Ismaïl Bahri, 'Soundings', 2017



Ismaïl Bahri, 'Soundings', 2017

Ismail Bahri: Instruments, solo show at Espaço Cultural Porto Seguro, opening on 22/5.

Signed by Marie Bertran, independent curator, and by Marta Gili, director of the Jeu de Paume, in Paris, the exhibition brings together nine video installations by the visual artist, most of them presented at the Parisian contemporary art center between June and September 2017. In São Paulo, the show – the artist's first solo show in Latin America – is co-organized by Expomus Exposições, Museus, Projetos Culturais Ltda.

Alexandre Copês, 's/t'.

Arte Current Festival: demonstration by absurdity, press conference at Instituto Tomie Ohtake, until 3/6.

Alexandre Copês, Arthur Chaves, Carina Levitan, Carolina Caliento, Guilherme Peters, Paul Setubal and Pedro Hórak are the artists present in the collective that marks the presence of Tomie Ohtake at Festival Path. Curated by Paulo Miyada and his team from the institution's Research and Curation Center, the show is based on the “mathematical concept of proof by contradiction or reduction to absurdity”.

Eleonore Koch, 'Untitled', 1982.

Least common multiple, collective at Pina Estação, opening on 19/5.

The exhibition, which is curated by José Augusto Ribeiro, curator of the Pinacoteca, presents works characterized by simple, flat and synthetic figurations, sometimes bordering on abstraction. These images reproduce, in general, scenes of solitude – through the isolation of beings and objects or through empty spaces, without human presence.

Mira Schendel, 'Untitled' from the Sarrafos series, 1987.

Mira Schendel: Slats and Blacks and Whites, solo show at Bengamin & Gomide, opening on 22/5.

Produced on a totally white base, on which a black wooden stem stands out, in the battens “the three-dimensional character of the element ends up effectively transforming the game, by materializing what, in principle, should be virtual and illusionistic. Developed between 1985 and 1987, the series Black and White, which precedes battens, is 'lyrical' as its emphasis is on movement and space. They are tempera and plaster paintings that, from a distance, refer to flat panels punctuated by arches and lines. However, upon closer inspection, they reveal slight variations in texture that cast shadows and form subtle sculptural reliefs.

Maria Laet, 'Pneuma I', 2016.

Maria Laet: Poro, solo show at A Gentil Carioca, opening on 19/5.

“The relationships between nature and culture, spheres that overlap and articulate plastically and sensorially different perceptions of life and its layers of time” are the basis for the investigation of the artist’s repertoire in this exhibition, curated by Bernardo José de Souza.

Marcelo Moscheta, 'The Natural History and Other Ruins (Chapter 15), 2018

Marcelo Moscheta: Natural History and Other Ruins, individual in Galeria Vermelho, opening on 22/5.

Marcelo Moscheta observes the transformations in the natural landscape, whether made by man, by himself as an agent, or by natural processes of erosion and sedimentation. The artist presents works made using different techniques that give these metamorphoses a monumental or iconographic character. By proportionally juxtaposing man and nature as motivators of these transformations, Moscheta humanizes nature, bringing it closer to a personalized spirit.

Ivens Machado, 'Untitled' (Performance with surgical bandage), 1973–2018. PHOTO: Ivens Machado/David Geiger Collection

Ivens Machado: body and construction, solo show at Carpintaria da Fortes D'Aloia & Gabriel, opening on 19/5.

The show features six sculptures made between 1991 and 2006, a photographic triptych based on the Performance with surgical bandages, from 1973, and a series of photos with unpublished records of the same performance, edited from the recovery of the artist's negatives.


Guy Debord and Raoul Vaneigem, creators of the Situationist International.

Situationism: 50 years, lecture at Adelina Galeria, on 19/5.

In this lecture, given by art history professor Magnólia Costa, the formation of the Situationist International, its connections with the visual arts and the movement's political program, according to Guy Debord's theory, will be discussed.


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