Tag: sao paulo brazil

Cerith Wyn Evans, Incarnation São Paulo – São Paulo – Brazil

Column (Assemblages) IX, 2010 Old fluorescent tubes and eletrical wires Variable dimensions

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, [2004].

Gallery Hours

Brazilian Modernism – Sao Paulo – Brazil

Tarsila do Amaral A Negra, 1923 óleo sobre tela © 2011 Museu de Arte Contemporânea da Universidade de São Paulo

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.

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Ana Vidigal, Estilo Queen Anne – Lisbon – Portugal

Ana Vidigal, Penélope Installation 237 x 290 x 22 cm CAMJAP Collection , Fundação Calouste Gulbenkian

From Sept21 to November 5, 2011 – The Baginski, Galeria

Viewed as one of Portugal’s leading feminist artists, Vidigal is best known for her large-scale collage works that use layers of simple textures and materials to invoke new responses to experiences of the ‘everyday’.

The collages incorporate recycled materials, paint and the written word in what the artist calls a ‘game of hide and seek.
Vidigal has had numerous international solo exhibitions throughout her career including a major retrospective at Centro de Arte Moderna, Lisbon (2010), the Architecture Triennial, Lisbon (2007) and at Galeria Casa Triângulo, São Paulo, Brazil (2006).

Vidigal graduated from the Escola Superior de Belas-Artes de Lisboa in 1984. She received a Fundação Calouste Gulbenkian research grant (1985-87) and won the Maluda Painting Award in 1999 and the Amadeo de Souza-Cardoso Prize in 2003. Vidigal was born in Lisbon, Portugal in 1960 where she continues to live and work.

Gallery Hours

Look and Be Seen, Portraits and Self Portraits – Sao Paulo – Brazil

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.

Museum Hours

Henrique Oliveira, solo exhibition – Boulder – Colorado

Until June 6, 2011 –
Boulder Museum of Contemporary Art
For his solo exhibition at BMoCA, artist Henrique Oliveira creates one of the large-scale installations made from salvaged wood for which he has received international attention, most recently at the 2010 São Paulo International Biennial. Usually built from discarded weathered fencing materials collected from construction sites throughout the city of São Paulo, these “tridimensionals” are immense structures that span the disciplines of painting, sculpture, and architecture. Broken pieces of plywood are arranged in undulating layers like the thick gestural brushstrokes of a painting, linking these constructs visually and conceptually to Abstract Expressionism. Their winding, biomorphic shapes swell into the gallery space, disrupting the smooth angularity of the surrounding walls with unyielding verve.

A number of Oliveira’s vibrant acrylic paintings complement the installation. These charismatic allover compositions of lush abstraction are a splurge of color and movement. Distinguished by unrestrained fluidity, the paintings reveal Oliveira’s resolute stylistic intent.

To round out the experience, BMoCA offers a number of Brazilian-themed events and programs, including Samba dancing, a series of Brazilian films, a Festival Brazil, and a Carnival-inspired closing reception.

The exhibition is funded in part by the Embassy of Brazil and by Sue Cannon.

Henrique Oliveira was born in Ourinhos, Brazil in 1973. He lives and works in São Paulo, Brazil. He holds an MA in Visual Poetics and a BFA in Painting from the University of São Paulo, Brazil. Recent exhibitions include the 29th São Paulo International Biennial (2010), IX Biennial Monterrey FEMSA, Monterrey, Mexico (2010), and a solo exhibition at Rice University Art Gallery, Houston, Texas (2009). Oliveira was a recipient of the 2009 Artist Research Fellowship from the Smithsonian Institute in Washington DC.

Museum Hours

One Day, It Will Have to Be Over 1969/74 – Sao Paulo – Brazil

Cláudia Andujar Inês,1971 fotografia pb sobre papel e acrílico sobre madeira Aquisição MAC USP

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

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