(São Paulo, Brazil) PIPA Prize finalist Jonathas de Andrade is one of the artists who had had their works recently added to the Museu de Arte Contemporânea da USP (MAC USP)’s collection. To celebrate the fact, the institution put together “MAC no Século XXI – A Era dos Artistas”, which showcases, starting this weekend, over a hundred works belonging to its collection.
(Basel, Switzerland) The Brasilea Foundation opens today “O estrangeiro”, solo show by the five-times PIPA Prize nominee Arjan Martins. Considered one of the most interesting representatives of contemporary Brazilian art, he works through his origins by doing historical basic research, intensively examining the ever-present theme of migration of peoples and the colonial period and depicting cartographic material that documents and illustrates the trade and shipment of slaves.
(Lisbon, Portugal) Nominated for PIPA Prize for the third time this year, Paloma Bosquê opens next week her first international solo exhibition: “O Oco e a Emenda”, at Pavilhão Branco, part of the Galerias Municipais circuit. Curated by Luiza Teixeira de Freitas, the show features 21 exclusive new works, all characterized by the artist’s organicity and fluidity – an ode to artisanal, manual artistic techniques.
(Milan, Italy) PIPA Prize 2016 winner Paulo Nazareth participates in the group show “The Restless Earth”, with works by more than sixty artists from over forty countries, on view at the Palazzo della Triennale in Milan. The show, curated by Massimiliano Gioni, explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus inspired by varying degrees of urgency and longing.
(Venice, Italy) Defined by curator Christine Macel as “a Biennale designed with artists, by artists and for artists”, the 57th Biennale di Venezia, opens for preview tomorrow, May 10th – the official opening happens three days later, in the 13th. This years’ show presents works by five Brazilian artists, Ernesto Neto, Paulo Bruscky, Erika Verzutti, Ayrson Heráclito and Cinthia Marcelle. The latter, a PIPA Prize finalist in 2010, occupies the entire Brazilian pavilion in the show.
(New York, NY) PIPA Prize partner Residency Unlimited (R.U) opened this week the exhibition “Just cause”, a collaboration with Black Ball Projects presenting the works of Maria Agureeva, Juan Sánchez, and Benjamin Brett. The artists explore painting, sculpture and process in different ways, but their works intersect where free will and politics collide. The dichotomy is also present in the show’s title: a “just cause” can be both a cause worth fighting for, or simply an expression meaning “a valid excuse when doing something”.
(Copenhagen, Denmark) PIPA Prize 2012 nominee Carla Zaccagnini and writer Santiago García Navarro’s new exhibition “I am also stepping on wet sand” explores the cultural life and legacy of Mar del Plata and Skagen in the late 19th and early 20th centuries. The project developed into being mainly about erratic encounters at a distance and the failure of communication. The show combines their thoughts into a representational ecology of experience, moving forward as a cognitive collaboration between regions, space, and time.
(New York, USA) Mendes Wood’s space in New York Hic Svnt Dracones inaugurated earlier this week the exhibition “Sonia Gomes and A.R. Penck”, in which the two iconic artists explore mixed media with an emphasis on fabric-based works, aluminum foil and wood. While Penck explores new systems of spatial relationships in his color, Gomes’ – who was nominated for PIPA Prize on two occasions, 2012 and 2016 – approach is more poetic. Her sculptures reveal a new-found intimacy and sensuality through her artistic interventions with found and gifted objects.
(London, UK) Supporting independent curators by commissioning special research-based projects, the DRAF Curators’ Series presents its 10th edition starting this week. Titled “Greater than the Sum”, the exhibition was curated by Kunsthalle Lissabon, a small contemporary art space in Lisbon, marking the second time a space, rather than an individual curator, was invited to take responsibility for the show.
(New York, USA) For his first show in New York, three-times PIPA Prize nominee Henrique Oliveira takes over the Van de Weghe Gallery with an ambitious installation. The work comprises a life-size tree constructed from scraps of plywood and bark which, appearing to grow horizontally from one interior wall, bisects the room. The organic structure objectifies the disequilibrium of nature and society, and its immersive environment invites the viewer not only to see, but to perceive with the body.