Between July 24th and August 24th, the Municipal Secretary of Culture of São Paulo (SMC), in partnership with the Municipal Secretary of Human Rights and Citizenship, and the Coordination for the Promotion of Racial Equality, launches the Voices Against Racism. The project curated by Amarilis Costa, Helio Menezes, Ligia Rocha and Thamires Cordeiro, and features a series of artistic interventions – from graffiti and lambes to projections and even a webinar – aimed at valuing the work of black and indigenous artists.
The project emerged from the concern of these four curators who introduced it to SMC. The Secretariat embraced the initiative and – in articulation with the other entities – it was giving substance to the idea. Vozes left the paper within a month of his election. “The fact that we are mostly working remotely has its limitations, but it also has its potential, and one of them is to speed up this time, the processes of conversation with the artists, the elaboration of the projects, the mapping of the places, the technical visits ”, says curator Helio Menezes.
At first, what would have been an exhibition spread across the city also gained the dimension of an online seminar, the Present Culture Dialogues, which can broaden the topics covered by the exhibition by bringing in intellectuals, artists, thinkers, activists. The series of debates takes place live, ending on July 31, for those who are unable to attend at the time, the conversations will be made available on the Youtube channel from SMC.
Agenda
Voices Against Racism starts with a projection of Denilson Baniwa (cover of issue #50 da arte!brasileiros) which brings an unpublished work called Brazil Indigenous Land. The work will be carried out for a week (until July 30), at night, in the Monument to the Flags with the lights off, precisely to make room for the projection made by the Collective Collectors.
The video begins with a Portuguese caravel that is shipwrecked by the action of the winds, rain, fire, the sea and therefore never reaches the port. From this sinking, animals, plants, spiritual beings from the Baniwa cosmology emerge, painted in neon amid phrases such as “Brasil Terra Indígena” and “SP Terra Indígena”. “The artist is as if re-demarcating, reminding us that the place where that Brecheret monument is installed, the city of São Paulo and Brazil are indigenous lands. It greatly changes the landscape that we are used to, and invites us to reflect: what would it be if we imagined the city of São Paulo without that monument?”, Pondera Menezes.
Not only this one, but the other projections of the action are in charge of Coletores. the collective was formed in 2008 on the outskirts of the East Zone of the city of São Paulo by artists Toni William and Flávio Camargo. Its production is carried out “in transit”, passing through public spaces ranging from areas in communities, occupations, schools, universities, as well as institutional spaces focused on art and culture. His actions think about the city, the people and the relationships between art, cities, technology and the public. The collective's proposal is to work with the city as a medium and support for their actions, which is in line with what the curators of the Vozes they had in mind.
An unannounced intervention
“The formats we are working with, graffiti, videoprojection, videomapping and lambes, have a very public dimension, they take place outside the planned museum spaces, outside the specialized galleries, and with that they have a very great potential to reach new audiences” comments Menezes, adding to the Coletores decentralization proposal. The curator also points out thatThese formats allow such works to be seen with different looks and other postures. “Often it is the time of the passage, the time you are in the car, on public transport, a daily commute home, that you see the work of art and it maybe invites you to return to that street”, he adds.
The transitory and dispersed aspect of the exhibition was not by chance. To the team behind the Voices Against Racism a point of great importance was to make a show that did not generate crowds, an “unannounced intervention” that was careful not to invite people to be physically present in groups to see it. Menezes notes that these supports allow the works to be seen from a distance, in passing, and with this it becomes possible to take due care to put into practice an exhibition curatorial process in times of a pandemic.
to hear louder
Although Vozes aims to be a major cultural action to raise awareness and combat racism, this does not mean that the works presented must be explicitly political
“I think that art has several roles and can perform several functions, based on the paths and research that artists develop and materialize in their work, one of these possibilities is for a more deliberately politicized art that calls, that invites reflection, posture change. Although the artistic production of black and/or indigenous authorship does not necessarily always deal with more evidently political themes.”, explains Menezes
In the show, the debate is also created through the artistic work that uses a poetics focused on affection, focused on the normalization of black life represented outside the sphere of violence, hypersexualization or trauma and reenactments of slavery. “Fighting racism is also disputing another visual imagery of the representation of black bodies, offering another visual, historical and political repertoire about the lives of black people”.
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The daily lives of the Brazilian people are permeated by African presences in the way we express ourselves – whether in intonation, vocabulary, pronunciation or the way we speak.
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The daily lives of the Brazilian people are permeated by African influences in the way we express ourselves – whether in intonation, vocabulary, pronunciation or the way we construct our thoughts. The temporary exhibition is about these influences. African languages that make Brazil, curated by the musician and philosopher Tiganá Santana and realization do Museum of Portuguese Language, an institution of the Secretariat of Culture, Economy and Creative Industry of the State of São Paulo. The exhibition opens to the public on May 24 and will be on display until January 2025.
The exhibition has master sponsorship from Petrobras, sponsorship from CCR, Instituto Cultural Vale, and John Deere Brasil; and support from Itaú Unibanco, Grupo Ultra and CAIXA.
