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.
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.
PIPA Prize was created to promote and support Brazilian contemporary art, a mission that has been dutifully followed over the last seven years by awarding artists and promoting their work through our websites and social media. Lately, however, we have seen this lively, diverse artistic scene attacked by a wave of moralist radicals who are trying to bring back the censorship era. We felt the need to make a statement.
PIPA Prize 2016 Nominating Committee member, Guilherme Gutman offers in this text another point of view about “Treasures of the wreck of the unbelievable”, solo show by Damien Hirst that opened in parallel to the Biennale earlier this year. The text is a counterpoint to PIPA Institute Curator Luiz Camillo Osorio’s last critical text, “Death in Venice”.
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.
This month, PIPA Institute curator Luiz Camillo Osorio writes about “America”, a solid gold toilet by Maurizio Cattelan that can be seen – and used – by the visitors of the Guggenheim New York museum.
Art is not information For Madá Luiz Camillo Osorio – March 2017 What makes us like Art? What is its role in our life ? What is the difference between liking Art and knowing it, and how are the two related? Do new technologies facilitate or harm the way we deal with a work of…