Fairs
archive
- ArPa
- ARCO
- ARCO Lisboa
- bb
- Art Basel Miami
- ArtBO
- ArtRio
- Artsy Latin American Galleries Now
- BAphoto
- CONDO Project
- daata Fair
- FIAC
- Frieze Art Show
- Frieze Masters
- Latitude Art Fair
- Not Cancelled Art Fair
- PINTA Art Show
- Semana de Arte
- SP Arte
- SP-Arte/Photo
- The Armony Show
- Zona Maco
- Art Basel OVR: Miami Beach
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For this online edition of Art Basel, Luciana Brito Galeria is pleased to present a selection of works by the artists Bosco Sodi (1970, Mexico), Caio Reisewitz (1967, Brazil), Hector Zamora (1974, Mexico), Ivan Navarro (1972, Chile), Jorge Pardo (1963, Cuba) Regina Silveira (1939, Brazil) and Tiago Tebet (1986, Brasil). This is a brand-new production which in some way deals with questions pertaining to the problematics the world has faced over the course of this year.December 2nd - 7th 2020
- SP-Arte/Foto 2020
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Luciana Brito Galeria and Isabel Amado Fotografia are presenting the exhibition Modern Photography: Gaspar Gasparian, Geraldo de Barros, Gertrudes Altschul, Marcel Giró, Paulo Pires and Thomaz Farkas, featuring a selection of photographs, which very significantly recover the historical phase when Brazilian photography began to investigate abstraction. In the context of intense social, economic and political transformations, the 1940s and 1950s were fundamental for consolidating Brazilian photography within the visual arts. The impact of the processes of modernization of the large cities pushed photography to an entirely new artistic and conceptual level. Photography went from being a mere recording tool to a vehicle for technical and aesthetic visual experimentation and for the formalization of a new language in the arts. This discussion was brought to a higher level by the photo club movement, consisting of groups such as the FCCB (Foto Cine Clube Bandeirante), which promoted and organized this activity within the circuit. Photography then began to be considered as a means of artistic expression, which had the photo clubs as a form of organization and professionalization of this sector, through the training of photographers, technical improvements, and the systematization of production, along with the organization of shows, juried exhibitions and national and international competitions. Abstractionism within photographic research represents an essential turning point for definitively positioning this artistic language among the cannons of art history. Shadows, textures, geometric shapes, darkroom experiments, the Sabattier effect and photograms were artifices intensely explored by these artists.
- Art Basel OVR: 20c | Ruptura
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Luciana Brito Galeria is featuring historical works by artists of the Grupo RupturaAiming to foster greater awareness internationally concerning the importance of the Brazilian concrete art movement, for this special edition of ArtBasel, Luciana Brito Galeria is featuring a set of historical works by artists of the Grupo Ruptura: Waldemar Cordeiro (1925, Rome, Italy – 1973, São Paulo, Brazil), Geraldo de Barros (1923, Chavantes, Brazil – 1998, São Paulo, Brazil), Luiz Sacilotto (1924 – 2003, São Paulo, Brazil), Kazmer Féjer (1923, Pécs, Hungary – 1929, Sesimba, Portugal), Maurício Nogueira Lima (1930, Recife, Pernambuco – 1999, Campinas, Brazil), and Hermelindo Fiaminghi (1920 – 1999, São Paulo, Brazil).October 28th - 31st
- ArtRio Online 2020
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Luciana Brito Galeria is pleased to announce the show Art must be Beautiful, Artist must be Beautiful, underscoring the presence of women artists and reinforcing the importance of their research for the gallery’s program. The title is a nod to the homonymous work by Marina Abramovic while tersely summarizing the concept of the project, aimed specifically at presenting significant and representative works by the artists featured in the show: Fabiana de Barros (1957, São Paulo), Liliana Porter (1941, Buenos Aires), Regina Silveira (1939, Porto Alegre), Rochelle Costi (1961, Caxias do Sul), Marina Abramovic (1946, Belgrade, Serbia), and Paula Garcia (1975, São Paulo). Within this set, the work by Rochelle Costi, Coleção da Artista [Artist’s Collection], gains special meaning not only for representing a counterpoint to the work by Marina Abramovic, but also for catalyzing this selection conceived by the curatorship.October 14th - 25th
- daata Fair | Héctor Zamora
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For this edition of Daata Fair Digital Art, Luciana Brito Galeria is presenting a set of videos by Hector Zamora (1974, Mexico). The artist focuses his research mainly around the study of materials and forms of articulation of the natural, urban or architectural environments, usually subverting spaces, redefining and resignifying the conventional. Through installations and performances, his investigation reconciles these opposites and creates a critical strangeness that is able to displace meanings and understandings, tensioning the real and the imaginary, the public and the private, often problematizing historical, social and political aspects. This selection of videos evinces the overall direction of the artist's research which often involves the power of the collective in performance pieces, which are re-signified through the videos.
