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A ARTE!Brasileiros accompanied throughout the year that now ends the events in art in Brazil and in the world. In this final stretch of 2018, we took stock of what was highlighted in the national art scene and listed some exhibitions in institutions and galleries that were remarkable.

In addition, it is important to point out some other events that are important in the development, preservation and maintenance of art, such as the inauguration of the Marcos Amaro Art Factory, in the interior of São Paulo. The space managed by the homonymous entrepreneur, artist and collector aims to be an important center for the dissemination of art. Casa do Povo, a cultural space in Bom Retiro, has established itself as a remarkable environment for exchanges and discussions on the themes that surround the artistic field.

Masp and Casa de Vidro, both institutions based in iconic buildings by Lina Bo Bardi, have signed a partnership so that at least once a year simultaneous exhibitions are held in the buildings. At this moment, it happens still i get up, by Sônia Gomes, in building rooms. With great effort from the Visual Arts and Technology Management, Sesc hosted dozens of valuable exhibitions in its units throughout 2018, such as Lugares do Delírio, Jamaica Jamaica and VKHutemas.

The Parque Lage School of Visual Arts (EAV) assumes the management of the International Museum of Naïve Art, in Cosme Velho, to carry out its reopening. Also within the scope of the renovations, the Bispo do Rosário Museum, through investments by the Almeida e Dale Gallery and the Marcos Amaro Foundation, is carrying out a series of improvements in the space and conservation of its collection. We also saw, in 2018, Montblanc give the Arts Patronage award to Mônica Nador, for her work at JAMAC.

The resistance and perseverance of these agents of art and culture in times when they have been attacked by political and ideological values ​​are things to be celebrated. We wish a 2019 in which we can be together with these people and entities that value art.

Institutions

 

Afro-Atlantic Stories

The biggest exhibition of the year held by masp in partnership with Tomie Ohtake Institute gained recognition in Brazil and worldwide, winning the APCA and being cited as one of the best exhibitions of the year by The New York Times. "This year we celebrated the 130th anniversary of Abolition in Brazil, signed by Princess Isabel on May 13, 1888. And yet, the marks of slavery in the country are vivid and profound. Daily we are confronted with concrete evidence of racial inequality, whether through terrifying statistical data or through real dramas, such as the murder of Marielle Franco, which remind us how deep and ingrained racism is in the country. Despite the feeling that little progress has been made to combat this situation, the denunciation of this persistent segregation seems to gradually unravel the cloak of invisibility that covers the issue”. Read here about the exhibition, axis of our issue 43.

PHOTO: Conversation, Barrington Watson, 1981.


Hilma af Klint: possible worlds

As the first exhibition of the year, the Pinacoteca of the State of São Paulo hosted the Swedish painter's first solo show in Latin America. The curatorship was by Jochen Volz, director of the institution, and there were more than a hundred works on display. Hilma af Klint is an exceptional artist. In the various meanings of the term. Her work is not only seminal, anticipating by several years the beginning of abstractionism, but also presents a rare aesthetic quality, combining formal and chromatic subtlety with an intense spirituality”. check text Maria Hirszman's full account of the exhibition.

Photo: Hilma af Klint, 'The Ten Largest, No. 7, Adulthood, Group IV', 1907. Courtesy of the Hilma af Klint Foundation


AI-5: not finished yet

In the 50 years of Institutional Act n. 5, the Tomie Ohtake Institute held a large press conference that discussed the military dictatorship in Brazil and made people think about the present moment. “The rupture of democratic legality leads to the loss of the right of expression, self-censorship, institutional instability, among other consequences, whose tentacles extend to our days. To investigate the effects of this trauma on the artistic field, the Instituto Tomie Ohtake gave space to the exhibition “AI-5: It's not finished yet”. Remember reportage about the exhibition, published in ARTE!Brasileiros 44.

PHOTO: Evandro Teixeira, 'The fall of the Air Force motorcyclist'.


ex-africa

Shows that he visits the units of the CCBB throughout the country's federative units, Ex-África brought together the largest number of works from the artistic processes of contemporary Africa. “Africa is remembered for suffering. Colonization, plagues, famine, segregation, countless adjectives of a shaken continent. Nevertheless, it seems important to note that there are movements in contemporary art that have been seeking, in a remarkably expressive way, to bring to light centuries of identity”, wrote Matheus Moreira in text about the show.

