Gaudel de Stampa is glad to announce the secondo solo exhibition by Jonathan Binet at the gallery. This is the inaugural show of the gallery’s new location.
Jessica Silverman Gallery is pleased to present “Promises to Pay in Solid Substance,” a solo exhibition by Hugh Scott-Douglas, which includes three new bodies of work, respectively titled “Economist,” “Amazon.com,” and “Heavy Images,” as well as the artist’s “Screentones,” which are making their American debut. In addition to reflecting on authorship and economic systems, the four series are bound together by their exploration of the complex dynamics between the materiality of old-school images and the spectral-digital way that images circulate today.
“Histórias Mestiças” comes as a result of more than two years of research by curators Adriano Pedrosa e Lilia Schwarcz and the enthusiasm of Instituto´s director Ricardo Ohtake, who was interested in having an exhibition parallel to the 31st Bienal de São Paulo containing a new and profound research about the originating factors of the Brazilian people: the matter of miscegenation and it’s impact on artistic production.
Paulo Nazareth “Che Cherera”
In the show Che Cherera, (from the Kaiowa for “my name”) Paulo presents part of Notebooks of Africa1, a number of impressions of Africa from there here, of Africa from here there, and of our own Africa with its other developments. Different from the literal sense we can think of, the notebooks in Notebooks of Africa are not a publication, but a number of possibilities: works announced that may or may not materialize (at a given time and space), photographs, videos, reports, and other possible manifestations.
The project begins with a contemplative pilgrimage in the domestic space of the artist himself -the kitchen, the house, the yard, the community where he lives with his family and neighbors (Palmital), and extends to other lands.
In October 1973, Francisco Iñarra (1947-2009), Lydia Okumura (1948) and Genilson Soares (1940) participated, as Equipe3, in the XII Bienal Internacional de São Paulo. They described their work, Pontos de Vista (Points of View), as “a game of mutual interference.” Taking the space allocated to them as a starting point, the three artists set out to explore the dynamics between individual and collective production, and to transform their section of the Bienal into a space between reality and illusion.
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.