Tag Archives: Brazil

Sesc Sorocaba, Brazil

20.04 – 17.09.2023

 

Sob as cinzas, brasa (Under the Ashes, Embers)—the choice of title for the 37º Panorama da Arte Brasileira (37th Panorama of Brazilian Art) involves multiple layers. There is a heat that burns and endures even though something has been consumed by the fire and turned to ashes; the embers bear the possibility—or the hope—of revived fire.

 

The Panorama of Brazilian Art was conceived in 1969 by the Museum of Modern Art of São Paulo (MAM) and went on to become one of the most relevant shows in Brazil’s art circuit. In its 37th edition, held between July 2022 and January 2023, the show’s embers were ablaze at a peculiar moment in Brazilian history—during an electoral cycle disputed by widely different political projects, while the country was still reeling from the impacts of the Covid-19 pandemic. Other layers of that period include the country’s reconception based on memories brought to light by the bicentennial of the proclamation of its independence (1822) and by the centennial of the Modern Art Week (1922).

 

In 2023, the exhibition is being rekindled through a partnership between Sesc São Paulo and MAM. Traveling to São Paulo state’s countryside, the Panorama is gaining a new run between April and September at Sesc Sorocaba. The curatorship is shared by the art researchers, historians and critics Cauê Alves, Claudinei Roberto da Silva, Cristiana Tejo and Vanessa Davidson, who have brought together 26 artists and groups from different generations.

 

Brazilian art is presented at this Panorama based not only on regional cross-sections—relevant in a country of continental dimensions—but also in view of diversities in ethnic-racial profile, gender and background, with academically trained or self-taught artists, along with urban productions, made in the streets.

 

While Brazil’s colonial past and its reverberations in the also violent present time serve as fuel for the show, another common thread is the proposal of artistic solutions. The Panorama investigates how artists from Brazilian roots poetically manifest the confrontation of historical and current problems: racism, social inequality, urban violence, the competition between different narratives at play in the never-ending construction of the nation’s collective memories. In the show, art asks and responds to an essential question: what incites the embers that burn under the ashes?

 

List of artists
Ana Mazzei (São Paulo, 1980—lives in São Paulo)
André Ricardo (São Paulo, 1985—lives in São Paulo)
Bel Falleiros (São Paulo, 1983—lives in New York)
Camila Sposati (São Paulo, 1972—lives in Vienna)
Celeida Tostes (Rio de Janeiro, 1929—1995)
Davi de Jesus do Nascimento (Pirapora, Minas Gerais, 1997—lives in Pirapora)
Éder Oliveira (Timboteua, Pará, 1983—lives in Belém)
Eneida Sanches (Salvador, Bahia, 1962—lives in São Paulo, SP) and Tracy Collins (New Yor, 1963—lives in New York) (LAZYGOATWORKS)
Erica Ferrari (São Paulo, 1981—lives in São Paulo)
Giselle Beiguelman (São Paulo, 1962—lives in São Paulo)
Glauco Rodrigues (Bagé, Rio Grande do Sul, 1929—Rio de Janeiro, 2004)
Gustavo Torrezan (Piracicaba, 1984—lives between Piracicaba and São Paulo)
Jaime Lauriano (São Paulo, 1985—lives between São Paulo and Porto, Portugal)
Lais Myrrha (Belo Horizonte, Minas Gerais, 1974—lives in São Paulo)
Laryssa Machada (Porto Alegre, Rio Grande do Sul, 1983—lives in Salvador, Bahia)
Lidia Lisbôa (Guaíra, Paraná, 1970—lives in São Paulo)
Luiz 83 (São Paulo, 1983—lives in São Paulo)
Marcelo D’Salete (São Paulo, 1979—lives in São Paulo)
Maria Laet (Rio de Janeiro, 1982—lives in Rio de Janeiro)
Marina Camargo (Maceió, Alagoas, 1980—lives in Berlin)
Nô Martins (São Paulo, 1987—lives in São Paulo)
RODRIGUEZREMOR (Denis Rodriguez [São Paulo, 1977—lives in Igatu, Bahia] and Leonardo Remor [Estação, Rio Grande do Sul, 1987—lives in Igatu, Bahia])
Sérgio Lucena (João Pessoa, Paraíba, 1963—lives in São Paulo)
Sidney Amaral (São Paulo, 1973—2017)
Tadáskía (Rio de Janeiro, 1993—lives between Rio de Janeiro and São Paulo)
Xadalu Tupã Jekupé (Alegrete, Rio Grande do Sul, 1985—lives in Porto Alegre, Rio Grande)

 

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Opening 29 March, 7 pm, with the presence of the artist

 

 

We are pleased to present the first solo exhibition of Tadáskía (Rio de Janeiro, 1993) at Galeria Joan Prats.

