Contemporary Art in the Americas Arte Contemporáneo en las Américas
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

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

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

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

USD to BRL USD to BRL

USD to BRL

Herbert De Paz

Caixa Preta Río de Janeiro, Brasil 04/27/2019 – 05/04/2019

En su primera exposición individual en la Ciudad de Rio de Janeiro, Herbert De Paz nos provoca a pensar las variantes del mercado financiero, la cotización del dólar y sus interferencias simbólicas, sociales y políticas en América Latina. El artista trae en sus trabajos una refinada construcción visual que permea una cartografía de su imaginario

Herbert De Paz, USD to BRL (2019). Vista de instalación. Imagen cortesía del artista Herbert De Paz, USD to BRL (2019). Vista de instalación. Imagen cortesía del artista Herbert De Paz, USD to BRL (2019). Vista de instalación. Imagen cortesía del artista En su primera exposición individual en la Ciudad de Rio de Janeiro, Herbert De Paz nos provoca a pensar

Beleza e Devastação ou Eterno Retorno Beleza e Devastação ou Eterno Retorno

Beleza e Devastação ou Eterno Retorno

Curated by Bernardo José de Souza and Bernardo Mosqueira

Solar dos Abacaxis Rio de Janeiro, Brazil 03/30/2019 –

Havoc and Allure or Eternal Return Right on the edge between the forest and the city, in the hybrid zone where the animal meets the human and the past haunts the future, had been hidden a fountain of living water. Under the shadows of Solar dos Abacaxis, generations of men and women speculated about its fate, believing the spurt had dried still at

Daniel Santiso and Max Willa Morais, Treaties on Occasion IV (after Pau-Brazil), 2019. Installation view. Intervention, banners measuring 5 m x 0,5 m. © Renato Mangolin. Image courtesy of Solar dos Abacaxis Max Willa Moraes, Constellations (from the Curve series), 2013-2019. Egg shells, silver cups. Variable dimensions. Installation view. © Renato Mangolin. Image courtesy of Solar

Baile da Aurora Sincera Baile da Aurora Sincera

Baile da Aurora Sincera

Curated by Bernardo Mosqueira

Solar dos Abacaxis Rio de Janeiro, Brazil 02/09/2019 – 02/09/2019

Artists: Ana Clara Tito, Ana Matheus Abbade, Arthur Chaves, Bárbara Wagner, Benjamin de Burca, Bruna Amaro, Carlos Vergara, Denilson Baniwa, Enrica Bernardelli, Fernanda Zerbini, Hélio Oiticica, Jo Serfaty e Mariana Kaufman, Juliana dos Santos, Maria Palmeiro, Marcos Chaves, Mariana Paraizo, Mariwô, Nathalie Nery, Natali Tubenchlak, Opavivará!, Rafael Bandeira, Rivane Neuenschwander e Cao Guimarães, Tiago Sant’Ana Curatorship:

Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Baile da Aurora Sincera (2019). Installation view. Image courtesy of MANJAR Artists: Ana Clara Tito, Ana Matheus Abbade, Arthur Chaves, Bárbara Wagner, Benjamin de Burca, Bruna Amaro, Carlos Vergara, Denilson Baniwa, Enrica Bernardelli, Fernanda

Riposatevi Riposatevi

Riposatevi

Lúcio Costa

MAC Niterói Niterói, Río de Janeiro, Brasil 12/18/2018 – 03/17/2019

Reinstallation of a show conceived by the great architect and urbanist Lúcio Costa for the Milan Triennial architecture exhibition in 1964, when Brazil participated for the first time. The event took place following the military coup and four years after the inauguration of Brasília. “Each country was free to think about their participation in this

Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Lucio Costa, Riposatevi (2018). Vista de instalación. Foto por Rafael Salim Era el año de 1964. La Trienal de Milán, evento dedicado al diseño y a la arquitectura, llegaba a su décima tercera edición.

Anna Bella Geiger: Circa MMXVIII Anna Bella Geiger: Circa MMXVIII

Anna Bella Geiger: Circa MMXVIII

Anna Bella Geiger

Solar dos Abacaxis Río de Janeiro, Brasil 09/29/2018 –

Curaduría y texto por Bernardo Mosqueira A mediados del siglo XX, cuando ya era un edificio centenario, el Solar dos Abacaxis pasó a tener como propietaria a una importante poeta y feminista brasileña llamada Anna Amélia de Queiroz Carneiro de Mendonça. Esta enérgica visionaria defendía los derechos de las mujeres y de lxs estudiantes e

Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar dos Abacaxis, 2018. Foto por Renato Mangolin. Imagen cortesía de Solar dos Abacaxis Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar dos Abacaxis, 2018. Foto por Renato Mangolin. Imagen cortesía de Solar dos Abacaxis Anna Bella Geiger. CIRCA MMXVIII. Vista de instalación en Solar

Body and Construction

Body and Construction

Ivens Machado

Carpintaria Rio de Janeiro, Brazil 05/19/2018 – 07/28/2018

  Carpintaria, Fortes D’Aloia & Gabriel’s venue in Rio de Janeiro, presents Corpo e construção [Body and Construction], Ivens Machado’s first gallery exhibition after his sudden passing in 2015. The show presents six sculptures made from 1991 to 2005, a photo tryptic from Performance with Surgical Bandages, 1973, and a series of photographic records of

Ivens Machado. Corpo e construção [Body and Construction]. Exhibition view at Carpintaria, Rio de Janeiro, 2018. © Acervo Ivens Machado. Photo: Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de JaneiroIvens Machado. Sem título [Untitled], 2002. Iron, pigment and cement, 245 x 21 x 22 cm. © Acervo Ivens Machado. Photo: Eduardo Ortega. Courtesy Fortes