Tag Archives: Caio Reisewitz

2021 Chengdu Biennale: SUPER FUSION

November 6, 2021–April 6, 2022

 

 

Under the guidance of the Chengdu City Culture Broadcasting and Tourism Department, the SUPER FUSION 2021 Chengdu Biennale takes place from November 6, 2021 to April 6, 2022 in two venues in the Tianfu Art Park—the Chengdu Museum of Contemporary Art and Tianfu Gallery.

 

 

The Biennale will present over 500 pieces from almost 300 artists, providing the people of Chengdu with a wide range of artworks that reflect the diverse and responsive nature of Chengdu’s artistic and cultural climate, while boosting the status of the city as a cultural capital.

 

 

272 artists from a total of 35 countries and regions have been invited to join, including such international figures as Anish Kapoor and Tony Cragg from the United Kingdom, Katharina Grosse from Germany, Caio Reisewitz from Brasil, and Chinese artists Xu Bing, Zhang Xiaogang, Zeng Fanzhi, Song Dong and Cao Fei. As well as featuring internationally renowned Chengdu artists like Zhou Chunya and He Duoling, the biennale will also present works by the new generation of young local artists.

 

 

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ARCO E-xhibitions 4

ARCO E-xhibitions 4. CAIO REISEWITZ, Recado da Mata

 

 

Caio Reisewitz ha hecho muchas de las fotografías reunidas en esta exposición como una respuesta a la lectura de los libros de dos grandes pensadores y líderes indígenas que trabajan hoy en Brasil: “A queda do céu” [La caída del cielo], de Davi Kopenawa en coautoría con Bruce Albert, e “Ideias para adiar o fim do mundo” [Ideas para posponer el fin del mundo], de Ailton Krenak. El título de la exposición, además, toma prestado el título del prefacio que el antropólogo Eduardo Viveiros de Castro escribió para el libro de Kopenawa con Bruce Albert, que a su vez alude al cuento “O recado do morro” [“El mensaje de la colina”], de João Guimarães Rosa. En el cuento, un vagabundo y un ermitaño advierten a la población de la región sobre el mensaje que dicen haber recibido del propio Morro da Garça (Colina de Garça): en un grupo de siete hombres, uno de ellos sería asesinado a traición. En el prefacio, Viveiros de Castro parte de la idea de una muerte inminente anunciada por la naturaleza; ahora ya no por la voz del cerro, sino por la voz de la selva. La selva nos advierte de que está siendo exterminada por el hombre y, este mensaje de la naturaleza, es lo que Caio Reisewitz ha intentado mostrarnos en sus fotografías.

 

Una de las obras más recientes de esta exposición es “Ambé”, cuyo título, como el de los demás trabajos expuestos (a excepción de “Penedo”), hacen referencia a un topónimo de origen tupí. “Ambé” es una comunidad rural a 80 km del centro de Macapá, en Amapá, pero también significa, en la región amazónica, lo que es áspero, encrespado, rugoso. Como en la gran mayoría de los trabajos de Reisewitz, en esta fotografía, no distinguimos presencia humana. Solo vemos una espesa maraña de ramas, troncos y hojas característicos de la selva amazónica. Sin embargo, no distinguir la presencia humana en la selva no significa que esté deshabitada. El topónimo indígena nos recuerda que, para los amerindios, la selva siempre está llena de una multiplicidad de seres invisibles para nosotros (…) Al pegar fragmentos de diferentes fotografías, superponerlos y volver a fotografiarlos con manipulación de color, dándole un tinte azulado a la escena, Reisewitz crea, en “Ambé”, un ambiente irreal, casi espectral, como si mostrase una imagen de un sueño o una visión de un chamán, en la que, sin ver a los seres invisibles de la selva, intuimos su presencia. (…)

 

Siempre preocupado por la explotación desenfrenada de la naturaleza por parte del hombre y sus nefastas consecuencias, Caio Reisewitz, en fotografías como “Tipioca” y “Upurupã”, encuentra la manera de hacer este mensaje aún más elocuente, más visible, superponiendo, sobre la imagen de la selva, parte de la arquitectura del Palacio del Planalto (sede del poder ejecutivo federal de Brasil), que podemos vislumbrar como un fantasma o una aparición, flotando amenazadoramente. No debemos perder de vista que esta exposición se realiza en un momento en que el gobierno del actual presidente, Jair Bolsonaro, es cómplice admitido de la mayor devastación jamás impuesta al Amazonas y al Pantanal en la historia reciente, con la deforestación habiendo alcanzado su nivel más alto desde 2008, además de promover repetidos ataques contra la población indígena, contra sus territorios y derechos garantizados por la Constitución de 1988. En los últimos dos años, varias ciudades brasileñas, incluso en el Sudeste y Sur, han sido cubiertas.

