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VIVIAN CACCURI EXHIBITS TRIÂNGULO SACÓFAGO AT MANA CONTEMPORARY IN MIAMI

Our breath allows uf to do incredible things [Nossa respiração nos permite fazer coisas incríveis] is The55Project first Pop Up. é o primeiro Pop Up do The55Project. The exhibition explores paintings, sculptures, photographs and many other media by 12 artists of the most exciting artists from Brazil., among them Vivian Caccuri. Curated by Felipe Hegg, the show opens on November 29 at Mana Contemporary, in Miami.

The artist exhibits the Triângulos series, which brings together elements related to music, spirituality and symbolism, alluding to the triangular element’s meanings and the ritualistic aspects of art, for its ability to bring people together and suggest the coexistence of common aspirations and feelings.

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Our breath allows us to do incredible things 

Dates: 11.29 – 12.11.2021

Where: Mana Contemporary

3 weeks ago

FLÁVIO CERQUEIRA PARTICIPATES IN EXHIBITION AFRO-ATLANTIC HISTORIES AT MUSEUM OF FINE ARTS, HOUSTON

The exhibition Histórias Afro-atlânticas, exhibited at MASP in 2018, now arrives at the MFAH, USA. chega agora ao museu de arte de Houston, nos Estados Unidos. With more than 130 works of art and documents made in Africa, the Americas, the Caribbean, and Europe across 500 years, from the 17th century to the 21st century, the show explores the history and legacy of the transatlantic slave trade.

Flávio Cerqueira participates with Amnésia, in which he discusses the whitening process of Brazilian culture and memory. “In this sculpture, the paint, which represents whitening, is not enough to cover the entire boy. The character in the sculpture symbolizes the last person to undergo this process. The bronze, which has always used to represent historical moments, reinforces the relevance of this end”, comments the artist.

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Afro-Atlantic Histories

Dates: 10.24.2021 – 01.17.2022 / wednesday to sunday – from 11am

Where: MFAH – The Museum of Fine Arts, Houston

3 weeks ago

ON VIEW AT CCSP, REBECA CARAPIÁ PRESENTS HER NEW SERIES UM BARCO FEITO PARA AFUNDAR

Photo: Filipe Berndt

Rebeca Carapiá is one of participating artists in the 31st exhibition program at Centro Cultural São Paulo, which remains on view until February 27.

The artist presents the installation Topografias da Maré Soterrada [Buried Tide Topographies], a set of 15 iron sculptures and three canvases. “This work is the beginning of the research Um barco feito para afundar [A boat made to sink], which proposes a perspective view of Itapagipe Peninsula territory, in Salvador’s Cidade Baixa, Bahia”, says Carapiá.

Photo: Filipe Berndt

Itapagipe is a basin in Tainheiros inlet where the first Industrial Pole of Salvador was built, later becoming a sanitary landfill, where people – mostly migrants from the Recôncavo Baiano – lived and still live in unhealthy conditions in buildings known as Stilts. It was only in the 50s, after many deaths from poisoning, that the region began to be grounded because of the popular pressure. Faced with environmental and structural crime, its biome and its histories are drowned. In the depths of this land violated by the state and industrialization, there is a daily tension, especially between its residents and the flooding, which happens with any rain.

Photo Filipe Berndt

When I dive myself in the territory where I was born and raised, I try to listen to the tide and the terrain to create, through the encounter between body, memory, ancestry and materialities, topographies, surfaces and cracks, where the twisted iron and the copper of the canvases tell stories and reflect the Environmental Racism suffered by vulnerable territories that constitute the peripheries – at their material and sensitive level”, says the artist.

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31º programa de exposições do Centro Cultural São Paulo

Dates: 11.06.2021 a 02.27.2022 / Tuesday to friday, from 10 am to 8 pm / saturday, sunday and holidays, from 10 am to 6 pm.

Where: Rua Vergueiro 1000, São Paulo, Brasil

3 weeks ago

VIVIAN CACCURI REPORTS ON HER ARTIST RESIDENCE AT VYKSA FESTIVAL IN RUSSIA

Artist Vivian Caccuri was in artist residency in Russia for three weeks to develop a new work for Vyksafest, a cultural festival in Vyksa, a small town four hours from Moscow.

