Sofia Borges, Artur Barrio e Felipe Cohen are featured in the show Imagine Brazil, at Musée d'art Contemporain de Lyon, France, after being held at Oslo, Norway.
The curatorship is signed by Gunnar B. Kvaran, Hans-Ulrich Obrist, Thierry Raspail.
Henrique Oliveira is featured in the exhibition Do Valongo à Favela: imaginário e periferia, at Museu de Arte do Rio (Rio de Janeiro, Brazil). The curatorship is signed by Rafael Cardoso e Clarissa Diniz.
A landscape made only of essential elements fills the exhibition space of Galeria Millan during Otavio Schipper’s solo show. Four line segments – rails sitting directly on the floor and two poles connected to the local power grid – compose this Pocket Landscape, the title of this exhibition that, according to the artist, could well be called “landscape without a landscape.”
The simplicity of Schipper’s installation brings us to the Cartesian plane: the rails and poles can be the x and y axes of a graph, transfiguring the exhibition space into geometric space, the area of mathematical abstraction and rationalization. The construction of the installation which uses elements that symbolize the first two industrial revolutions, points to processes of scientific development that Western societies have experienced in modernity, a break that disenchanted the world, dominated by utilitarian and teleological understandings of progress.
Pcket Landscape creates a relationship between the inside and the outside: in addition to the gallery being occupied with elements that should be in external spaces, these objects are functional and actually bring energy from other poles situated on street. If, on the one hand, the transmission introduces ideas as flow and communication, the installation maintains a melancholic dimension. For the artist, the work “evokes the image of the city that spreads and invades the private space, of the energy that is present anywhere in the universe, of the impossibility of isolation.” The need to be connected suffocates the space of subjectivity amid the noise of the world.
Miguel Rio Branco presents Teoria da Cor, a solo show at Estação Pinacoteca, in São Paulo, Brazil.
Henrique Oliveira has chosen one of the big barns in the Farmyard of the Domaine de Chaumont-sur-Loire to erect a hybrid, almost living work of art that seems literally to rise up from the stone walls. He has designed an impressive spiral coiling around the framework and stairways of the building like a huge snake or a root that has been buried for decades in the stone and suddenly begins to grow impulsively, out of any control. The work wavers between animal and plant – its creator sees it as a reference to the snake in the story of Le Petit Prince, which swallows an elephant. But as with Gaston Bachelard (who wrote “The Poetics of Space”), for Oliveira the barn is the lair of the unconscious, and dark, unknown forces. For no one knows where the work begins and where it ends, or when this giant root or reptile will cease its inexorable growth.
Rubens Mano participates in the show Lost in landscape, at Mart - Museo de Arte Moderna e Contemporanea di Trento e Rovereto, Italy. The exhibition, curated by Gerardo Mosquera, tackles the subject through the works of over 60 artists from around the world, many of which never before presented in Italy. On display are over 170 photographs, 84 paintings, 10 videos, 4 video-installations, 4 installations, 4 context-specific interventions, 1 web-specific project and 1 artist’s book.
Galeria Millan presents at SP-Arte – São Paulo International Art Fair – a selection of works by both young and estabilished artists, from the 1970's until now. Our booth, J02, will display pieces by Ana Prata, Artur Barrio, Anna Maria Maiolino, Berna Reale, Bob Wolfenson, Dudi Maia Rosa, Emmanuel Nassar, Felipe Cohen, Henrique Oliveira, Lenora de Barros, Miguel Rio Branco, Mira Schendel, Nelson Felix, Otavio Schipper, Paulo Pasta, Rodrigo Andrade, Rodrigo Bivar, Rubens Mano, Sofia Borges, Tatiana Blass, Tunga and Thiago Rocha Pitta.
Lenora de Barros is featured in the exhibition poder provisório, at the Museu de Arte Moderna de São Paulo. The group show presents 86 photographies from the museum collection and discusses the power in different areas of social life, using documental images and conceptual works, mostly with a political view. The curatorship is signed by Eder Chiodetto.
On March 29th, Pivô opens “Umas e Outras”, a solo exhibition by Lenora de Barros. The show, produced in partnership with Galeria Millan, displays 65 newspaper columns from the 1990s, as well as an artist book and two brand new black and white videos – “Jogo de Damas” and “Em si as mesmas” – and an audio intervention, titled “Duplicar Imagens”.
From 1993 to 1996, Lenora de Barros authored an experimental column, published Saturdays in the São Paulo newspaper Jornal da Tarde under the title of “… umas”. This space gave birth to ideas and works which transformed into autonomous videos and photo-performances in subsequent years. After showing 13 of these columns in a display window at the 11th Biennale de Lyon (France, 2011), the artist decided to frame and exhibit a larger set, taken from her personal archives.
In these columns, Lenora dialogued with works by various artists, in addition to other experiments. She later made a selection of these “conversations” involving women’s themes or works by artists like Lygia Clark, Yoko Ono, Cindy Sherman, Annette Messager and Méret Oppenheim. This selection yielded a book titled “Jogo de Damas – Crítica de Arte – Livro Primeiro”. The book, still unpublished, was the starting point for the two exhibited videos, directed by David Pacheco.
In “Jogo de Damas,” the eponymous book serves as a guide to reading vocal performances realized by Lenora and was conceived in tryptic format for simultaneous projection. “Em si as mesmas,” for its part, has a title that stems from one column in which Lenora comments on a photo from 1925, by an unknown author, of two siamese twins, the Hilton sisters. It was produced for double projection, on two opposite walls. In it, Lenora plays checkers with herself. On one screen, she moves the white checkers and on the other, the black ones, in a kind of “infinite game, with no winner and no loser,” in the artist’s words.
Curated by Glória Ferreira, the exhibition was previously presented at Centro Cultural Laura Alvim, in Rio de Janeiro.