(Los Angeles, USA) Paulo Nimmer Pjota, André Komatsu, Cinthia Marcelle, Marcelo Cidade, Ivan Grilo, and Chiara Banfi take part in the new annual contemporary art fair presented at Paramount Pictures Studios
(Göteborg, Sweden) The new installation is a sound and light piece that explores stories about the interdependencies between humans and mosquitoes
(NY, USA) The collective gathers eight residents in ISCP/NYC who transform a living room into a site-specific experimental ‘campus’ inspired by Hélio Oiticica’s discussions of Eden (1989)
(California, U.S.A) Desert X: A site-specific project, in the very real sense of the term. Artists from around the world come and respond to aspects of the Coachella Valley and surrounding areas and create pieces that should reflect the barren spectacle of the desert.
Rosangela Rennó, Raquel Stolf and Ismael Monticelli take part in “Lost and found: Imagining New Worlds”
(Singapore) The link between contemporary art and history is explored by 10 artists chosen by the Brazilian curator Raphael Fonseca in “Lost and found: Imagining New Worlds”
(Puebla, Mexico) Cinthia Marcelle is one of the 70 artists taking part at the exhibition. The showing presents works acquired by the Patricia Phelps de Cisneros collection (CPPC) from 1990 to 2015
(Las Palmas de Gran Canaria, Spain) The duality of the colours black and white are explored by the selection of 16 works Fundación Canaria para el Desarrollo da la Pintura collection especially chosen for “Inequívoco”
(Mexico City, Mexico) The collective presents artists that explore the many possibilities of the drawing, ranging from the most traditional techniques, to the newest experimentations of formats and strategies.
(Kochi, India) “Mosquito Shrine” by the 2018 PIPA finalist Vivian Caccuri questions why mosquito´s noise cause such distress in tropical countries.
The first text of the year of Luiz Camillo Osorio’s column discusses the autonomy of the definitions given to what is currently considered art – and by whom such denominations are made. Camillo reflects on the constant incorporation of new activities and practices, which for decades would not have been included in museums and galeries, taking as an example the group Forensic Architecture