(London, UK) “Pangaea II: New Art From Africa and Latin America” features the work of 19 emerging artists who provide an expansive insight into the work being produced against the backdrop of present day complexities in their respective homelands. Witnesses to the transformation of their societies, the artists working in these two distinctive regions are increasingly based within cities that are changing at an unprecedented rate. Including sculpture, painting, installation and photography, the show explores the diverse cultural influences and thriving creative practices in the two great continents that were once conjoined as the prehistoric landmass of Pangaea.
In this, her second exhibition with the gallery, she will intersect the entire space with a gradient printed on fabric — something that moves in space but is constant, subtle, transformative and never repeating. In addition, ordinary windows will be replaced with colored panels disrupting one’s expectation, and images of small, empty containers enlarged to architectural scale.
(São Paulo, Brazil) Increasingly, the dynamic of disruption and fissuring in Marcia de Moraes’ drawings and collages, seem to induce a displacement of the gaze. To a certain extent, these formal interruptions can allude to the psychoanalytic notion of “lapsus”, that, in Portuguese, inspired the name of this exhibition. As explained by Sigmund Freud in the early twentieth century, the lapsus would be errors in actions or speech, breaches in speech and in the logic of linear thinking caused by the unconscious.
(Curitiba, Brazil) What is interesting about Silvera’s procedure is that it makes the object at the same time the object itself and its representing: the hammer is still a hammer, but it is also a hammer “sculpture”. Perhaps this is the very reason this artist does not call himself a sculptor. He is simply an object maker. But the things he makes are not common objects like the “plain” ready-mades which were shifted into art by the artist’s decision – a procedure that nowadays would be somehow academic and repetitive. Washington Silvera does not make magic objects, but rather objects which are victimized by magic: enchanted objects.
(São Paulo, Brazil) According to the artist, the artworks aim at mapping this odd urban names, relating to architecture, city and cosmos, and unfolding this discovery in a re-reading about a space and a time – the city and its stories – that are, like the universe, in constant transformation. “The city is a producer of microbiographies, microcosmos and microutopies. I take advantage of the impulse determined by the cosmic buildings to pay attnetion to the noises the street, city and individuals create in their functioning”, the artist comments.
(Rio de Janeiro, Brazil) Curator Bernardo José de Souza comments, on the exhibition, “I hope the public relates to these works naturally, positively or negatively, finding them beautiful or hideous, but that the works cause some strangeness”. Among the 38 Brazilian and foreign artists are Cinthia Marcelle, Cristiano Lenhardt, Leticia Ramos, Maurício Ianês, Rafael RG, Rodolpho Parigi, Daniel Steegmann Mangrané and Sara Ramo.
The voting for PIPA Online 2015’s first round are finished. Over 10.400 votes were computed during the 8 days in which the public voted for their favourite artists. Nine artists passed the 500 votes and are now classified for the second round, that takes part from the 2nd through 9th August. See the final score…
(Berlin, Germany) The group show applies the means of contemporary art to address the long-term effects of these new weapons on the human psyche.The loss of a direct, physical confrontation and the danger for one’s own life had created, separates the violent situation itself from affects like reluctance for killing or overreaction, sympathy or hate. What may this mean for the arguments and evidence of political action? Which meaning does this context of the story receive: the memory and forgetting of an outburst, escalation or the prevention of violence? and which interest does art have in all this?
(São Paulo, Brazil) The body of work is comprised of black and white pieces – 94 photographs and a 55-minute digital film – which explore everyday life situations through a perspective concerned with formal compositions. The works were made between 2006 and 2013 in 18 different countrues: Brazil, Bolivia, Argentina, Portugal, Spain, England, France, Holland, Germany, Poland, Czech Republic, Hungary, Italy, Greece, Turkey, Russia, Moroccco and Egypt.
(Rio de Janeiro, Brazil) “Assalto” is one more group of those critical judgments Matheus performs daily to assert his attention to images and gestures, to his sympotmatic repetitions and to pay tribute to the old and efficiant Christian iconographt that, today, is as self-referential and use as before, in circulating advanced forms of capitalism.