PHOTO: Kudzanai Chiurai, 'Genesis [Je n'isi isi] III', 2016 


Art Democracy Utopia: those who don't fight are dead

Collective curated by Moacir dos Anjos sought to present, at the Museum of Art of Rio (MAR), an overview of what has been recently produced on the national scene that goes against a utopian ideal. “(…) the exhibition reaches a temperature that is sometimes even documentary, which presents a complex picture of the current situation”. Click here and check out what Fabio Cypriano wrote about the text exhibition for our 45th issue.

PHOTO: Anna Maria Maiolino, 'By a Thread', 1976


Bill Viola: Visions of Time

A valuable exhibition of videos produced in the last 20 years by the American artist and one of the pioneers of the format: Bill Viola. Visions of Time, No. Sesc Avenida PaulistaIt was curated by Kira Perov, executive director of Bill's studio, Juliana Braga de Mattos and Sandra Leibovici, respectively manager and assistant to the management of Visual Arts and Technology at Sesc São Paulo (GEAVT). Read more about the exhibition by clicking here. 

PHOTO: Bill Viola, Chapel of Frustrated Actions and Futile Gestures, 2013


Irving Penn: centenary

Great American photographer, Penn had an exhibition at the Moreira Salles Institute paulista in honor of the 100 years he would complete. More than two hundred photographs were on display. Among the images were portraits of names such as Pablo Picasso, Audrey Hepburn, Truman Capote and Yves Saint Laurent, as well as fashion photographs and clicks of different ethnicities, such as the peoples of Cuzco and New Guinea, among other records.

PHOTO: Irving Penn, Audrey Hepburn', 1951.


MAM 70: MAM AND MAC-USP

The seven decades of Museum of Modern Art of São Paulo (MAM-SP), which has works from its collection at the USP Museum of Contemporary Art, were brought together in an exhibition to celebrate this Christmas, curated by Ana Magalhães (MAC USP), Felipe Chaimovich (MAM) and Helouise Costa (MAC-USP). With four exhibition axes, the exhibition sought to emphasize photography, the contemporary, the formation of the collection and the institution's pedagogical mission.

PHOTO: Rosana Paulino, Untitled, 1997.


Naïfs do Brasil Biennial

“(…) there are many questions that can escape anyone who observes the work of a popular artist, looking at him from the conception of primitivism, which reduces these artists to a label that can signify a judgment by the socio-cultural context in which they live. Perhaps the most latent point of this in the show is the fact that many works address social and political discussions, often identity, which can often be closed only to academic environments and would be reproduced only by artists who have access to it. The naïves are far ahead on this point, clearly indicating their position on some of these issues”. Read the full text about the exhibition that took place at Sesc Piracicaba by clicking here. 

PHOTO: Gildo Xavier, Conquista, 2017.


Anri Sala: the present moment

“Sala relates territory and music based on the memory of the place and, as defined by the exhibition’s curator, Heloisa Espada, the couple who push the barrel organ may have frequented the Salle des Fêtes or this may just symbolize a fragment of a waking dream. . In the work of Anri Sala, the banalization of everyday life is transformed through libertarian practices in the public space, in the best spirit of the Situationist International, a movement that emerged in 1957, which advocated, among other things, a life of play and permanent freedom.” . check text in which Leonor Amarante talks about the show that took place in Moreira Salles Institute.

PHOTO: Anri Sala, 'Long Sorrow', 2005.


GALLERIES

Vanderlei Lopes, Democracy is a myth, 2018

With the air too heavy to breathe

Important exhibition curated by Lisette Lagnado, based in Athena Gallery, in Rio de Janeiro. “The curator points to the cyclical times of art, politics and society itself, after all, a necessary distance for those who live the barbarism of the present day”. check text by Fabio Cypriano about the exhibition in dialogue with the exhibition curated by Moacir dos Anjos at MAR.


