The Institute of Contemporary Arts (ICA) Singapore and the Palais de Tokyo have joined forces to present the show Sous la lune/Beneath the moon, under the aegis of the “Emerging Talents in Emerging Countries” programme. The exhibition, which takes place at the ICA Singapore, features existing and new works by eleven artists from Southeast Asia and France, including Raphaël Zarka (Montpellier, 1977), who’s participating with a major installation on wood.

Curated by Khairuddin Hori, Deputy Director of Artistic Programming at the Palais de Tokyo, Sous la lune/Beneath the moon explores the multi-layered nature of aesthetic experience through immersive artworks and installations in a range of media. The exhibition is conceived as an encounter between art and artists from opposite sides of the world, favouring exchanges about the personal creative processes of each participant in the show, while also transcending the peculiarities of their original cultural environment.

The exhibition can be visited from December 12, 2015 to February 03, 2016. As part of the Singapore Art Week, on January 20, 2016 from 7:30om to 10pm, Raphaël Zarka will participate in Performing the moon, along Paris-based artists Hicham Berrada and Marie-Luce Nadal. Among the activities of the one-night event, demonstrations by international professional skateboarders will take place with Zarka’s sculptures. 

For more information, please visit the Institute of Contemporary Arts Singapore’s website.

The diversity of representations of domestic architectures lies in the centre of the group show All day within the dreamy house, titled after a poem by Lord Alfred Tennyson (1809 – 1892). Curated by Vicky Chainey Gagnon, the exhibition includes an installation Inexplicable Staircase 3 (white), from 1999, by Regina Silveira alongside works by Canadian artists Marlene MacCallum, Kym Greeley, Olivia Boudreau and Sheila Pye.

Whether through the modes of documentary photography and artist books, or immersive, video-based or optically enticing installation work, and contemporary painting, all of the visual artists in this exhibition seek ways of representing architectural experiences related to domestic space. Together, the works confront historical images of women and continue to update a long, and skewed conversation within art history.

The exhibition is presented at The Rooms (St. Johns, Canada) from January 16^th to April 10^th.

Rochelle Costi participates in the exhibition da Quando o tempo aperta [When the time tightens], which awarded Raphael Fonseca the CNI SESI SENAI Marcantonio Vilaça Prize of Plastic Arts for Emerging Curators. The group show is based in the in the Riposatevi project, developed by Lucio Costa for the XIII Millan Triennial, in 1964, which presented, in an environment field with hammocks and that invited people to rest, three large photos of Brasília, “as a suggestion that this same people that pass the ‘free time’ on the hammock, when the ‘time tightens’ build in only three years, in the desert, a Capital”. 

Alongside names like Hélio Oiticica, Pierre Verger, André Komatsu, Marcelo Cidade and Lais Myrrha, Rochelle Costi participates in the show with six photos from the series Quartos - São Paulo, originally presented at XXIV São Paulo Biennial, in 1998. With these works, the artist investigates urban intimacy through its resting spaces, using photography as an aesthetical exercise as much as a medium for anthropological research, in a manner that the vestiges left by the absent bodies reveal meaningful and unexpected details about the humans who inhabit the city.

The exhibition takes place at the Palácio das Artes of the Fundação Clóvis Salgado, in Belo Horizonte, from January 14 to March a 20, 2016. Afterwards, it follows to the Museu de Arte Moderna Aloísio Magalhães (MAMAM), in Recife, where it can be visited from April 14 to June 12, 2016.

Official partner of Paris Photo, Giorgio Armani presents ACQUA #6, the sixth edition of the annual show dedicated to the theme of water in photography. This year’s edition comprises works by artists of different generations and nationalities, including Gaspar Gasparian, with the photo Reflexos [Reflections], from 1949. Lucien Clergue, Lee Friedlander, Noémie Goudal, Helena Almeida, Lois Conner, Pierre Gonnord, Risaku Suzuki, Joseph D. Jachna, Debra Bloomfield, Jory Hull and Dolorès Marat are also present in the show.

ACQUA #6 can be seen from November 12 to 15, 2015, at the Grand Palais, in Paris. More information is available at the Paris Photo website.

The show Rio Setecentista, quando o Rio virou capital [18^th Century Rio, when Rio became the capital] is part of the activites for celebrating the 450^th anniversary of the foundation of the city of Rio de Janeiro. Curated by Myriam Andrade Ribeiro de Oliveira, Anna Maria Fausto Monteiro de Carvalho, Margareth da Silva Pereira and Paulo Herkenhoff, the exhibit presents a panorama of the transformations that took place in Rio de Janeiro during the 18^th century, when the city became the capital of the Vice-Kingdom of Brazil. Invited by the curators, Caio Reisewitz presents four photographs of colonial churches in the city. 

The exhibition can be visited until May 8, 2016 at MAR – Museu de Arte do Rio. For more information, please visit the museum's website.

The International Center for the Arts of the Americas (ICAA) presents the “The Contingencies of Beauty: Artists in Dialogue” symposium at the Museum of Fine Arts, Houston. The symposium is a series of artist-centered dialogues organized by the ICAA in conjunction with the exhibition “Contingent Beauty: Contemporary Art from Latin America”. The dialogues will provide spaces for reflecting on how many of the most relevant mid-career artists from Latin America whose work is featured in Contingent Beauty merge aesthetic concerns with issues grounded in the region's complicated social and political realities. 

Regina Silveira is one of the guest artists in “Artists in Dialogue III: A Roundtable”, along Johanna Calle (Colombia), María Fernanda Cardoso (Colombia) and Carmela Gross (Brazil). The event is moderated by Tahía Rivero Ponte (Colección Mercantil, Caracas) and takes place on Saturday, November 21, from 2:30 to 4:30 p.m.

The symposium happens from November 20 to 22, 2015. For more information, please visit the ICAA’s website.

On October 19^th, Marina Abramović had an open talk with Bryan Appleyard at the Royal Academy of Arts, London. The conversation focused on her long artistic trajectory expanding and transcending the limits of her own body through performances, sometimes with radical consequences such as losing consciousness or enduring repeated injuries. She also spoke to the Royal Academy students about the lessons she has learned over her career and explained what it takes to be a performance artist. 

Some excerpts of the presentation can be seen on the Royal Academy website.

On November 9^th, Marina Abramović will be one of the 40 honoured artists at the Hirshhorn 40th Anniversary Gala, along names like Ai Weiwei, Roni Horn, Christo and Anish Kapoor, among others.

The event celebrates the 40^th anniversary of Hirshhorn Museum and Sculpture Garden (Washington D.C.) and takes place at World Trade Center 4, in New York. The proceeds raised will go towards the institution program – both in its physical space as online.

For more information, please visit the museum's website.

On November 5^th, Marina Abramović will be the honouree of the annual Women in the Arts award, presented for outstanding achievement by a leading member of the arts community. Inaugurated in 2002, this award has been presented to women who have made significant contributions in the arts. Held each fall, the event features a program with the recipient that introduces her and her accomplishments to the Brooklyn Museum community, followed by a celebratory luncheon in the Museum’s Beaux-Arts Court.

