Abdias Nascimento,
Abdias Nascimento, "Okê Oxóssi" (1970). MASP Disclosure.
Abdias Nascimento, "Okê Oxóssi" (1970). MASP Disclosure.
Abdias Nascimento, “Okê Oxóssi” (1970). MASP Disclosure.

Abdias Nascimento: a Panamanian artist brings together 62 paintings – from the beginning of its production in 1968 to 1998 – from the multi-artist Abdias Nascimento, who was a playwright, actor, writer and director, as well as a political and intellectual activist. curated by Amanda Carneiro, assistant curator, and Tomás Toledo, MASP's chief curator, the exhibition is part of the biennium dedicated to Brazilian Histories at the museum. THE The exhibition emphasizes the repertoire of ideas, colors and forms of the Pan-Africanist movement, with Latin American notions, sources and imaginary – a term coined by Lélia Gonzalez (1935-1994), friend and political and intellectual interlocutor of the artist and formulator of the concept of Amefricanity to refer to the black experience in Latin America.

 

Volpi, untitled (Santa Rita de Cássia, 1960). MASP Disclosure.
Volpi, untitled (Santa Rita de Cássia, 1960). MASP Disclosure.

Already popular Volpi brings about 100 works by Alfredo Volpi that offer the public a panoramic view of the complex and diverse practice of the artist. Organized on the 1st floor of the institution, the show is divided into eight sections that follow the different themes of Volpi's production: Urban and rural scenes; Saints and Saints; portraits; Marine and nautical themes; facades; Flags, poles and banners; and Playful themes. Curated by Tomás Toledo, this is the third show in a series of individual exhibitions that the museum has been organizing around canonical Brazilian modernist artists of the 20th century, whose works denote the use of popular references. The first show in this series, popular portinari, was presented in 2016 and the second, popular tarsila, in 2019, which became the most visited exhibition in the museum's history.

Letícia Parente, "Registered Trademark" (1975).
Letícia Parente, “Registered Trademark” (1975). MASP Disclosure.

Finally, the exposure Video room: Letícia Parente, presents five works that are fundamental for understanding the career of Parente, artist, researcher and pioneer of video art in Brazil. Are they: I closet me (1975) In (1975) Trademark (1975) Preparation I (1975) and Preparation II (1976). Through these works, it is possible to perceive how – using elements of everyday life, such as the closet, the thread, the needle and the photograph – Parente elaborated fields of experimentation that bring intimate life closer to the issues of society. The exhibition is curated by María Inés Rodríguez, assistant curator of modern and contemporary art at MASP, and is part of the already traditional programming of the MASP Video Room, which proposes an in-depth study of audiovisual productions within the scope of artistic production.

Doctor in chemistry, Letícia Parente developed her interest in art in parallel with her scientific work and began to dedicate herself to artistic practice since the 1970s, when she migrated from Salvador to Rio de Janeiro. In contact with artists such as Anna Bella Geiger, Ana Vitória Mussi and Sonia Andrade, she found in art a path to freedom of expression in the midst of the repressive context of the civil-military dictatorship.

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