The artist Toz, has scored top marks to the year 2014, “having been nominated for PIPA this year and have realized dreams”. He was one of 16 public figures invited by Column Ancelmo Gois in the newspaper O Globo, to give zero to ten grades for the year 2014.
Other artists, such as Berna Reale always highlight the importance of PIPA award nominations on their careers.
Check out the full agenda for this week of exhibitions and events related to PIPA artists, Nominating Committee members, Board members, MAM-Rio and relevant information about art in Brazil and abroad.
Last month to visit the exhibition “Limiares”, from the Joaquim Paiva Collection at MAM, currently with nearly two thousand works by Brazilian and foreign photographers, purchased since the 1980s. Also on view, “Amilcar de Castro”, presenting a summary of the artist’s oeuvre; “Caneta, Lente e Pincel”, with brand new works by the multi-artistic collective, in an exhibition which is an artwork in itself; “Operação Condor”, by João Pina, about a secret plan that “brothered” six latin-american countries during Cold War; “Imagens da Escuridão e da Resistência: repressão, exclusão e opressão”, about the history of social tensions and by struggles for rights and citizenship in Brazil; besides the permanent exhibitions “Genealogias do Contemporâneo” and “MAM Sua história, seu patrimônio”.
(San Francisco, US) “Landscape: the virtual, the actual, the possible?” focuses on landscape, nature, and gardens by posing the question: What is the mirror effect between landscape and technology, and how does each inform how we understand and experience ourselves and others? The exhibition considers how the intersection of nature and technology shapes our current understanding and experience of landscape and gardens.
(New Orleans, US) “Prospect 3” is an international contemporary art biennial, featuring works by 58 hand-picked artists. Among them is Lucia Koch, who has developed the installation “Mood Disorder”, made with leftover acrylic and glass sheets found in the basement of the exhibition space. The artist airbrushed them with a transparent pigment, so that each piece transits from one shade of color to another, seamlessly.
(Belo Horizonte, Brazil) For Rodrigo Moura – Inhotim’s director of art and cultural programs, and the curator of the exhibition – this is an opportunity for audiences to get to know the institute’s collection, as most of the artworks have never been shown at the park. “They are works that point out possible paths in the history of art over the last 50 years, which have allowed Inhotim to be what it is,” he explains. Featuring over 50 artworks , which date from the 1950s up to the present day, the exhibition is composed of a cross-section of the collection. and examines the field of contemporary art, in the light of the institution’s collection and programs, which first opened to the general public in 2006.
(Sorocaba, Brazil) From October 2014 through May 2015, the Arts Triennial “Frestas” [“Fissures”] gathers artists from around the world in several venues across Sorocaba (in São Paulo state), where are carried out exhibitions, drama and music shows, interventions in city sights and museums, film screenings, as well as artistic actions and performances. Featuring Afonso Tostes, Bárbara Wagner, Bruno Vilela, Caetano Dias, Cao Guimarães, Lenora de Barros, Malu Saddi and Raquel Stolf.
(São Paulo, Brazil) With no trepidation regarding the abstraction that busies itself with the the old days that are still to come, these are condemned as of now to the eternal return of the reifying narrative, with thoughts and actions geared to everything running smoothly. The group exhibition summons 25 artists, musicians, designers, photographers and filmmakers to design the future, reprogram the future, represent the future and communicate through perennial channels with those who are still not in a society which has yet to establish itself.
(Pará, Brazil) Bitar was supported by Infraero, a Brazilian government corporation responsible for operating the country’s airports, and the production of this work was carried out with many visits to Brigadeiro Protásio Oliveira Airport, in North Brazil, and to the country side of Pará. The images were captured by the camera in slow speed, a resource frequently used by the artist.
(São Paulo, Brazil) “Nós sempre teremos Marte” [“We will always have Mars”] pays tribute to romantic, scientific imagination, “to the inventors and discoverers of far away worlds”. She found the title for the series in a newspaper making a literal reference to the quote “We’ll always have Paris”, from “Casablanca”, and the Curiosity ship landing in Mars, last year. This body of works presents itself as a sci-fi narrative, an image inventory that talk about a scientist lost in time and space.