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.
The art critic and curator highlights the political force guiding the works of the PIPA Prize 2017 winner Bárbara Wagner, who seeks to portray “what is deemed less important or low quality.”
Contextualizing Oliveira’s work in the Brazilian sociopolitical scenario, the critic and professor clarifies the connections between identity, media and power the artist proposes in his paintings.
The researcher points out some of the recurring themes in the artist’s production, such as African heritage, religion, body, ritual and performance, stressing their connection to Brazilian history.
“Listen to the silence and look at the void”: read Luisa Duarte’s critical text about Carla Guagliardi
Carla Guagliardi’s works always revolve around the same themes: lightness and heaviness, balance and vulnerability. For art critic Luisa Duarte, topics that couldn’t be more urgent in a “time intoxicated by the accumulation of stimuli”.
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.