The curator of PIPA Institute Luiz Camillo Osorio talks to the performer Eleonora Fabião about her so-called “actions”, inspirations, and her relationship with the streets.
Known for his immersive installations made of distorted plywood, the PIPA Prize 2010, 2011 and 2012 nominee talks to the curator of Instituto PIPA about his trajectory and his works.
What happens when four artists (and longtime friends) decide to create art together? Adriano Motta, Cadu (PIPA Prize 2013 Winner), Eduardo Berliner and Paulo Vivacqua took on the challenge in “Horse Project”, inspiring this month’s critical text by the PIPA Institute curator.
In a time in which everything becomes merchandise and the artistic practice is more and more institutionalized – take, for example, the proliferation of art fairs across the world –, where does art belong? The question guides the PIPA Institute curator in one more exclusive text for PIPA Prize.
In this exclusive interview with PIPA Institute Curator Luiz Camillo Osorio, Bárbara Wagner talks about her trajectory from photojournalism to cinema, her intense research on the theme of a modern Brazilian identity, and the ethical and political issues involved in her artistic production.
Carla Guagliardi’s work always seems to be in the verge of dissolution. In this conversation with Luiz Camillo Osorio, she remembers the beginning of her career in the 1980s, talks about living and producing art abroad, and highlights the importance of time and of the presence of the audience in the concept her work.
Born in a small town in the North of the country, Éder Oliveira has been researching since 2004 what he calls the “identity of the Amazonian man” through monumental, monochromatic paintings. Here, he talks to Luiz Camillo Osorio about his background, his relationship with street art, and the reception of his work across the globe.
Afro-Brazilian culture, religion and the ‘myth of syncretism’ in the Brazilian religious universe are some of the questions Antonio Obá explores in his production. Here, he talks to Luiz Camillo Osorio about performance, positionality, and how art can – and should – go beyond gallery walls.
This month’s critical text by PIPA Institute Curator Luiz Camillo Osorio talks about Damien Hirst’s extravagant comeback, the exhibition “Treasures from the wreck of the unbelievable”, which opened at Punta della Dogana and Palazzo Grassi in parallel to the 57th Venice Biennale. Here, Camillo raises a discussion on the excesses and the irony of a “post-truth” world, opposing Hirst’s “delusion of excess” to the “intensity of less”.
Former Chief-Curator at the Museum of Modern Art of Rio de Janeiro (MAM-Rio) from 2009 through 2015 and current PIPA Institute Curator, Luiz Camillo Osorio writes about art in the grand media since 1997, when he became a critic at Brazilian newspaper O Globo. Since then, he has been promoting, be it through essays, critiques or interviews, debates concerning the most diversified events of the art world. In order to prepare for Camillo’s latest post, to be published by the end of this week, we have gathered some of his most interesting texts published on PIPA Prize’s websites.