Languages of the inhabitants of sub-Saharan African lands, such as Yoruba, Eve-fom and those of the Bantu group, play a decisive role in the configuration of the Portuguese spoken in Brazil, whether em their vocabulary or in the way they pronounce words and intonate sentences, even if this structure is not known to the speakers. It is a history and a reality left by around 4,8 million African people who were violently brought to the country between the 16th and 19th centuries, during the period of slavery. In addition to the language, this presence can be felt in other cultural manifestations, such as music, architecture, popular festivals and religious rituals.
“At the same time that we want to show the public that we speak a series of expressions and structures that go back to black-African languages, we also want to reveal how this happens. Why do we speak youngest and not Benjamin? Why do we say doze and not doze“These words are part of our vocabulary, our life, our way of thinking,” says Santana.
The exposure African languages that make Brazil welcomes the public with 15 words from African languages printed on oval wooden structures hanging around the room. Words such as bunda, to curse, marimbondo, Palm oil, hominy, worm e youngest. The public will also be able to hear them in the voices of people who live in the territory of Estação da Luz, where the Museum is located.
Another highlight in the space is the work of the Bahian artist J. Cunha – a fabric printed with the words “Bantu Civilizations” who dressed the traditional Ilê Aiyê, the first Afro block in Brazil, in the 1996 Carnival. In addition, around 20 thousand cowries will also be suspended and distributed throughout the area. In the Afro-Brazilian tradition, shells are used in divinatory practices and function as a language that connects the physical and spiritual worlds.
“The cowrie shells are present in Afro-religious spaces in Brazil, which were not exclusive, but the main centers of preservation and reinvention of African languages in Brazil. From there, black presences radiated to other dimensions of Brazilian popular culture,” says Santana.
Still at the entrance to the exhibition, the public will see several adinkras spread across the walls. These are symbols used as a writing system by the Ashanti people, who live in countries such as Ivory Coast, Ghana and Togo, in Africa. They can represent everything from different elements of culture to entire proverbial sentences in a single ideogram. Evidencing the presence of this people as part of the African diaspora, it is possible to find, in various regions of Brazil, railings of residences and other architectural constructions adorned with some of the more than 80 adinkra symbols.
The exhibition includes two video installations by the renowned visual artist from Rio de Janeiro Aline Motta. In the work Celestial Body III, loaned by the Pinacoteca de São Paulo and projected on the floor on a large scale, the artist highlights ancient forms of Central African writing, specifically those of the Bakongo people, present in territories such as Angola. This work was developed with historian Rafael Galante. Already in Celestial Body V, created exclusively for the Museum of the Portuguese Language, four proverbs in Kikongo, Umbundu, Yoruba and Kimbundu, translated into Portuguese, will be displayed in movement on the walls and in dialogue with Celestial Body III.
One of the main names of the new generation of sculpture in the country, the Bahian Rebecca Carapiá signs works of art created in dialogue with Afrocentric frequencies and spellings, based on his work with metals.
The exhibition also shows how popular songs in Brazil were created from the integration of African languages and Portuguese, such as Slaves of Job and Open the Wheel, tindolelê. The “Jó”, from the track Job's Slaves, comes from the Kimbundu and Umbundu languages and means “house”, “house slaves”. “Enslaved ladinos, creoles and black women, who performed domestic work and spoke both the Portuguese of their masters and the language of those who performed external work, were the bridge for the Africanization of Portuguese and for the Portugueseization of Africans in the linguistic and cultural sense”, says Tiganá Santana based on research by professor Yeda Pessoa de Castro.
In addition to the cowries, the exhibition explores other non-verbal languages originating from African or Afro-diasporic cultures. Among them, braided hair, which, during the period of slavery in Brazil, served as maps of escape routes. And turbans, whose different ties indicate hierarchical position within Candomblé. There are also two works by the designer Goya Lopes, whose main references are the capulanas, the colorful cloths worn by women in Mozambique. Such works emphasize a significant articulation with the Yoruba language.
Another example of non-verbal language are the drums, which make up a scenography consisting of a projection created by Aline Motta, with images of the sea and excerpts from the text Racism and Sexism in Brazilian Culture, by Lélia Gonzalez, one of Brazil's leading intellectuals, a reference in studies and debates on gender, race and class. In these excerpts, the use of the expression Portuguese coined by the intellectual. Finally, still in this scene, it is important to highlight the presence of sculptures by Rebeca Carapiá, conversing with the frequencies of the drums.
In an interactive cinema room, visitors will be surprised by a projection of images when pronouncing words of African origin such as axis, afoxé, zombie e Shrimp bean ball.
The public will have access to a series of recordings of Afro-Brazilian cultural manifestations and content about African languages and their presence in Brazilian Portuguese. There will be a performance by singer Clementina de Jesus, images of the Folklore Research Mission conceived by Mário de Andrade, interviews with researchers such as Félix Ayoh'Omidire, Margarida Petter and Laura Álvarez López, as well as recordings of performances by the Ilú Obá De Min group and the Orkestra Rumpilezz, and the video Soul Orderer, by Eustáquio Neves, which portrays Mr. Crispim, from the quilombola community of Ausente or Córrego do Ausente, in the Jequitinhonha Valley region.