Proceeds from the event support the many educational and artistic programs offered by the Museum and its Elizabeth A. Sackler Center for Feminist Art. Past Honorees include Mera Rubell and Jennifer Rubell (2014), Laurie Simmons and Lena Dunham (2013), Yoko Ono (2012), Shirin Neshat (2011), Kara Walker (2010), Kiki Smith (2009), Cindy Sherman (2008), Guerrilla Girls (2007), Annie Leibovitz (2006), Maya Lin (2005), Dr. Mary Schmidt Campbell (2004), and Elizabeth A. Sackler (2002).

For more information, please visit the Museum’s website.

On March, 2015, Marina Abramović was one of the guest speakers of the TED 2015 – Truth and Dare. During her talk, she remembered how, in 1974, she was sitting in a gallery letting total strangers do anything they want to her. But before going on with her story, she asked the audience to be blind and trust her. Then, Abramović described to a blindfolded audience the feelings of fear, helplessness and complete vulnerability as she let gallery goers do as they pleased with her body. 

This mix of risk and trust continued to be present for the rest of her career: from a performance in which her lover Ulay pointed an arrow straight at her heart, to their three-month breakup in which they walked toward each other from either end of the Great Wall. She also remembered her performance “The Artist Is Present”, presented in 2010 at MoMA, where every day for two and a half months she sat across from an empty chair where she invited anyone to sit silently. It was this work, and the feelings she saw on people’s faces, that inspired her to create the Marina Abramović Institute. She concluded her talk by asking every person watching to stare into the eyes of the person next to them for two minutes. 

The video will be published online on November 30^th, the day of the artist’s birthday. For now, information on this edition of the event can be found on TED’s website.

After noticing recurring terminological recurrences in areas that seem to be very different, such as art and science, curator Paulo Miyada has developed a reflection about the convergence of the models used to apprehend the world in different fields of knowledge. At a time when our lives are more and more influenced by elements too small or too big for sensorial understanding, the group show A Arte e a Ciência: nós entre os extremos presents itself as an essay on how art assists in thinking of a much broader universe (on micro and macro levels) than the one we usually perceive, allowing the spectator to get closer to the most relevant areas of contemporary science.

Tiago Tebet participates in the exhibition with three paintings: Cruzeiro do sul e o caminho de leite nas coordenadas 23^o33’22”S 46^o41’27” (2015, acrylic on MDF, 275 x 552 cm); Zona de Conflito II (2014 acrylic on MDF,
130 x 90 cm); e RH31T (2014, acrylic on plywood, 220 x 160 cm). Tebet develops a broad research about painting and production of objects, with an accentuated process art aspect approach, where each medium determines its own formal resolution. In many of his recent pieces, as the ones presented at Instituto Tomie Ohtake, the visual construction actually happens by extraction: under an upper layer of black or gray paint, there are several light coloured layers that appear according the effects of abrasion caused by the artist. 

The opening takes place on November 25, 2015, at Instituto Tomie Ohtake, São Paulo, and the show can be visited until February 14, 2016.

Regina Silveira is one of the 21 artists featured in the exhibition Contingent Beauty: Contemporary Art from Latin America, which presents a selection of major works by established artists from Argentina, Brazil, Colombia, Cuba, Mexico, and Venezuela. Encompassing a variety of media including drawing, sculpture, video, and interactive object- and video-based installations, the exhibition highlights contemporary artists who use seductive and engaging materials to convey their social, political, and environmental concerns. Curated by Mari Carmen Ramírez, Wortham Curator of Latin American Art and director of the International Center for the Arts of the Americas (ICAA), with Rachel Mohl, curatorial assistant, the show is on view at the Museum of Fine Arts Houston from November 22, 2015, to February 28, 2016. The preview for guests only will take place on November 20 and 21.

Contingent Beauty intertwines aesthetic refinement with biting critiques of timely issues grounded in the complex realities of Latin America and its long history of colonization, political repression, and economic crisis. These issues range from poverty, violence, gender, government corruption, and globalization, to the war on drugs and the legacy of colonialism. In this context, Regina Silveira presents the work Irruption (Oval) (2005), where she employs everyday materials to create non-traditional drawings, by applying to the wall vinyl impressions of bare feet belonging to hundreds of Brazilian street children.

The “beauty” of these works is contingent upon contextual interpretation. Each piece harbors a tension between opposing elements, such as beauty and violence, seduction and repulsion, or elegance and brutality. Among the other artists represented are Tania Bruguera (Cuba), Gabriel Orozco (Mexico), Los Carpinteros (Cuba), Guillermo Kuitca (Argentina), Miguel Ángel Rojas (Colombia), Javier Téllez (Venezuela), Johanna Calle (Colombia) and Teresa Serrano (Mexico).

For more information, please visit the MFAH’s website.

Dutch museum MIKC, located in Delden, presents from October 31st to November 12th the group exhibition Mini Size Art Works, including two videos by Héctor Zamora: REviraVOLTA and Ensayo sobre lo Fluido [An Essay on Flow], both from 2015.

REviraVOLTA is the record of a performance held last August at Centro Cultural Banco do Brasil Brasília, with Ana Luiza Trajano and the body percussion group Barbatuques. Together, more than 40 performers prepared a milk free ice cream known in Mexico as “la nieve” though an artisanal process that emits a harmonic sound, originating a synesthetic work of musical, gastronomic and visual production. 

Ensayo sobre lo Fluido, by its turn, was an intervention in the building of ISA - Universidad de las Artes' Music School held during the 12th Bienal de La Habana. The construction, a complex structure of 400 linear meters known as "El Gusano" [The Warm], was designed by Italian architect Vittorio Garatti and abandoned in the 1970s, before its conclusion. Presented in May, Ensayo sobre lo Fluido lit up the building for the first time, also realizing its vocation: seventy of its rooms were occupied by local musicians, each one of them located in a different chamber to interpret a piece composed by Cuban Wilma Alba specially for the situation. The architecture determined both the sound behaviour and the visitors' possible circuits, transforming the building itself in a musical instrument.

The videos can be seen on Vimeo through the following links: REviraVOLTA and Ensayo Sobre lo Fluido.

Curated by Aracy Amaral, Regina Silveira and Paulo Miyada, Singularidades / Anotações, Rumos Artes Visuais, 1998 - 2013 presents a panorama of the Rumos Itaú Cultural program, from its first to 16^th editions. The show gathers around 50 works by 35 artists selected between 1998 and 2013 in the areas of Visual Arts, Art and Technology, Trans-media and New Media.

Caio Reisewitz participates in the exhibition with the site specific Autoridade [Authority], 1998 – 2014, composed of photographs where reality and subjectivity are in a mutual state of contamination. The artist questions situations of power abuse by public security servants, using images of policemen, regimentals, and symbols, alongside photos of ambiguous sentences, allegedly uplifting quotes from the military force, collected on the walls of the São Paulo Police Academy building. 

The show takes place from October 15 to November 29 at the Paço Imperial, Rio de Janeiro. For more information, please visit the museum's website.