“Knowing that the proposal was to make a public sculpture that would become part of the city park’s sculpture collection, the idea I had was to create an acoustic shell in the shape of a balalaika. A balalaika for human proportions, like a hut”, tells the artist.

The opening featured the performance “Open Balalaika”, with two Russian musicians presenting traditional compositions, which underwent modifications proposed by Vivian Caccuri. Introducing repetitions and making changes in the way of playing, changes in the pick, the artist aimed an exchange between Russian and Brazilian music.

Check out the artist’s report:

HARD, DEEP AND HYPER

Russian Pop music is huge, dense, and impossible to summarize, but one thing I can say is that like almost everything else in Russia, the songs have to sound big, enormous. Moscow’s colossal buildings and giant avenues are transformed into effects of reverb, echoes, and delays in many songs in this playlist. One thing that illustrates what I’m talking about is the name of the most popular genres in the big cities: Hard Techno, Hard Bass, Deep House, Drill, and Hyperpop. Everything’s a lot. Everything’s over the top. Everything’s extra. Lots of energy and room to spare. Some things from Hard Bass stuff borders on the grotesque and that’s the fun.

But in contemporary Russian music there’s a lot of delicacy too and exotic, far away sounds, voices I’ve never heard before. Zveta Sventana, whom I had the privilege of meeting in person and watching their show, made me understand that many Caucasian Russians are in search of their ancestry and that entrenchment of culture and spirit, something that goes against the tide of nationalism defended by Putin. My playlist includes a bit of that vibe plus some hits from the moment and extremely well known songs like those from the Soviet band KINO (Кино). Russian-Korean vocalist Viktor Tsoi is one of the heroes of my late teens and is worshiped as a kind of infinitely more handsome and bi-racial Renato Russo, a hetero and therefore melancholy Cazuza.

 

THE INVITATION

“I thought that the rest of my year would just be watching Netflix.”

Quite honestly, after the last several months I was content to spend this whole year quietly in my house. But the screenwriter of my life is a jokester and out of nowhere sent me an invitation for a residency in Russia. For three weeks, I would develop unprecedented work in steel for the Vyksafest, a cultural festival curated by Fyodor Pavlov-Andreevich in this small town four hours from Moscow. The sculpture created by me would be made in collaboration with the steelmaker OMK and displayed on top of a pedestal created by architect Charles Renfro.

Many questions surfaced before accepting this invitation. But Russia is closed with the pandemic! “The embassies will give you permission.” Are you sure there’ll be time to make a giant sculpture and give an original performance in three weeks? “No doubt!” That dose of Russian craziness was what made me bet on what I didn’t know.

It’s important to say that I didn’t go to Russia alone and that my company changed my trip completely. Thiago Lanis, my companion who is a composer and musician would also play at Vyksafest, he is from Rio de Janeiro and a black man, which makes his experience totally different from mine. His story, by the way, is much more interesting and complex than mine.

ARRIVING IN RUSSIA

Thiago and me in the subway. It’s not a picture of our arrival, but I wish it were. Photograph taken by Oksana Sitchuk in Nizhny Novgorod

In our first hour in Russia – which was pretty exciting with a mad dash through the train station and a last-second entry into the train car – it was already obvious that we were totally dependent on translators and apps to get the basics done. English is pretty unnecessary around here with rare exceptions. Even at the airport people didn’t speak fluent English, much less on the trains.

This arrival set the tone for the entire trip: in this country I would be constantly running out of time and have serious communication problems. There hasn’t been a day without these two steroids for stress.

 

BALALAIKAS

Going halfway around the world during a pandemic being sponsored by Russian private money and Brazilian public money comes with certain responsibilities. The whole time I heard a Ru Paul inside me saying ‘Don’t fuck it up’ with a Russian accent. Knowing that the proposal was to create a public sculpture that would become part of the city park’s sculpture collection, it was not a good idea to make something that needed a lot of verbiage to be explained. After all, I don’t speak a word of Russian apart from “yes-no-please-thank you” and “strumming.”