All this amidst the sounds of ritual songs and narratives in Yoruba, Fom, Kimbundu and Kikongo, recorded by the American linguist Lorenzo Dow Turner in the 1940s in Bahia and provided by Indiana University in the United States. It will also be possible to watch films about Quilombo Cafundó: one that had existed for over 40 years and another that was conceived for the exhibition, dealing with the Cupópia language in a more emphatic way.
Service
Exhibition | African languages that make Brazil
From May 24th to January 18th, 2025
Tuesday to Sunday, from 9am to 16:30pm (staying allowed until 18pm)
Period
May 24, 2024 09:00 - January 18, 2025 16:30(GMT-03:00)
Location
Museum of Portuguese Language
Praça da Luz, no. Center, São Paulo - SP
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The exhibition Land of Giants invites the public at Sesc Casa Verde to immerse themselves in a new possible world and inspires visitors to think about contemporaneity and
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The exhibition Land of Giants invites the Sesc Casa Verde audience to immerse themselves in a new possible world and inspire visitors to think about contemporary Afro-Amerindian times and futures. Conceived and curated by artist, editor and researcher Daniel Lima, the exhibition unfolds into a video installation composed of eleven scenes, including a poetic intervention and an educational workshop, which exalt the poetic, symbolic and mythological forces that intersect between black and indigenous cultures in Brazil.
Packed with audiovisual resources developed especially to promote an interactive, sensorial and unique experience, the exhibition is inspired by theme park attractions such as ghost trains and mirror mazes. Throughout the tour, the viewer is challenged by a series of projections generated by optical sensors activated by presence: sometimes giant, sometimes tiny, in a path of lights and fantastic glimpses evoked by characters, performances, interviews and visual creations.
The scenes are starring 12 artists, collectives and leaders: Katú Mirim, an indigenous rapper from São Paulo; Davi Kopenawa Yanomami, an important Yanomami leader and author of the book “Queda do Céu” (Quendy of the Sky); Legítima Defesa, a collective of black actors and actresses; Naruna Costa, an actress, singer and theater director who performs the text “Da Paz” (From Peace), by Marcelino Freire; Jota Mombaça, a performance artist; Jonathan Neguebites, a passinho dancer from Rio de Janeiro; Daiara Tukano and Denilson Baniwa, artists from the Brazilian contemporary indigenous art scene; the central musical presence of Naná Vasconcelos; songs recorded by Juçara Marçal and Daiara Tukano, in addition to the poetic intervention of Miró da Muribeca, a poet and performer from Pernambuco.
“Land of Giants aims to bring together these generations of black and indigenous artists to question contemporary Brazilian ideology, claiming another image of Brazil, not the one created by Modernism from a white perspective,” argues Daniel Lima.
According to the curator, the exhibition was born from a process of research, self-education and investigation into quilombismo that began years ago, in previous projects led by him, such as Quilombo Brasil, and the video installation Palavras Cruzadas (2018/19), which provided the technical and poetic bases for the current project.
“Land of Giants is an expression of questions about the historical moment we are living in. A living document of the forces that constitute us as a contemporary society in Brazil. The video installation also invests in the representation of the oppressive forces that surround us like fire around us. In contrast, we position the lines of resistance articulated in this political-poetic imaginary”, concludes the curator.
Interaction and accessibility: learn more about some of the works in the exhibition
One of the highlights of the exhibition, whose gigantic scale symbolizes its title, the intervention by Davi Kopenawa Yanomami appears projected on a scale increased by 800%. Based on excerpts from his book The Fall of the Sky, Kopenawa speaks about the strength of resistance that exists not only in his figure, but in the culture of the Yanomami people who, symbolically, through the dance of their shamans, ensure that the sky remains above their heads and does not fall.
The “Kahpi Hori” series by indigenous artist Daiara Tukano is animated in three-dimensional format in a room of visual and sound immersion. Immersed in a cube with projections mapped onto the walls and floor and accompanied by songs sung by the artist herself, the audience experiences a dive into the symbolic universe of one of the expressions of contemporary indigenous Brazilian art.
In the body performance Get Up, Stand Up by Legítima Defesa, the members of the collective, divided into three groups and without speaking, challenge the audience with gestures of affirmation through projection that responds to interactivity, creating a game of actions and movements with the spectator.
Land of Giants has accessibility resources such as tactile maps, Braille subtitles, enlarged ink, audio description, video guide, audio guide and technological resources such as the vibroblaster, which transforms audio into sensitive vibrations. The exhibition also has an educational workshop open to the public with guided activities and a reading space.
Service
Exhibition | Giants land
From September 21th to December 22th
Tuesday to Friday, from 10:30 am to 18:30 pm, Saturdays, Sundays and holidays, from 10:30 am to 17:30 pm
Period
September 21, 2024 10:30 AM - December 22, 2024 18:30 PM(GMT-03:00)
Location
Sesc Green House
327, Casa Verde Avenue, Sao Paulo - SP
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With a unique and influential trajectory, Rosana Paulino brings to light discussions about memory, nature, identity and Afro-Brazilian history in the exhibition “New Roots”. The works on display are the result of a
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With a unique and influential trajectory, rosana paulino brings up discussions about memory, nature, identity and Afro-Brazilian history in the exhibition “New Roots”. The works on display are the result of extensive research into the architecture and collection of the Eva Klabin House Museum, in Lagoa, proposing a conceptual separation between the two floors. With the aim of celebrating the 30-year career of the renowned artist from São Paulo, “Novas Raízes” opens on September 26 (Thursday) and can be visited free of charge from Wednesday to Sunday until January 12, 2025.
