Check out the full agenda for this week of exhibitions and events related to PIPA artists, Nominating Committee members, Board members, MAM-Rio and relevant information about art in Brazil and abroad.
Last week of “Mutações” [“Mutations”] at MAM-Rio with 103 works by Argentinian artist Matías Duville, created between 2002 and 2015, and proposes an iconographic interpretation of a drawings, paintings and installations selections, in which four images of the artist appear: mutation, shelter, storm and imaginary. This is the last weekend to check out “Actions, strategies, and situations…”, a group show curated by Marta Mestre that proposes a new look over the Museum’s collection. See the full Museum programme, the Cinematheque calendar and screening times and the Education and Art activities.
(Nowy Sącz, Poland) “It’s Gonna Rain” by the Brazilian artist Cadu reads like an analogue hypertext, full of looped narratives and topographical references. The works are stand-alone but they also build mutual relationships, like an experimental piece of music, in which sound is complemented by the text, movement or object. At the periphery of these overlapping languages, a space has been created for disruption, noise and action aborts. These are all indispensable for complementing the processes set in motion during the exhibition, summoning the realness of life in the context of art, founded on the destruction and rebirth of the concept of creation.
(Venice, Italy) The 56th edition of Venice Biennial begins next friday, May 8th. The title chosen for the International Art Exhibition is “All the World’s Futures”. As part of the traditional National Participations, the Brazilian Pavilion will present the show “So much that it doesnt’t fit here”, with works by André Komatsu, Antonio Manuel and Berna Reale. The title of the exhibition was inspired by the signs seen in demonstrations which took place in Brazil’s capital cities in June of 2013.
(London, UK) Alexandre Mazza, Ivan Grilo and Nazareno take part in the group show “IDENTITY/MEMORY”, that presents works by other 24 artists discussing the definitions of identity and memory in our society. They tend to be classified individually, fulfilling specific functions in our lives. Though, if both terms are put in perspective, one can understand that the linking bonds between identity and memory have multiple formats and shapes.
(New York, US) With its humorous nods to constructive and conceptual art, Please Touch entails active contemplation from the spectator, in that it extends familiar objects into the arena of the nonsensical. Works featured in Please Touch include Street Arrow, inspired by road signage and old advertising panels; Touch Please, a play on the ubiquitous scaffolding structures used in construction sites; and Basement, a reference to the metal basement doors found in front of restaurants and bodegas throughout the city.
(Colchester, UK) Zaccagnini’s artwork draws upon research into this history, quoting statistics, primary evidence and newspaper reports from the time, and information about the artworks at the centre of the iconoclastic acts made by the Suffragettes. “Elements of Beauty”, revisits the campaign for women’s suffrage in Britain a century ago. The installation examines a series of actions that took place in British museums between 1913 and 1914, when over 20 artworks and artefacts at the Manchester Art Gallery and the National Gallery in London – most notably, Diego Velázquez’s The Toilet of Venus (or The Rokeby Venus, 1647–51) – were attacked by Suffragettes.
(São Paulo, Brazil) In “Condominium,” Caccuri shows four different series of new works, making use of technology to reflect on the permeability – often curtailed – between public space and private space. The materials, shapes, places, and dynamics of “Condominium” are part of the research for “Silent Walk.” While Caccuri researches the locations for the wandering in silence, she encounters people, objects, and situations that cumulatively become elements for projects such as those in the exhibition.
(Rio de Janeiro, Brazil) Incompleteness, imprecision, enigma, ambiguity are recurring terms to design mystery shapes or the ones that lead to discovery and participation. The artists featured in this exhibition somehow use ambiguity as a fundamental value in the construction of their personal speech, frequently appreciating the ideals of informality, fragmentation, discontinuity, unfinished, and indetermination of results.
(Rio de Janeiro, Brazil) Tomorrow, a guided visitation at “Tombo”, solo show by Rodrigo Braga, will be held by the artist. He created the installation specifically for the central interspace of Casa-França Brasil. The installation creates an immediate relation between the Royal Palm logs and the 24 internal columns on the gallery space, which is one of the neoclassic marks in Brazil, constructed in 1820 by French architect Grandjean de Montigny.