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Home Tags Special-photo-2018-b

Tag: special-photo-2018-b

May 1968 and photography in Latin America

Interview
Colombian historian and curator Rodrigo Orrantia participates in a debate at SP-Arte/Foto
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EXHIBITION | In June, the new São Paulo headquarters of Gale EXHIBITION | In June, the new São Paulo headquarters of the Pinakotheke Gallery was inaugurated with the exhibition Surrealisms: art beyond reason. The show was organized by businessman and cultural editor Max Perlingeiro and art critic, historian, and curator Tadeu Chiarelli. 📌For edition #75 of arte!brasileirosWe have transcribed the interview with the curator. Read the full text, which is available to arte✱plus contributors. Support our work and gain access to four digital magazines per year, plus exclusive benefits. Direct link in bio. #surrealism #pinakotheke
EXHIBITION | The Liberdade neighborhood is an invention i EXHIBITION | The Liberdade neighborhood is an institutional invention. This is what the exhibition Liberdade: Bairro Plural (Liberdade: Plural Neighborhood), which opens this Tuesday, the 7th, at the Museu do Ipiranga, shows. This is because it was only 52 years ago, in 1974, that the São Paulo city hall decided to deliberately create what was initially called the "Oriental Neighborhood" in that region. For the curators of the exhibition, the plurality of social groups that inhabit or have inhabited Liberdade since its beginnings does not authorize a single territorial claim. 📌Read the full text by Jotabê Medeiros (@jotabemedeiros) on the website artebrasileiros.com.br (link in bio). #liberdade #bairrodaliberdade #museudoipiranga
CULTURE | While much of the Northeast awakens CULTURE | While much of the Northeast awakens to take down the little flags and extinguish the last embers of the bonfires of Saint Anthony, Saint John, and Saint Peter, in São Luís the opposite happens. It is precisely when June seems to be coming to an end that the capital of Maranhão decides to extend it for another day, celebrating the patron saint and protector of Bumba Meu Boi. Before six in the morning, Avenida São Marçal, in the João Paulo neighborhood, is no longer car-filled. Held every June 30th for almost a century, the Encontro de Bois de São Marçal (Meeting of the Oxen of São Marçal) will reach its 99th edition in 2026. Bringing together dozens of groups, especially those of the matraca style, it has become the symbolic closing of the Maranhão June festivities. 📌Read the full text by Bibiana Belisário (@bibianabelisario) on the website artebrasileiros.com.br (link in bio) 📸Photos by Samuel Macedo (@samuelmacedo_fotografo) #bumbameuboi #sãoluís
EXHIBITION | The Grotto — Contemporary Art Space EXHIBITION | A Gruta — Espaço de Arte Contemporânea presents, from July 11th, "Primeiro mergulho" (First Dive), Beatriz Buendia's first solo exhibition, curated by Gabriela Gotoda. The artist's canvases feature few recurring elements: arches, spirals, beams, portals, symbols of openness and crossing that also define her method. The brushstrokes always move from the edges to the center, a dive into the pictorial field. Bringing together a body of paintings developed over the last two years, the exhibition is both a milestone of maturation and a turning point in her trajectory. The collection of works is the result of five years of dedication to the studio environment, a period in which the artist refined continuous research on the procedures of preparing the support, pigmentation and fabrication, consolidating an increasingly original language. Service 📍 Gruta — Contemporary Art Space — Rua Barra Funda, 450, São Paulo 🗓️ From July 11th to August 8th, 2026 🕒 Monday to Saturday, from 14 PM to 19 PM 🎟️ Free admission "Exhibition Plan – Gruta" is a project carried out through the Federal Law for Cultural Incentive (Lei Rouanet), of the Ministry of Culture and the Federal Government, sponsored by Imbil and produced by Ipê Produção Cultural and Gruta Espaço de Arte Contemporânea.
CURITIBA BIENNIAL | Under the general curatorship of Adri CURITIBA BIENNIAL | Under the general curatorship of Adriana Almada and Tereza de Arruda, the Biennial abandons linear paths and brings together artists of different generations, geographies, and cultures around issues that define the present. Artificial intelligence, climate crisis, displacement, and non-Western cosmologies permeate an exhibition that avoids easy answers. Instead of explaining the world, it proposes inhabiting it in its complexity. 📌Read the full text by @amaranteleonor for issue #75 of arte!brasileirosThis is available to Arte✱plus contributors. Support our work and gain access to four digital magazines per year, plus exclusive benefits. Direct link in bio. #bienaldecuritiba #artecontemporanea
