Visual Art Culture of São Paulo and Beyond
São Paulo-based art collectors and philanthropists Adolpho and Fulvia Leirner assembled an extraordinary collection of Art Déco and Constructive Art. In 2020, Mr. Leirner donated forty-seven pieces to the MAC USP museum now on show at the exhibition “Art Déco Brasileiro—Doação Fulvia e Adolpho Leirner.”
Andrade probes like few others the affective relations that define the collective body of a people, of a regional culture, and of this country.
Upon its founding, Inhotim brought profound positive changes to the Brazilian art market and catapulted local art onto the world stage. In November, it commemorated sixteen years.
“Pardo é Papel: A Vitória Gloriosa e Novo Poder” (Pardo é Papel: The Glorious Victory and New Power), a beautifully constructed exhibition by Maxwell Alexandre, the thirty-two-year-old Rio-born artist, is at the Shed in New York City through January 8, 2023.
ABERTO/OPEN 01 is the inaugural edition of an international pop-up exhibition platform merging art and architecture with meticulous sophistication put together by a small team of world-class professionals.
São Paulo-born Milan’s work comes from an alchemic cauldron with sprigs from science, technology, anthropology, philosophy, literature and music to create installations in her wide-ranging oeuvre from public art, opera, performances, video art, sculpture to poetry.
At the Visual Arts Center of the University of Texas, Austin, ten Brazilian artists provide sanctuary and deliver critique in “Social Fabric,” a feat of an exhibition three years in the making. The exhibition is also a significant referendum on the anemic state of Brazilian democracy by reckoning with a wide array of the national myths still brewing from Brazil’s colonial past.
Through the end of October, São Paulo’s MASP museum stages thirty portraits of the acclaimed “Dalton Paula: Brazilian Portraits” series.
With a surname that translates into “lucky devil,” Felizardo is a photographer’s photographer, noted for his mastery of the technique and expertise in the now lost art of the darkroom print. He currently exhibits “MADE IN USA, the Photography of Luiz Carlos Felizardo (1984-1985),” a selection of twenty-three black-and-white photos taken in Arizona when he was mentored by the late artist and photographer Frederick Sommer.
My gardens are made of asphalt, burnt land, abandoned areas, places where urban life thrives, but where nature in its own free, rebellious way is reborn.
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