The artist's solo exhibition is her first in Rio de Janeiro after her exhibition at the Museum of Latin American Art in Buenos Aires, MALBA. With the show, Rosana became the first black woman to have a solo exhibition at the Argentine museum, which presented a retrospective look at the artist's career.
“This is a unique opportunity to see Rosana Paulino’s work in direct dialogue with a classic collection, thus proposing a historical and epistemological review for the visitor,” says curator Lucas Albuquerque, regarding the combination of the house’s permanent collection with the artist’s works. “Rosana intends for this exhibition to have a very strong educational character, questioning how we can rethink contemporary production in dialogue with new readings of the world, this one very different from the one left by Eva Klabin over thirty years ago,” he adds.
The rooms on the ground floor will be dedicated to works that expose the relationship between architecture and botany, with drawings, collages and installations. The works from the “Espada de Iansã” series, part of the 59th Venice Biennale, join other works that aim to break down the separation between inside and outside, with plants taking over the different rooms. Rosana draws attention to the incisive separation between the domestic environment and the garden, the result of a school of European thought that points to the need to tame nature.
The rooms on the second floor touch on a discussion about the private lives of black women throughout history. Works such as “Tropical Paradise,” “Wet Nurse,” and “Das Avós” bring back photographs and symbols from Afro-Brazilian history, reflecting on the subjugation of bodies to the erasure policies resulting from the slavery model experienced by Colonial Brazil. Using voile fabrics, ribbons, lenses, cutouts, and other objects, Paulino proposes preparing a resting place for all black women who were victims of Brazilian history, especially Mônica, the wet nurse photographed by Augusto Gomes Leal in 1860, one of the few whose name has been preserved throughout history.
'Novas Raízes' is an initiative of the Eva Klabin House Museum, produced by AREA27, sponsored by Klabin SA and produced by the Ministry of Culture. It has the support of Atlantis Brazil, Everaldo Molduras and Galeria Mendes Wood, and a media partnership with Revista Piauí and Canal Curta!.
Service
Exhibition | New Roots
From September 26st to January 12th
Wednesday to Sunday, from 14pm to 18pm
Period
September 26, 2024 14:00 - January 12, 2025 18:00(GMT-03:00)
Location
Eva Klabin House Museum
Av. Epitácio Pessoa, 2480 - Lagoa - RJ
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The Antonio Carlos Jobim Institute, located in the Rio de Janeiro Botanical Garden, opens its doors to the exhibition Tom Jobim: Solo Albums. The exhibition, dedicated to one of the greatest
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O Antonio Carlos Jobim Institute, located in Rio de Janeiro Botanical Garden, opens the doors to the exhibition Tom Jobim: Solo Albums. The exhibition, dedicated to one of the greatest icons of Brazilian music, offers a detailed view of the 12 LPs that marked the maestro's solo career, recorded between 1963 and 1994, from the first album, The Composer of Desafinado Plays, to Antonio Brazilian, passing through milestones such as wave, Matita Pere, urubu and others.
The exhibition, which promises to be an immersive experience, invites visitors to explore Tom Jobim's artistic career through documents, photos, recordings, scores and personal objects belonging to the Institute's collection. The concept for the exhibition emerged in 2020, during the pandemic, from a series of virtual interviews between Paulo Jobim, the maestro's son who recently passed away, and Aluísio Didier, the exhibition's curator and friend of Tom's, who took over as director of the institute that same year. These conversations, held via Zoom, revealed previously unseen details about the composer's creative process and have now been transformed into documentaries that reveal the process behind each album, offering an intimate and personal perspective on Jobim's musical legacy. The videos of the conversations were edited by filmmaker Cayo Oliveira, also the exhibition's producer, and will be shown for the first time.
Didier's curation illuminates important moments in the composer's career, such as his meeting with Vinícius de Moraes, which resulted in timeless Bossa Nova classics, and his collaboration with João Gilberto on the LP Chega de saudade.
Tom Jobim: Solo Albums is a tribute to an artist who not only transcended borders, but who continues to influence generations of musicians and fans around the world. The exhibition not only celebrates the maestro’s solo work, but also invites the public to revisit and rediscover the depth and beauty of his music.
Unusual stories
In the exhibition, unusual stories about the maestro will entertain visitors. Among them, two quite iconic ones, remembered by Paulo Jobim and Didier in the documentaries.
Author of several songs named after women, Tom was approached by a researcher with a book project about the songs and their inspiring muses: Luiza, character played by Vera Fischer in the soap opera Brilhante; Gabriela, character played by Jorge Amado; Maria Luiza's samba, the youngest daughter, among others.
However, the researcher also asks about the “muse” Carla who inspired the song of the same name. Tom is surprised and asks: “Which Carla?” The researcher insists: “Well, the one from the 50s song, “Carla, my love”, the boy answers. It turns out that the song was called “Cala, my love”.
