Contemporary Art in the Americas Arte Contemporáneo en las Américas
Calçado de Monstro

Calçado de Monstro

Estileras

HOA - SP-Arte - MAI São Paulo, Brazil August 24, 2020 – September 30, 2020

Calçado de Monstro (Monster Shoes) is one of Estileras’ lines of research that arises from the tension created between abolishing divisions by gender, exposing fashion’s exclusionary hypocrisy and reframing the residues of this industry. Discarded shoes are transformed into wearable sculptures, symbols of rupture with the acceptable, and their mutation process is a proposal for

Boni wears Calçado de Monstro Falaram Desleixo made by them during the live performance Webseries Calçado de Monstro EP07. Photo taken right after it was created Brendy wears Calçado de Monstro made by her during the live performance Calçados de Monstro at SP-arte 2018. Photo taken right after it was created Enantios Dromos wears Calçado de

I AM NOT AN AFROFUTURIST I AM NOT AN AFROFUTURIST

I AM NOT AN AFROFUTURIST

biarritzzz

Pivô Satellite São Paulo, Brazil August 24, 2020 – September 24, 2020

biarritzzz is the second artist to be featured in the digital platform Pivô Satellite. EU NÃO SOU AFROFUTURISTA (I am not an afrofuturist) is a web-specific sound-visual album with 11 tracks and several collaborators, launched on August 24, 2020, as part of the digital exhibition ​O dias antes da quebra​ (The days before the crash),

biarritzzz, I AM NOT AN AFROFUTURIST (2020). Image courtesy of Pivô biarritzzz, I AM NOT AN AFROFUTURIST (2020). Image courtesy of Pivô biarritzzz, kAPTURA ou sURTAH remix (2020). Image courtesy of Pivô biarritzzz is the second artist to be featured in the digital platform Pivô Satellite. EU NÃO SOU AFROFUTURISTA (I am not an afrofuturist) is

Lightning rods for confusing energies Lightning rods for confusing energies

Lightning rods for confusing energies

Rebeca Carapiá

Pivô São Paulo, Brazil July 24, 2020 –

The installation Lightning rods for confusing energies, by Rebeca Carapiá, opens the project Pivô Satellite on July 24th. Relating 3D modelling, iron and copper, the work simulates in its performance an assembly guide as a strategy of collective emancipation and spirituality. Along with Carapiá, biarritzzz, Diego Araúja and Raylander Mártis dos Anjos are the artists

Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô Rebeca Carapiá, Lightning rods for confusing energies (2020). Video still. Image courtesy of Pivô The installation Lightning rods for confusing energies, by Rebeca Carapiá, opens the project Pivô Satellite on

Aglomeração

Aglomeração

Antonio Henrique Amaral

Instituto Tomie Ohtake São Paulo, Brazil June 28, 2020 –

Initially in a virtual format, the project will then go on to be featured in the cultural institute’s physical space with the aim of deepening the work—which at the current moment seems nearly premonitory—of one of the key Brazilian artists of the 20th century. — Some venues that seek to remain active in their role

Antonio Henrique Amaral, Consensus (1967). Woodcut. Image courtesy of Instituto Tomie Ohtake Antonio Henrique Amaral, De boca aberta (1966). Image courtesy of Instituto Tomie Ohtake Antonio Henrique Amaral, Bicho (2008). Image courtesy of Instituto Tomie Ohtake Initially in a virtual format, the project will then go on to be featured in the cultural institute’s physical space with the aim of deepening the

QUE VÃO QUE VEM

QUE VÃO QUE VEM

pedro frança & Victor Gerhard

Galeria Jaqueline Martins São Paulo, Brazil June 25, 2020 – August 25, 2020

Galeria Jaqueline Martins announces an online show using the gallery’s facilities, which are currently closed, as a springboard for virtual speculation. The rules that normally apply to exhibition facilities have been suspended in this digital environment. A bonfire burns in the middle of the exhibition room as a bored ghost, captured by security cameras, strolls

QUE VÃO QUE VEM (2020). Installation view. Image courtesy of Galeria Jaqueline Martins pedro frança, Sem título (fogo) (2020). Image courtesy of Galeria Jaqueline Martins Galeria Jaqueline Martins announces an online show using the gallery’s facilities, which are currently closed, as a springboard for virtual speculation. The rules that normally apply to exhibition facilities have been suspended

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