That’s why my focus in the first few days was to find in record time a common language between me and Russia, something that was already there, something that communicates emotionally and musically and doesn’t need a lot of effort or fancy concepts. My desire was to speak to the Russian people without using words and I had had the solution for several years. Balalaikas! Obviously!

Me during my visit to the Glinka museum in Moscow. The display shows balalaikas and domras of various sizes.

This three-stringed triangular instrument has always intrigued me. In my small collection of folk guitars I have a balalaika made in Ukraine, which was also exhibited in my installation “Ode to the Triangle” at the Pinacoteca de São Paulo in 2019.

Percussionist Joachim Emídio performing at my installation “Ode to the Triangle” at the Pinacoteca do Estado de São Paulo. In the background, works of art from the collection with triangular themes and my Ukrainian balalaika.

My gut told me that this route was the one I would enjoy the most and that I should exaggerate the sizes, after all we are in Russia. The idea I had was to create an acoustic shell in the shape of a balalaika. A ‘balalaika’ to human proportions, like a hut. It would be a full-scale revelation of its inside.

Inside of a balalaika.
Sketch of my proposal “Open Balalaika”

What I lacked at that moment was sensibility and more information about the context in which I found myself. I arrived in Russia not fully understanding the meaning or function of the balalaika in their culture. Needless to say, I still don’t understand it 100%. But either way, I needed to understand these sentiments somewhat better in order  to be able to communicate visually and musically through this object. In addition to reading serious ethnomusicologists and interviewing people to make me feel less ignorant, social media was the real secret. In what doctoral thesis would I find out that “BALALAIKAS MAKE RUSSIANS CRINGE”? Look at this beauty of a synthesis:

This only motivated me more. If this instrument is a source of shame, then I should definitely invest in it, because it is in unwanted songs that feelings are much more latent, unstable, and sometimes deliver to the listener a very dense mixture of love and hate. Unanimous beauties are life, but I’m more interested in the complicated and ambiguous sound, and that’s the same motivation I have for working with the sounds of mosquitoes, triangles, sertanejo, and sound systems.

MAKING MUSIC

I had about ten days to create the performance Open Balalaika. The deadline gave me a cold sweat, firstly because of my condition as a Brazilian trying to understand a new country, and secondly because I depended on interpreters to direct the two musicians who would play my composition: teacher Olga Pankratova and her 12-year-old student Ustin Derygin.

Photo during recording of my version of three traditional Russian songs: “Katyusha,” “Korobeiniki,” and “Ay, Bse Kumushki, Domoy.” In the picture, Olga listens to my interpreter’s translation.

One thing that caught my attention in this relationship with musicians is the attachment to a traditional repertoire. I even tried to encourage and provoke them to find out if they had their own compositions or improvisations, but I didn’t get much. At the same time, I didn’t want my performance to be simply the presentation of a traditional repertoire that is part of all music schools in Russia and then that reminds you of those “official versions” of nationalist identities and feelings that many governments sought to spread in the 20th century.

With so many limitations that could make my performance a soulless cliché, a presentation that doesn’t show anything new to the Russians, the mantra that stuck in my head was to simplify and expand. To do this, I added loops from fractions of measures from the music, reducing the effort one usually uses to play, lowering the overall tempo, and encouraging players to feel each string. In other words, I wanted to Brazilianize the balalaika, to spice up choro and bossa nova in a style as severe as Russian folklore.

Discussing the electroacoustic set-up with engineer Sergey Kochetkov. Photo: Sofia-Zlata Shestakovskaya.

Delivering complete sound engineering and the timbres that people would hear in such an open square was also fundamental and it’s a part I love a lot. But this time I had to decide everything in a few seconds. Speaking about it like this, it almost feels like I was totally in control and that everything went smoothly. In reality: I was about to have an acute anxiety attack. I felt like a Masterchef candidate with time running out and who already understood that he was going to deliver something raw. But it wasn’t like that. There was a lot of axé from my mozão, a lot of effort from the whole team and it was beautiful.

