BFA Boatos is pleased to announce the opening of the gallery with “Rumours, Echoes”, the first exhibition in Brazil by Allison Katz. Comprised of paintings, an installation of ceramic works and announcement posters, the exhibition is populated by some of the recurring motifs in Katz’s practice: black pears, strawberries, monkeys, noses. Over the years, the artist has been continuously recycling these images, thus creating a particular visual lexicon in which they function as specific signs in an invented language.
During the 1970s, Lydia Okumura (1948), Genilson Soares (1940) and Francisco Iñarra (1947-2009) shared individual efforts in collective actions. Between 1970 and 1974, they worked under the name Equipe3 (Group 3), and later—when Okumura moved to New York—, Soares and Iñarra formed a partnership called Arte/Ação (Art/Action), and worked together until 1977.
In his new exhibition at Galeria Millan, Thiago Rocha Pitta presents a never-before-seen video, as well as previously exhibited pieces that relate to this new work. The art piece that gives name to the exhibition, Ocean / Atlas, was created during an artistic residency in Norway in 2014, through the Circulating Air program. The artist appropriates a mythological figure to name and create a work that explores issues that are present in his work as a whole, like an extended experience of temporality and the limits of the relationship that man can establish with nature.
From the “discovery” of Brazil by the Portuguese to the military coup d’état in Chile, including the September 11 attacks in the US, the Tiananmen Square Massacre in China, and the civil war in Lebanon… There are many ways one could recount—or attempt to erase—stories that are kept alive through the sensitivity and the art of myriad artists from those areas.The show “Unerasable Memories – A Historic Look at the Videobrasil Collection” features pieces that help retrieve events and conflicts often interpreted based on the official versions of those who came out the victors, yet still resist in personal narratives made public through art.
Carlito Carvalhosa has his first solo exhibition at Galeria Nara Roesler, featuring a mega installation especially designed for the gallery’s facilities. The piece consists of old wooden lighting posts suspended throughout the venue, combined with glass pieces scattered on the floor. At some points, the logs go across the walls, which help keep them up; at other places, they are kept hanging by the intersections of two or more posts.
From the early urban interventions challenging the role of art within an authoritarian military government, to highly experimental works using medical, communication and reproduction technologies, Paulo Bruscky occupies a formidable place in Brazilian art history. Known for his active involvement in the postal art movement (arte correio) and for the dynamic relationships he forged with international artists including Fluxus and Gutai artists working in New York, Europe and Japan, Bruscky was an artist-provcateur who used art as a means to fiercely challenge the status quo.
In a moment they bent into arcades, like Roman aqueducts.
A long cornice was next formed at the top, and above it rose innumerable castles, all perfectly alike; these again changed into towers, which were shortly after lost in colonnades, then windows, and at last ended in pines, cypresses and other trees.
Galeria Vermelho is presenting the exhibition Rosângela Rennó, along with the installation As coisas estão no mundo [The Things Are in the World] by Marilá Dardot.
We are pleased to present “Três metades” [Three Halves], the second exhibition by Peruvian artist Armando Andrade Tudela at Galeria Fortes Vilaça. The show features three series of works that explore notions concerning architecture and nomadism.
Galeria Luisa Strina is pleased to present “Pling Pling”, a solo exhibition by Cildo Meireles, whose long- standing relationship with the gallery goes back several decades. Coinciding with the São Paulo Bienal, Pling Pling will explore the relationship between the sensory and the mind, politics and ethics; themes which have engaged Meireles in his practice for the last half-century. The show will present works that have never before been presented in São Paulo and will draw on Meireles’s 2013 retrospective at Museo Nacional Centro de Arte Reina Sofia in Madrid, which travelled to Museo Serralves in Porto, and HangarBicocca in Milan earlier this year.
The group exhibition uses the story of Galeria Leme—a building designed by architect Paulo Mendes da Rocha which has been built, demolished and then rebuilt in another site—as a motto to investigate the process of urban development of the city of São Paulo, which was marked by cycles of construction, demolition and construction.
The 31st Bienal de São Paulo is curated by Charles Esche, Galit Eilat, Nuria Enguita Mayo, Pablo Lafuente and Oren Sagiv with associate curators Benjamin Seroussi and Luiza Proença. The title – “How to (…) things that don’t exist” is a poetic invocation of art’s ability to create new objects, thoughts and possibilities. The sentence has a variable formula that constantly changes, anticipating the actions that might make present in contemporary life the things that don’t exist, are not recognized, or have not yet been invented.
Galerie Valentin is pleased to announce Dominique Ghesquière’s second solo exhibition, “Grande tapisserie” [“Great Tapestry”], from 6 September to 11 October 2014. This time the artist will present a new series of works linked to the idea of nature and the landscape in the broad sense, not as a kind of background scenery that individuals are detached from, but rather a landscape that brings human beings into the whole in which they exist. We belong to the landscape, just as it belongs to us. The materials used (trees, pine cone scales, pebbles) as well as representations of elements like ivy and clouds, are concrete elements that lead us there.
Thyssen-Bornemisza Art Contemporary (TBA21-Augarten) and the Belvedere, Vienna, are proud to announce their first ever collaboration presenting “Leben”, an exhibition of the work of the Belgian-German artist Carsten Höller. “Leben” pivots around a selection of works— some drawn from TBA21’s collection of contemporary art and others commissioned and conceived especially for the exhibition—that invite specific forms of interaction, induce moods and affects, and generate “oriented” behaviors.
Cy Twombly “Paradise” is the first exhibition in Latin America of one of the greatest postwar american artists. Organized by Fundación Jumex Arte Contemporáneo and curated by Julie Sylvester and Philip Larratt-Smith, this comprehensive survey features more than sixty paintings, works on paper, and sculptures from 1951 to 2011, including four of his last paintings as well as several works belonging to the Cy twombly Foundation that will be exhibited for the first time.
Lulu is proud to present a solo exhibition by New Zealand, Auckland/New York-based artist Kate Newby. Often appropriating the materials and vernaculars of architecture, Newby creates handmade, crudely constructed sculptural interventions that are simultaneously against and at-one with a given environment. Drawing out both the physical and lyrical qualities of materials (usually mundane, practical materials such as concrete, textiles, as well as ceramics), her work envisages an encounter and foregrounds an action—collapsing and confusing the lines between process and product, doing and documentation.
Known for his film and installation works, whose montages are characterized by coincidence and lost utopias of the 20th century, and complex sonic arrangements Stan Douglas (born 1960) is a significant figure in the international art scene. In recent years, the photograph has assumed an independent place in the work of the Canadian artist. The exhibition presents a selection of his most recent large-scale works in this field.
Produced in 2011 at dOCUMENTA (13), Reel-Unreel (presented in nationwide premiere at the MADRE in the RE-PUBBLICA MADRE gallery, transformed for the occasion into a large public movie theater) is not only the centerpiece of the exhibition but also the symbolic culmination of Alÿs’s artistic practice, by its radical reinvention and re-presentation of the medium adopted, in this case film, and its performative matrix, and also, finally, by the combination of critical engagement and aesthetic experience. The title refers to the action presented in the video (two children who “reel and unreel” two spools of film through the streets of Kabul), and the film itself, which likewise reels on and off the film projector, with an assonance between the terms reel/real and unreel/unreal adopted by the artist to indicate the partial, or simply unreal, knowledge in the West of the cultural, political and socioeconomic reality of contemporary Afghanistan.