VENICE BIENNALE | At the request of Koyo Kouoh, deceased VENICE BIENNALE | At the request of Koyo Kouoh, who passed away on May 10, 2025, Hélio Menezes wrote a text for the catalog of the 61st Venice Biennale, which is available at @artebrasileiros. "In our last meeting, two months before her unexpected passing, Koyo excitedly commented, without denying her weariness, on the paths to Venice. She spoke of the need for a “radical solidarity” in the field of arts, while asking, with genuine interest, about the process I had recently experienced of curating a collective exhibition at the 35th São Paulo Biennial, Choreographies of the Impossible. (...) This essay is, in a way, an imaginary and timeless continuation of that interrupted conversation." 📌Read the full text by @helio.menezes for issue #75 of arte!brasileiros, which is available to Arte✱plus contributors. For just 10 installments of R$9,90 per year, you support our work, gain access to four digital magazines per year, and receive exclusive benefits. Direct link in bio. Image: Ayrson Héraclito, Juntó
VENICE BIENNALE | It is not uncommon that, when the exhibition VENICE BIENNALE | It's not uncommon that, when the main Venice exhibition is very powerful, the national representations become somewhat overshadowed. This was undoubtedly the case in 2026. In this context, Brazil stands out thanks to the curatorial work of Diane Lima, Adriana Varejão, and Rosana Paulino, entitled "Nobody Can Mess With Me." The pavilion was restored in an exemplary manner, with transparencies that had previously been walled up. Even so, there is a clear discrepancy. While Varejão offers a certain cosmetic treatment of decolonial issues, which pleases the market but has been repeated for decades, Paulino, with an imagery based on personal memories and stories, presents a much more forceful work that deserved to occupy the space alone. 📌Read the full text by @cypriano for issue #75 of arte!brasileirosThis is available to Arte✱plus contributors. For just 10 installments of R$9,90 per year, you support our work, gain access to four digital magazines annually, and enjoy exclusive benefits. Direct link in bio. Happy reading!
VENICE BIENNALE | These five works, arranged in VENICE BIENNALE | These five works, displayed in three rooms of intense blue, which sometimes resembles the sky, sometimes the deep sea, synthesize the concept of the exhibition In Smaller Tones, conceived by the curator Koyo Kouoh (1967–2025), born in Cameroon, the first African woman to curate the Venice Biennale, who, however, did not see the result of her work, as she died almost a year before the opening of the exhibition. It was the curatorial team she chose, nicknamed the Koyo Squad, composed of Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Siddhartha Mitter and Rory Tsapayi, that managed to bring the project to fruition with a result that is beyond surprising. 📌Read the full text by @cypriano for issue #75 of arte!brasileirosThis is available to Arte✱plus contributors. For just 10 installments of R$ 9,90 per year, you support our work, gain access to four digital magazines annually, and enjoy exclusive benefits. Direct link in bio. Happy reading!
Venice Biennale | The Venice Biennales of recent years VENICE BIENNALE | The Venice Biennales of recent decades have been based on a somewhat forced balance between the central exhibition, curated by its organization, and the national pavilions, selected by institutions in each country as an official representation, occupying one of the 34 buildings in the Giardini or other spaces, especially some new ones in the Arsenale or in palaces around Venice. Throughout its long history—the Venice Biennale was created in 1895—controversies have always existed in this equation, but since the beginning of the war between Russia and Ukraine, the temperature has started to boil. In 2022, artists and curators of the Russian Pavilion voluntarily withdrew from the exhibition a few days after the invasion of Ukraine, declaring that "there is no room for art when civilians die under missiles." 📌Read the full text by @cypriano for issue #75 of arte!brasileirosThis is available to Arte✱plus contributors. For just 10 installments of R$ 9,90 per year, you support our work, gain access to four digital magazines annually, and enjoy exclusive benefits. Direct link in bio. Happy reading!
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