Between Dissent and Discipline: Art and Public Space is a project about art and public space in the form of a conference, film screenings, performances and other activities that takes place in several artistic institutions in the city of Malmö, Sweden. Héctor Zamora participates in the film programme held at the Inter Arts Center from October 15 to 25, along artists such as Nevin Aladag, Shu Lea Cheang, Luca Frei & Falke Pisano, Klara Lidén and Wendelien van Oldenborgh, among others.

Marina Abramović is the artist honorée of this year's Armory Gala, an event renowned for ambicious and unconventional artistic manifestations. The artist was also commissioned by Park Avenue Armory, along musician Igor Levit, to present a new work, Goldberg, from December 7th to 19th at the Wade Thompson Drill Hall.

The Goldberg Variations are one of J.S. Bach's most important works. Igor Levit interprets this masterpiece in an installation created by Marina Abramović, who re-imagines the concertgoing experience. With the use of her Abramović, Method, she explores the relation between performaner and observer, the limits of the body and the possibilities of the mind. This piece poses a reflection on music, space, time, emptiness and luminosity, with the audience becoming a part of the work and in the process, connecting with themselves and with the present.

For more information, please visit the Park Avenue Armory website.

If global warming and climate changes are a menace to human life, than architecture, the symbol of all of our civilizations, is equally endangered. Leandro Erlich departs from this thought to create the monumental installation Maison Fond, a small Parisian building in the process of melting due to the greenhouse effect. Alarming and well humoured, the critical aspect of this work goes beyond its formal realization and includes its title: Maison Fond sounds exactly like “mes enfants” (my children). The installation will be permanent and is located beside the Gare du Nord.    

Climate is the central theme of Nuit Blanche 2015, titled "Atmosphère ? … Atmosphère !" – a choice that is in harmony with the realization, some weeks from now, of the Climate Conference (COP-21) in the city. The event will also explore the related themes of better ways to live together and new forms of experiencing the city.

For more information, please visit the website of the Mairie de Paris.

Selected along artists from all over the geopolitical South via the open call for exhibition of works, Pablo Lobato participates in the 19th Contemporary Art Festival Sesc_Videobrasil | Southern Panoramas with the installation Mil vezes um [A thousand times one]. All and every element of this piece, founded on the concept of mirroring, reflects the whole of the process that it establishes: the lightning makes reference to the passage between light and darkness that takes place inside the projector, a mechanism that, by its turn, allows the transformation of fixed images in moving ones. By continuously repeating a magic image, the artist creates an almost ritualistic ambience, which stimulates other forms of perception by directing the viewer’s unconscious and corporal processes through the light’s pulsating rhythm.

The 19th International Contemporary Art Festival Sesc_Videobrasil | Southern Panoramas takes place from October 6th to December 6th, 2015, in São Paulo. Other than exhibitions with the works and projects selected via open call, the Festival will be completed with shows that happen in different spaces in town. As in previous years, the Festival will hold a broad program of encounters with curators, artists and researchers, book launches and educational actions.

For more information please visit the Festival's website.

Twenty-one black and white photos by Thomas Farkas, among which 13 hitherto unseen images, compose the solo show Thomaz Farkas – DF, which takes place in the Museum of Image and Sound (MIS SP) from October 6th to 14th. The exhibition is exclusively composed of photographs taken in Brasília: a part, created between 1958 and 60, portraits the construction of the city’s Núcleo Bandeirante; another was accomplished between 1998 and 2000, when, 40 years later, the artist returned to Brasília to record the everyday life of its outskirts and its inhabitants – people that, despite having put up the federal capital, were not included in its modernist project.

The exhibition marks the release an the homonymous book, the fourth volume of the Ipsis Collection of Brazilian Photography, coordinated by Eder Chiodetto, who also curated the show. On the 6th, at 7pm, a debate between Eder Chiodetto, Kiko Farkas (son and editor of Farkas’ books) and the researcher Juliana de Arruda Sampaio takes place in the museum.

For more information, please visit MIS' website.

Curated by Gaudêncio Fidelis, the 10th Mercosul Biennial, Message from a New America, takes place in Porto Alegre (Brazil) from October 23rd to December 6th. Following its historic vocation of prioritizing Latin-American artistic production, the Biennial will resume the curatorial strategy of its first edition, that is, “rewriting” Latin American art history. To achieve that goal, the event will be organized around four main conceptual fields: The Journey of Adversity, The Insurgence of Senses, The Unerasure of the Tropics and The Journey Continues. Each one of these fields will hold one or more exhibitions and parallel activities. Amongst the participating artists, Pablo Lobato and Tiago Tebet stand out as young interdisciplinary creators that have been achieving notoriety in the Brazilian art scene.

Renowned for his production that breaks the limits between artistic languages such as cinema, photography and visual arts, Pablo Lobato (Bom Despacho, 1976) presents four new works at the Biennial, all from the series Muda [Seeding]: Seeding (Kino, #1), Seeding (Papaya, #4), Seeding (Mellon, #4) and Seeding (Plum, Pêssego, #1). These works from 2015 in mixed media are produced after photographs of the fruits that entitle them, fruits that were excavated to have their seeds removed – the same seeds that are placed on the bottom of the frame, in front of the print, creating thus unique pieces. With this procedure, Pablo Lobato subverts one of the key characteristics of photography – its reproducibility. He rescues, as an object, the organic element transformed into image, and problematizes the nature of our representations and the statute of contemporary image.

Tiago Tebet (São Paulo, 1986) presents in the Biennial two paintings from the series Cruzeiro do Sul [Southern Cross]: Cruzeiro do Sul and Variações de Cruzeiro do Sul [Variations of Southern Cross], both from 2015. While making significant portion of its production in painting, Tebet moves through different artistic languages such as video and installation. By the appropriation of techniques, shapes and objects – be them from urban areas or found in art history –, Tiago Tebet develops a contemporary research, in which the representative character of the artwork loses relevance compared to other conceptual and formal aspects of aesthetic configuration, which is understood more as enactment than representation. Allusions to nature and the cosmos have been made present in some of his recent works, often as a way to point to something beyond of (or prior to) our hypermodern society.

For more information, please visit the website of the Fundação Bienal do Mercosul.

Last Sunday Buenos Aires woke up different: its iconic Obelisk, located in Avenida Nueve de Julio, was a bit less majestic with its summit apparently cut off. The mystery lasted for a couple of hours, until the presentation of a replica of the lost summit in MALBA’s esplanade. It was all part of the project La democracía del símbolo [The democracy of the symbol], Leandro Erlich’s first site specific in his home country, presented by MALBA as part of its Programa Explanada in celebration of the museum’s 14th anniversary.

La democracía del símbolo is a monumental public art project that counted with the participation of three city offices (for Culture, for Public Space and for Transportation), several engineers and suppliers, other than the artist and the museum’s crew. To forge the “disappearance” of the Obelisk’s summit, a sort of hood made of two tons of iron and coated with a material similar to the original concrete was placed in the top of the monument. The piece must remain there for about two weeks, altering the city’s most famous post card.