FORGING THE SCULPTURE

My heroes the (amazing) producer Oksana Sitchuk and metalworker Andrey Matchin

The pragmatism and infinite energy of the Russians only helped me in this part. In the hands of metalworker Andrey Matchin my sculpture took shape in just over a week, based on my drawings and a 3D scan of an actual balalaika. All the uncertainty that went into creating the performance was saved for me in this part. My sleep is thankful.

I OPENED THE BALALAIKA

Whenever I think about sacrifice and exhaustion to create a work, I think of Twyla Tharp, who says that a work always shows the “amount of life” that has been put into it. I don’t think I owed this work any more of my vitality. Dark circles under my eyes, my destroyed feet, back pain, and malnutrition speak for themselves.

And it’s always worth it to go all out. I was able to feel a strong energy of those who went to watch the performance in the square and I felt that the balalaika turned into a sensitive sound, an instrument full of dignity instead of cringe, at least in those 10 minutes of performance.

It will always be very emotional to talk about this work I did in Russia, especially when I think about the musicians, who I already love so much. I don’t remember loving people so quickly without speaking their language, but in Russia I learned that this happens. It’s wonderful what three strings can do!

Sincere thanks to OMK, Oksana Sitchuk, Fyodor Pavlov Andreevich, Olga Pankatrova and Ustin Derygin, Andrey Matchin, Sergey Kochetkov, Marsha Bender, Sofia-Zlata Shestakovskaya and the Brazilian Embassy in Moscow who were very, very welcoming and brilliant in everything.

Kisses and see you next month!

Vivian C

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3 weeks ago

SANDRA GAMARRA PARTICIPATES IN GROUP EXHIBITION AT MUBE IN SÃO PAULO

The exhibition Por um sopro de fúria e esperança intends to share with the public the impacts of climate change and its social, historical, political and environmental consequences. Curated by Galciani Neves and Natalie Unterstell, the show seeks to listen to different cosmovisions, which observe and project extreme weather events, chronic water shortages, the advance of the sea over the coasts, decreased food productivity, extinction of species, etc. For that, it counts with works of about 165 artists, among them Sandra Gamarra.

The artist participates with the work Yacimiento [warehouse], in which she continues her method of appropriating images and questioning art through painting. In her installation, second-hand landscape paintings and mirrors are superimposed and propped against a wall in the exhibition space as if they were waiting to be hung, or packaged. Thus losing an independence conferred by the white cube.

Landscape painting emerged in European art in the 15th century, seeking to apprehend the reality of a territory through the representation of a wide view that contemplated the local fauna and flora. Very quickly, this genre becomes synonymous with reality. Sandra Gamarra highlights how this conception of reality is partial, which, pretending to be neutral, excludes other cosmovisions. In pre-Columbian cultures, for example, nature was represented in a symbolic and abstract way, because rees, animals and rivers were considered deities, who coexisted with men and were worshiped by them.

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Por um sopro de fúria e esperança, group show

Dates: 10.30.2021 – 01.30.2022 / wednesday to sunday – 11am – 5 pm

Where: MuBE – St. Alemanha, 221 – Jd. Europa, São Paulo – SP / previously scheduled visits only

4 weeks ago

CALDER NOW: ALEXANDER CALDER’S LAST AND UNMISTAKABLE INFLUENCE ON CONTEMPORARY ART

On November 21, the group exhibition Calder Now opens at the Kunsthal Rotterdam, in the Netherlands. Curated by Dieter Buchhart, Anna Karina Hofbauer and the Calder Foundation, the show explores master sculptor Alexander Calder’s enduring and unmistakable influence on contemporary art, placing over twenty of his sculptures alongside works by ten prominent artists: Olafur Eliasson, Žilvinas Kempinas, Simone Leigh, Ernesto Neto, Carsten Nicolai, Aki Sasamoto, Roman Signer, Monika Sosnowska, Sarah Sze and Rirkrit Tiravanija. The show remains on view until May 2022.

