Contemporary Art in the Americas Arte Contemporáneo en las Américas
Tem que manter isso aí, viu?

Tem que manter isso aí, viu?

Evandro Prado

Centro Cultural São Paulo São Paulo, Brazil 05/25/2019 – 08/25/2019

President of the Republic for two consecutive terms, Dilma Rousseff began to appear systematically in the mass media when she became a candidate in 2010 for the highest political office in Brazil. Since then, the visual artist Evandro Prado, owner of a critical interest in institutions such as religious groups, police and the press, has

Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos Evandro Prado, Tem que manter isso aí, viu? (2019). Installation view. Image courtesy of Tiago Santos President of the Republic for two consecutive

Verbo 2019 (15ª edición), Brasil Verbo 2019 (15ª edición), Brasil

Verbo 2019 (15ª edición), Brasil

São Paulo & São Luís, Brasil 07/09/2019 – 07/18/2019

Verbetes Galeria Vermelho – São Paulo (SP) Chão SLZ  – São Luís (MA) Re(o)cupa – São Luís (MA) Curated by: Marcos Gallon and Samantha Moreira The historical relation between Brazil and the artistic movements derived from live arts has evolved considerably from it’s more “centralized” beginnings in the 60s to it’s current practice which spreads

Verbetes Galeria Vermelho – São Paulo (SP) Chão SLZ  – São Luís (MA) Re(o)cupa – São Luís (MA) Curaduría por: Marcos Gallon y Samantha Moreira La relación histórica entre Brasil y los movimientos artísticos derivados de las artes vivas ha evolucionado considerablemente desde sus comienzos más “centralizados” en los años sesentas hasta su práctica actual

Vaivém Vaivém

Vaivém

Curaduría por Raphael Fonseca

Centro Cultural Banco do Brasil São Paulo, Brasil 05/21/2019 – 07/29/2019

El Centro Cultural Banco do Brasil en São Paulo presenta la exposición Vaivém, presentando las hamacas de las artes y la cultura visual en Brasil. Con más de 300 obras de los siglos XVI al XXI y la participación de 141 artistas, entre ellos 32 artistas indígenas, el proyecto es comisariado por Raphael Fonseca —crítico,

Vaivém (2019). Vista de instalación. © Edson Kumasaka. Imagen cortesía de Raphael Fonseca Carmézia Emiliano, Haciendo hamacas (2013). © Edson Kumasaka. Imagen cortesía de Raphael Fonseca Vaivém (2019). Vista de instalación. © Edson Kumasaka. Imagen cortesía de Raphael FonsecaEl Centro Cultural Banco do Brasil en São Paulo presenta la exposición Vaivém, presentando las hamacas de las

Voz ativa: Biblioteca social Voz ativa: Biblioteca social

Voz ativa: Biblioteca social

Mariana Lanari

Casa do Povo São Paulo 07/02/2019 – 07/27/2019

Voz Ativa: Biblioteca Social (Active Voice: Social Library) is an inedited installation that proposes to reactivate the Casa do Povo library, a space that remained closed for 40 years. The proposition of artist Mariana Lanari consists of distributing the institution’s collection of more than 8 thousand books over a 500 square meters surface during the exhibition period. The books

Mariana Lanari, Voz ativa: Biblioteca social (2019). Vista de instalación. Foto por Carol Quintanilha, cortesía de Casa do Povo Mariana Lanari, Voz ativa: Biblioteca social (2019). Vista de instalación. Foto por Carol Quintanilha, cortesía de Casa do Povo Mariana Lanari, Voz ativa: Biblioteca social (2019). Vista de instalación. Foto por Carol Quintanilha, cortesía de Casa do Povo Voz

A noite não adormecerá jamais nos olhos nossos A noite não adormecerá jamais nos olhos nossos

A noite não adormecerá jamais nos olhos nossos

Curaduría por Carollina Lauriano

Baró Galeria São Paulo, Brasil 06/01/2019 – 07/20/2019

A noite não adormecerá jamais nos olhos nossos surge de la necesidad de discutir la pluralidad de idiomas, medios de comunicación e investigación que están produciendo las mujeres racializadas en todo el país. La muestra se compone de trabajos que se desarrollaron durante una inmersión de cuatro semanas y de trabajos preseleccionados. La exposición colectiva

A noite não adormecerá jamais nos olhos nossos (2019). Vista de instalación. Foto por Wallace Domingues A noite não adormecerá jamais nos olhos nossos (2019). Vista de instalación. Foto por Wallace Domingues A noite não adormecerá jamais nos olhos nossos (2019). Vista de instalación. Foto por Wallace Domingues A noite não adormecerá jamais nos olhos