A real size replica of the summit completes the project – it remains installed in front of the MALBA until March 2016, with free visiting. Contrarily to the original construction, that can’t be accessed by the public, this Obelisk allows the visitor to enjoy the view from the monument’s four windows, recorded in high-resolution videos projected in loop. For Leandro Erlich, art is a tool for social integration, action and linking, hence his interest in generating projects where art escapes from the frontiers of traditional exhibition spaces and mingle with the everyday order of things.

To accompany the project, MALBA will publish a book with new essays by American curator and art critic Dan Cameron and by Argentinian sociologist Christian Ferrer, an interview with the artist conducted by MALBA’s artistic director Agustín Pérez Rubio, and records of works developed throughout Erlich’s career.

Please visit MALBA’s website for more information. 

Anthony McCall, Regina Silveira, Caio Reisewitz and Pablo Lobato participate in the fifth edition of the Curitiba International Biennial, World Light. The exhibition takes place between October 3rd and December 6th in six different spaces in the city: Museu Oscar Niemeyer (MON), Museu Municipal de Arte, Centro Cultural Sistema FIEP, Galeria Osmar Chromiec – Apap, Jardim Botânico and Palacete dos Leões. Curated by Teixeira Coelho, the exhibition will be composed of works that uses light as motor and matter, content and form for their creations.

Anthony McCall and Regina Silveira are amongst the first names that come to mind when thinking about light as artistic matter. Anthony McCall (St. Paul's Cray, England, 1946) participates in the show with the installation You and I, Horizontal II, recently exhibited in São Paulo as part of the show Imaterialidade (SESC Belenzinho). Working in between of languages like cinema, sculpture and drawing, the artist is a pioneer in the creation of installations with light and projections. In 1973, he exhibited Light Describing a Cone in Nova York City, the first of his series of solid light films, where he creates the illusion of three-dimensional forms by projecting light beams. In 2003, after being away from the art world during twenty years, he has returned to his artistic production, incorporating new digital technologies.

Regina Silveira (Porto Alegre, 1939) is renowned by exploring the space through mechanisms like optical illusions and altered perspectives, by contrasting light and shadow and integrating image and architecture. Her works may times presents itself as intentionally distorted shapes, except when seen through a specific point of view, an effect that she achieves by giving elastic properties to the shadows of objects. Elements of emotional and sensorial order are involved in her hypertrophies and other manipulations of images, by which she humorously explores the ambiguities of perspective. At the Biennial, Regina Silveira presents the video-installation Limiar, 2015, at MON; the urban intervention Vagaluz, 2015, a laser projection in the streets of the city; and Quimera, an installation from 2002 that will occupy the façade of the Shopping Pátio Batel.

Caio Reisewitz (São Paulo, 1967) participates in the show with two works from the series Cartagena de Indias: Catedral Santa Catarina de Alexandria I and Catedral Santa Catarina de Alexandria II, both from 2007 with 200 x 150 cm each. In these large dimension works of deep formal rigueur, the influence of the Düsseldorf School in the artist’s work becomes evident. Known for exploring the tension between human voracity and environment, between architecture and natures, Caio Reisewitz has been receiving great international recognition. In 2015, he has presented solo shows at the Maison Européenne de la Photographie – the most renowned museum for photography in the world – and at the Huis Marseille Museum voor Fotografie, in Amsterdam; prior to that, in 2014, he presented a solo show at the International Center of Photography, in Nova York City.

Pablo Lobato (Bom Despacho, 1976) presents the experimental film Corda [Rope] (2014). The movie takes place during the Catholic procession called Círio do Nazaré, that happens in Belém (Pará, Brazil) since 1973, and revolves around some devotees that, wanting to ensure their relics (which are believed to grant wishes), ignore the rules and cut the ropes that guides the procession throughout the city streets. In 2008, after ten years of exclusive dedication to cinema, Pablo Lobato has gotten involved with other forms of artistic manifestation. Ever since, he has been creating hybrid works in between of different languages – cinema, photography and installation. In 2015, Lobato participates in the Mercosul Biennial and in the Festival SESC_Videobrasil, plus presents a solo show at the Fundação Joaquim Nabuco (Recife).

If you’d like to know more, please visit the Biennial's website.

Ricardo Basbaum participates in The School of Kyiv - Kyiv Biennial 2015, an independent project curated by Hedwig Saxenhuber and Georg Schöllhammer. Proposing a new format for biennials, the event is organized as an open display structure, including six Schools, where artists and intellectuals from around the world will meet and work with the public in collaborative forums: The School of Abducted Europe, The School of the Displaced, The School of Image and Evidence, The School of Landscape, The School of the Lonesome, The School of Realism. Ricardo Basbaum paticipates in the main show, which shares its title with the biennial itself, alongside artists like Laure Prouvost and William Kentridge. The School of Kyiv will be addressing burning issues for citizens of Ukraine, Europe and beyond as well as imagining egalitarian and alternative futures; and the counter-propositions of art.

Ricardo Basbaum was born in 1961 in São Paulo and lives in Rio de Janeiro. Creator of the concept “artist-etc”, he is an artist, writer, art critic, curator, researcher and professor. His practice derives from his research on art as a connecting device that links sensory experience, sociability, and language. Composed of diagrams, drawings, texts, audios and installations, his works are interactive proposals that depend on the visitor to be activated and fully exist. His major shows include: Would you like to participate in an artistic experience?, Logan Center for the Arts, Chicago (2012); the 25th and 30th Bienal de São Paulo (2002; 2012); dOCUMENTA 12 (2007).

The School of Kyiv - Kyiv Biennial 2015 takes place from September 8th to November 1st. For more information, please visit the biennial’s website.

As part of a seven-week series of performances, Liliana Porter will present four nights of El orden de las cosas (bocetos) [The order of things (sketches)] at the Museum of Modern Art (MAM) in Buenos Aires. The project, titled El borde de sí mismo: ensayos entre el teatro y las artes visuales [At the edge of oneself: rehearsals between theater and visual arts] is curated by Javier Villa – the museum’s curator for contemporary art – and Alejandro Tantanian – the MAM’s curator for theater, a unique position in Argentina’s museums.

The goal of the series is to invite the viewers to witness private spaces and moments of artistic processes, rehearsals to which they are not usually allowed to gain access, opening their perception to a process-like understanding of artworks.

El borde de sí mismo: ensayos entre el teatro y las artes visuales also includes the participation of Jerome Bell (France), Richard Maxwell (USA), Ariel Farace, Daniel Joglar & Bruno Gruppali, Mauro Guzmán & Nancy Rojas, Silvio Lang, and Rubén Szuchmacher (Argentina).

For more information, please visit the website alternativateatral.

Argentinian Leandro Erlich participates in the fourth edition of Lille3000 festival, Renaissance, with his work El Living, from 1998. This piece is an installation composed of two identical and mirrored rooms (just one of them open for the public) connected by a window, placed by the side of a mirror. The impossibility of distinguishing between the reflection of one room and the vision of the other, i.e. between image and matter, is a recurring mechanism in the artist’s production.