“The researcher had already met the woman who had been the source of inspiration,” Paulinho jokes, in one of the chats with Didier.
***
Musicians are always asked by critics or fans for new things, new music, an update of their art, a dialogue with influences, new technologies. With Tom, always faithful to the “old” acoustic piano or guitar, it was no different. On the album Tide, we can hear him on the Fender Rhodes electric piano, a classic today, but at the time, a different sound, a step ahead of acoustic instruments. At the time, people asked themselves: “What happened, Tom giving in to a more pop sound?” Yes and no. If the result was great on the track “Takatanga”, the fact was due to a glass of whiskey spilled inside the acoustic piano in the studio, which made the instrument unusable for recording. “Jobim, with no other option, accepts to take a risk on the Fender Rhodes and seems to have liked it, because on the next LP, Stone flower, repeats the experience on several tracks”, says Didier.
Service
Exhibition | Tom Jobim: Solo Albums
From October 09th (permanent exhibition)
Daily (except Wednesday), from 9am to 17pm
Period
October 9, 2024 09:00 PM - December 31, 2030 17:00 PM(GMT-03:00)
Location
Antonio Carlos Jobim Institute
Botanical Garden Street, 1008, Rio de Janeiro - RJ
Details
Ministry of Culture, Nubank and Instituto Tomie Ohtake are pleased to announce Mira Schendel – waiting for the letter to form, an exhibition curated by Galciani Neves and Paulo
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Ministry of Culture, Nubank e Tomie Ohtake Institute is pleased to announce Mira Schendel – wait for the lyrics to form, exhibition curated by Galciani Neves e Paulo Miyada, which explores the presence of graphic signs, letters and the word language in the artistic production of Mira Schendel (1919–1988). Bringing together more than 250 works, including paintings, monotypes, drawings, notebooks, graphic objects and an installation, the exhibition is divided into seven sections, inviting the public to immerse themselves in the presence of words in Mira's artistic production and their interconnections. The exhibition will open on October 24, concurrently with the exhibition Carlito Carvalhosa – A meia do dobro.
Mira Schendel – waiting for the letter to form is part of the biannual program word word word, which began with the project Poetry in Presence – Between Scenes, Slam, Spoken Word and Rap, and which will also feature the launch of the publication Essay Notebook 2: Word. This exhibition is sponsored by Nubank, through the Ministry of Culture, via the Culture Incentive Law, the National Culture Support Program and the Federal Government – Brazil, Union and Reconstruction.
Recognized as one of the most significant artists of 1949th century Brazilian art, Mira Schendel was born in Zurich, Switzerland, of Jewish, Czech, German and Italian ancestry. Due to anti-Semitic persecution, she fled to Brazil in 1960, where she lived and produced much of her work, engaging with Concrete Poetry, Neoconcretism and the artistic experiments of the 1970s and XNUMXs.
Neves and Miyada point out that Schendel challenged herself by seeking ways to give meaning to the ephemeral. It was in one of the artist’s manuscripts, for example, that the curators found the title of the exhibition, “waiting for the letter to form” and from there they also extracted the following excerpt, present in the curatorial text: “The sequence of letters on the paper imitates time, without being able to truly represent it. They are simulations of lived time, and do not capture the experience of the irretrievable, which characterizes this time. The texts that I drew on paper can be read and reread, something that time cannot. They fix, without immortalizing, the fluidity of time.”
The curators conceived the installation in seven sections, fluidly supported by the artist’s chronology. In “Arrival in Brazil and the Word,” the section that opens the exhibition, the public sees the journey from schematic representations of objects to abstract compositions and experiments with graphic elements. Highlights include works from the 1960s, when Mira integrates labels and texts into her work, bringing the written word to the center of her compositions. In “Writing-drawing structuring spaces,” there are drawings made with India ink and charcoal that show the relationship between word and space, combining letters, graphic signs, and calligraphic gestures. According to the curators, Haroldo de Campos described Mira’s “writing-art,” in which the graphic sign becomes an aesthetic issue and a way of fabricating spaces.
In “The Spiral Word”, there are works that feature words in different languages, especially Italian and German, languages that the artist inherited from her parents, which appear alongside Portuguese, the official language of Brazil. For the curators, “This diversity of expressions and pronunciations makes the word in the artist’s work effective as a kind of event of enunciation of something, as if writing/drawing the letters and their decoding made what is stated there come true. The word thus establishes a situation”, they conclude.
The next section, “Art: encounter with the corporeal”, highlights the Toquinhos, both those made in rice paper and those in acrylic. Among the homonymous series, the Letraset decals are the common element. In “Refluir de páginas fechas e abertas” (Reflow of closed and open pages), there are the notebooks by Mira Schendel. The curatorship points out that “These works – made, for the most part, in 1971 – are composition exercises on bound, perforated, stapled or glued paper, like brochures or simple clusters of pages. The artist used hundreds of sets of sheets, of many dimensions, which, understood in their sequence, form a journey through time and space”.
Completing the exhibition are “Monotypes and graphic objects”, two of the artist’s best-known series and “Storied waves of probability, a whisper”, which, as the name suggests, presents the installation “Storied waves of probability”, her largest work.