Neide Sá, The Rope

Neide Sá: poetic structure, rupture and resistance

One of the founders of the Poema-Processo movement, the Rio de Janeiro artist Neide Sá had a solo exhibition at Surface gallery. Gustavo Nóbrega, the gallery's director, has endeavored to include her in major exhibitions since he began to represent her, emphasizing the artist's important poetic, political and communicative role. Her works have also been in major exhibitions, such as Mulheres Radicals and Arte-Veículo. Click here and read our article about the exhibition, published in issue 44 of ARTE!Brasileiros.


Leon Ferrari, 'Untitled', 2008

Leon Ferrari: for a world without Hell

Lisette Lagnado stands out as curator of important exhibitions in 2018. Nara Roesler Gallery from São Paulo and New York, presented a solo show by León Ferrari. The artist was also the subject of a conference held by ARTE!Brasileiros in April, in the MAM auditorium. The exhibition at the gallery showed an overview of the work of the artist who “over sixty years of art, lived in the counterflow of the system being pushed to hell to emerge even stronger. Ferrari observes the world and transfigures it into texts/graphics that point to dimensions submerged in everyday life”. Read Patricia Rousseaux's text about the artist, cover of our issue 42.


Milton Dacosta, 'Construction on a Red Background', 1957

Milton Dacosta: the color of silence

A sublime retrospective on the Almeida and Dale Gallery joined in the celebration of the artist's 100th birthday in 2017. “Dacosta was not a fan of labels, having a free path in his passage from figuration to abstraction, while fellow artists disputed the importance of styles”. Click and read interview in which Paulo Pasta and Alexandre Dacosta talk about the artist.


Maria Laet, Earth, 2015
Maria Laet, Earth, 2015

Maria Laet: Poro

The exhibition took place both in the gallery The Gentle Carioca, in Rio de Janeiro, and in the gallery Marília Razuk, in Sao Paulo. Maria also had a strong presence at the 33rd Bienal de São Paulo. “Maria Laet's work is a gentle projection of her personality. Both have the dreamlike essence that springs from a quiet, affective and selective imaginary”. check text by Leonor Amarante about the artist.


David Medalla, 'The Mohole Flower'.

What do you dream of? 

presented in Luisa Strina Gallery, a collective curated by Magali Arriola, brought together works by Marcel Duchamp, Pierre Huyghe, Laura Lima and Zé Carlos Garcia, Marie Lund, David Medalla, Cildo Meireles, Theo Michael and Gabriel Sierra. The show was defined by Leonor Amarante as “an inquiry into how the arrogance of the world can be questioned with daydreams and imagination”. Read the full article by clicking here.


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

Marcelo Moscheta: natural history and other ruins.

An offshoot of Moscheta's research on nature and its resources, which he has been working on for years, the exhibition was hosted at Galeria Vermelho. The artist used multiple techniques to transpose into his works the issues of changes that the human factor causes in the environment. The strength of these transformations is unleashed piece by piece: “And they also understood that nothing – not mountains, rivers, continents or seas – is eternal on Earth”, says an encyclopedia text in one of them.


Clara Ianni, War II

Where will we go?

Adolfo Montejo Navas, Ana Vitória Mussi, Clara Ianni, Ile Sartuzi, Kilian Glasner, Nazareth Pacheco, Ole Ukena and Tiago Tebet have works in the exhibition curated by Paulo Kassab Jr. at Lume Gallery. Shedding light on the idea of ​​transition between past and present, the exhibition makes us reflect on the path we have taken and the breaks and continuities that occur over time, dialoguing with the political and social situation of the country and questioning intolerance and the tools of lies these days.


Santídio Pereira, Untitled

Santídio Pereira: the look of memory

At just 23 years old, the artist from Piauí showed robust strength in an exhibition held at Station Gallery. The exhibition featured works in woodcuts, “an ancient technique that requires a different and more time-consuming type of relationship with the material, which bleeds the wood, and which coincides with the way in which Santídio sees his past”. Read text about the exhibition published in our issue 44.

 


Ícaro Lira, Crime and Impunity, 2017.

Ícaro Lira: Work front

In April, Ícaro had an individual at Jaqueline Martins Gallery, which highlighted the artist's collective thinking, one of his strong characteristics. Bringing his own, collaborative works and works by other artists, Ícaro turned the exhibition space into a production space and called the public's attention to the exercise of reflection on the work, including in the art system, in an engaged and resistance process.

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