(Miami, USA) The Rubell Family Collection Museum presents—timed to Art Basel Miami Beach—the exhibition “New Shamans/Novos Xamãs: Brazilian Artists”. The show is a result of the Rubells’ extensive research trips to Belo Horizonte, São Paulo and Rio de Janeiro, and features works which address universal environmental, social and political concerns by 12 up-and-coming artists: Lucas Arruda, Thiago Martins de Melo, Sonia Gomes, André Komatsu, Daniel Steegman Mangrané, Maria Nepomuceno, Solange Pessoa, Paulo Nimer Pjota, Marina Rheingantz, Eli Sudbrack, Erika Verzutti and PIPA Prize 2016 winner Paulo Nazareth.
(Prato, Italy) The concept of this annual manifestation is the idea that we have today about borders, therefore an issue of our days very much but also discussed and controversial. It arises from an idea of the art director Fabio Migliorati and it can be summed up in the phrase “Anything to declare?” that can be found in every border. The solo exhibition, by André Komatsu, is an event to celebrate the opening of the Pecci Museum, in Prato, Italy. The Brazilian artist’s sculptures and installations employ architectural and design forms to critique prevalent social orders. A recurrent motif in his oeuvre, the concrete wall symbolizes the stagnant bureaucracy and roadblocks that create social imbalance, while his appropriation of modernist forms highlights the failures of idealism promulgated by past art-historical movements.
Next Friday we will announce the names of PIPA 2016 finalists. Four artists were selected by the Board, out of this year’s participating artists, based on number of nominations, participation in previous editions of the Prize and in their trajectories. The finalists will participate in an exhibition at the Museum of Modern Art of Rio de Janeiro from 3rd September until 13rd November, and will be competing in two categories: PIPA and PIPA Popular Vote Exhibition.
André Komatsu, Ivan Grilo, Marcelo Cipis, Marilá Dardot, Nino Cais and Odires Mlászho have their artworks spread out across the many sectors in arteBA, one of the leading art fairs in the world and dedicated mainly to Latin-American production.
(Glasgow, United Kingdom) At the exhibition parallels are drawn between contemporary São Paulo, Komatsu’s birthplace and historic Glasgow. This seeks to question notions of progress and commerce, betterment for some and a more provisional existence for others.
From tomorrow (15th) until friday (19th February), we will be announcing the nominees who will compete for the seventh edition of the Prize. There are 76 artists, 1 artist collective, 28 women and 47 men. 30 have been invited to participate in the Prize for the first time, whilst 46 have participated in previous editions. 5 nominees have been finalists in previous editions. Learn more.
“Again, for the First Time: Contemporary Remakings of Abstraction”, group exhibition with André Komatsu
(Miami, USA) The project considers how its constant re-makings keep abstract art crucial, a strategy to think contemporary culture and to incite ongoing critical dialogues with everyday reality. The exhibition brings together a group of seven artists whose work engage divergent conceptual approaches to abstract art.
André Komatsu participates in group exhibition ‘Again, for the First Time: Contemporary Remakings of Abstraction’
(Miami, USA) The exhibition examines contemporary abstraction contextualization and re-interpretation in recent artistic practices by re-assessing the critical role of abstraction as an aesthetic idiom, perceptual process and research form.
(Venice, Italy) As part of the traditional National Participations, the Brazilian Pavilion will present works by André Komatsu, Antonio Manuel and Berna Reale, Curated by Luiz Camillo Osorio and Cauê Alves, the exhibition has been highlighted in international press, such as the English newspaper The Guardian which included the installation “Nave”, by Antonio Manuel, among the best works featured in the Biennial.
(Rio de Janeiro, Brazil) The exhibition’s title suggests a post-Carnival atmosphere, when the euphoria gives room to a melancholic affective shade, that the exhibition is inserted to reflect the consequences of a post-utopian time; the acceleration of time and loss of experience.