In parallel with the Mira Schendel exhibition, the Tomie Ohtake Institute is opening Carlito Carvalhosa – a meia do dupla, the first major retrospective of the artistic production of Carlito Carvalhosa (1961–2021). With around 150 works dating from 1984 to 2021, the exhibition is jointly curated by Ana Roman, Lúcia Stumpf, Luis Pérez-Oramas and Paulo Miyada.
Public Program
These exhibitions are complemented by a public program of meetings, workshops and experiences, with programming updated on the Institute’s website and social media throughout the exhibition period. At the opening, on October 25, there will be a program designed for teachers from public and private schools, as well as for arts professionals, with the participation of the exhibition curators and educators from the institution. On October 26, the public is invited to watch a performance by the duo Teia-Teia, a musical partnership between Inês Terra (voice) and Júlia Telles (teremin). The duo researches the relationship between early electronic devices and voices, through improvised and compositional processes. Teia moves between harmonic and noisy sounds, exploring the possibilities of the body through interventions, graphic scores and field recordings. On November 1, the general public is invited to participate in the debate Os echoes da palavra (The echoes of the word), with the presence of artists Livia Aquino, Lenora de Barros and researcher Maria Carvalhosa. On November 2nd, there will be three workshops on different text genres: Invented Menus, with the participation of journalist and gastronomic critic Luiza Fecarotta; Book Dedication – Books that remind me of you, with the participation of researcher Rosa Couto; and Comedy Techniques and Our Responsibility with Words, led by actress and comedian Karina Sbruzzy. On November 21st, there will also be an audio description workshop, From Word to Image, with artist DEF Isafora Ifanger, and on January 14th, the zine workshop, Mira Schendel's Diary, led by artist and educator Léo Daruma. Participation in the events requires prior registration, via the Institute's website and subject to availability.
Friends program
The Instituto Tomie Ohtake Friends Program aims to bring the public closer to one of the most emblematic art spaces in the city of São Paulo. In addition to providing support, Amigo Tomie will be part of a community connected to art, will have special benefits and unique experiences. There are three categories of support, contributing to new exhibitions, educational programs, annual budget and maintenance of the Institute. And a new feature for Nubank users, sponsor of the Mira Schendel exhibition – wait for the letter to form: The institution's customers have a 25% discount on any support category, while Ultraviolet customers have a 50% discount.
Service
Exhibition | Mira Schendel – wait for the lyrics to form
From October 25th to February 02th
Tuesday to Sunday, from 11pm to 19pm
Period
October 25, 2024 11:00 - February 2, 2025 19:00(GMT-03:00)
Location
Tomie Ohtake Institute
Av. Brigadeiro Faria Lima, 201, Pinheiros, São Paulo – SP
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“Nobody Can Come With Me” is the third solo exhibition by artist Ana Dias Batista at Galeria Marilia Razuk, and will open on October 26, from 11 am to 16 pm. Known for her work
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"Nobody can with me” is the artist’s third solo exhibition Ana Dias Baptist na Marilia Razuk Gallery, and will be inaugurated on October 26, from 11 am to 16 pm. Known for her multifaceted work, which with each project approaches a field of the world of life, Ana Dias Batista transforms the gallery into a plant store.
The installation, specially designed for the Gallery's original space on the ground floor of the Gisele Building, in Itaim Bibi, appropriates materials common in these establishments, such as flowers, cacti, floral foam and vases, subjecting them to arrangements that subvert or expand everyday perception.
Visitors can indeed buy and take away objects – plants, vases and even pieces of the floor made entirely of floral foam bricks. However, the “real” operation does not prevent the store from establishing fictions: language procedures slide between manufactured objects and natural plants; hybrid individuals, formed by grafting, share a common name; plants that look like animal organs occupy vases in the shape of wildcards, or wither and spread throughout the exhibition.
The project also includes works by two guest artists: the poet Ana Martins Marques and the artist João Loureiro. By evoking the connotations of the plant popularly known as “Comigo-ninguém-pode”, the artist reinforces the transit of meanings and opens space for reflections on language, nature and representation.
“Nobody Can Stop Me” is supported by Oasis Produtos Florais.
Service
Exhibition | Nobody can with me
From October 26st to December 18th
Monday to Friday, 10:30am to 19pm, Saturday, 11am to 16pm
Period
October 26, 2024 10:30 PM - December 18, 2024 19:00 PM(GMT-03:00)
Location
Marilia Razuk Gallery
Rua Jerônimo da Veiga, 62 – Itaim Bibi, São Paulo - SP
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Galeria Tato presents the solo exhibition Sob as Árvores by artist Ana Michaelis, curated by Maria Alice Milliet. In recent years, landscape paintings have been the main
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A Tato Gallery presents the solo exhibition Under the Trees.of the artist Ana Michaelis, curated by Maria Alice Milliet.
In recent years, landscape paintings have been Ana Michaelis' main interest. As the curator reports: "There are events that change people's lives. For Ana Michaelis, contact with the Amazon Rainforest was decisive: it changed her painting. She had already been painting trees, treating them separately as plant species in a plant catalogue. However, when she discovered the strength of the tropical forest that covers the North of Brazil, she felt such an impact that she could no longer
paint them solitary, contained in an ascetic space, in the manner of botanists, who have been recording tropical flora since the 19th century”.
