Tarsila's self-portraits, part III: the various resignifications of a...
The critic and columnist of arte!brasileiros Tadeu Chiarelli concludes his series of articles on Tarsila do Amaral’s self-portraits by analyzing these images that would become icons of the artist’s production and, ultimately, of São Paulo’s modernism.
Despite the confusing montage, “À Nordeste” points to urgent issues
With the will to stay in that labyrinthine space, the public will find good reasons to visit the exhibition
The modernist lady?
Which led me to read the entire biographical novel by Luiza Lobo, Fábrica de Lies: from Vale do Café to Arco...
BACON AND MÁRIO DE ANDRADE AT MASP: A WEIRD ENCOUNTER |...
PART TWO Because of the Mário de Andrade exhibition. Two Lives was conceived based on the works collected by the critic, when I went down to...
Concrete, neoconcrete: semantization continues
Tadeu Chiarelli comments on the work of several artists who engaged in dialogues with constructive currents, from Rubem Valentim and Nelson Leirner to Lyz Parayzo and Jaime Lauriano
Where graffiti screams: São Paulo in the 90th anniversary of the Plano...
Twice mayor of São Paulo, Prestes Maia was largely responsible for what the city has become; in this article, Tadeu Chiarelli draws attention to how the former mayor thought (or did not think) about art for public spaces
Petit maître
Art critic and professor Tadeu Chiarelli lists reasons to read the recently released autobiography of sculptor and painter Raphael Galvez
Monteiro Lobato art critic. Again [or yet]
Tadeu Chiarelli discusses Lobato's art criticism from a broader context than the São Paulo scene of 1917, bringing other data to reflect on the writer's performance
Giselle Beiguelman against barbarism and indifference
Check out Tadeu Chiarelli's text about Beiguelman's installations at the City Museum
The Doctor and the Monuments
In 2020, the first model of the "Monumento à Bandeiras", by Brecheret, will be 100 years old. Based on a canvas by Almeida Jr., Tadeu Chiarelli exposes the demands of the São Paulo bourgeoisie to honor the bandeirantes, opposing them to the new positions against the bandeirantes and the Monument itself.