 

rara ocellet (Rare bird) brings together a selection of Tadáskía’s latest works developed during her residency at the Salzburger Kunstverein (Austria) and Barcelona between the end of 2022 and the beginning of 2023. The exhibition rara ocellet presents drawings, canvases, sculptures, photographs and a video installation and is accompanied by a text by Ingrid Blanco Díaz (Havana, 1972), independent curator and researcher based in Barcelona.

 

This exhibition is the door to the almost mystical imaginary of the artist, where she not only represents her work, but also her relationship with the world. The works that we will show transport us to a lively and colorful universe to offer us the dreams of her childhood or the intimacy of her family. In the exhibition, the figure of the bird stands out. “Ocellets is an affectionate way of calling birds in Catalan. It is also the name of the square next to where I was in Barcelona for the first time. Which made me think of the people and the food in the same way I think of the birds that migrate from one place to another, soon changing language and coexistence” (Tadáskía).

 

In the words of Ingrid Blanco: “rara ocellet brings together several of the narrative processes through which the artist unveils the tools she deploys to imagine and to take hold of herself. Her work is a constant research on her place in the world and how she relates to it.  Through her performances, in her relationship with objects, materials, shapes, textures and colors, she expresses her identity and reveals the decisions she makes to build and exist. The community, the family, the body, emotional ties, forms of interconnection, life experiences, the magical and the ancestral are some of the axes that channel her work.”

 

Tadáskía’s production can be grouped into what curator Clarissa Diniz (Recife, Brazil, 1985) called “families,” sets of works with similar characteristics that create a relationship between them. The artist is interested in presenting the spirit of things, in a procedure located between figuration and abstraction; where the simple becomes mystical. In her drawings of volatile and sensitive qualities, often made with simple materials such as recycled paper, colored pencils or nail polish, singular assemblages coexist, sometimes complementary, sometimes dissident. “Depending on where we are, there can be transformations in form, color, line.” (Tadáskía)

 

Tadáskía is a visual artist, writer, trans and black. Her imaginary is backed by visible and invisible things. Whether in drawings, photographs, installations, textile works or “apparitions,” Tadáskía establishes a relationship with matter that can emerge from the encounter, creating around her Afrodiasporic imaginaries and a syncretic spirituality.  In her works, the artist suggests other notions of time and space as opposed to binarisms, also raising questions in the fields of form, line and color.

 

Tadáskía (Rio de Janeiro, Brazil, 1993) lives and works between Rio de Janeiro and São Paulo. She holds a degree in Visual Arts from UERJ (2012-2016) and a Master’s degree in Education from UFRJ (2019-2021). In 2022 she had her first solo exhibition noite e dia in Sé, São Paulo, and also in Europe, during her residency at Homesession, Barcelona. She has participated in recent group exhibitions at MAM, São Paulo, 2022; ISLAA, New York; Triangle Asterides, Marseille; Framer Framed, Amsterdam; Madragoa, Lisbon; Casa de Cultura do Parque, São Paulo; Casa Zalszupin, São Paulo (2022); Pivô, São Paulo; Fortes D’Aloia & Gabriel, São Paulo; Galeria Luisa Strina, São Paulo; Casa da Cultura da Comporta; EAV Parque Lage (2021); Museu de Arte do Rio de Janeiro (2020-21); Paço Imperial, Rio de Janeiro; EAV Parque Lage, Rio de Janeiro (2019-2020). In 2023 she has been in residence at Salzburger Kunstverein, Salzburg.

 

Thanks to Loop, Homesession

 

 

 

 

 

 

About Academia

Antoni Muntadas: About Academia I-II, an Online Interpretation, 2011-2017 (2021)

website access: https://aboutacademia.iea.usp.br/

30.4 – 31.10.2021

 

Based on his experience in American higher education, the artist Antoni Muntadas inaugurates in Brazil an online interpretation of About Academia. The project discusses the role and function of universities today, the place of art in this context, the relationship between public and private, tradition and contemporaneity, the future of universities and interdisciplinarity, based on interviews with professors and students.

About Academia, a project originally presented at the Carpenter Center for the Visual Arts, invited by Harvard University, during Antoni Muntadas’ last teaching period in the program in Art, Culture and Technology at the Massachusetts Institute of Technology (ACT MIT), in 2011, followed in different versions to cities like Boston, Vancouver, Amsterdam, Seville, among others.