Alexander Calder (United States, 1898-1976) instigated many revolutionary artistic innovations. In his quest to move beyond the three spatial dimensions—making the fourth dimension of time a prominent and indispensable element of his work—Calder succeeded in transforming the contemporary understanding of sculpture. He was the first to remove sculpture from its pedestal, suspending it in mid-air. With his dynamic mobiles that were able to move freely in space, he was one of the initiators—alongside artists such as Marcel Duchamp and László Moholy-Nagy—of the kinetic art movement that revolutionized the static nature of art at the beginning of the twentieth century. Calder became a source of inspiration for subsequent generations of artists.

The ten international artists in ‘Calder Now’ show pieces that could not have existed without the precedence of various innovative aspects from Calder’s visionary body of work. The exhibition leads the visitor through a multisensory experience.Olafur Eliasson, for instance, uses natural phenomena such as light to explore perception. Simone Leigh tells stories about the American history of slavery through the media of humble materials. And Monika Sosnowska transforms architectural materials into unexpected, gravity-defying sculptures, creating new visual connections between her art and the exhibition space. 2007 Calder Prize laureate Žilvinas Kempinas, whose sculptures are at the intersection of installation and kinetic art, will debut a new piece for ‘Calder Now’. Similarly, Aki Sasamoto will create a new performance work especially for the exhibition during her residency at Atelier Calder, which operates out of Calder’s home and studio in Saché, France. The exhibition shows how Calder’s legacy continues to inspire and inform contemporary practice fifty years after the artist’s death. These groundbreaking artists invite new conversations and interpretations of his oeuvre.

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Calder Now, group show

Dates: 11.21.2021 – 05.29.2022 / tuesday to sunday – 10am – 5pm

Where: Kunsthal – Museumpark, Westzeedijk 341 -3015 AA Rotterdam, Netherlands

4 weeks ago

FOUND MONOCHROMES, BY DAVID BATCHELOR, DISCUSSES ABSTRACTION IN THE URBAN LANDSCAPE

Found Monochromes show at HOP project/ CT20 remains on view until November 11th. Curated by Nina Shen-Poblete, the exhibition features an installation on two screens, by David Batchelor, with photographs of blank, white, rectangular panels that he finds in the streets of the cities he visits, from London to Sāo Paulo.

Since 1997, David Batchelor has been photographing blank, white, rectangular panels, while he started looking at how abstraction is embedded in the urban fabric, the series has grown – with more than 600 images – into a far more personal project, a psychological map of each city he visits. 

The monochromes of the street are occasional, often inadvertent and always temporary. For Batchelor they are moments of blankness in an otherwise saturated visual landscape; rectangular planes of nothingness that can also appear as voids at the centre of the field of vision. As such they are like errors: a space where there shouldn’t be a space, an absence where there should be a presence.

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FOUND MONOCHROMES, by David Batchelor

Dates: 10.22 – 11.11.2021 / Tuesday to Sunday – 11am – 5pm

Where: HOP Projects / CT20

4 weeks ago

FREDERICO FILIPPI IS PART OF THE EXHIBITION ECOLOGÍAS RADICALES OF BIENALSUR

The exhibition Ecologías Radicales focuses on the exploitation of natural resources and extractivism in threatened territories issues. Curated by Benedetta Casini and Taina Azeredo, the show runs until December 5 at Museo Marco, in Buenos Aires, Argentina. As part of the BienalSur program, the exhibition features works by eight artists, including Frederico Filippi, who participates with the work Direito de Resposta [Right of Reply].

Direito de resposta is part of a trilogy of works that deals with infiltrations at specific places that are related to the official version on the discovery of America history. “I have chosen to carry out interventions in the main documental source of this event in Europe, it means Madrid, such as squares, monuments, commemorative plaques, museums, etc.”, says the artist.

Filippi has subtracted part of a bronze plaque that was attached to the ground in the monumental complex of Jardines del Descobrimiento [Discovery Gardens] and, after melting it, he transformed it into another plaque with the words: Al final del océano estava el abismo [At the end of the ocean was the abyss], which was reinserted into the site.  

“Using the same metal as base, this new plaque is infiltrated in the official discourse circuit to discuss its historical value as a communication source, also representing the medieval fear of navigators when facing the abyss of the un- known Atlantic Ocean”, complements Filippi. 

