Contemporary Art in the Americas Arte Contemporáneo en las Américas
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

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

Sutur|ar Libert|ar Sutur|ar Libert|ar

Sutur|ar Libert|ar

Marcela Cantuária

Centro Municipal de Arte Hélio Oiticica Río de Janeiro, Brasil 06/01/2019 – 07/26/2019

En Tudo que é sólido se desmancha no ar (Todo lo que es sólido, se funde en el aire), Marcela Cantuária aborda dos conceptos: ruina y transformación. Los tanques militares y el contexto de la posguerra retratan la destrucción inherente a las políticas imperialistas y al sistema capitalista, mientras que, a través de la pantalla,

Marcela Cantuária, Sutur|ar Libert|ar (2019). Vista de instalación. Foto por Helena Borges, cortesía de la artista Marcela Cantuária, Sutur|ar Libert|ar (2019). Vista de instalación. Foto por Helena Borges, cortesía de la artista Marcela Cantuária, Sutur|ar Libert|ar (2019). Vista de instalación. Foto por Helena Borges, cortesía de la artista En Tudo que é sólido se desmancha no ar (Todo lo que es sólido, se funde