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”.
Three weeks before the opening of the PIPA Prize 2017 exhibition at MAM-Rio – the show begins on September 23rd –, PIPA Institute Curator Luiz Camillo Osorio starts a series of exclusive talks with this edition’s four finalists. The first artist to be interviewed is Antonio Obá. Born in Ceilândia, in the outskirts of Brasília, his work delves into the Brazilian religious universe, questioning the national myth that describes it as a syncretic mix between Catholicism and African faiths. Here, Obá talks performance, Afro-Brazilian art, positionality, and how art can – and should – surpass 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.
Every month, PIPA Institute Curator Luiz Camillo Osorio writes an exclusive text for our website. In June, Camillo talks about “America”, a solid gold toilet by Maurizio Cattelan that can be seen –and used – by the visitor of the Guggenheim New York museum. By analyzing “America”, which mixes luxury and trash, the text discusses the function of art and its political power in a scenario in which art is, on one hand, appropriated by the market, and on the other, institutionalized, losing some of the impact and criticalness it’s supposed to have.
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…
PIPA Prize 2012 finalist and winner of PIPA Popular Vote Exhibition, category in which the public votes for their favourite artist during the finalists exhibition at MAM-Rio, Rodrigo Braga was born in Manaus and grew up in the city of Recife, Pernambuco, in the Northeast region of Brazil. In part due to this early experience – which, he says, has become mythical in his imaginary –, in part due to his family context (his parents and sister are environmentalists), his poetic often addresses the relationship between man and nature. This is one of the main topics discussed in this exclusive interview with Luiz Camillo Osorio, PIPA Institute Curator, which also features the artist’s relation with photography and video, his artistic training, and the international reception of his work.
“The Tricks of Cynicism: Richard Prince x Donald Trump” – read the critical text by Luiz Camillo Osorio
In January this year, American artist Richard Prince caused a turmoil in the art world by deciding to disown his portrayal of Ivanka Trump. “This is not my work. I did not make it,” he wrote on his Twitter account, after returning to the US President’s daughter the amount she had paid for the artwork. The controversy guides this essay by PIPA Prize curator Luiz Camillo Osorio, who sees in the event a revolutionary trend: the possibility of the artist to turn art into non-art.
The contemporary world seems to have sentenced painting—a medium whose time of making and consumption seems to be in complete disagreement with the speed of images today—to death. Some artists, however, stick to it, contradicting the idea of the medium as a “thing of the past”. Why is that? The question guides this essay by Luiz Camillo Osorio, Art Critic and Curator of PIPA Institute. Analyzing the work of painter Arjan Martins, whose latest exhibition, “Et cetera”, ended in December, Osorio seems to find a possible answer to the question which starts this text: “What makes an artist paint these days?”