Leandro Erlich develops his works by creating displacements in the body of reality, aiming to cause a sense of estrangement in everyday situations and environments, such as a waiting room, a pool, or an elevator. Nevertheless, the artifice isn’t an end in itself: once its mechanisms, both artistic as scientific, are easily apprehended by the viewer, the artist opens a space for reflection on the conditioning of our perceptions and about interiorized normativities

El Living can be seen as part of the main exhibition of Lille 3000, Tu dois changer ta vie! [You must change your life!], curated by Fabrice Bousteau and named from the eponymous book by German philosopher Peter Sloterdijk. Other than the show, the festival comprehends several actions that take place in Lille and other 75 communes from the Eurometropole, plus Rio de Janeiro, Detroit, Eindhoven, Phnom Penh and Seoul.

Lille3000 happens from September 26th, 2015 and January 17th, 2016.

From September 12th, the Fundação Joaquim Nabuco (Recife, Brazil) will present a solo show by Pablo Lobato, one of the artists awarded in the institution’s VI Edital de Videoarte [VI Video-Art Open Call]. Curated by FUNDAJ’s visual arts coordinator, Moacir dos Anjos, the exhibition comprises the video-installation Bronze Revirado [Twisted Bronze] (2011), the video Corda [Rope] (2014) and a new movie, Folia [Revelry] (2015).

Pablo Lobato produces hybrid works that promote dialogues between cinema, video and fine arts, creating tensions in regard to traditional cinema’s aesthetical and narrative frontiers. In 2010, his short film Queda [Fall] was awarded two prizes at the Brasília Festival (Best Direction and Best Sound); Acidente [Accident] (2007), codirected by Cao Guimarães, won the Best Ibero-American Doc Prize at the Guadalajara International Cinema Festival, in Mexico.

The exhibition can be visited until October 11th.

Reflecting on contemporary art and the transformations that currently affect public spaces, the exhibition Travessias – Arte Contemporânea na Maré [Crossings – Contemporary Art at Maré] arrives at its fourth edition in 2015, with a special participation by Regina Silveira, who will be exhibiting alongside guest artist Eduardo Coimbra and two young creators selected through an open call.

The production of Regina Silveira’s work for the exhibition, open on September 12th, has been in course for months, with the assistance of the local community, which was invited to lend their palm prints to Silveira’s artwork. Plus, from August 21st to 27th, the artist coordinates a workshop to produce a public intervention at Maré with the participants. These activities aren’t the first to show how important the engagement of local communities is important to Silveira’s poetics, such as the last La Habana Biennale, where she worked with students of the Instituto Superior de Diseño for the creation of a public intervention.

Travessias 4 takes place at the Galpão Bela Maré from September 12th November 14th, 2015.    

For over twenty years, Caio Reisewitz has been developing a unique artistic language, which combines the monumentality of the Düsseldorf School's tradition to influences of the Brazilian modernism. The singularity of his work has not passed unnoticed by major international institutions: in 2014, he was object of an extensive solo show at the International Center for Photography (New York); between July and September of 2015, he presents an exhibition at the Huis Marseille Museum voor Fotografie (Amsterdam); and now it’s the turn of the Maison Européenne de la Photographie, a worldly renowned institution, exclusively devoted to photography and video.

Opening on September 8th, Disorder presents emblematic pieces of Reisewitz’s production, either large dimensions photographs that explore Brazilian architectonic and environmental monumentality, or his recent collages, which discuss man-made transformations on nature.

Having as his main theme the relations between man and nature, Caio Reisewitz’s body of work allies the rigour of modern architecture to the disordered power of nature, proposing a contemporary approach to the mutations suffered by Brazil during the last decades.

Disorder is accompanied by the launch of a homonymous book containing essays by Nanda van den Berg and Jean-Luc Monterosso, fruit of a partnership between the Huis Marseille Museum voor Fotografie and the Maison Européenne de la Photographie.

Created in 1986, the Maison Européenne de la Photographie has its origins in the Paris Audiovisuel association, an initiative from 1978 curated by Jean-Luc Monterosso, current director of the Maison. The museum develops a referential work in supporting and promoting exceptional photographic and filmic production.

The exhibition happens from September 9 to October 31, 2015. For more information, please visit the MEP’s website.

Pablo Lobato develops works that are often in between of cinema and what is traditionally considered as fine arts. His latest movie, Corda [Rope] will be exhibited at the 26th São Paulo International Short Film Festival. The movie takes place during the Catholic procession called Círio the Nazaré, that happens in Belém (Pará, Brazil) since 1973, and revolves around some devotees that, wanting to ensure their relics (which are believed to grant wishes), ignore the rules and cut the rope that guides the procession throughout the city streets.

The sessions will take place on August 21, 22 and 25, at CineSESC, Centro Cultural São Paulo and the Museum of Image and Sound, respectively. More information is available at the festival’s website.

Regina Silveira coordinates a workshop as part of the Travessias 4 program. During the event, the artist will work together with the participants for the production of a public intervention at Maré. Engaging the local public is an important element of Regina Silveira’s practice, and she already counted with the support of local communities for producting several public installations, in cities like Curitiba (Brazil) and La Habana (Cuba).

The workshop will take place from August 21 to 27, from 2pm to 6pm, at the Galpão Bela Maré.

'Civic Actions: Artists’ Practices Beyond the Museum’ focuses on the intersection of social and public projects, and the possibilities of art practice in public space. The international conference features a diverse range of high-profile curators, academics, cultural practitioners and artists, including Héctor Zamora.

Featuring four keynote lectures, three panel discussions, and participatory workshops, the Civic Actions conference will highlight issues of art, urban planning, architecture and culture. Héctor Zamora, renowned for his public artistic interventions, is one of the speakers.

Born in 1974, Héctor Zamora is a Mexican artist based in São Paulo. He has earned increasing international appraisal, especially due to his installations that take place outside traditional exhibition spaces. In 2015, he presents solo shows at the FRAC Pays de la Loire and at the Palais de Tokyo, and also participated in the 12th Havana Biennale and in group shows in Brazil, Australia and France. In the last few years, he participated in the 53rd Venice Biennale (2009) and presented a solo show at the REDCAT - Center for Contemporary Art Los Angeles (2013), among others.

‘Civic Actions’ takes place from September 10 to 12 at the Museum of Contemporary Art Australia. More information can be found at the conference’s website.

The convergence of the universes of art and gastronomy is the theme of CRU: comida, transformação e arte [RAW: food, transformation and art], a multidisciplinary event that happens at Centro Cultural Banco do Brasil (CCBB) starting August 15, which will revolve around three axes: an exhibition gathering works from more than 20 Brazilian and foreign artists; four performances conceived by artists, musicians and chefs; and several gastronomic interventions.

According to curator Marcello Dantas, the event was motivated by the growing presence of food as symbolic, plastic or metaphoric element in exhibitions all over the world. CRU presents a broad and diversified panorama of works that have as starting provocation the relation that man establishes with food, mixing varied approaches – formal, lyrical, ironic or political – that complement each other. Rochelle Costi (1961, Caxias do Sul, Brazil), for instance, uses food as a recurrent theme in her production, recreating images of aliments in a kaleidoscopic manner for the Toalhas [Towels] series, proposing children’s games in Pimentário, or revisiting typical elements, many of them forgotten by Brazilian alimentary culture.

