Rogério Reis, Na Lona series, Rio de Janeiro (1987-2002) Campo Grande, 1997, Rio de Janeiro, 1987-2002, Hasselblad with Tri-X film, 120 mm (silver salts), Mineral pigment print on cotton paper , 50 x 60 cm


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Nelson Leirner, 'Football', 2001

The three-dimensional in the Marcos Amaro collection: front, bottom, above, below, sides. Volume, shape and color, collective exhibition at Fábrica de Arte Marcos Amaro, in Itu, opening on 23/6.

Inaugural exhibition of the Marcos Amaro Art Factory, in Itu. Curated by Ricardo Resende, the show features a clipping from the collection of collector, artist and entrepreneur Marcos Amaro. The exhibition brings together around 50 works, including paintings, sculptures, reliefs and installations. They are creations by artists of different generations and influences, from the Baroque to the contemporary, including the modernists.

Rogério Reis, Na Lona series, Rio de Janeiro (1987-2002) Campo Grande, 1997, Rio de Janeiro, 1987-2002, Hasselblad with Tri-X film, 120 mm (silver salts), Mineral pigment print on cotton paper , 50 x 60 cm

Afro-Atlantic Stories, collective at Masp and Instituto Tomie Ohtake, from 28/6.

Listed as the biggest exhibition of the year, it features around 400 works by more than 200 artists, both from the MASP collection and from Brazilian and international collections, including drawings, paintings, sculptures, films, videos, installations and photographs, as well as documents and publications, of African, European, Latin and North American, Caribbean art, among others. On Saturday, the 30th, part of the exhibition will also be inaugurated at Instituto Tomie Ohtake.

Hector Ragni, “Número Uno”, 1936

Sensible Constructions: the Latin American geometric experience in the Ella Fontanals-Cisneros collection, collective at the Centro Cultural Banco do Brasil in Rio de Janeiro, opening on 27/6

The exhibition brings to Brazil a slice of abstraction in our continent. Along with the important legacy of Brazilian Concretism and Neo-Concretism, the abstract poetics that thrived in other countries from the 1930s onwards are presented. destroyed in a tragic fire in 1978, when it occupied the MAM Rio de Janeiro. Several artists presented on that historic occasion are present, along with contemporary artists who point to the directions of current abstraction.

Bruno Dunley, “In the middle”, 2016

Bruno Dunley: In the middle e Fabio Miguez: Fragments of the Real (Shortcuts), solo exhibitions at Galeria Nara Roesler, in São Paulo, opening on 23/6
Both artists belong to generations marked by the resumption of painting, 2000 and 80 respectively, and share historical references of the pictorial universe. All these aspects will be addressed in a conversation open to the public between artists and critics Rodrigo Moura and Tadeu Chiarelli, on August 04th.

José Alberto Nemer, 'Untitled'

José Alberto Nemer: Recent Watercolors – Residual Geometry, solo show at the Minas Tênis Clube Cultural Center Art Gallery, opening on 24/6.

Watercolors appeared differently in the artist's life. “It was through a psychoanalytic process. I asked the analyst if I could make a report using watercolors”, says Nemer. From there came the first series, entitled “Illusions Cotidianas”, exhibited in the 1980s in São Paulo and at the Bienal de Cuba. The artist became fond of the technique and never stopped. According to Nemer, the watercolor form shows his personality. “The technique suited my introspection and silence. My language became 100% watercolor”, he says.



Leda Catunda “O Nove e o Vilho ll”, 2013,

Transformers: Catunda, Chaves, France, Rauschenberg, press conference at AURORAS, opening on 23/6.

The appropriation of images is a practice that has dramatically intensified in recent decades. Since then, incorporating images from the most diverse origins is one of the characteristics of contemporary production, often mixing different materials and techniques. The Transformers exhibition, at auroras, highlights the diverse use of image that is articulated by Leda Catunda, Arthur Chaves, Pedro França and Robert Rauschenberg.

Manuella Karmann, “Mata”, 2017

General Fields, collective at Adelina Galeria, until 24/8.

Josué Mattos, the exhibition's curator, recognizes the importance of the meeting of the three artists due to the fact that “they reside in areas where the biomes suffer great degradation. Daniel Caballero and Miguel Penha preserve interests in the Cerrado landscape, putting the subject in vogue in their investigations. Manuella Karmann, in turn, works directly in Serra da Mantiqueira, in a reforestation area, resisting the frantic transformation of the biome into pasture.”

Yoko Nishio, “Bemtevi”

Indiscreet lights between conical hills, opening exhibition at Galeria Simone Cadinelli Arte Contemporânea, until 8/8.

Marcelo Campos' proposal with this exhibition is to unite works that deal with ideas related to light, the body and the landscape. He was based on the report of travelers who came across Brazilian cities and on three concepts that became evident: light, the overflowing landscape and the gentile. The show features Anna Kahn, Brígida Baltar, Claudio Tobinaga, Hugo Houayek, Jimson Vilela, Leo Ayres, Lívia Flores, Osvaldo Gaia, Roberta Carvalho, Robnei Bonifácio, Thiago Ortiz, Tiago Sant'Ana and Yoko Nishio.



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