The Brazilian version of the videoinstallation About Academia, which at first would occupy the Biblioteca Brasiliana at the University of São Paulo’s (USP) Butantã Campus in São Paulo, translates as another work of the multimedia artist and professor, by creating a digital interpretation of the original installation, developed as a website, which can be accessed from April 30 https://aboutacademia.iea.usp.br/. For the first time it is being shown in Latin America, with all its materials translated into Portuguese, in a bilingual version (Spanish), through a partnership between the Fórum Permanente, the Instituto de Estudos Avançados at USP, and the Biblioteca Brasiliana José and Guita Mindlin, with the support of the Government of the State of São Paulo, through the Secretariat of Culture and Creative Economy, and the Cultural Action Program (PROAC).

The project is composed of two sets of screenings and publications. While About Academia I (2011) addresses these issues from the perspective of professors and academics, About Academia II (2017) delves into its themes exclusively from the students’ point of view. Due to the pandemic of COVID-19, the first exhibition of this project in the Southern Hemisphere takes place through a virtual room, on a website where it is also possible to access the three roundtables that take place on April 30 and May 10, and where two bilingual publications are available with the complete transcripts of the speeches of the interviewees, among them Noam Chomsky, David Harvey, Carol Becker, Ute Meta Bauer, and the students.

The creation of the immersive, online, interactive videoinstallation gives prominence to the two sets: About Academia I (2011) and About Academia II (2017). It thus respects the duration of the times of the videos originally developed by the artist for their existence in a real physical space.  Thus, despite the interactivity of navigation, it is not possible for the visitor to control the projected videos. The aesthetic experience in virtuality therefore has correspondence with the real time of the analog exhibition space.

 

Publications

The publications in Spanish and Portuguese versions are partially available on the exhibition site. In order to have full access, it is necessary to buy them for a symbolic price. The link for this purchase is through the exhibition site.

Round tables

The round tables will be broadcasted in the exhibition site and will be available later on this site and in the sites of the partners (IEA-USP, Biblioteca Brasiliana and Fórum Permanente).

 

Which university do we want?

Friday April 30th from 2 pm to 5 pm

  • Néstor Garcia Canclini (Mexico) – anthropologist, philosopher, Chair at IEA-USP
  • Eliana Sousa Silva – educator, socio-cultural activist, Chair at IEA-USP
  • Macaé Evaristo educator, former State Secretary of Minas Gerais
  • Ailton Krenak – philosopher, environmentalist, indigenous leadership
  • Antoni Muntadas (artist)
  • Martin Grossmann (moderation)

 

Intercontinental Academy

Monday, May 10 from 9 am to 12 pm – (Brasilia)

  • Nikki Moore (USA) Art Historian – Wake Forest University (ICA-UBIAS)
  • Érica Peçanha (Brazil) anthropologist, post-doctorate IEA-USP
  • David Gange (England), historian Birmingham University (ICA-UBIAS)
  • Julia Buenaventura (Colombia) – art historian – Universidad de los Andes
  • Mariko Murata (Japan) – media and museum theorist – Kansai University
  • Martin Grossmann (moderation)

 

University and context

Monday May 10 from 1:30 pm to 4 pm (Brasilia)

  • Naomar de Almeida Filho – epidemiologist, former dean of UFBA, professor of IEA-USP
  • Helena Nader – biomedical sciences, vice-president of ABC, Chair at IEA-USP
  • Guilherme Wisnik – architect, curator, professor at FAU-USP
  • Renato Janine Ribeiro (moderation), philosopher, former Minister of Education (FFLCH-USP)

 

 

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Caio Reisewitz

Text by Verónica Stigger (Porto Alegre, 1973), writer, art critic, curator and professor. 

 

3D tour

 

Conversations with Caio Reisewitz & curators. (see below)

 

      

 

From the 11 of March, we shall exhibit Recado da Mata, the fourth exhibition by Caio Reisewitz at Galeria Joan Prats. We present 11 photographs, a video, and an audio piece.

 

Caio Reisewitz has gathered many of the photographs in this exhibition together in response to reading books written by two great thinkers and indigenous leaders working in Brazil today: A queda do céu [The fall of heaven] by Davi Kopenawa with co-authorship from Bruce Albert, and Ideias para adiar o fim do mundo [Ideas to postpone the end of the world] by Ailton Krenak. The title of the exhibition furthermore lends itself from the preface written by anthropologist Eduardo Viveiros de Castro for Kopenawa and Bruce Albert’s book who in turn alludes to the tale O recado do morro [The Message of the Hill], by Joao Guimarées Rosa. In the story, a homeless man and a hermit warn the people of the region about a message they claim to have received from Morro da Garça (Hill of Garça) itself. In a group of 7 men, one of them will be killed through treason. In the preface Viveiros de Castro begins with the idea of imminent death proclaimed by nature, now it is not from the voice of the hill but through the voice of the jungle. The jungle warns us that it is being exterminated by man; this is the message that Caio Reisewitz attempts to convey in his photographs.

