Critical Texts by Camillo

NL 17-02POST

“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.

Arjan Martins. Untitled, 2016. Acrilyc paint on canvas. 76.7 x 149.6 inches.

“Arjan: painting and its unexpected voices” – Read the critical text by Luiz Camillo Osorio

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, releases the book “Seeing at the Edge”

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 in conversation with Luiz Camillo Osorio

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.


Gustavo Speridião in conversation with Luiz Camillo Osorio

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.

"Free Form (Brasília", 2013, video installation (2 channel), 7'

Interview with PIPA 2016 finalist | Meet Clara Ianni

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.


Luiza Baldan in conversation with Luiz Camillo Osorio

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.”


Alice Miceli in conversation with Luiz Camillo Osorio

In an exclusive interview, Luiz Camillo Osorio, Curator of PIPA Institute, spoke to Alice Miceli, PIPA 2014 winner, about themes related to image and its political effects, and the limits and displacements of what we transform in images of a world saturated by spectacularization.

Guilherme Vaz at CCBB (Rio de Janeiro, Brazil). Curated by Franz Manata. Photo by Pedro Victor Brandão.

‘The visuality of sound: Vaz and Taylor’ – Read the critical text by Luiz Camillo Osorio

In his second exclusive article for PIPA, Luiz Camillo Osorio, discusses two recent exhibitions, where sound and visuality intercalate: Guilherme Vaz (CCBB-Rio) and Cecil Taylor (Whitney-NY). Osorio comments on how music has released the concept of its cerebral reclusion, providing a materiality that is invisible and at the same time corporal, and examines ways of exposing artworks and musical poetics. “What interests me here (…) is to note how the use of sonic power has invaded the expanded field of art and caused it to be transformed by a sensitive materiality that had been depleted by conceptual upheaval. This is not an attempt to oppose the poles of sonic materiality and conceptual art, but on the contrary, to draw attention to their reciprocal interaction and intensification”.

Copyright © Instituto PIPA