On August 15 and 16, Fyodor Pavlov-Andreevich (1976, Moscou, Russia) will spend 8 hours’ journeys manipulating potatoes inside a giant installation that resembles a factory, as a reference to the great importance of this aliment in arduous times of Russian history. For the following two weeks, local performance artists will take his place in the same task, that will be carried until August 24.

On August 29, Héctor Zamora (1974, Mexico City, Mexico), Brazilian percussion group Barbatuques and the chef Ana Luiza Trajano will perform a collective and musical production of artisanal ice-cream. Of typical Brazilian fruits flavours, the ice-cream will be offered to the public by the end of the action.

The exhibition can be visited until October 12. More information is available at CCBB's website.

The exhibition Grafias e Bordados [Spellings and Embroidery] gathers recent works created in several media, from traditional engraving to digital technics for printing and cutting. The formal variety allows the viewer not only to get in contact with the plurality of Silveira’s production, but also to apprehend key elements that reappear in different works, such as the use of shadows as an element capable of transfiguring everyday images.

In her recent production, which include the new engraving edited for the Museus Castro Maya’s project Os Amigos da Gravura, Regina Silveira explores in an unusual fashion the cross stich embroidery, a new element that points to the performativity in her production. This line of research has originated large dimensions works that coat wide architectures, such as MASP (São Paulo, Brazil) and the indoor porch of the Museu Amparo (Puebla, Mexico), or even that cover public transport vehicles, as were the Casulos [Cocoons] commissioned by the International Biennial of Curitiba (Brazil), in 2013. Due either to their ephemerality or their large proportions, these pieces are represented in the show by mock-ups or documentary films.

The opening for guests happens on September 10th, and the exhibition can be visited from September 11th to December 14th, 2015. More information is available in the museum’s website. 

Happening from September 5th to November 26th, TRIO Biennial is an international exhibition of contemporary art focused on the three-dimensional. It’s organized in two modules: one main show, titled Who said tomorrow doesn’t exist?, and a parallel module, composed by exhibitions proposed by international delegations.

Tiago Tebet, Marina Abramović, Raphaël Zarka, Tobias Putrih and Fyodor Pavlov-Andreevich figurate among the artists participating in the main show. Curated by Marcus Lontra, the exhibition comprises not only sculptures, installations and objects, but also works that understand the three-dimensional as an expanded field, being them paintings, photographs, performances or videos. For instance, Tiago Tebet, known for extending pictorial investigation to media other than painting, participates in the show with “Fundamental structure”, a piece from 2015 composed of acrylic on MDF, bread crumbs, hemp fibres and debris, among others.

Marina Abramović presents “The Communicator” (Head 9), from 2012, emblematic of her research on crystals and precious stones and their influences and the human body and mind. Deeply concerned with the transposition of pictorial elements to sculpture, Raphaël Zarka exhibits “Prismatique”, 2013, an object made of wood and concrete. Tobias Putrih, known for sculptural installations with simple materials and fractured shapes, exhibits “Niche”, from 2012. Fyodor Pavlov-Andreevich, who works with performance, visual arts, text, theatre and video, will present an interdisciplinary work.

Who said tomorrow doesn’t exist? takes place in three different locations: Oscar Niemeyer Cultural Center, Vargas Memorial and the National Historic Museum. The second module – titled Mostra Relevo – occupies several spaces in the city with national representations by countries that maintain diplomatic relations with Brazil.

Click here to visit TRIO Biennial’s website.

Since 2004 Regina Silveira has been working on Derrapagens [Skid Marks], an ongoing series composed of installations created with laser cut self adhesive vinyl. The works are usually site specific and display overlapping graphic patterns of tires that interfere in the architecture, which serves simultaneously as medium and as artistic content. Inspired by Derrapagens, the artist has created the Roller series, a limited, numbered and signed collection of pieces of contemporary textile jewellery. The project is fruit of a partnership between the artist and the designer Renata Meirelles, known for her wide experimentation with laser cut patterns on fabric – a technic related to Silveira’s Derrapagens. Together, they created a sort of digital lace that establishes sensorial relations with the adorned body.

The collection will be released on August 12, from 5pm to 10pm, at Uma – Rua Girassol, 273.

The works created by Leandro Erlich (Argentina, 1973) share some essential elements with his country’s rich literary tradition in the fantastic genre: an ambiguous approach to uncanny and fantastic episodes – always inserted in realistic contexts – and, consequently, the mystery. In both cases, the reader/spectator is placed in a state of permanent uncertainty in regard to reality; this uncertainty, however, isn’t due to spectacular manifestations of the marvelous, but has its origins in a slightly dislocated representation of the world.

In the case of Leandro Erlich, the scenery of such displacements are utterly quotidian architectures, like the façade of a building, a psychoanalyst’s office, an elevator, a door, a window. The banality of these environments is essential for the phaenomenon of estrangement: the more familiar the surroundings, the more significant will be the presence of that single out of place detail, or the absence of a specific element. But it’s not about a mere simulacrum: the displacement is rapidly apprehended by the spectator, the functioning of the mechanism that generates the illusion is understood, and the creation becomes a process simultaneously artistic and scientific.

Taking all of this in account, it’s easy to understand his participation in the exhibition Invento | As Revoluções que nos Inventaram [Invention | The Revolutions That Invented Us], from August 5th to October 4th at Oca (São Paulo, Brazil). Curated by Agnaldo Farias and Marcello Dantas, the show approaches the intersections between science and art through works that explore major inventions of the last 150 years, surpassing their utilitarian vocation and transmuting them into objects of aesthetical contemplation.

More information can be found in the website of DASartes magazine.

Immateriality aims to investigate the limits of contemporary art’s materials and media by approaching the production of a group of national and foreign artists for whose poetics the impalpable is as a key element. For the curators, all symbolic value is immaterial and lends new meanings to the ordinary objects to which it’s attached. Thus, the symbolic is always accompanied by objective reality. All work of art, therefore, presupposes qualities that transcend its material reality; some artists, however, explore the issue of immateriality in the own constitution of their works, using the immaterial as a matter for creation.

Anthony McCall (England, 1946) participates in the show with the installation You and I, Horizontal II. Working in the frontier between cinema, sculpture and drawing, he’s one of the pioneers in creating installations with light and projections. In 1973, he exhibited Light Describing a Cone in New York, the first of a series of works known as movies of solid light, where he creates the illusion of three-dimensional forms by projecting light beams. In 2003, after having distanced himself from the art world for two decades, he resumed his artistic production incorporating new digital technology.

Fabiana de Barros & Michel Favre (São Paulo, 1957 and Geneva, 1957) present the video-projection Você está aqui [You are here]. Fabiana de Barros works as painter and relational artist; Michel Favre is a filmmaker who incorporates to documentary film the formal researches of video art. Other than developing their individual production, they cooperate as a duo since 1996, when FABMIC has been founded. Together, they work with photography, video-installation and multimedia performance in a way that the viewer can use the piece’s object elements to create his own universe and references.

