(Rio de Janeiro, Brazil) Visual arts fans, behold: tomorrow on September 23rd, MAM-Rio welcomes the eighth edition of the PIPA Prize Finalists’ Exhibition, showcasing works by this year’s finalists Antonio Obá, Bárbara Wagner, Carla Guagliardi e Éder Oliveira. Chosen by PIPA Board amongst the 56 artists nominated in this edition, they run for the main category of the Prize, which is worth R$130,000, amount that includes a one-month artistic residency at Residency Unlimited, in New York.
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.
Save the date: PIPA Prize Finalists’ Exhibition 2017 opens at the Museum of Modern Art of Rio de Janeiro (MAM-Rio) in two weeks from now, on September 23rd. The exhibition presents to the audience a glimpse of the work of the four PIPA Prize 2017 finalists, Antonio Obá, Bárbara Wagner, Carla Guagliardi and Éder Oliveira.
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.
“Liberation 4.0” is the name of the project developed by PIPA Prize 2016 nominee Daniel Beerstecher with PIPA Institute’s initial funding. Complex in its making, the project involves a number of technical and artistic professionals to be produced. Because of that, besides the established partnership with PIPA Institute, the artist also calls on the audience via Kickstarter to raise the rest of the movie budget.
Nominated for PIPA Prize for the fifth time this year, Arjan Martins has been traveling a lot. In April, he went to Nigeria for the opening of “The Atlantic Triangle”, exhibition put together by the Goethe-Institut Lagos. A while later, he parted to Basel, Switzerland, to embark on an artistic residency funded by the Brasilea Foundation. “This exercise has helped me talk about my time, your time, and our time”, he says when asked about his recent trips. Martins talks these and other journeys in yet another exclusive interview with PIPA Institute Curator Luiz Camillo Osorio.
(New York, USA) One of the most prominent Brazilian artists of her generation, Lygia Pape gained her first major retrospective exhibition in the United States earlier this year at The Met Breuer. Now it’s time for spectators and specialists alike to discuss Pape’s legacy in a symposium organized by the institution along Projeto Lygia Pape. Set for next Thursday, May 4th, the event invites a number of curators and academics – including PIPA Prize Curator Luiz Camillo Osorio – to talk about how this fundamental artist’s work relates to the broader context in which she was situated.
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.
(Rio de Janeiro, Brazil) “Rogério Duarte is a historical personality to Brazilian culture, for his remarkable graphic works and conceptual influence on Tropicalism, the Cinema Novo and all culture considered to be ‘underground’ in the 1960s and 70s. But for many he is also considered a myth, a genious”, says Duarte’s son Diogo.