Dora Smek. "psychophysical symmetry: allegory #1", 2022, exhibited at ArtRio by Central Galeria. Photo: Ana Pigosso

Between the 14th and 18th of September, Rio de Janeiro will host ArtRio. THE fair reaches its 12th edition, bringing together 60 galleries and 15 art institutions in Marina da Glória. This year, the program is divided into two spaces: the TERRA pavilion (central), which will house the PANORAMA exhibition, in which galleries with established operations in the modern and contemporary art market participate; and the MAR Pavilion. This one, the exhibitors are divided into four programs: VISTA is dedicated to galleries with up to 10 years of existence; SOLO focuses on original exhibition projects dedicated to a single artist; EXPANSION brings together institutions and spaces that use art as social inclusion and the already traditional MIRA, curated by Victor Gorgulho and Henrique Rondinelli, invites the public to explore visual narratives by established artists and new names that use video art as a platform

Thinking about who goes to Rio de Janeiro to follow the fair, we put together a visitation itinerary with the main shows on display in the capital of Rio de Janeiro during the week of the event.

UÝRA, “Spirits of Everything That Lives”, 2019, exhibited at the 2022 PIPA Awards show. Photo: Selma Maia
Imperial Palace

A few minutes from ArtRio, in the city center, Paço Imperial hosts the exhibitions of the winners of the PIPA 2022 Award and the institution's recent acquisitions. The Terreiro of the colonial building in Rio receives works by Coletivo Coletores, by Josi, UÝRA and Vitória Cribb, totaling 30 works. “The set shows a very complex artistic ecosystem, mixing poetics that refer to more artisanal practices, to the radical involvement with technology”, explains curator Luiz Camillo Osório. Works by contemporary Brazilian artists who are part of the history of the Award, such as Eduardo Berliner, Leticia Ramos, Romy Pocztaruk, Ile SartuziDenilson Baniwa e Isael Maxakali can be seen in the exhibition that brings together works commissioned and acquired by the PIPA Institute in recent years.

Silvana Mendes, detail from the Afetocolagens series. Photo: Disclosure
Rio Art Museum

Visitors to Praça Mauá can check out the exhibitions at the Museu de Arte do Rio and the Museu do Amanhã. At MAR, it has just been released a color defect, an exhibition based on the book of the same name, by the Minas Gerais writer Ana Maria Gonçalves, which seeks to make a historiographical review of slavery, addressing struggles, social and cultural contexts of the 19th century. In all, there are 400 works, including drawings, paintings, videos, sculptures and installations , of more than 100 artists, mostly black men and women.

Yes, Tour, solo show by Jarbas Lopes, enters its last month on display (until October 16). Curated by Amanda Bonan and Marcelo Campos, the show brings together around 100 works that are part of the artist's production, in addition to unpublished works and projects that only existed on paper. Lopes also presents photographs, drawings, books, models and installations. With free admission, the exhibition Branch, by the plastic artist RAMO Negro, is located in the space next to the library. In 30 works that mix elements of the street, Afrofuturism and Catholic spirituality, the exhibition addresses topics such as toxic masculinity, the “villainism” of the black man, affection and hope, focusing on the theme of racism and violence against black and peripheral bodies.

Museum of Tomorrow

On the other side of Praça Mauá, the Museum of Tomorrow presents Amazon, individual by Sebastião Salgado. Composed of almost 200 photographic panels, the exhibition is the result of seven years of experiences and expeditions by the photographer in the Brazilian Amazon and reveals the forest, rivers and mountains, as well as life in various indigenous communities - the Awá-Guajá, Zo 'é, Suruwahá, Yawanawá, Marubo, Asháninka, Korubo, Yanomami and Macuxi. Read our interview with Sebastião Salgado to learn more.

Arjan Martins, “I only go to Leblon on business”, 2016, exposed in “Atos de revolt”. Photo: Fabio Souza / MAM Rio
MAM Rio

On September 17, the last day of the fair, the Museum of Modern Art in Rio opens the exhibition Acts of revolt: other imaginaries about independence, developed in collaboration with the Museu da Inconfidência. Curated by Beatriz Lemos, Keyna Eleison, Pablo Lafuente and Thiago de Paula Souza, the show starts from the bicentennial of Brazil's independence to propose a reinterpretation of this historical process from the point of view of art, bringing together works and objects from the colonial period, in dialogue with the production contemporary artists, from different generations and geographies; and focuses on a series of popular uprisings and riots that preceded this moment or that took place in subsequent decades.

Those who visit the institution also have the opportunity to see nakoada: strategies for modern art. On view until November, the show seeks to work on future perspectives based on a dialogue between the centenary of the Week of Modern Art — bringing together a vast collection of modernist works — indigenous creations housed by the Museu do Índio and works by contemporary artists; and it does so guided by a Baniwa ethic of permanence and recovery.

Nara Roesler Gallery

In Ipanema, it is possible to visit Xavier Veilhan, an exponent of French art. With works in prestigious collections such as the Center Georges Pompidou, in Paris, and representing his country at the Venice Biennale in 2017, the artist shows sculptures in various materials and formats – three of them interactive –, and a large mobile, measuring 4,5, XNUMX meters, which explore his interest in creating spaces and contexts that alter the experience of space and the perception of time.

Carpentry

TALK THING, at Jardim Botânico, establishes a dialogue between unpublished works by Barrão, represented by Fortes D'Aloia & Gabriel, and Josh Callaghan, represented by Night Gallery, in Los Angeles. Curated by Raul Mourão, the show raises points of contact between each of the artists, whose assemblages have in common a mode of plant growth, as if banal or industrial objects could sprout and grow from the agglutination of heterogeneous fragments. In this interaction, the pre-assigned identities or uses of each thing give way to a relational regime of communication similar to an objectual dramaturgy, highlighting the theatrical and scenographic components of the two artists' work.

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