More information can be found in SESC's website.

Caio Reisewitz’s production has been gaining exponential international appreciation: after being exhibited at the Center for Photography (New York) in 2014, now his work will be seen at the Huis Marseille Museum voor Fotografie, Amsterdam’s first museum of photography. Before the end of 2015, he'll also present a solo show at the Maison Européenne de la Photographie.

The essence of Florestas, favelas & falcatruas [Forests, slums & frauds] can be deducted from its title, which is also a privileged entrance to Caio Reisewitz’s poetics. His landscape photographs, as well as the collages he has been creating since 2010, testify to a deep social engagement, but one hidden within a very particular avant-garde idiom. His photographs production reflects on the construction and deconstruction of Brazil, and in particular on the conflicts playing out in the background that are not immediately accessed by the viewer, such as environmental controversies or issues regarding social inequality.

As a way of complementing and documenting both of Caio Reisewitz’s exhibitions in Europe, Huis Marseille and Maison Européenne de la Photographie joined forces to produce the book Caio Reisewitz, Disorder, with texts by Nanda van den Berg (Huis Marseille) and Jean-Luc Monterosso (Maison Européenne de la Photographie).

More information is available at the museum’s website.

From June 19 to 28, Regina Silveira reinvents David Pecaut Square, in Toronto (Canada), with Glossary, a large-scale installation created for the Luminato Festival Hub. Best known for her explorations of space through optical illusions, geometric constructions and distorted perspectives, the artist develops this new piece by activating elements that are pivotal to her poetics, such as light and shadow, and the interaction of images with architecture.

Regina Silveira resorts to her recurrent metalinguistic approach to create a luminous game. Her glossary comprises but one word, “light”, which is presented in countless idioms and dialects in the form of coloured, translucent marquees that project the artist’s lexicon onto the festivalgoers. At night, these same words, drawn by lasers, shift to the buildings that circle the square, converted in an urban calligraphy copybook.

More information is available in the website of the Luminato Festival.

For his solo show at Frac (Carquefou, France), Héctor Zamora occupies the large hall of the institution with seventeen caravans, whose windows – these semipermeable membranes between inside and outside – have been blocked by planks of wood. The installation presents itself as some sort of labyrinthine camp composed by paths that have for horizon nothing but the next caravan. Specially conceived for the institution, the exhibition gains in strength when, compared to the emptiness of the meadow surrounding the museum, the overflowing exhibition space becomes even more oppressive.

At the boundaries of sculpture and architecture, Héctor Zamora transcends the conventional exhibition space and generates frictions between several contemporary dichotomies, such as private and public, exterior and interior, organic and geometric, real and imaginary. He makes use of material such as tiles, bricks, shacks and other elements that can be found in Latin American or European peripheries, in order to create installations that are in resonance with the space in which they’re located, subverting its everyday use our revealing its hidden facets.

In July, his work can also be seen at Galeries Lafayette (Nantes), where the piece Brasil will be exhibited: a bicycle holding a brick wall in precarious balance. For more information, visit the website of the Frac des Pays de la Loire. 

Although this is her third participation in the Cuban biennial, it is the first time Regina Silveira goes to the country. The trip derives both from the nature of her project and the research conducted by the curators: while this edition of the Bienal de La Habana shifts the focus from the autonomous object of art to contexts and experiences, taking place in the city’s interstices, the artist proposes an urban intervention titled Phantasmata.

With the participation of students of the Instituto Superior de Diseño and using stencil technique, Regina Silveira creates fictional parking lots, transforming the city’s quotidian by inserting impossible realities in the urban milieu. As everything that moves can become static, the artist places side by side transport vehicles, animals, tanks and missiles, revealing the underlying poetic potency of an act as banal as parking.

The exhibition can be visited from May 22 to June 22, 2015. For more information, visit the website of the 12th Bienal de La Habana.

Endowed with a special sensitivity to unveil and tense the acting forces in public spaces that he mobilizes artistically, Héctor Zamora participates in the 12th Bienal de La Habana with Ensaio sobre o fluido [An essay on flow], an intervention in the building of ISA - Universidad de las Artes' Music School. The construction, a complex structure of 400 linear meters known as "El Gusano" [The Warm], was designed by Italian architect Vittorio Garatti and abandoned in the 1970s, before its conclusion.

Presented in two sections, one in May 21st and the second in May 25th, both at 7pm, Ensaio sobre o fluido lights up the building for the first time, also realizing its vocation: seventy of its rooms will be occupied by local musicians, each one of them located in a different chamber to interpret a piece composed by Cuban Wilma Alba specially for the situation. The architecture determines both the sound behavior and the visitors' possible circuits, transforming the building itself in a musical instrument. 

With Ensaio sobre o fluido, Héctor Zamora activates a monumental architecture that was never accomplished, an action that holds metaphoric parallels to the history of the revolution and is created in the eve of major changes to which Cuba is getting prepared. The complete program of the presentations can be found in the website of the 12th Bienal de La Habana.

Due to open on June 13, the exhibition will explore how Marina Abramovic has reduced and refined her work over a forty-year career, to focus on a central, unifying ideology: what she calls 'the art of the immaterial'. This involves the use of objects and simple rituals - either by the audience or the artist herself - to transport us to full consciousness of the present moment. Come and sample sound, photography, video and installation works from the full spectrum of her artistic output: from her solo performances of the 1970s, 80s and 90s to ground-breaking work with former partner Ulay, as well as new Transitory Objects works and exercises such as Counting the Rice, where you can experience for yourself 'the Abramovic Method'.

Learn more at the site of the Museum of Old and New Art, featuring a side programme of meetings and public events.

A série de oito encontros com a artista inclui uma palestra de abertura e conversas semanais com Marina Abramovic no Teatro do Sesc Pompeia, abordando temas variados como arte, performance e outros campos relacionados. Durante alguns encontros, Abramovic potencializa a energia criada entre ela e o público no espaço trazendo performances executadas por Lynsey Peisinger, artista, coreógrafa e colaboradora do MAI. As conversas serão informais e o público é incentivado a participar, fazer perguntas e aprofundar conhecimentos sobre arte de performance e arte imaterial. 

Os encontros com Marina Abramovic são gratuitos. Retirada de ingressos (dois por pessoa) nas bilheterias da Rede Sesc, no dia da atividade, a partir das 13h. Sujeito à lotação do espaço.

Palestra de abertura: 11 de março, às 20 horas. Datas: 26 de março, 01, 02, 08, 15, 22 e 30 de abril, às 20 horas.

Conheça mais detalhes sobre o projeto no site da exposição.

O Instituto Figueiredo Ferraz, em Ribeirão Preto, inaugura este mês a mostra individual "Fernando Zarif" do artista homônimo, exibindo 116 obras, entre desenhos de grande formato sobre papel e sobre tela, esculturas e instalações. 

