi Fanan / Pinacoteca Pinacoteca de São Paulo, the museum of

Gentrilogy: Trilogia da Gentrificação Gentrilogy: Trilogia da Gentrificação

Gentrilogy: Trilogia da Gentrificação

Laura Burocco

Centro Municipal de Arte Hélio Oiticica Rio de Janeiro, Brazil August 3, 2019 – September 28, 2019

Contemporary art shifts certainties about art. More than 70 years later, the feeling still seems to be the same for the public. What does the artist do? Beauty? Criticism? Politics? Finally, where is the artist here? What is art, academic research or political action? It is not what it is. It is and it is

Action made during the Ateliêr de Dissidência Criativa at Casa Nuvem, Rio de Janeiro (2016). Image courtesy of the artist Laura Burocco, Gentrilogy: Trilogia da Gentrificação (2019). Installation view. Image courtesy of the artist Laura Burocco, Gentrilogy: Trilogia da Gentrificação (2019). Installation view. Image courtesy of the artist Contemporary art shifts certainties about art. More than 70 years

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

Portas Vilaseca Galeria presents “Forjada e Outras Formas” by Pedro Victor Brandão Portas Vilaseca Galeria presents “Forjada e Outras Formas” by Pedro Victor Brandão

Portas Vilaseca Galeria presents “Forjada e Outras Formas” by Pedro Victor Brandão

Pedro Brandão

Portas Vilaseca Galería Rio de Janeiro May 30, 2019 – July 10, 2019

Forjada e Outras Formas Pedro Victor Brandão May 30 – July 6, 2019 020, Rua Dona Mariana, 137–casa 2 Botafogo, Rio de Janeiro RJ, 22280-020, Brazil For more information: Portas Vilaseca Galeria Facebook / Instagram Portas Vilaseca Galeria presents Forjada e Outras Formas [Forged and Other Forms], by Pedro Victor Brandão, gathering mostly new works in various media. Central to them

Forjada e Outras Formas Pedro Victor Brandão 30 de mayo — 6 de julio, 2019 020, Rua Dona Mariana, 137–casa 2 Botafogo, Rio de Janeiro RJ, 22280-020, Brasil Más información: Portas Vilaseca Galeria Facebook / Instagram Portas Vilaseca Galería presenta Forjada e Outras Formas [Forjada y otras formas], de Pedro Victor Brandão, reuniendo en su mayoría nuevas obras en diversos

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