- House of Cards: A Conversation with Sara Ramo about her Provocative Work at Fortes D’Aloia & Gabriel Spanish-Brazilian artist Sara Ramo is on show at the Galpão warehouse of Fortes D’Aloia & Gabriel with eleven new works in the form of collages, sculptures and installations. Although the title of the exhibition, “Cartas na Mesa” (Cards on the Table), refers to three works out of a series of ten wall-tapestry playing cards made of a geometric collage of…
- The Voice of Neo-Concretism: Ferreira Gullar, 1930-2016 Brazil’s greatest living poet and art critic, Ferreira Gullar, passed away at the age of eighty-six on December 4 in Rio. In 1959, he wrote the "Manifesto Neoconcreto" and created the livro-poema (poem-book), inviting the manipulation of the observer at the poem’s reading, a decisive step in the comprehensive concept embraced by Neo-Concrete art, in which he participated as one…
- Enraptured by Historical Detail: Colombian Artist Adriana Duque Captures the Spanish Renaissance in New Photo Series Enraptured by historical images, childhood beauty and digital technology, Duque’s minutely-detailed, photo-painterly portraits are every bit her own carefully-researched creations.
- How to Remove Nails (or the Art and Praise of Loss): A review of “Places of Delirium” at Museum of Art of Rio (MAR) In this wide-ranging exhibition based on the concept of delirium, works by renowned artists such as Cildo Meireles or Laura Lima stand side-by-side with those of much-lesser-known artists such as João Jordão da Silva or Luis Guides.
- The High Life: Kitty Paranaguá Photographs the Residents of Rio's Favelas From 2014 through 2016, photographer Kitty Paranaguá probed deep into eleven of Rio’s largest favelas to come out with “Campos de Altitude” (Altitude Fields) on show through September 30 at newcomer Janaina Torres Galeria which opened its doors last year in São Paulo’s Jardins.
- A Circle is a Circle is a Circle: A review of "Vain Circularity" at Rio's Z42 Arte Contemporânea The entrance to the Z42 Contemporary Art Gallery, a 1500-square-meter house built in the 1930s, would simply lead us into the first room if it were not an almost imperceptible detail in the hall: a spiral incense suspended by an invisible wire.