Performance São Paulo Companhia de Dança at the Detanico Lain show. PHOTO: Fábio Furtado

Four major exhibitions occupied the rooms of the Espaço Cultural Porto Seguro in 2019. There were three individual and one collective that were presented by the institution throughout the year.

From January to April, the Brazilian duo based in France Detanico Lain, took a “garden of codes” to the ECPS exhibition space. Curated by Rodrigo Villela, director of the institution, the show brought together 14 works by the artists, who had some relationship with the idea of ​​light. After all, it is the light that indicates the passage of time, which permeates all works at some point. And it is the light that keeps a garden alive and strong. Remember article published in ARTE!Brasileiros 46 by clicking here. Check out below the performance “The quadrature of the circle”, made in partnership with SP Companhia de Dança for the show.

Subsequently, the collective exhibition linked to the public notice New Effervescence, launched last year, took works by artists such as Arnaldo Pappalardo, Tiago Mestre and Angella Conte to space. The public notice invited “artists to explore the permeability of the institution for the current dialogues of creation”. The judging commission was formed by Isabella Lenzi, Jacopo Crivelli Visconti and Ricardo Ribenboim.

In August, it was time for the retrospective Wrong so Well, which explored the trajectory of photographer Carlos Moreira. Learn more in text by Helio Campos Mello, published in our 48th issue. In this retrospective, around 400 photos were presented, chosen by curators Fábio Furtado, Regina Martins and Rodrigo Villela, in a curatorial work that began in January and delved into the archives of more than 50 years of the photographer's work.

Finally, and on display until February 2, 2020, open to free visitation, an individual with important works by the Venezuelan artist Carlos Cruz-Diez is mounted at ECPS. The artist, who died in July of this year, helped throughout the design process of the show, being the last of his exhibitions that had his look. In addition to the chromatic works of Cruz-Diez, the freedom of color exhibits black and white photographs he took early in his career. Read about in text published in ARTE!Brasileiros 49.

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