Contemporary Art in the Americas Arte Contemporáneo en las Américas
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

Boa tarde às coisas aqui embaixo Boa tarde às coisas aqui embaixo

Boa tarde às coisas aqui embaixo

Tiago Mestre y Dudi Maia Rosa

OLHÃO São Paulo, Brazil March 19, 2020 –

OLHÃO is pleased to present the duo show Good afternoon to the things down here by Tiago Mestre and Dudi Maia Rosa. The exhibition can be seen as a narrative that focuses specifically on one’s relationship with the landscape, referring to the deep and ancestral connection between natural and built form. The conceptual starting point

Tiago Mestre y Dudi Maia Rosa, Boa tarde às coisas aqui embaixo (2020). Photo by Julia Thompson. Courtesy of the artists and OLHÃO Tiago Mestre y Dudi Maia Rosa, Boa tarde às coisas aqui embaixo (2020). Photo by Julia Thompson. Courtesy of the artists and OLHÃO Tiago Mestre y Dudi Maia Rosa, Boa tarde às coisas aqui embaixo (2020).

PLEI PLEI

PLEI

Carlos Nunes, Dora Smék, Reginaldo Pereira, Renato Leal and Tchelo

Massapê Projetos São Paulo, Brazil March 14, 2020 – April 15, 2020

We assumed that there was no principle guiding us from the start. We let go of possible themes and the conceptual sphere that could connect different optics in a field of action. Rather than an exhibition idea, we wanted other ways of having ideas. We searched, more than anything, for a shared challenge. And by

PLEI (2020). Installation view. Image courtesy of Tchelo PLEI (2020). Installation view. Image courtesy of Tchelo PLEI (2020). Installation view. Image courtesy of Tchelo We assumed that there was no principle guiding us from the start. We let go of possible themes and the conceptual sphere that could connect different optics in a field of

Tyndall Effect Tyndall Effect

Tyndall Effect

Curatorship by Julie Dumont

Central Galeria São Paulo, Brazil February 8, 2020 – March 21, 2020

Observed for the first time by Michael Faraday in 1857 and studied by the English physicist John Tyndall, the Tyndall effect is an optical light scattering effect that occurs when the light is dispersed by colloidal particles, leaving fine suspended dust particles visible in the air through a luminous glimmer that passes through trees, for

Tyndall Effect (2020). Installation view. Image courtesy of The Bridge Project Tyndall Effect (2020). Installation view. Image courtesy of The Bridge Project Tyndall Effect (2020). Installation view. Image courtesy of The Bridge Project Observed for the first time by Michael Faraday in 1857 and studied by the English physicist John Tyndall, the Tyndall effect is

Faz escuro mas eu canto Faz escuro mas eu canto

Faz escuro mas eu canto

Ximena Garrido-Lecca

34th Bienal de São Paulo São Paulo, Brazil February 8, 2020 – March 15, 2020

The 34th Bienal de São Paulo – Faz escuro mas eu canto [Though it’s dark, still I sing] opened on 8 February with the first in a series of three solo shows that introduce some of the themes featured in the group exhibition, which opens in September 2020. The monographic show by Ximena Garrido-Lecca (b. 1980, Lima, Peru) reflects on extractivism

Ximena Garrido-Lecca, Arquitectura del humo (2015). Installation view. Photo: Santiago Barco Ximena Garrido-Lecca, Yacimientos (2013). HD video 8’45”. Still from video Ximena Garrido-Lecca, Arquitectura del humo (2015). Installation view. Photo: Santiago Barco The 34th Bienal de São Paulo – Faz escuro mas eu canto [Though it’s dark, still I sing] opened on 8 February with the first in

Fernanda Gomes

Fernanda Gomes

Fernanda Gomes

Pinacoteca de São Paulo São Paulo, Brazil November 30, 2019 – February 24, 2020

The Pinacoteca de São Paulo, museum of the Secretaria de Cultura e Economia Criativa (Secretary of Culture and Creative Economy) of the state of São Paulo presents the exhibition Fernanda Gomes, a large retrospective of the artist from Rio de Janeiro, bringing together fifty works from the 1980’s up until the present day. Curated by

Fernanda Gomes (2019). Installation view. Image courtesy of Thais Gouveia Fernanda Gomes (2019). Installation view. Image courtesy of Thais Gouveia Fernanda Gomes (2019). Installation view. Image courtesy of Thais Gouveia The Pinacoteca de São Paulo, museum of the Secretaria de Cultura e Economia Criativa (Secretary of Culture and Creative Economy) of the state of São

Glimpsy

Glimpsy

Cildo Meireles

Sesc Pompeia São Paulo, Brazil September 26, 2019 – February 2, 2020

Curated by Júlia Rebouças and Diego Matos, the anthology gathers about 150 artworks from the 1960s to the present day. It is the largest collection of Meireles’; artwork ever exhibited in Latin America, filling a gap of almost two decades without a large national demonstration from the artist, one of the most important names in

Cildo Meireles, Glimpsy (2019). Installartion view. Photo by Everton Ballardin Cildo Meireles, Glimpsy (2019). Installartion view. Photo by Carol Mendonça Cildo Meireles, Glimpsy (2019). Installartion view. Photo by Carol Mendonça Curated by Júlia Rebouças and Diego Matos, the anthology gathers about 150 artworks from the 1960s to the present day. It is the largest collection

The Emancipated Line & joints, voids, and gaps The Emancipated Line & joints, voids, and gaps

The Emancipated Line & joints, voids, and gaps

Gego & Leonor Antunes

Museu de Arte de São Paulo São Paulo, Brazil December 13, 2019 – March 1, 2020

Gego: The Emancipated Line From December 2019, Gertrud Goldschmidt (1912-1994), mostly known as Gego, receives her first solo show in Brazil at Museu de Arte de São Paulo Assis Chateaubriand (MASP). The exhibition is co-organized by MASP along with Museo Jumex, Mexico City, Museu d’Art Contemporani de Barcelona (MACBA), and Tate Modern, London. The exhibition

Gego, Bicho 88/47 (1988). Cartón, cable y alambres de acero. Fundación Gego. Crédito: Reinaldo Armas Ponce, Archivo Fundación Gego Gego, Tejedura 91/36 (1991). Paper. Fundación Gego Collection at the Museum of Fine Arts, Houston Leonor Antunes. Courtesy Pirelli Hangar Bicocca, Milan, 2018. Photo: Nick Ash Gego: The Emancipated Line From December 2019, Gertrud Goldschmidt (1912-1994),

Feminist Histories: Artists after 2000

Feminist Histories: Artists after 2000

Curatorship by Isabella Rjeille

Museu de Arte de São Paulo Assis Chateaubriand São Paulo, Brazil September 22, 2019 – November 17, 2019

Every year MASP’s programme is guided by a thematic axis designed around different histories, created from different perspectives, including fictional and non-fictional, personal and documentary narratives, diverse mediums and distinct temporalities and territories. Histórias da infância (Histories of Childhood) was set up in 2016, followed by Histórias da sexualidade (Histories of Sexuality) in 2017 and Histórias afro-atlânticas

Monica Restrepo, Estatuas (Ella volverá en cualquier momento) (2012-2014). Installation view. Image courtesy of the artist Kaj Osteroth & Lydia Hamann, Staying with the trouble (2019). Credit: Kaj Osteroth & Lydia Hamann Tuesday Smillie, Again (2017). Installation view. Image courtesy of the artist. Credit: Charles Mayer Every year MASP’s programme is guided by a thematic axis