 

One of the most recent works presented in the exhibition by Caio Reisewitz is Ambé, whose title much like the other works displayed (excluding Penedo), refers to a place name of Tupí origin. Ambé is the name of a rural community 80km from the center of Macapá in Amapá. However, in the Amazon region it also means that which is rugged, frizzy and rough. Much like the vast majority of Reisewitz’s works, in this photograph we are unable to distinguish human presence. We see only a thick tangle of branches, trunks and leaves characteristic of the Amazon rainforest. Nevertheless, the inability to distinguish human presence in the jungle does not mean it is uninhabited. The indigenous placename reminds us that for Amerindians the jungle is continuously full of a multiplicity of beings that remain invisible to us (…). By pasting fragments of different photographs, overlaying them, and re-photographing them with colour manipulation, provides the scene with a bluish tint. In Ambé, Reisewitz creates an unreal almost spectral environment; he shows an image of a dream or a vision of a shaman. Despite our inability to see the invisible beings of the jungle we are still able to sense their presence (…).

 

Always concerned about man’s rampant exploitation of nature and its dire consequences, Caio Reisewitz, in photographs such as Tipioca and Upurupã, finds a way to make this message even more eloquent, more visible. He overlaps an image of the jungle with part of the Palácio Del Planalto (the seat of Brazil’s federal executive power) which we glimpse at like a ghost or apparition floating menacingly. We must not ignore that this exhibition takes place at a time when the government is currently under the rule of President Jair Bolsonaro. Jair Bolsonaro is an admitted accomplice to the greatest devastation ever imposed on the Amazon and Pantanal in recent history. Deforestation reached its highest level since 2008. Additionally, there have been repeated attacks against the indigenous population, their territories and their given rights which were stipulated in the 1988 Constitution. In the last two years, several Brazilian cities including those in Southeast and South have been covered by smoke for days dye to forest fires. It is no longer just a message, but a loud cry of help from the jungle.

 

 

 

Caio Reisewitz (São Paulo, 1967) lives and works in São Paulo. He is one of the most important photographers from Brazil; he has focused his work on the difficult relationship between nature and people. Recent individual exhibitions include: Biblioteca, Museo de Antioquia, Colombia (2018); Altamira, Pinacoteca do Estado de São Paulo (2017); Ingenios de hoy, Photoespaña, Museo de Albacete (2016); Disorder, Maison Europeénne de la Photographie, Paris and Florestas, favelas e falcatruas, Huis Marseille Museum voor Fotografie, Amsterdam (2015); Caio Reisewitz, ICP – International Center of Photography, New York (2014). He has participated in Biennale de l’Image Tangible, Paris (2018); The Guangzhou Image Triennial (2017); Bienal de Curitiba, Brazil (2015 and 2013); Biennial Daegu Photo, South Korea (2014), Project LARA Latin American Roaming Artist, Colombia (2013), Nanjing Biennale (2010), Bienal del Fin del Mundo of Ushuaia, Argentina (2009 and 2007), Venice Biennale (2005) representing Brazil, and in São Paulo Art Biennial (2004). His work has been shown in international arts centers, such as Beijing Minsheng Art Museum; Phoenix Art Museum, Arizona; Gropius Bau, Berlin; Cisneros Fontanals Art Foundation, Miami; MARCO, Vigo; CAAC, Seville; MUSAC, León; Museu de Arte Contemporanea de Goiás, Goiania; Museu de Arte Moderna da Bahia, Bahia; Casa da Imagem, OCA, São Paulo; CCBB, Rio de Janeiro and Grand Palais, Paris; amongst others.