For this exhibition, the artist and curator selected two series – Canopy and Lichens – through which, according to Maria Alice Milliet, “the artist sought to focus on the macro and micro dimensions of the forest ecosystem, without, however, aiming for scientific precision, but rather to poetically translate the emotion that immersion in the tropical habitat produced in her”.
Service
Exhibition | Under the Trees
From October 26th to November 23th
Wednesday to Saturday, from 13pm to 18pm
Period
October 26, 2024 13:00 - November 23, 2024 18:00(GMT-03:00)
Location
Tato Gallery
Rua Barra Funda, 893. Barra Funda. Sao Paulo-SP
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Under the pulse of open veins, Galeria Raquel Arnaud receives the project “THE WINDS OF THE NORTH DO NOT MOVE MILLS” by artist Geórgia Kyriakakis. With critical text by Paula Borghi,
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Under the pulsation of open veins, the Raquel Arnaud Gallery receive the project “NORTH WINDS DO NOT MOVE MILLS” by the artist Georgia kyriakakis. With a critical text by Paula Borghi, the exhibition features works that provoke reflections on the culture, history and social heritage of the colonization process in Latin America.
Inspired by the song “Sangue Latino,” composed in 1973 by Paulinho Mendonça and João Ricardo, and immortalized by the band Secos e Molhados, the artist proposes an expanded vision of Latin America, which goes beyond geographical concepts and contrasts the North American cultural influence. “What we call Latin America is a type of regionalization that considers the languages spoken, the historical processes of colonization and exploitation, social inequalities and ancestral indigenous origins, among other factors. The ‘winds from the north’, mentioned in the song, are a direct allusion to the imperialist forces of the global north, which result in oppression and plundering of natural and social resources, present in the region’s history. These forces ‘do not move mills’, they promote the inexorable underdevelopment of Latin America,” explains Geórgia.
Composed of sculptures, drawings, installations and collaborative actions, the exhibition occupies the entire gallery space. On the ground floor are two series of drawings inspired by the history of the city of Chuquicamata, in Chile, abandoned due to air pollution and contamination caused by copper mining in the region. On the main wall, the artist presents OPEN VEINS, a large strip of red fabrics of different shapes and textures, covering the entire lower half of the wall. There are almost 20 meters of overlapping fabrics, arranged to represent the geographical division between north and south. These fabrics feature excerpts from the song Sangue Latino: “my life, my dead, my crooked paths, my Latin blood, my captive soul”. Also on the ground floor, another phrase from the same song inspired the creation of the three sculptures called LANÇA AO ESPAÇO, composed of 15 turned wooden spears, pointed and fitted together.
On the upper floor, there are collaborative projects proposed by Kyriakakis in partnership with artists Carla Chaim, Aline Langendonck, Isis Gasparini and Vânia Medeiros, developed to involve the participation of the gallery team. Except for Vânia Medeiros, all the other artists, as well as curator Paula Borghi, were Kyriakakis' students in the Visual Arts course at FAAP. The project arose from the artist's desire to combine her work as an artist and a teacher in the same initiative.
All the actions establish relationships with the general theme of the exhibition and were created for an initial collaboration with the gallery's work team during the assembly of the works. After the opening, the public will also be able to interact with the proposals.
Service
Exhibition | NORTH WINDS DO NOT MOVE MILLS
From November 7th to January 17th 2025
Monday to Friday from 11:19 to 11:15, Saturday from XNUMX:XNUMX to XNUMX:XNUMX
Period
November 7, 2024 11:00 AM - January 17, 2025 19:00 PM(GMT-03:00)
Location
Raquel Arnaud Gallery
Rua Fidalga, 125 – Vila Madalena, São Paulo - SP
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The Open Art Fair arrives in Rio de Janeiro with the aim of transforming access to the world of contemporary art. Held between the 8th and 10th of
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A Open Art Fair arrives at Rio de Janeiro with the aim of transforming access to the world of contemporary art. Held between November 8th and 10th at the iconic Bhering Factory and with free entry, the Fair promises to be an innovative and welcoming space, where the public will be able to not only admire, but also acquire works of art and connect directly with the artists.
With works by more than 50 artists, including names such as Allan Pinheiro, Carlos Vergara, Heloísa Alvim, J. Borges, Lívio Abramo, Lynn Court, Lúcio Volpini, Maria Eugênia, Mariana Maia, Rose Afefe, Renan Cepeda Telma Gadelha and Yedda Affin, in addition to the presence of institutional partners Instituto Cultural Carlos Scliar, Instituto Municipal Nise da Silveira and Jacarandá, the event provides a platform that strengthens the bond between art, the artist and the public.
At its core, the Fair seeks to break down barriers and demystify art, fostering an environment that unites artists and art lovers in an inclusive and inspiring space. To this end, the works on display have visible prices, with a defined ceiling to ensure accessibility, ranging from R$200 to R$12.000, and with the option of installments. The expectation is that the event will be held annually, consolidating itself as a democratic and vibrant space for art in Rio de Janeiro and later in Brazil.
