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Can there be Facebook without hate?

Philosophy, education and beyond
Why has Facebook become an arena that cannot live without hate? I wonder. Not two or three days go by without it appearing...
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LAST DAYS | Until January 24th, the Martin gallery LAST DAYS | Until January 24th, the Martins&Montero gallery in São Paulo presents "Negative Desire". Curated by Jota Mombaça, the exhibition brings together works by Hudinilson Jr., Bruna Kury, and Tetê. The show uses queer theory to investigate reproducibility as a normative principle and to reflect on artistic practices that operate refusal as a critical method. By articulating body, language, copy, and dissent, the collective proposes the interruption of hegemonic forms of existence and points to the possibility of imagining other ways of life. SERVICE 📍Martins&Montero: Rua Jamaica 50, Jardim América, São Paulo (SP) 📆On display until January 24, 2026 ⏰Visiting hours: Tuesday to Friday, 10 am to 19 pm; Saturdays, 11 am to 16 pm
EXHIBITION | Until January 25th, the Museum of the Portuguese Language EXHIBITION | Until January 25th, the Museum of the Portuguese Language is holding another edition of the Holiday Season, with a free program focused on urban cultures. Workshops on rhyme, graffiti, and urban dances, as well as traditional games, occupy the Museum space and engage with the exhibition "FUNK: A cry of audacity and freedom". The activities are led by artist-educators and propose an approach to the connection between language, body, territory, and contemporary cultural practices. In addition to the special holiday program, the public can visit the Museum's main exhibition and the exhibition dedicated to funk. SERVICE 📍Museum of the Portuguese Language: Praça da Luz, s/n – Luz – São Paulo Holiday Station – Museum of the Portuguese Language 📆Until January 25th ⏰Tuesday to Sunday, from 10 am to 17 pm 🎟Free admission Main exhibition and FUNK: A cry of audacity and freedom 📆Tuesday to Sunday, from 9 am to 16:30 pm (stay until 18 pm) 🎟Tickets: R$ 24 (full price) | R$ 12 (half price) Free on Saturdays and Sundays Cover artwork: Bruno Lyfe
COURSES | Between January and February, MASP presents COURSES | Between January and February, MASP presents eight new open courses through the MASP School. The program includes in-person and online classes with introductory and experimental courses in drawing, painting, and performance. The schedule also includes online training on portraiture, introduction to curating, and a course dedicated to the relationship between art and mental health. All courses offer scholarships and discounts for teachers of early childhood, elementary, middle, and high school education in the public school system, subject to a selection process after registration, in addition to a 15% discount in the AMIGO MASP program. At the end of all courses, certificates are issued to students who complete 80% attendance. To register and learn more, visit: masp.org.br/masp-escola
EXHIBITION | At 92 years old, Anna Bella Geiger presents EXHIBITION | At 92 years old, Anna Bella Geiger presents a new work in Rio de Janeiro. Commissioned by the Projeto Maravilha (Marvelous Project), the sculpture "Typus Terra Incognita" occupies the Bosque das Artes (Arts Grove) in the Parque Bondinho Pão de Açúcar® (Sugarloaf Cable Car Park). The intervention marks the second edition of the Projeto Maravilha and inaugurates its integration into the Maravilha – Ícones na Paisagem (Marvelous – Icons in the Landscape) program, focused on the installation of permanent works in public spaces in the city. Simultaneously, the Espaço Maria Ercília (Maria Ercília Space) presents the exhibition "Anna Bella Geiger: a body in space," which brings together works in different languages ​​and reinforces the role of the body as a critical instrument in her trajectory. SERVICE 📍Bosque das Artes – Parque Bondinho Pão de Açúcar®: Address: Av. Pasteur, 520 – Urca, Rio de Janeiro 📆Opening: January 14, 2026 🎟Tickets: parquebondinho.com.br
STORIES FROM THE CRITICISM | Tadeu Chiarelli has a chapter STORIES OF CRITICISM | Tadeu Chiarelli possesses a rare ability to reconcile historical research with direct contact with contemporary artistic production, coupled with intense activity in the exhibition and academic circuit. A precise illustration of this broad, pendulum-like movement is the author's publication of two seemingly distinct books, less than a month apart, at the end of last year. In an interview for @artebrasileiros, Tadeu Chiarelli discusses the publications 'Appropriations' and 'Brazilian Art', analyzes the dialogue between past and present in art, and the role of the art critic and historian. 📌Read the full text by Maria Hirszman (@mariahir) for issue #73, which is exceptionally open to all readers, via the link in the bio (@artebrasileiros).
