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.
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.
To celebrate twenty-two years in the art market, São Paulo gallerist Ricardo Camargo stages two closely knit exhibitions in his cul-de-sac in the Jardins.
“Album,” a masterfully edited black-and-white analog photography exhibition by artist Mauro Restiffe currently on display at the sister museum of the Pinacoteca, is one of the best solo shows of 2017 in São Paulo.