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Portrait of Raphael Galvez, in the studio on Rua Lopes de Oliveira, in the 1980s

Petit maître

Art critic and professor Tadeu Chiarelli lists reasons to read the recently released autobiography of sculptor and painter Raphael Galvez
Grand Palace Ephemeral

Art Basel shakes Paris

With the quality seal of the Swiss franchise, the neophyte Paris+ took the place of the traditional FIAC, reinforced the pulsating art scene of the French capital, scared rival Frieze, from London, and promoted diversification in the selection of galleries
Hans Op de Beeck, We were the last to stay, 2022. The artist made an installation, an abandoned ghost village, a petrified setting, of steel, wood, paint and silence, along one of the sheds of the old Fagor Mill. A contemporary Pompeii that brings the chill of a space devastated by a bomb, lava from a volcano or a tsunami. Photo: Patricia Rousseaux

Our vulnerability on the agenda

The 16th edition of the Lyon Biennale was conceived by Sam Bardaouil and Till Fellrath and had as its central motto the Manifesto of fragility

Issue #61 contributors

FABIO CYPRIANO, art critic and journalist, is director of the Faculty of Philosophy, Communication, Letters and Arts at PUC-SP and is part of the editorial board of arte!brasileiros🇧🇷 In this issue, he writes about government initiatives in the universe of the arts in...

environment of resistance

Ceará inaugurates new equipment in Fortaleza and Cariri, which give national prominence in the face of the destruction of the scene by the federal government
Pier Paolo Pasolini by Anatole Saderman, 1962

Pasolini, scandalized

Celebrated for his cinematographic production, Pier Paolo also dedicated himself to literature and poetry; two recent national publications help to illuminate this part of his personal life and critical intellectuality

Editorial: Fertility and Kindness

Read the editorial of issue #59 of arte!brasileiros, by Patricia Rousseaux

“Brazilian Stories” reveals 'colonial system' in the arts circuit

"Masp presents an exhibition that criticizes the lack of representation in the history of art, but its own centers of power are white and patriarchal; the institution still exhibits works by its president, ignoring the existence of a conflict of interests", writes Cypriano

The collapse of culture

The destruction strategy persists even in the final days, with rigging and boycotts; it will be up to the new government to work together to recover the sector
Geoneide Brandão, "Oil on the need to materialize the impossible", 2022. Photo: Gabi Lisboa

New talents, new ideas

The production of four artists lives a special moment in the search for space to show their works