Until March 2015, the plaque had not yet been perceived and withdrawn by the management.

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Exposição Ecologías Radicales 

October 8 to December 5, 2021

Wednesday to Sunday, from 11 am to 7 pm. Free access

Museo MARCO | Almirante Brown 1031, La Boca, Ciudad Autónoma de Buenos Aires, Argentina

1 month ago

IN BUEN GOBIERNO, SANDRA GAMARRA DISCUSSES THE COLONIAL RELATIONS BETWEEN SPAIN AND SOUTH AMERICA

In Buen Gobierno exhibition, which takes place in Madrid, Spain, at the Sala Alcalá 31, Sandra Gamarra points out how the origin of the Latin American nations is intimately related with the birth of Spain itself, starting from painting as the narrator of history. The title Buen Gobierno comes from the manuscript of the Primera Crónica y Buen Gobierno, written in 1615 by Felipe Guamán Poma de Ayala, which portrays the colonial Andean reality and asks the King of Spain, Felipe III, for a reform of the viceroyalty’s government to save the Andean people from exploitation, disease and racial miscegenation, synonymous of the disappearance of indigenous culture. Curated by Agustín Pérez Rubio, the exhibition remains on view until January 16, 2022.

In Cuando las papas queman [When the Potatoes Burn], a series of 150 varieties of potatoes painted on prints from the illustrations of the treatise by Guamán Poma de Ayala, Sandra Gamarra works with different views about Spanish colonization in the Americas. In this work, the potato, symbol of the commercial relationship between Spain and the South America, represents the erasure of colonial violence. According to the artist, “In Spain, the history of colonial conquest and violence is not told as in the Americas. Here, colonization moved from an imperial context and its sacred inks to a relationship of commercial exchange, where the potato occupies a prime place and its variety and exoticism hide an important and painful part of this shared history”.

The artist believes that repetition is a way to make the viewer retain the idea that is in the image, “When I work in series, I am interested in the repetition of the action, of the saying, I try to make the repetitive action not just mine at the time of executing it, but also from the observer himself. I don’t intend for them to have an image, but the idea that is in the image”, she comments.

The show includes works by other classic and contemporary artists, such as the 18th century series of Los cuadros del mestizaje [the mestizaje pictures], most likely by Cristóbal Lozano, the engraved gourds Sixto Seguil Dorregaray or the masks of La Tunantada de Junin.

For more information access the website.

1 month ago

JOSÉ CARLOS MARTINAT EXPLORES THE CONTRADICTIONS OF FRAGILITY IN GROUP EXHIBITION IN ITALY

Photo: Eduardo Secci Gallery

The artist José Carlos Martinat participates in the group exhibition Le contraddizioni della fragilità, in Florence, Italy. Curated by Angel Moya Garcia, the show will be on going at Eduardo Secci Gallery until November 6.

The exhibition focuses on the theme of fragility and its declinations, exploring the contradictions that conceal behind its definition analyzing the different contexts where the term has been used: society, culture, economics, science, and philosophy. A series of meanings and interpretations wherein the fragility is considered in its derogatory connotation inviting us to contemplate it as doubt and uncertainty,
fail and its acceptance or weakness of our beliefs. This ancestral and hypothetical antagonism caused by the sharp opposition between fragility and stability or durability is questioned by the show pointing out infinite possibilities of mistakes, the superficiality of certain categorical reflections, and prejudices of our principles in chasing absolute objectivity that allows us to reach a definitive emotional, cognitive, and identity stability.

José Carlos Martinat’s production (1974, Lima) is dictated by close connections with the social, cultural, and political environment of Latin America. Moving between different genres, he creates a particularly well-known series that has graffiti as its source, which he appropriates through extraction from their places of origin, giving them new life as works of art. In their monumental fragility, they maintain the emotional tension that generated them. The intrinsic instability of their creative nature is reflected in the limbo of dreams, false promises and corruption of the political class and the resulting popular reaction. 

For more information access Eduardo Secci Gallery’s website.

1 month ago