 

 

Descubre nuestro stand

23rd Biennale of Sydney

23rd Biennale of Sydney (2022)

 

The 23rd Biennale of Sydney will be open to the public from 12 March to 13 June 2022. 

 

 

Rivers, wetlands and other salt and freshwater ecosystems feature in the 23rd Biennale of Sydney (2022), titled rīvus, as dynamic living systems with varying degrees of political agency. Indigenous knowledges have long understood non-human entities as living ancestral beings with a right to life that must be protected. But only recently have animals, plants, mountains and bodies of water been granted legal personhood. If we can recognise them as individual beings, what might they say?

 

 

 

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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

 

 

casa carioca

MAR Museu de Arte do Rio presenta la exposición Casa Carioca, que reúne alrededor de 800 obras en torno a temas relacionados con el hogar y la vida en Río de Janeiro y Brasil y será parte del programa cultural del Congreso Mundial de Arquitectos. – UIA 2021.

 

Comisariada por Marcelo Campos, curador jefe del MAR, y Joice Berth, arquitecta, urbanista y activista del movimiento feminista negro, cuenta con obras de Caio Reisewitz, entre otros.

 

La fecha de inauguración ha sido aplazada por la pandemia, pero en abril se inició la campaña online #CasaCariocaMAR, que muestra en los canales digitales del museo contenido inédito relacionado con Casa Carioca.

 

 

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think about the size

JORDI ALCARAZ, PAULINE BASTARD, ERICK BELTRÁN, ALFONS BORRELL, CABELLO/CARCELLER, CABRITA, VICTORIA CIVERA, HANNAH COLLINS, CARLES CONGOST, LUIS GORDILLO, ANNIKA KAHRS, LOLA LASURT, FABIAN MARCACCIO, ENRIQUE MARTÍNEZ CELAYA, MUNTADAS, JAVIER PEÑAFIEL, PEREJAUME, PABLO DEL POZO, FERNANDO PRATS, CAIO REISEWITZ, MARCEL RUBIO JULIANA, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ 

 

 

“Escric amb rius i turons / sobre el paper de les planes”    Perejaume*

 

Spring has been marked by a radical transformation of our ways of moving, relating and exchanging. Suddenly everything has changed. Our perception of everyday things and also of the most relevant things has been questioned. What seemed essential to us becomes not essential. We have realized the precariousness of life, we have known the importance of solidarity, of family, of our loved ones, of our environment. Nature and the environment have also taken a leading role that they did not have before.

 

Facing this, we have dared to ask the artists of the gallery to participate in this exhibition that we now present, with works which they have carried out during this time of social isolation. They are diverse answers to the same question, they have in common the use of paper as a medium, common for some –like Victoria Civera or Perejaume– and unprecedented for others –like Hannah Collins or Annika Kahrs–.

 

The making of these works has been able to become an escape route, a tool to continue working despite the difficulties and, at the same time, they allow the spectator to enter the intimacy of the studios and the heads of their creators. They are, in most cases, works made at home, with house’s tools, testimonies of a unique and, we hope, unrepeatable moment.

 

‘Think about the size of the universe, then brush your teeth and go to bed’ takes the title of a work by the artist Annika Kahrs. Starting with humor, it invites us to reflect on the balance between micro and macro levels and on the search for meaning and identity within the unfathomable universe of which we are a part, reflections that become fundamental in the current context.

 

The result of this exhibition has been a series of diverse works. In some cases, we see that the themes that worried the artists, before the pandemic, have maintained their leading role or, even in others, they show fragments of their work process and are linked to future projects.

 

In other cases, we find proposals that speak directly of the current moment: reflections on personal relationships, the political situation, messages from the media or vulnerable groups such as children and the elderly.

 

Finally, we would also find a third group of works that focus on observing the closest environment and nature.