 

Friday, April 30th, 6 pm – Online (in Spanish and Portuguese) via this Link

‘Caio Reisewitz y la crisis ambiental y forestal en el contexto del arte contemporáneo’

Conversation with Paula Alzugaray (editor and independent curator specialised in video art), Orlando Maneschy (professor at UFPA-Federal University of Pará, Amazônia) and Caio Reisewitz (artist)

Approximate duration: 50 minutes

 

Friday, May 7th, 7 pm – Galeria Joan Prats (confirm attendance via galeria@galeriajoanprats.com) and online (in Spanish) via this Link

‘Fotografía contemporánea en el contexto actual y coleccionismo’

Conversation with Caio Reisewitz (artist), Moritz Neumüller (curator and critic specialised in the mediums of photography and digital art) and Alejandro Castellote (curator of photography)

Approximate duration: 50 minutes

 

 

Caio Reisewitz Territorio Común Mamm

 22.05 – 11.11.2019 

MAMM, Medellín, Colombia

 

Territorio común. Nuevas incorporaciones a la Colección MAMM incluye alrededor de cincuenta obras que dan algunas luces sobre el devenir del arte reciente en Colombia y más allá. Predomina la pintura aunque la instalación y el video también están presentes de manera decisiva. Más que sugerir temas o preocupaciones específicas, la exposición es un vistazo a los nuevos derroteros de la Colección del Museo y a algunas líneas de trabajo que los últimos años han abierto o consolidado.

 

Los últimos diez años han implicado una transformación profunda para el Museo de Arte Moderno de Medellín. Primero, con su llegada al edificio Talleres Robledo en Ciudad del Río en 2009 y, posteriormente, con la apertura del edificio Expansión en septiembre de 2015. Paralelamente –o quizás de manera un poco adelantada respecto a estos aspectos más visibles– el MAMM introducía una serie de cambios y reformulaciones de su proyecto museológico y cultural para Medellín y el país.

Poco a poco, este crecía y se modificaba hasta convertirse en el programa de exposiciones locales nacionales e internacionales, programas educativos y académicos, cine, una sala de estudio para la comunidad, etc., que conforman el Museo de hoy. Durante estos años también la Colección del Museo se ha nutrido con obras que reflejan tanto los cambios que la institución ha vivido como la programación que le ha dado vida.

 

 La Colección MAMM surge desde la fundación de la institución como fondo patrimonial con el que soportar la creación de la figura legal del Museo y también como acervo que permitiera la conservación, investigación y difusión del arte antioqueño y colombiano moderno y contemporáneo. Por la manera en que los orígenes de la institución están vinculados con la creación de la Colección podemos decir hoy que este es una parte intrínseca de su surgimiento y consolidación. Así, la Colección MAMM se presenta no sólo como un recorrido por el arte Antioqueño y Colombiano de la segunda mitad del siglo XX y lo que va del XXI sino, de manera significativa, como memoria institucional y apuesta programática.

 

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Instituto Tomie Ohtake

Exhibition 25.04 – 26.05.2019

 

At the outset of the exhibition-cum-essay curated by Luise Malmaceda and Paulo Miyada to be held at Instituto Tomie Ohtake is the oeuvre of Miguel Bakun (1909-1963), an artist from Paraná, a state in southern Brazil. As the curators have noted, the event is meant to reflect on representation of landscapes in Brazil’s subtropical region that have “so often been sidelined by the eminently warm-climate, coastal beach imaginary of a country whose picture-postcard sites are mostly found north of the Tropic of Capricorn.”

 

Sponsored by Banco Barigüi, Grupo Barigüi, Tradener and Moageira Irati, the exhibition has been designed to feature, in unprecedented format in São Paulo, a large cutout from Bakun’s production contextualized in the history of Brazilian art. The exhibition comprises three large groups engaged in dialogue with the artist: one specifically covering landscapes from southern Brazil, in particular the state of Paraná, consisting of pieces by Alfredo Andersen (1869 – 1935), Bruno Lechowski (1887– 1941), Caio Reisewitz (1967 –) and Marcelo Moscheta (1976 –); another situating Bakun within Brazilian modernism together with Alberto da Veiga Guignard (1896 – 1962), Alfredo Volpi (1896 – 1988), Iberê Camargo (1914 – 1994) and José Pancetti (1902 – 1998); and a third group made up of contemporary artists who, like Bakun, found in landscape an inexhaustible source of investigation, as for example Marina Camargo (1980 –), Lucas Arruda (1983 –) and Fernando Lindote (1960 –).

 

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Acacia

 Beijing Minsheng Art Museum, Beijing, China

9.12.2017 – 23.2.2018

 

The large-scale exhibition of “Troposphere – Chinese and Brazilian Contemporary Art” is a dialogue on contemporary art between China and Brazil. The exhibition was organized by China Minsheng Bank and Beijing Minsheng Art Museum, co-organized by the Brazilian Embassy to China, CURRENTS Culture and Art Foundation, Beijing Minsheng Culture and Art Foundation, with the academic support of Brazil Cultural Center of Peking University.