Este conjunto de obras apresenta para o público, de forma didática, a trajetória do artista paulistano. Os desenhos são apresentados em duas paredes, perfilando quase três décadas de trabalho, desde sua produção juvenil até suas últimas telas, quando aplicava as tintas das bisnagas diretamente sobre o suporte. Estão aí presentes seus seres imaginários, assim como obras produzidas com materiais incomuns, colagens de objetos como papéis, cadeados, entre outros. São apresentadas também esculturas como "A Chave" (1998) e a impressionante "Calvário" (1990). Além de uma série produzida com fios de cobre.

A mostra tem o mérito de trazer a público algumas obras inéditas do artista, descobertas pelo Projeto Fernando Zarif que catalogou a totalidade da produção do artista a partir de uma minuciosa pesquisa de seu espólio. Dentre elas, estão obras produzidas a partir de materiais como cartas de baralho e adesivos de banca de jornal, cabelos, assim como obras produzidas a partir de instrumentos musicais.

Esta é a primeira vez que o Instituto, detentor de uma das mais importantes coleções públicas de arte brasileira do estado de São Paulo, produz uma mostra individual de um artista que não faz parte de sua coleção. 

O artista também foi um dos responsáveis por trazer identidade visual ao álbum dos Titãs "Titanomaquia", lançado em 1993, criando a capa de um dos discos que marcaram a trajetória da banda.

Fernando Zarif (São Paulo, 1960-2010). Criador compulsivo, o artista não se contentava em expressar sua visão de mundo apenas nas artes plásticas e, por isso, chegou a compor canções pop e a comandar um programa de rádio especializado em musica erudita contemporânea. Zarif é conhecido por ter operado em diversos níveis de criação. Mostrando versatilidade e um senso estético bastante autêntico, Fernando mesclou as mais diferentes técnicas, cores e formas. Deixou um impressionante acervo de mais de 2.000 obras.

“Fernando Zarif“
Abertura: 21 de março de 2015, sábado, das 16h às 19h 
Período Expositivo: 23 de março a 25 de abril de 2015

Instituto Figueiredo Ferraz
Rua Maestro Inácio Stábille, 200 - Alto da Boa Vista 
Ribeirão Preto - SP – Brasil - CEP: 14025-640 
Tel.: (16) 3623 2261
Horários de Funcionamento: de 3a a sábado das 14 às 18h
Entrada franca

Click here for further details on the exhibition.

Comissionada pela Associação de Amigos e Patronos da Biblioteca Mario de Andrade, e patrocinada pelo Itaú e leis de incentivo do MinC, a obra Paraler se constitui de um mosaico de cerca de mil metros quadrados ao redor da Biblioteca Mario de Andrade, no centro de São Paulo. Nesse mosaico, a palavra “biblioteca” surge inscrita em múltiplos idiomas e configurada como bordado em ponto de cruz. O conjunto é formado por quase dois milhões de peças em porcelanato especialmente cortadas para o projeto. Resistente a intenso tráfego, o trabalho foi construído para se tornar uma presença perene no imaginário urbano contemporâneo. O lançamento acontece dia 1 de setembro de 2015.

“Paraler se propõe a funcionar como uma espécie de logotipo multicultural”, explica a artista. Esse caráter multiculturalista pode ser visto, aliás, como uma pertinente provocação ao mundo presente, em que as identidades nacionais parecem em embate, ao mesmo tempo em que o chamado “choque de civilizações” parece não dar conta de resumir o tema envolvido no desafio da coexistência humana. Por outro lado, há algo de iconoclasta e provocador no fato de essa proposta ser feita ao rés do chão, “arte para pisar em cima”, como disse Regina Silveira, um convite a se relacionar com esses ícones do saber que são as bibliotecas de modo desmistificado.

Um olhar amplo e engajado sobre a cultura é característica da obra de Regina Silveira. Frequentemente associada às pesquisas que envolvem as ilusões de representação e perspectiva, a artista raramente abre mão também de uma abordagem crítica e por vezes irônica de seu tempo – o que torna seu engajamento distante de qualquer panfletarismo ou posicionamento político fechado. Também há quase sempre um elemento discretamente performático em seus trabalhos, no caso de Paraler representado pela presença de agulhas, linhas e alinhavos entremeando as palavras, como se estas tivessem sido bordadas – e, assim, remetessem a práticas do fazer e da expressão populares comuns a distintas culturas.

Nascida em Porto Alegre, RS (1939) e radicada em São Paulo, Regina Silveira já realizou exposições individuais em instituições como Museo Amparo (México), Palacio de Cristal, Museo Reina Sofia (Madri), Pinacoteca do Estado de São Paulo, MAM-SP, CCBB, MASP, Queens Museum of Art (Nova York), Fundação Calouste-Gulbenkian (Lisboa), além de dezenas de outras. Sua obra integra acervos como os das instituições citadas acima e de San Diego Museum of Contemporary Art, Taipei Fine Arts Museum e MoMA, entre muitos outros.

Foto: Bruna Golberg

Lançada por ocasião da mostra de mesmo nome (noticiada ano passado aqui em LB/News), Geraldo de Barros e a Fotografia, o livro, se dedica à intensa pesquisa do artista, um dos maiores nomes da arte brasileira na transição da modernidade para a compreensão contemporânea da arte. Geraldo de Barros (1923-1998) lançava mão de intensa experimentação em fotografia, atividade que ocorria ora em paralelo ora integradamente à produção de obras em outros suportes, como a pintura, o desenho, a colagem.

Heloisa Espada, João Bandeira, Tadeu Chiarelli, Simone Förster e Giovanna Bragaglia assinam os textos do livro, que será lançado depois de amanhã, sábado 31/1, no Instituto Moreira Salles do Rio de Janeiro, em encontro com o crítico e curador Paulo Sérgio Duarte.

Saiba mais sobre a publicação em página do IMS, e participe do evento de lançamento.

Em momento de debate sobre o manejo da natureza, quando os recursos hídricos estão no centro de uma ampla crise, o Jornal das Dez, da GloboNews, e a revista IstoÉ destacam o olhar de Caio Reisewitz sobre o Pico do Jaraguá, em exposição em cartaz na Casa da Imagem, em São Paulo, e no livro Água Escondida, recentemente lançando. Clique aqui para acessar as matérias da GloboNews e da revista IstoÉ.

No aniversário de São Paulo, domingo, dia 25, às 15h, o Paço das Artes inaugura a exposição "Mônica Nador + JAMAC + Paço Comunidade", que apresenta o resultado de oficinas colaborativas de estêncil realizadas em parceria com a artista Mônica Nador. A mostra pode ser visitada até 22 de março, de terças a sextas, 10h às 19h, e aos sábados e domingos, das 11h às 18h, com entrada Catraca Livre.

Durante a mostra, os visitantes podem conferir estampas que foram transformadas em roupas pelo designer têxtil Renato Imbroisi, e que são apresentadas também em um desfile, às 17h, no dia da abertura.

A exposição apresenta também desenhos do acervo de atividades do JAMAC, a ação "'Paredes Pinturas", desenvolvida pela artista, além de um show de Miguel Nador, às 16h, e Leonardo (Samba de raiz), às 18h, ambos no primeiro dia da exposição.

Saiba mais na página do Paço das Artes.