Contemporary Art in the Americas Arte Contemporáneo en las Américas
Todo listo para ARCO 2020 con 210 galerías de 30 países. Madrid del 26 de febrero al 1 de marzo Todo listo para ARCO 2020 con 210 galerías de 30 países. Madrid del 26 de febrero al 1 de marzo

Todo listo para ARCO 2020 con 210 galerías de 30 países. Madrid del 26 de febrero al 1 de marzo

IFEMA – Feria de Madrid Madrid February 26, 2020 – March 1, 2020

ARCOmadrid 2020 February 26 – March 1, 2020 IFEMA • Feria de Madrid Avda. del Partenón, 5 28042 Madrid For more information: ARCOmadrid Facebook / Instagram / Twitter / Artsy ARCOmadrid, which will hold its 39th edition from February 26 to March 1, will feature the participation of a total of 210 galleries from 30 countries, who will converge on the Spanish capital

ARCOmadrid 2020 26 febrero – 1 marzo, 2020 IFEMA • Feria de Madrid Avda. del Partenón, 5 28042 Madrid Para más información: ARCOmadrid Facebook / Instagram / Twitter / Artsy ARCOmadrid 2020, que celebrará su 39ª edición del 26 de febrero al 1 de marzo, contará con la participación de un total de 210 galerías de 30 países que se darán cita en la capital

Ressaca Ressaca

Ressaca

Lucas Simões

Casa Triângulo São Paulo, Brazil 08/11/2018 – 09/15/2018

The Portuguese word ressaca translates to either “hangover” or “undertow” in English—in both cases meaning an aftermath or something that produces an effect. The abnormal movement of the undertow of large waves. The physical symptoms that appear when the toxic effects begin to leave the body. The nausea and the storm surge that submerges the

Ressaca, 2018. Courtesy of Casa Triângulo Series you text nothing like you look, 2018. Courtesy of Casa Triângulo Bruno de Almeida. Exhibition view of Ressaca at Casa Triângulo, São Paulo, 2018. Courtesy of  Casa Triângulo The Portuguese word ressaca translates to either “hangover” or “undertow” in English—in both cases meaning an aftermath or something that produces an effect. The abnormal

Building Material: Process and Form in Brazilian Art

Building Material: Process and Form in Brazilian Art

Rodrigo Cass, Ivens Machado, Paulo Monteiro, and more...

Hauser & Wirth Los Angeles, California, USA 09/14/2017 – 10/18/2017

The exhibition begins with a series of geometric abstractions rendered in Formica by de Barros, along with silver gelatin photographs from both the beginning and end of his career. In their use of Formica, a plastic laminate that became particularly popular and even ubiquitous in Brazilian homes, offices, and stores during the postwar era, de

Erika Verzutti, Flowers, 2017. Papier mache, polystyrene and wax. 53 x 66 x 8 cm | 20 7/8 x 26 x 3 1/8 in. Courtesy Fortes D’Aloia & Gabriel. Photo: Ding Musa Erika Verzutti, Dark Matter, 2016. Papier mache and styrofoam. 51 x 76 x 11 cm | 20 1/8 x 29 7/8 x 4 3/8

White Lies

White Lies

Lucas Simões

Lora Reynolds Gallery Austin, Texas, USA 04/08/2017 – 05/27/2017

Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper, and sometimes thin sheets of wood, copper, or brass. Simões precisely aligns hundreds of sheets of paper and pinches them between or drapes them over concrete forms without internal supports or glue —only gravity

Lucas Simões, White Lies 7, 2017. Concrete, paper, gold leaf, and steel. 57 x 13-1/4 x 10-3/4 inches. Courtesy of the artist. Installation view. Courtesy of the artist. Installation view. Courtesy of the artist. Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper,