Art
Laje Collection gains visibility for peripheral production
Present in at least five recent exhibitions, three of which are still on display, the Bahian Acervo da Lage is one of the most original initiatives in...
Lina Bo Bardi's project for MAM São Paulo gains exposure
New exhibition at MAM São Paulo presents the renovation project carried out in the early 1980s by Italian-Brazilian architect Lina Bo Bardi. With...
Criticism and eroticism temper the exhibition 'Moqueca de husbands'
The gallery A Gentil Carioca arrived in São Paulo a year and a half ago and installed its expanded space in a charming cul-de-sac,...
Seminars arte!brasileiros wins Antônio Bento Award from ABCA
Two certainties guide these meetings: creating bridges and believing that art focuses the knowledge of subjects of their time
Stratagems to resist fascism
With 134 artists and collectives to date (new enlistments are expected throughout its duration, until January 28, 2024), the...
New works arrive at the MAM São Paulo Sculpture Garden
An installation by Amelia Toledo, recently integrated into the collection, and temporary works by Alexandre Brandão, DetanicoLain, Frida Baranek and Raphael Escobar are the new...
Retrospectives
Read the editorial of issue #64 of arte!brasileiros, by Patricia Rousseaux
Impasse persists on the issue of the Paulo Gustavo Law notices in São Paulo
A meeting on the morning of this Tuesday, 26th, in São Paulo, between the Secretary of Culture, Economy and Creative Industry of São Paulo, Marília Marton,...
35th São Paulo Biennial: Ana Pi
"A dialogue in displacement and between generations": this is how Ana Pi defines the work she developed in partnership with Taata Kwa Nkisi Mutá Imê, priest...
35th São Paulo Biennial: Luana Vitra
Iron is the backbone of Luana Vitra's research and magnetizes the installation she created especially for the 35th Biennial of...
35th São Paulo Biennial: Castiel Vitorino Brasileiro
The association between diverse art practices and accurate research into colonial violence perpetrated against the material and spiritual culture of origin...
35th São Paulo Biennial: The dance of the possible
The way we perceive the reality of life in society is dialectically affected by the experiences we develop in it, by the multiplicity of relationships constructed and...
Historic victory for indigenous peoples: STF overturns the insidious Temporal Framework thesis
The Federal Supreme Court (STF), on the afternoon of this Thursday, 21st, decided to refute, by majority, the Temporal Framework thesis as a criterion for the demarcation...
MinC supports artists and reinforces that the Paulo Gustavo Law is for assistance and...
In a public hearing with dozens of artists, producers and culture managers on the afternoon of Wednesday, 20th, at the Legislative Assembly, in the capital of São Paulo,...
Traumas of the slavery regime are addressed in a Hollywood scenario
Exhibition with 12 black artists, 'An ocean to wash your hands' opens Centro Cultural Sesc Quitandinha, in Petrópolis
Forrobodó, or 20 years of A Gentil Carioca
Like few art galleries, A Gentil Carioca transforms its special openings into a huge street party. Last Saturday, it was no different: the...
Jacques Leenhardt analyzes the work of Wifredo Lam
The French philosopher and critic is president of the Association of Friends of Wifredo Lam in Paris, a scholar of the Cuban artist's production
The great choir of black, indigenous and LGBTQIAPN+ voices
With 121 artists and participants, the majority of whom are non-white, Choreographies of the Impossible addresses the ruins of modernity to affirmative action by collectives
Poetry in transit
With an emphasis on collective and transdisciplinary practices, the 35th Bienal de São Paulo calls into question the Eurocentric view of art
“Dos Brasis – Arte e Pensamento Negro” encourages Afro-Brazilian production
With general curatorship by Igor Simões, the exhibition brings together 240 artists from all Brazilian states who present works in different artistic languages. A...
At Galeria Estação, “Reversos e Transversos” seeks to dissolve the dichotomy between popular and erudite art
Curated by Ayrson Heráclito, the exhibition establishes parallels between popular artists segregated by the art system and established names, with whom they maintain approximations, in different biennials, over seven decades
To forget? Never! To remember? Ever!
In his book Sculpting Time, Russian filmmaker Andrei Tarkovsky (1932-1986) reminded us that: "time constitutes a condition of the existence of our...
ECA visual arts students plan to start protests against USP from...
Due to a lack of teachers, the Visual Arts course at the School of Communications and Arts (ECA) at the University of São Paulo canceled 11 subjects a week ago...
Fernando Leite uses photography as a guide for his creation
Fernando Leite is on display at Paço Imperial, in downtown Rio de Janeiro, with his individual exhibition, Ex-Otica. The show is curated by...
Marta Minujín live and in full color
The transforming dimension of art creates characters that stand out from the rest for their creative force and inexhaustible continuity. Marta Minujin: Live, on display...
The modernist lady?
Which led me to read the entire biographical novel by Luiza Lobo, Fábrica de Lies: from Vale do Café to Arco...
a collaborative network
BIENALSUR crosses national and international borders with the aim of bringing to light actions centered on urgent issues
The museum belongs to the artists
The director of the Castello di Rivoli in Turin, Carolyn Christoph-Bakargiev announces retirement to 'have time to think'
Urgent agendas
Recently released by Edusp, 'Cultural Emergencies' investigates the changes in relations between cultural institutions, public policies and artists accelerated by the pandemic
Concrete
Representation has already been in question throughout a History of Western Art, and its annihilation has already been a goal in favor of a pure, technical art, free of iconographic narrative. Concretism, as an artistic movement, reinforced the forms, planes, colors, materials, spatiality, and, mainly, the non-subjectivity of art as art-itself