In "O Abuso da história" [The Abuse of History] (2014), the artist brings together a group of people to break three hundred vases of tropical plants, which are thrown from the first floor of the old Matarazzo Building, in São Paulo. Beyond the various subliminal readings, the artist's goal here is simply to grant himself the basic right to the creative act. Also following a similar concept of deconstruction, "Inconstância Material [Material Inconstancy] (2013) features a group of civil construction workers in the exhibition space of the 13th Istanbul Biennial, who, in a choreographic and intimate movement, rhythmically tossed clay construction blocks to each other, often allowing them to crash on the floor. The performance is a direct allusion to the systems of production and construction, and to how these mechanisms are linked to the foundations of our society. In Ordem e Progresso [Order and progress] (2016), Zamora evokes the deconstruction of a symbolic universe linked to boats, such as migratory movements and the Great Navigations, fleeings and adventures. To this end, he brought together several fishing boats, which were slowly dismantled during the exhibition at the Palais de Tokyo, in Paris.
The subject of misogyny is dealt with vehemently in “Memorándum” [Memorandum] (2017). Here, Zamora used the architectural characteristics of a building to position dozens of women tapping at typewriters (without ink), forming a large female workstation. To the strident sound of the machines, the “memorandum” sheets, which subjectively refer to the women's own biographies,rain down from their workstations, reminding everyone how the role of the secretary has always been subjugated even though it is essential to the political apparatus, and how women have always worked to produce profit for men. The workforce is also addressed in the work “Nas coxas” [On the Thighs] (2018), where during the 11th Mercosul Biennial, the artist used the space to gather a group of twelve men and women, who moulded approximately 700 clay tiles using their own thighs. The popular Brazilian expression “feito nas coxas” [made on the thighs], which indicates when something is not done with care and attention, probably came from the imperial period, when the sexual act outside of marriage was performed quickly and incompletely, on “the thighs.” Nowadays, this term is often wrongly attributed, in a racist way, to the mistaken notion that in colonial times roof tiles were unskilfully made by slaves who shaped them on their own thighs
The work "Ensayo sobre lo fluido" [A Rehearsal on Flow] (2015) was made through the collaboration of Cuban musician and composer Wilma Alba Cal with a group of about a hundred other musicians. During the 12th Havana Biennial, they all came together in a practically abandoned art school complex, where each musician was positioned in a different room, playing a song written by the composer. This large-scale sound intervention led the public on a walk through the labyrinthine spaces of the complex, which up to then was inoperative, and became known for transforming the building into an enormous musical instrument.
- Latitude Art Fair 2020
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For this first edition of Latitude Art Fair, Luciana Brito Galeria brings together a set of works by four of its represented artists: Caio Reisewitz (1967, Sao Paulo), Hector Zamora (1974, Mexico City), Regina Silveira (1939, Porto Alegre) and Rochelle Costi (1961, Caxias do Sul). While Reisewitz's photography places us before the exuberance of built and natural spaces, Rochelle Costi works the affectivity through the memory, often portraying architectural spaces with objects part of her own collection. Zamora, in turn, develops a research around materials and their forms of articulation within the environment, frequently referring to historical and social processes, through performances or large-scale installations. Regina Silveira uses common references to recreate its patterns of perspectives and meanings, in order to stimulate the viewer's perception.24th - 27th September
- BAphoto 2020 Live Edition
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In the last years, photography has assimilated the challenges and adjusted itself until it achieves its definitive place within the visual arts in Brazil, having some figures playing a fundamental role, such as Geraldo de Barros, Thomaz Farkas and Gaspar Gasparian. Since its inauguration in 1997, Luciana Brito Galeria has believed in such potential, so much so that one of its first projects was a solo exhibition by Rochelle Costi, In 1998. The show featured a series of photographs that not only earned her an invitation to participate in the XXIV São Paulo Biennial, but also the cover of the event's publication at the time. Currently, the gallery brings together a representative group of artists focused on photography, going from the history of Modernism to Contemporary in Brazil: Geraldo de Barros (1923, Xavantes - 1998, São Paulo), Thomaz Farkas (1924, Budapest - 2011, São Paulo), Gaspar Gasparian (1889 - 1966, São Paulo), Caio Reisewitz (1967, São Paulo) and Rochelle Costi (1961, Caxias do Sul).BAphoto 2020 Live EditionSeptember 1st - 15th
- SP Arte 2020
- Not Cancelled Art Fair 2020