TRIBUTE | We regret the passing of the artist co TRIBUTE | We regret the passing of Colombian artist Beatriz González, which occurred last Friday, January 9th, at the age of 93. Currently on display at the Pinacoteca de São Paulo, the exhibition "Beatriz González: The Image in Transit" brings together more than one hundred works and now presents itself as an opportunity for the public to get to know up close the breadth and versatility of a fundamental trajectory in Latin American art. Fabio Cypriano (cypriano) wrote about the exhibition for issue #72 of @artebrasileiros. The text is available to arte✱plus contributors, who have access to our four digital magazines per year. 📌Visit the website artebrasileiros.com.br. Happy reading! Photo 1: Galerie Peter Kilchmann Photos 2 and 3: Levi Fanan Photo 4: Fabio Cypriano
PHOTOGRAPH | European institutions identify the PHOTOGRAPHY | European institutions are identifying the need to change protocols for the maintenance, exhibition, storage, and preservation of historical or artistic photographs as cases of deterioration due to global warming increase. We spoke with Anita Bools, Senior National Curator of Paper and Photography at the National Trust in the United Kingdom, who follows with particular interest the issues of the effects of climate change on photographic collections. The National Trust participated in two panels at COP30, the Climate Conference, in Belém: Culture at the Heart of Climate Policy and Action - A Collective Effort (Mutirão) and Cultural Power for Climate Action: Storytelling, Heritage & the Creative Industries. 📌Read the full text by Jotabê Medeiros (@jotabemedeiros) for issue #73, which is exceptionally open to all readers, via the link in the bio (@artebrasileiros). Image 1: Self-portrait by photographer Edward Hardman (cellulose nitrate negative) Image 2: Modern color prints drying after being washed again following the flood at Avebury Manor. Photo by Anna Barnes
REVIEW | The 36th São Paulo Biennial comes to an end REVIEW | The 36th São Paulo Biennial comes to an end this weekend. For four months, visitors to the exhibition had access to a wide selection of poetics, places, and authors from afar. The full text by Maria Hirszman (@mariahir) is part of issue #72 of @artebrasileiros, and is exclusive to arte✱plus contributors, who have access to our four digital magazines per year. Support one of the most recognized contemporary art and culture platforms in Brazil. 📌Visit the website artebrasileiros.com.br. The direct link is in the bio. Enjoy your reading! Photos 1 and 4: Levi Fanan / Photo 2: Daniel Yazbek / Photos 3: Coil Lopes
FRANCE-BRAZIL SEASON | “In my work, in my FRANCE-BRAZIL SEASON | “In my work, in my life as an artist, I am as fascinated by the immobility of photography as by the movement of cinema,” said Agnès Varda. The slippage between the photographic instant and the filmic flow, fundamental to her work, is one of the central focuses of the exhibition on display at the Instituto Moreira Salles (IMS), as part of the France-Brazil Season program. Bringing together 200 photographs – many of them never before seen – the initiative not only rescues Varda the photographer, a lesser-known side of the acclaimed filmmaker, but also shows how her production is connected to contemporary issues. “She is interested in the artistic possibilities of photography,” says João Fernandes, artistic director of the IMS and curator of the exhibition alongside Rosalie Varda, Agnès' daughter and partner. 📌Read the full text by Maria Hirszman (@mariahir) for issue #73, which is exceptionally open to all readers, via the link in the bio (@artebrasileiros). Captions: 1. Self-portrait in the studio with her camera, Rue Daguerre, Paris, 1956 2. Mardi Gras [Carnival Tuesday], Luxembourg Gardens, Paris, 1953 3. At the 2003 Venice Biennale, which she visited ironically dressed as a potato 4. Yangtze River Boatmen, 1957, China.
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