 

 

To provide you with more information and images, please contact galeria@galeriajoanprats.com

 

 

* “I write with rivers and hills / on the paper of the plains” Perejaume

ARCO Madrid

 

26/02/2020 – 01/03/2020

 

Booth 9C09

 

LUIS GORDILLO . CHEMA MADOZ . MUNTADAS . FERNANDO PRATS . JULIAO SARMENTO . JOSÉ MARÍA SICILIA . PEREJAUME . ALICIA KOPF . TERESA SOLAR . JUAN USLÉ . PABLO DEL POZO . VICTORIA CIVERA . HERNÁNDEZ PIJUAN

 

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Altamira lll - Caio Reisewitz

ALTAMIRA

Saturday September 21, 14:00
Caio Reisewitz in conversation with Daniela Labra
Friends with Books: Art Book Fair Berlin 2019

Hamburger Bahnhof – Museum für Gegenwart – Berlin

 

The artist will present his project and photobook Altamira, published by Artphilein Editions

 

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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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Arco 2019

ARCOmadrid 

27/02/2019 – 03/03/2019

Booth 9C09

 

AÏDA ANDRÉS RODRIGÁLVAREZ, PEDRO CABRITA REIS, VICTORIA CIVERA, HANNAH COLLINS, HERNÁNDEZ PIJUAN, FABIAN MARCACCIO, MUNTADAS, PEREJAUME, PABLO DEL POZO, CAIO REISEWITZ, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ

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CAIO REISEWITZ Meeting with the artist and book signing, Altamira

Thursday, February 28, in our booth at ARCOmadrid 2019

ARCOmadrid 

27 febrero – 3 marzo, 2019

Stand 9C09

 

Con obras de : VICTORIA CIVERA, HANNAH COLLINS, HERNÁNDEZ PIJUAN, FABIAN MARCACCIO, MUNTADAS, PEREJAUME, PABLO DEL POZO, CAIO REISEWITZ, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ

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CAIO REISEWITZ Encuentro con el artista y firma del libro Altamira

Jueves 28 de febrero a las 18h en nuestro stand de ARCOmadrid 2019

 

 

Museo de Antioquia, Casa del Encuentro, Antioquia, Colombia

Inauguración 4.12.2018 – 18.30h

Exposición 4.12.2018 – 17.2.2019

 

Curador Alejandro Castellote

 

Exposición del artista brasileño Caio Reisewitz (São Paulo, 1967), en la que presenta una instalación en gran formato acompañada de 19 fotografías, intervenidas mediante collage. En 2014, Caio Reisewitz presentó en una exposición individual en el ICP de Nueva York experimentos en forma de collage que había estado desarrollando desde 2008. En ellos, Reisewitz mira la ciudad «a lo lejos», desde la frondosidad de la naturaleza que rodea São Paulo.  

 

La exposición Biblioteca reúne por primera vez escenarios pertenecientes a los diferentes periodos de su práctica con el collage. Para la intervención creada específicamente para el Museo de Antioquia, Caio Reisewitz utiliza imágenes monumentales en las que conviven la densidad de la selva con los libros, una metáfora de la acumulación de conocimiento, dispuestos en un abigarramiento semejante al de los árboles. Documentos escritos, que el tiempo ha convertido en monumentos, coexisten con la naturaleza de la que provienen. En esos murales se inscriben asimismo, a modo de realidad dual y discordante, menciones a los problemas que afectan a las sociedades contemporáneas. La superposición de imágenes de archivo en los collages refiere a los problemas que afectan al ámbito geopolítico de Brasil y Colombia, pero no tienen el protagonismo estereotipado que habitualmente ocupan la violencia, la corrupción o las desigualdades sociales en las representaciones de lo latinoamericano.

 

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Exposition Phare, Le Red Studio, Paris

9-18.11.2018

Vernissage 9.11.2018 – 18h sur réservation uniquement.

 

Point central de l’événement, l’Exposition phare, curatée par les organisateurs de la Biennale, réunit dix-sept artistes français et internationaux.

 

Photographes ou plasticiens, les artistes exposés mettent en exergue des images détournées, déconstruites, reconstruites, falsifiées, et sont porteurs d’idées photographiques innovantes tant sur les sujets que les méthodes employées.

