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?”
Luiz Camillo Osorio, Curator of PIPA Institute, in collaboration with the publishing company SESI-SP, releases the book “Seeing at the Edge”, which brings together critical texts written by Osorio in the last twenty years, published both in Brazil and abroad.
”The three parts which constitute the book […] present different approaches to the proximity of Brazilian contemporary art assembled from the same viewpoint and critical subjectivity”.
Cadu, PIPA Prize 2013 winner, takes his proposals to the extreme. Known for his unconventional methods, his practice deals with the creation of systems: machines, installations, paintings, drawings and sculptures, often incorporating elements of nature and, while pushing the boundaries between man and landscape, involving his own personal experiences. In this exclusive talk with the Curator of PIPA Institute, Luiz Camillo Osorio, the artist discusses his creative process, influences, techniques, motivations and Cadu’s most recent projects.
In an exclusive interview, Luiz Camillo Osorio, Curator of PIPA Institute, spoke to Gustavo Speridião, PIPA 2016 finalist, about his educational background, creative process, the role of painting in his work, and challenges that arise regarding the insertion of political work into the art market. Read the exclusive interview on PIPA’s website.
In every edition of the Prize, the participating artists are invited to record exclusive video interviews, an opportunity for artists to voice their ideas, talk about their creative processes and careers. The video interviews are produced by Matrioska Filmes. This week, we released an interview with Clara Ianni, who is a PIPA nominee for the third time and finalist for the first.
In an exclusive interview, Luiz Camillo Osorio, Curator of PIPA Institute, spoke to Luiza Baldan, PIPA 2016 finalist, about the development of her artistic career, the processes by which she inserted herself in the art world and how architecture and nature play exclusive roles in her works.
“The Spectacles, the absurd and helplessness in contemporary art” – read the critical text by Luiz Camillo Osorio
Luiz Camillo Osorio the curator of the PIPA Institute, PIPA’s founder and Board Member writes: “A risk of absurdity always attends the willingness to surrender oneself to the spell of any mere object: the dirtied swatch of cloth that is a painting, for example. It’s a game, whatever else it is, which makes sense only with knowledge of the rules and customs that are in play.”