From May 17 to July 15, 2012 – Museu de Arte de São Paulo Assis Chateaubriand
“Modigliani: A Life in Pictures” brings to Brazil the first time 37 original works, including paintings, drawings and sculptures, 22 works of friends, including a picture of Picasso and about 200 pieces of manuscripts, diaries, letters and photographs that trace a panorama of the artist’s life and their counterparts in Paris of the early twentieth century. A work of the MASP collection also includes the show in Sao Paulo. The exhibition is part of the Italy-Brazil Moment and it’s arrived in the country through a partnership of the Modigliani Institut Archives Légales Paris-Rome with the MCA (Museum to open sky).
Another highlight is the 22 works produced by women and friends of Modigliani, which help to contextualize the fruitful period lived by the artist. Three oils of Jeanne Hébuterne his wife, a picture of Picasso, another of Foujita, paintings for four hands with Moise Kisling, and pieces by Marevna, Jacob and others…
Until February 4, 2012 – Galeria Fortes Vilaça
Galeria Fortes Vilaça is pleased to present Incarnation São Paulo, a new exhibition by celebrated British artist Cerith Wyn Evans. In his second solo exhibition at the gallery, two sculptures of technological vein propose an intense sensorial experience in counterpoint with a third piece composed of plants in movement. A 30 minutes video complements the exhibition.
Since the 1990s, Wyn Evans has been focusing his production on works that question the nature of written and visual language with clear-cut conceptual accuracy. His installations can be seen as repositories of meanings arising from different sources, reassembled as to reveal many discursive paths. An ongoing dialog with the works of great artists from past is established, with a direct reference or using their very works with a new approach revealing a wish to keep their ideas at play. His refined esthetics is nearly always influenced by a deep interest in the history of cinema and literature.
Cerith Wyn Evans was born in Wales, and currently lives and works in London. His participations in collective exhibitions include the Venice Biennial (1995, 2003, and 2009), Yokohama Triennale (2008), the Aichi Triennale (2010), the 9th Istambul International Biennial (2005), and the 11th Kassel Documenta (2002). His more recent individual exhibitions include the Bergen Kunsthall (2011), the Tramway, in Glasgow (2009), the Inverleith House, in Edinburgh (2009), the MUSAC, in León (2008), the ICA, in London (2006), the Musée d’Art Moderne de la Ville de Paris (2006), the Kunsthaus Graz (2005), the Museum of Fine Arts in Boston (2004), and the Frankfurter Kunstverein, .
From 6 October to 29 January 2012 – The Museum of Contemporary Art of São Paulo
Exhibition of 150 national and international works from the MAC collection. The aim of the show MODERNISM IN BRAZIL is to present the “Brazilian Modernism” (1917-1948) from a position that questions the vision of the art produced in the country during this period
Among the pieces on display, divided into five blocks , are works by artists like Anita Malfatti, Tarsila do Amaral, Flavio de Carvalho, Di Cavalcanti, Paul Klee, Pablo Picasso, Giorgio de Chirico, Maria Martins, Giorgio Morandi, Iberê Camargo, Tomie Ohtake, Wassily Kandinsky, Fernand Leger, Victor Brecheret, Antonio Gomide, Henri Matisse, Alfredo Volpi, Alexander Calder, Max Bill, Lygia Clark, Marc Chagall, Ismael Nery, Lasar Segall, Raoul Duffy and many others.
Closing date not set – Museu de Arte de Sao Paulo Assis Chateaubriand
A new look at the collection of the MASP, Look and Be Seen celebrates the art of portraiture and self-portrait of the 16th century to the present day. We can see the changes over the years, through works of masters like Renoir, Van Gogh, Modigliani, Rivera, Picasso, Toulouse-Lautrec, Frans Hals and five paintings by Goya, among them the portrait of Ferdinand VII.
Until the 6th of March 2011 – Museu de Arte Contemporânea da Universidade de São Paulo
One Day, It Will Have to Be Over 1969/74, is the second of a series of three special exhibitions conceived by the curators of the Department of Research in Art, Theory and Critique, is timely. The series, which questions the making of the collection of MAC USP during the military dictatorship, indicates the Museum as one of the few spaces of resistance to repression of free expression in the country, in those years.
Moreover, One Day, It Will Have to Be Over 1969/74 shows how MAC USP succeeded in being one of the biggest hubs of reception/production of contemporary art of the southern hemisphere, transforming the very traditional concept of museum, in the darkest moment of dictatorship. MAC USP, mainly from those years on, left behind the concept of museum as a temple where art should be worshiped to also become a space where art was produced, debated and resignified.
Walking around the exhibition, the visitor will find the first examples of artistic proposals which questioned an aestheticized vision of art – even the modern one -, presenting destabilizing alternatives, which deliberately blurred the boundaries between the museum and public place, between art and life.
In this moment when MAC USP reinvents itself, preparing to play the role it has already played in the city and in the country, to revise its collection in a critical way, to rethink it through the concrete reality of the proposals and artworks today in its collection — always in the light of History — is to emphasize the reputation of its own turn out and of the community that shelters it and provides sense to it
September 19, 2010 to January 9, 2011 – Museo de Arte Sao Paulo
Curated by Teixeira Coelho and Tereza de Arruda , the exhibition displays 83 works by 26 German artists who were born and raised under the changes of a divided Germany. From Berlin , Leipzig , Dresden , Hamburg, Dusseldorf , Munich and Karlsruhe. The show is specially designed for the MASP with dozens of works never before seen in the country.
The paintings were produced in the last two decades in the reunified Germany , post- Wall and arrived in Brazil in September, amid the International Art Biennial of Sao Paulo.
Made by artists who were born , mostly, after the second world war, and very little presented in Brazil , this exhibition brings the best paintings made in Germany since the fall of the Berlin Wall in 1989. This is actually the first exhibition of this size in Latin America , with such a variety of names and styles. Alongside established artists like Gerhard Richter and ARPenck , the show has young talents like Jonathan Meese , Tim Eitel , Albert Oehlen and Katherina Grosse, to name a few , and also features works of one of the most prominent and discussed painter today , Neo Rauch , who recently celebrated his 50 years with two retrospective exhibitions in Leipzig and Munich. And it also includes some names from the former East Germany, as W. Mattheuer and W. Tübke , showing what is now a strong part of the new trend in Germany.
All styles and movements are represented here, from abstract to figurative aesthetics through the “dirty”, almost “street”, and the classicism revisited and highly developed. All altogether 83 works, produced by Franz Ackermann , Werner Büttner , André Butzer , Tatjana Doll , Tim Eitel , Katharina Grosse, Eberhard Havekost , Bernhard Heisig , Anton Henning , Andreas Hofer , Jörg Immendorff , Martin Kippenberger , Markus Lüppertz , Michel Majerus Wolfgang Mattheuer , Jonathan Meese , Albert Oehlen , AR Penck , Neo Rauch , Daniel Richter, Gerhard Richter , Thomas Scheibitz , David Schnell , Werner Tübke , Corinne Wasmuht and Thomas Zipp .
A unique opportunity to see in Sao Paulo – the exhibition, specially designed for the MASP, will not go to other cities.