“We believe that the best course of action at this time is to suspend the 16th edition of SP-Arte until we have adequate conditions for its realization.”
The eighty-year-old artist has proven that constant reinvention is a mark of her singular career.
Traversing history from the mid-twentieth century to the present, “Against, Again” draws sharp lines connecting artists responding to authoritarianism.
“I feel happy I use discarded materials and happy also because I haven’t discarded what I learned.”
“Dríades e Faunos” (“Dryads and Fauns”) brings into focus the relationship between Mother Nature and us, humans.
Rosenblatt transforms regulars inside the bubble of a funk ball into elemental gods of pop, rhythm and sex, pumping with primal energy.
The often whitewashed, homogenous image of Brazil is confronted by these Black Brazilian artists with work that is stained with white elitism.
Bandeira was among the top Brazilian abstract artists of the 1950s and 1960s.
While she developed her career in the context of Venezuelan modernity, her work has a different sensibility to it.
A platform of 279 artists from eleven Brazilian states coming together amid turbulent times is an act of defiance.
Galeria Kogan Amaro opens Tangerina Bruno’s solo exhibition “Estados Cotidianos” (Daily States), which makes campy the commonplace of contemporary life at home.
Cruz-Diez’s challenging creative experience brought about a new visual grammar that transformed the relationship between the work of art and the observer.
Esmeraldo’s long-standing fascination with the very act of drawing was central to the work in several mediums of this prolific artist.
Most of the artifacts were retrieved during the travels of this adventurous Parisian, bit by the tribal art bug when he was drafted in 1971.