From the “shredding performance” of Banksy’s “Girl with a Ballon,” held at the Sotheby’s auction, PIPA Institute’s curator poses questions about the capitalization of the art and reflects on how Banksy’s “performative” episode shakes the notions of value, object, status and market.
In this exclusive text, PIPA Institute curator writes about Sofia Borges’ curatorial project for the 33 São Paulo Biennale. “What interested me in the specific case of Sofia Borges, was how she appropriated other works, set them in motion through her own poetics, and constructed a visual and spatial experience of unquestionable plastic intensity: intensity…
If the possibilities of mediums and supports for artistic production are as varied as possible today, Arjan Martins still recognizes in painting – whose obsolescence has even been decreed – a possibility of reinvention. Completing the series of exclusive interviews with PIPA Prize 2018 Finalists, Arjan Martins talks with the curator of the PIPA Institute, Luiz Camillo…
Romy Pocztaruk is the third interviewed from the exclusive conversation series with the PIPA Institute curator Luiz Camillo Osorio. talks about her research practice and how they’re the foundation to her creative processes to each work in a practical, objective way.
avaf is the second artist interviewed for the exclusive conversation series with Luiz Camillo Osorio. In this interview, avaf – at times a collective project, at times a solo one run by Eli Sudbrack – talks about the references to the collective’s works.
In this exclusive interview with PIPA Institute Curator, Vivian Caccuri talks about her musical influences and discuesses the place that sound art occupies in a world filled with images and the limitations and possibilities in the Brazilian recording industry.
Parting from a visit to Luiz Zerbini’s studio in 2013, the PIPA Prize 2018 Nominating Committee member intermingles the worlds of painting and dream in this reflection.
The artist and member of the PIPA Prize 2018 Nominating Committee writes about the solo show “The Mirror”, presented by Bruno Dunley at Nara Roesler New York in the beginning of the year.
Unfolding the debate started by his critical text “The artist and the university”, published in May, the PIPA Institute curator interviews Guilherme Marcondes, who conducted a research on the insertion of young artists in the Brazilian artistic circuit for his Sociology PhD.
The curator investigates the “changes in one’s landscape of certainties” produced by Antônio Carlos Elias’ recent artworks, showcased in the solo show “Uromelus, bunnies, and chimeras.”