São Paulo celebrates the kinetic-op-geometric-participatory-experiential oeuvre of iconic Argentinean artist Julio Le Parc in two venues, the artist present at both openings wearing his trademark Greek fisherman’s cap and ready […]
According to Brazil’s preeminent art critic of the 1970s, Frederico Morais, “Pancetti’s painting is like a ship’s deck, tanned by the sun and salt. It never rusts. Honest, clean, economic, […]
In this solo show in Bahia’s capital, the restless and prolific ninety-four-year-old artist displays seventy sculptures made with the charred wood he collected from the fire that wrecked two historic colonial public buildings in the mid-1970s and 1980s and that scarred the daily life of the inhabitants of Salvador, his native town.
Curated with reverence by geometric artist and Concrete art expert Macaparana, the collective show revolves around twenty-five exquisite mostly small-format tableaux of the 1950s/60s.
Palatnik’s art conveys a sound-wave-like musicality based on a technique and system akin to piano tuning, which he originally devised in the 1950s. However, in place of musical chords and an interaction among notes, he “fine-tunes” spray-painted laths organized to interplay like optical waves.
While his four-decade oeuvre is notable for his expert use of color, Micoli mesmerizes the viewer with a sublime ode to black-and-white over a softer-patterned, more diffused geometric painting, hence the mysterious operatic title, which means gray arias/areas.
In their exhibition currently on view at the Logan Center for the Arts in Chicago, Brazilian artist Cinthia Marcelle and Brazilian filmmaker Tiago Mata Machado present a trilogy of moving-image works that illuminate the tension between civil order and mounting social unrest.