Instant Weather Prediction Instant Weather Prediction

Instant Weather Prediction

Eduardo Navarro

Pivô São Paulo 06/15/2019 – 07/27/2019

Continuing its annual exhibition program of 2019, Pivô presents Instant Weather Prediction: the first solo show by the Argentinian artist Eduardo Navarro in Brazil. In his work Eduardo Navarro investigates possible points of convergence between art and science, dedicating special attention to the possibility of dialogue between natural forces and species. The artist frequently works with

Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Eduardo Navarro, Instant Weather Prediction (2019). Performace. Photo by Julia Thompson Continuing its annual exhibition program of 2019, Pivô presents Instant Weather Prediction: the first solo show by the Argentinian artist Eduardo Navarro in

Djanira: Picturing Brazil Djanira: Picturing Brazil

Djanira: Picturing Brazil

Djanira da Motta e Silva

Museu de Arte de São Paulo São Paulo, Brazil 03/01/2019 – 05/19/2019

This is the first large monographic exhibition dedicated to the work of Djanira da Motta e Silva (Avaré, São Paulo, 1914–1979, Rio de Janeiro) since her death, forty years ago. Largely self-taught and coming from a working background, the artist emerged on the Brazilian art scene in the 1940s. Although she developed a solid career

Djanira da Motta, Candomblé (Estudo de mural) (1967). Guache, 60 x 90 cm, Museus Castro Maya collection – IBRAM/MinC, Rio de Janeiro, photo: Jamie Acioli Djanira da Motta, Onírico (1950). Oil on canvas, 70,5 x 89,5 cm, Evandro Carneiro collection, Rio de Janeiro, photo: Jaime Acioli Djanira da Motta, Mina de Ferro, Itabira, MG (1976). Acrylic on wood, 220,5 x

Litro por kilo Litro por kilo

Litro por kilo

Rodrigue Mouchez & Mano Penalva

Massapê Projetos São Paulo, Brazil 04/06/2019 – 04/13/2019

Permutable Una lona amarilla estirada de las cuatro esquinas del espacio filtra la luz que cae del techo de la sala. Un dibujo realizado con hojas de palmas cubre gran parte de los muros alterando la textura de las paredes y creando motivos aparentemente aleatorios. Dos paraguas de fieltro—usados por los vendedores ambulantes como mostradores

Rodrigue Mouchez, Dois copos Jamaica (2019). Hibiscus tinted wood, fixative, glasses, water, rubber band, nail. 16 x 32 x 20 cm. Exhibition view of Litro por kilo, Massapê Projetos, São Paulo, Brazil, 2019 Exhibition view of Litro por kilo, Massapê Projetos, São Paulo, Brazil, 2019 Mano Penalva, Céu cruzado (detail) (2019). Felt umbrella, plastic pearl earings,

Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil

Rosana Paulino: The Sewing of Memory, at Pinacoteca de São Paulo, Brazil

By Amanda Carneiro São Paulo, Brazil 12/08/2018 – 03/04/2019

Given the extraordinary and consistent artistic production of Rosana Paulino, now on display at the Pinacoteca del Estado de Sāo Paulo, it seems reasonable to question why it took so long to be able to enjoy a monographic exhibition of the artist in a grand Brazilian institution. The exhibiton, extensive, goes through her work of

Rosana Paulino: a costura da memória. Vista de instalación en Pinacoteca de São Paulo, 8 de diciembre, 2018 – 4 de marzo, 2019. Fotografía: Isabella Matheus / Pinacoteca. Imagen cortesía de Pinacoteca de São Paulo Ante la extraordinaria y consistente producción artística de Rosana Paulino, ahora en exhibición en la Pinacoteca del Estado de São

Conversations in Gondwana Conversations in Gondwana

Conversations in Gondwana

Curated by Juliana Caffé and Juliana Gontijo

São Paulo Cultural Center São Paulo, Brazil 02/07/2019 – 04/07/2019

Conversations in Gondwana is a platform of research and experimentation in contemporary art between countries of the global South. For the first edition of the project, curators Juliana Caffé and Juliana Gontijo invited five duos formed by artists from South Africa and Brazil to keep in contact during a year. These exchanges resulted in the

Ana Hupe, Muito futuro para uma só memória (2017). Photography. Courtesy of the artist Cinthia Marcelle and Jean Meeran, Capa Morada (2003). Photo series. Courtesy of the artists and Vermelho Gallery Marcelo Moscheta, Equalizador para horizontes distantes (2014). Photography. Courtesy of the artist Conversations in Gondwana is a platform of research and experimentation in contemporary