Contemporary Art in the Americas Arte Contemporáneo en las Américas
A Gentil Carioca Jaqueline Martins A Gentil Carioca Jaqueline Martins

A Gentil Carioca Jaqueline Martins

Curated by Ricardo Sardenberg

Galeria Jaqueline Martins São Paulo, Brazil 04/08/2017 – 05/13/2017

Artists: 3Nós3, Adriano Amaral, Ana Mazzei, Arjan Martins, Bill Lundberg, Cabelo, Charbel-joseph H. Boutros, Daniel de Paula, Débora Bolsoni, Guga Ferraz, Hudinilson Jr., Ícaro Lira, Jarbas Lopes, João Modé, José Bento, Lais Myrrha, Laura Lima, Lydia Okumura, Maria Laet, Maria Nepomuceno, Martha Araújo, Opavivará, Paulo Paes, Renata Lucas, Ricardo Basbaum, Rodrigo Torres, Stuart Brisley, Thiago Rocha

Installation view. Courtesy: Galeria Jaqueline Martins. Photo: Ding Musa. Installation view. Courtesy: Galeria Jaqueline Martins. Photo: Ding Musa. Installation view. Courtesy: Galeria Jaqueline Martins. Photo: Ding Musa. Artists: 3Nós3, Adriano Amaral, Ana Mazzei, Arjan Martins, Bill Lundberg, Cabelo, Charbel-joseph H. Boutros, Daniel de Paula, Débora Bolsoni, Guga Ferraz, Hudinilson Jr., Ícaro Lira, Jarbas Lopes, João Modé,

32nd São Paulo Biennial 32nd São Paulo Biennial

32nd São Paulo Biennial

By Cristiana Tejo São Paulo, Brazil 09/10/2016 – 12/11/2016

When the São Paulo Biennial was established in the 1950s, Brazil was considered a country of the future. Besides its welcoming atmosphere for immigrants, a fast and steady rhythm of economic growth and industrialization made the country a fertile terrain for new and modern utopic experiments. The Biennial was originally conceived by an Italian, industrial

Bené Fonteles, Antes arde do que tarde, 1977, perfomance ritualista grabado en el Instituto Cultural, Salvador, Bahia. Cortesía de Fundação Bienal de São Paulo. Cuando se fundó la Bienal de São Paulo en los años 50s, Brasil era considerado un país del futuro. Además de su atmósfera acogedora con los inmigrantes, un ritmo veloz y

Apodi 69

Apodi 69

Sara Ramo

Pivô São Paulo, Brazil 09/19/2015 – 11/07/2015

Pivô continues its 2015 annual exhibition program with the support of master sponsor Qualicorp, presenting Apodi 69, a group show that came from the desire of a group of artists to do an exhibition together for the first time. Between 2003 and 2008, artists Cinthia Marcelle, Lais Myrrha, Marilá Dardot, Matheus Rocha Pitta and Sara

Pivô continues its 2015 annual exhibition program with the support of master sponsor Qualicorp, presenting Apodi 69, a group show that came from the desire of a group of artists to do an exhibition together for the first time. Between 2003 and 2008, artists Cinthia Marcelle, Lais Myrrha, Marilá Dardot, Matheus Rocha Pitta and Sara

O instante interminável O instante interminável

O instante interminável

Lais Myrrha

Galeria Jaqueline Martins São Paulo, Brazil 08/11/2015 – 10/10/2015

“The Destructive Character” (1931) by Walter Benjamin, and “Na Europa, a casa do homem ruiu” [In Europe, Man’s Home has Collapsed] (1947), by Lina Bo Bardi. It could equally be Claude Lévi-Strauss’ commentary on modern cities in “Tristes Tropiques” (1955), or Albert Camus’ profile of the absurd man in “The Myth of Sisyphus” (1942), or even W. G. Sebald’s

“The Destructive Character” (1931) by Walter Benjamin, and “Na Europa, a casa do homem ruiu” [In Europe, Man’s Home has Collapsed] (1947), by Lina Bo Bardi. It could equally be Claude Lévi-Strauss’ commentary on modern cities in “Tristes Tropiques” (1955), or Albert Camus’ profile of the absurd man in “The Myth of Sisyphus” (1942), or even W. G. Sebald’s