 

Joachim Biehler, Thibault Brunet, Carla Cabanas, Philippe Calandre, Vincent Debanne, Thomas Devaux, Caroline Delieutraz, Juliette-Andréa Elie, Sissi Farassat, Bruno Fontana, Zacharie Gaudrillot-Roy, Emilie Brout & Maxime Marion, Jean-Baptiste Perrot, Bertrand Planes, Caio Reisewitz, Miguel Rothschild, Ludovic Sauvage.

 

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Guangzhou

Guangdong Museum of Art, Guangzhou, China

15.12.2017 – 8.3.2018

 

Simultaneous Eidos — Guangzhou Image Triennial 2017 will be held from December 15, 2017 to March 8, 2018 at Guangdong Museum of Art. The predecessor of Simultaneous Eidos — Guangzhou Image Triennial was Guangzhou International Photography Biennial Exhibition hosted by the Guangdong Museum of Art, which was one of the major international photography biennials in China. Its basic purpose is to uphold the humanistic standpoint with international horizon and sociology of images and participate and promote the development of contemporary photography and culture in China. Reviewing the past three photography biennials (in 2005, 2007 and 2009), each exhibition established a theme and academic orientation focused on the history of photographic photography in order to showcase contemporary photographic practices. At the same time, the passion of national art museums for photography research and collection is ignited.

 

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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.

 

 

ARCO Madrid. 21/02/2018 – 25/02/2018

 

CABELLO/CARCELLER
HERNÁNDEZ PIJUAN
LOLA LASURT
PEREJAUME
JAVIER PEÑAFIEL
FERNANDO PRATS
CAIO REISEWITZ
JULIÃO SARMENTO
JOSÉ MARÍA SICILIA
TERESA SOLAR ABBOUD

 

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Pina Luz Pinacoteca de São Paulo

25.11.2017 – 5.3.2018

 

Oito fotografias de Caio Reisewitz, recentemente adquiridas pela Pinacoteca por meio de doação feita durante a SP-Arte 2016, serão expostas na sala A. Trata-se de uma série intitulada Altamira, em que o artista documenta a região da floresta de Belo Monte, delimitada pelo rio Xingú, que desaparecerá ao término da construção da terceira maior hidrelétrica do mundo na região. As fotografias mostram uma natureza intocada, onde a presença humana parece não existir, expondo o paradoxo de que em breve a floresta não estará mais lá. O trabalho de Reisewitz será mostrado ao lado da sala de pinturas de paisagem da mostra de longa duração da Pina, permitindo a reflexão sobre a representação da natureza no século XIX e na contemporaneidade.

 

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IED Rio – Istituto Europeo di Design, Urca, Rio de Janeiro

9 – 16.09.2017

 

A Invenção da Praia: Cassino é um projeto de arte, memória, ficção e arqueologia. A glória e a ruína do antigo Cassino da Urca se fazem visíveis na forma de espectros e reinvenções, em trabalhos de 12 artistas contemporâneos: Caio Reisewitz, Chiara Banfii, Giselle Beiguelman, Katia Maciel, Laercio Redondo, Laura Lima, Lula Buarque de Hollanda, Maria Laet, Mauricio Adinolfii, Nino Cais, Sonia Guggisberg e Bruno Faria. 

 

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Arizona

Phoenix Art Museum, Arizona

01.09 – 31.12.2017

 

Coming September 1 to Phoenix Art Museum, Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo presents a rare panorama of the most innovative art produced in Brazil from the 1990s to the 2010s. The exhibition will be the first major presentation of artworks from the collection of the Museum of Modern Art, São Paulo (MAM-SP) in the United States. Premiering on September First Friday, Past/Future/Present will feature 70 artworks created by 59 artists in diverse media, including painting, sculpture, installation, photography, video, and performance.

 

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Caio Reisewitz

São Paulo, 1967

Lives and works in São Paulo

 

 

The register of a high-speed changing nature is one of the subjects that articulates Caio Reisewitz’s photographic work and, in this sense, his images are placed in a tradition in which photographic means are witnesses and capture ephemeral realities. The activity of man on the planet, and in certain areas in particular, radically modifies the appearance of the landscape.

 

His photographs, which are mostly large format, are characterized by their frontality and by a spectacular clarity that shows an exuberant nature and an unreal utopian beauty. On one occasion he himself commented: ‘sometimes these images don’t seem real, utopian they are, but they are true, it is the pure reality’.