“São Paulo”

SP-Arte launches a new section for its 12th edition

The Brazilian fair SP-Arte (São Paulo) is launching a new design section at its 12th edition, taking place from 7 to 10 April 2016. This section aims to showcase the design tradition in Brazil, with special attention to local production. The country’s first designs during the colonial period were heavily worked pieces of wood. And still today, Brazilian designers use wood, continuing this tradition, while adding a layer of reflection on the environment. As of the second half of the 20th century, Brazilian design entered the international arena with the modernism of Sergio Rodrigues (1927-2014), Oscar Niemeyer (1907-2012), Jorge Zalszupin, Lina Bo Bardi (1914-92) and Joaquim Tenreiro (1906-92). We can also find the experimental designs of Luciana Martins, Gerson de Oliveira and OVO. Exhibitors in the new section are almost all based in São Paulo: Coletivo Amor de Madre, Artemobilia, Baraùna, Belas Artes, Carlos Motta, DPOT, Jader Almeida by DPOT, ETEL, Firma Casa, Hugo França, Itamar Musse, Legado Arte, LLUSSA, Maneco Quinderé, Marton, Mercado Moderno, OVO, Passado Composto Seculo XX, Pé Palito, Sandra e Marcio, Teo, Jacqueline Terpins, Thomaz...

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The Brazilian art market crumbles due to economic crisis

While observers have praised its resistance in the face of the country’s economic problems, Brazil’s art market has now well and truly plummeted into the crisis. The past year has not been a good one for the country, and many gallerists have come out with turnovers down by 50 %. If 2016 continues on this note, it will be a disastrous year, announce commentators. The Galeria Millan, for example, one of Brazil’s oldest galleries, is losing 40 % of its income while at the Galeria Fortes Vilaça, sales have melted by 30 %. At the Galeria Luisa Strina, the strategy is to look overseas to boost activity (ARCOmadrid and The Armory Show). And yet, sales globally increased between 2014 and 2015, producing $67 million in 2015 as opposed to $34 million in 2014. The Galeria Nara Roesler opened a showroom in New York on top of its two spaces in Sao Paulo and Rio de Janeiro. Meanwhile, in July 2015 the news came out of the closing of the gallery White Cube in Sao Paulo. Faced with this situation, gallerists reveal signs of concern about the country’s economic situation: the Brazilian currency has lost almost a quarter of its value compared to the dollar, unemployment is on the rise, the economy is out of breath, and the government has acknowledged that it is undergoing...

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Biennale de São Paulo Announces More Details For Its 32nd Edition

The Biennale de São Paulo, titled “Incerteza viva” (Live Uncertainty), has unveiled details of its thirty-second edition; the theme and a partial list of artists. It will be taking place at the Ciccillo Matarazzo Pavilion from 10 September to 12 December 2016. The theme of the biennale will be to “reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty,” according to organizers. Furthermore, organizers have named fifty-four of the ninety artists and collectives who will be featured. The preliminary list includes Brazilian artists like José Bento, Bené Fonteles, Gilvan Samico, and Jorge Mena Barreto, alongside international artists including Francis Alÿs, Hito Steyerl, Öyvind Fahlström, and Pierre Huyghe. Four Study Days will be held between March and May of 2016, as part of the research for the biennial, offering visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers, in Cuiabá, Mato Grosso; Santiago, Chile; Accra, Ghana; and the Peruvian Amazon. The curator of the biennale is Jochen Volz, who will be working with co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico). “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk,” said...

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Latitude: a platform for Brazilian galleries abroad

Latitude is a platform that assists Brazilian galleries in finding opportunities to showcase their works on a local and international scale. Latitude is currently presenting Brazilian galleries during their October fair programme, with six on show at the Frieze London Art Fair, held from 14-17 October 2015, alongside four others at Frieze Masters, held from 14-18 October 2015. Frieze Art Fair will host A Gentil Carioca’s (G14) exhibition of works by artists such as João Lopes, José Bento, and Laura Lima. Frieze Masters will present Galeria Nara Roesler (G18) , who will have a solo exhibition for Tomie Ohtake, a Japanese artist, and the Anita Schwartz gallery (H14) will have the works of Wanda Pimentel in the Frieze Masters Spotlight Sector. ArtBO, the international art fair that is held in Bogota, Colombia, from 1-4 October 2015 will also have a record number of Brazilian galleries on show at their event thanks to Latitude. Odeón, which is another fair, held in Bogota from 2-5 October 2015, will have five galleries represent Brazil with the support of the Latitude Project. Brazil will be featured as the guest country at Odeón, with an entire floor dedicated to Brazilian artists and galleries. A particular must-see is a solo exhibition of brick sculptures by Andrey Zignnatto. Latitude, established in 2007, is a partnership between Brazilian Association of Contemporary Art (ABACT), Apex-Brasil (Brazilian Trade and Investment Promotion Agency) which promotes opportunities of Brazilian artists to be recognized internationally. Latitude currently has 49 galleries as clients within the primary market, which are located in 6 Brazilian states, and represent over 1,000 contemporary...

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Luciano Figueiredo at Galeria Leme

From 1 October until 7 November 2015, Luciano Figueiredo’s exhibition, entitled “Relevos: Olhar-Gesto-Objeto (Reliefs: Gaze-Gesture-Object)”, will be on show at Galeria Leme, in São Paulo, Brazil. The exhibition’s experimental quality of Figueiredo’s works brings to question if the work is a relief, a painting, or an object. Is it possible for the piece to be all three? The relief could be considered a painting since it is hanging from the wall, a relief because it unfolds from the wall, and an object because it displays its materiality beyond the wall. Newspapers are the basis of Figueiredo’s latest works—an object of daily life is now being re-examined as a material object which possesses a rational space and textual visual ordering. His pieces explore the contrasts of color, transparency, and planar volume. His canvases are collages dominated by crisscrossing paper slices in hues of red, green and yellow, which overlap one another, interspaced with layers of newspaper text. Luciano Figueiredo was born in Fortaleza, Brazil in 1948. He began painting in the 1960s alongside German artist Adam Firnekaes. As he completed his education he moved between Salvador and Rio de Janeiro, participating in artist collectives and cultural movements. He became an active member of Brazil’s Counterculture movement during the 1970s prior to living in London between 1972 to 1978, where he studied Art History and English Literature. It was in London that he began to create collages using British tabloids, a style he continues to use today. He currently lives and works in Rio de Janeiro,...

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