“The Open Art Fair is a space for discovery and connection. We want to create a moment in which people feel comfortable exploring the world of art, whether through conversations with artists or by admiring or purchasing pieces,” emphasize Alice Garcia and Jerson Farofa, directors of Farm House, the agency that proposes and organizes the event.
Cultural and Exhibition Experience
The artists present were carefully selected by a curatorship with the support of experienced advisors, ensuring the presence of consistent and relevant works in the contemporary scene. Each work on display is unique and is curated by experts, ensuring a careful and discerning look at the exhibition of the works. Every detail matters.
The structure presented is similar to those found in large fairs and the environment was designed to stimulate the senses and captivate the eye. A new chapter for art begins in a space that breathes innovation and creativity.
In addition to the exhibitions and sales of artworks, the event will offer a diverse program with jazz, samba, carimbó and bossa nova shows, talks, film and documentary screenings, as well as visits to the Factory's studios, which will be open to the public during the event.
The Fair will also feature a food court that complements the cultural experience, providing a dynamic and welcoming environment. Confirmed brands include Tasquinha do Portuga, Pastel do Rio and Vulcano, as well as local restaurants from Fábrica Bhering, such as De Rose Café & Bistrô, Ricardo Freitas Ateliê Gastronômico, Conflor Vegan and Tabi Kofi Cafés Especiais.
Musical Programming
The musical program includes resident DJs Vick, Jamal and Feijão, as well as various shows:
Friday
- In Major Key – 16pm
- Afro-river people – 19pm
Saturday
- Eduardo Santana (Afrojazz) – 15pm
- Samba Succinct – 18pm
Sunday
- Forró Pimenta – 15pm
- Samba DG – 17pm
For many, acquiring art is a way of taking care of themselves. The Open Art Fair believes in the power of art as an investment that enriches not only the environment, but the spirit of those who inhabit it. Collecting is building an emotional and cultural heritage that grows in value over time.
The Open Art Fair invites everyone to a transformative event, where interaction with contemporary art happens naturally and culture is celebrated in an interactive environment that reflects the new moment of Fábrica Bhering, connecting tradition and innovation in the artistic scene of Rio de Janeiro.
Service
Exhibition | Open Art Fair
November 08th to 10th
Friday and Saturday: 14pm to 22pm, Sunday: 14pm to 20pm
Period
November 8, 2024 14:00 PM - November 10, 2024 22:00 PM(GMT-03:00)
Location
Bhering Factory
R. Orestes, 28 - Santo Cristo, Rio de Janeiro - SP
Details
With a critical text by curator and researcher Luciara Ribeiro, the exhibition presents an unprecedented set of paintings, sculptures and installations that demonstrate the material and conceptual expansion in the practice of
Details
With critical text by the curator and researcher Luciara Ribeiro, the exhibition presents an unprecedented set of paintings, sculptures and installations that demonstrate the material and conceptual expansion in the artist's practice, while delving deeper into the themes debated throughout his career.
The first individual at Martins in Brazil in five years, Fronteiras inóspitas investigates the relationships between the subject and the dominant social structures, permeated by classic existential debates. An example of these reflections is the set of paintings produced for the exhibition, in which the artist lends his image in the form of self-portraits. Thinking about dimensions that are not limited to himself, Martins places himself in environments marked by symbols related to the brevity and impasses of life, as well as signs that relate to Brazilian society. One of these paintings reveals a birthday scene with balloons, banners and a table with bottles of soda. The character blows out the candles on a cake, next to which lies a skull. The symbol is a classic memento mori — images that in the history of art serve as a reminder that existence is fleeting.
Another work shows the character feeding a vulture and wearing a t-shirt with a reference to Hélio Oiticica's flag — the image of Cara de Cavalo's body stretched out and a change in the famous phrase: “Be marginal, don't be a hero”. More than a quote, Martins provokes the art system and questions the social values that distinguish some between prestige and marginality.
The existential investigation marked by political criticism is also present in the large installation that welcomes the public to the gallery. Seca is composed of a boat resting on a mirrored surface. Upon approaching, the viewer notices that there is also another mirror in the vessel. “An illusion, a mirage, an impossibility in possibility,” writes curator Luciara Ribeiro in the exhibition text. “The image captured by the mirror makes the body present inside the boat, an entire dimension of the confrontation between reality and its projections, time and space. Time is different, with dilations and accelerations, being felt and projected, computed or risked,” she adds.
The violence present in Brazilian daily life, especially that perpetrated by the State, is addressed head-on in other works on display. Bulletproof vests are molds for sculptures, in addition to being, in themselves, material for works. In Dress Code 2, they are positioned and arranged on the wall, alluding to formalist compositions of Brazilian concrete art. The work raises discussions about the monetization of violence, highlighting the control, security and surveillance of bodies. “Surveillance and control as a strategy for managing public, political, social, educational and police violence,” points out the curator.
Service
Exhibition | Inhospitable borders
From November 09th to December 14th
Monday to Friday, 10am to 19pm, Saturday, 11am to 15pm
Period
November 9, 2024 10:00 - December 14, 2024 19:00(GMT-03:00)
Location
Millan Gallery
Rua Fradique Coutinho 1360/1430 São Paulo SP