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.
(Miami, USA) The exhibition “New Shamans/Novos Xamãs: Brazilian Artists”, on view until next friday, August 25th, at the Rubell Family Collection, 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.
(Lima, Peru) “Atopía” literally means “without a place” or “out of place”. It is thus negotiating concepts such as origin, heritage, migration and cultural ambiguities that “Atopía” opens next Tuesday at Museo de Arte Contemporáneo – Lima (MAC). The show features works by 18 artists, including last year’s PIPA Prize winner Paulo Nazareth and 2011 Finalist Jonathas de Andrade.
In this post, PIPA Prize states its position concerning the recent controversy involving PIPA Online 2017.
(New York, USA) Last month, Paulo Nazareth crossed the United States border to start his three-month stay at Residency Unlimited, New York, as part of his PIPA Prize 2016 award. Now, he discusses his experiences since arriving in “On the Possibility of Dwelling in New York”, conversation between the artist and Claudia Calirman that takes place at Mendes Wood DM New York today.
(São Paulo, Brazil) The exhibition “Ways of Seeing Brazil: Itaú Cultural celebrates 30” showcases three decades of existence of the institution dedicated to Brazilian art and culture and highlights the series of activities carried out by the institution since it foundation in 1987. This will be the largest selection from the Itaú Unibanco Art Collection ever exhibited together, with over 750 works occupying the entire 10,000 meters area of the Oca, one of São Paulo’s architectural symbols designed by Oscar Niemeyer.
(Milan, Italy) PIPA Prize 2016 winner Paulo Nazareth participates in the group show “The Restless Earth”, with works by more than sixty artists from over forty countries, on view at the Palazzo della Triennale in Milan. The show, curated by Massimiliano Gioni, explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus inspired by varying degrees of urgency and longing.
(New York, NY) PIPA Prize partner Residency Unlimited (R.U) opened this week the exhibition “Just cause”, a collaboration with Black Ball Projects presenting the works of Maria Agureeva, Juan Sánchez, and Benjamin Brett. The artists explore painting, sculpture and process in different ways, but their works intersect where free will and politics collide. The dichotomy is also present in the show’s title: a “just cause” can be both a cause worth fighting for, or simply an expression meaning “a valid excuse when doing something”.
Paulo Nazareth (literally) walks to artistic residency in New York as part of his PIPA Prize 2016 award
(New York, USA) It took Paulo Nazareth six and a half months, almost 500 miles and losing 15 pounds to get to New York. The Herculean effort was part of the “Notícias de América” project, which, developed in 2011 by the winner of the last edition of PIPA Prize, consisted in going, by foot or hitchhiking, from Belo Horizonte all the way to the Big Apple. Six years later, the artist plans on crossing once more the Mexican border, this time to take part in a PIPA Prize-granted residency at Residency Unlimited, New York.
(São Paulo, Brazil) On display at the PIPA Prize 2016 Finalists Exhibition, the ready-made series “Products of Genocide” reappears in Nazareth’s newest solo show, which opens this Saturday at Mendes Wood DM. Besides the work – which will now be showcased inside resin boxes, in an analogy with the historical immobility of the questions these brand names brings –, the exhibition also presents a video, “Ol Ori Buruku”, and a series of illustrations, “Bestiary Capital”.