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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.


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

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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.


FOUND MONOCHROMES, by David Batchelor

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

Where: HOP Projects / CT20

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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.


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

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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 year ago


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.

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Photo: Jaime Acioli

The exhibition Brasilidade – Pós Modernismo [Brazilianness – Post Modernism] celebrates the centenary of the Week of Modern Art in 1922 through traces, remnants and achievements for Brazilian contemporary art. THe show is divided into six areas: Freddom, Identity, Nature, Future, Aesthetics and Poetry, and brings together works by 51 Brazilian artists from different generations, including Flávio Cerqueira, represented by Galeria Leme.

Check out the works of Flavio Cerqueira presented at the show:

The exhibition will be on going until November 22nd.

Visitation by appointment only: Access the website and schedule your visit.

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Tiago Sant’Ana participates in a group exhibition at the Museu de Arte do Rio, in Rio de Janeiro. Entitled Crônicas Cariocas, the exhibition seeks to tell stories about the city with a popular approach, valuing counter-hegemonic teachings and perspectives. Curated by Marcelo Campos, Amanda Bonan, Luiz Antônio Simas and Conceição Evaristo, the show remains open until July 31, 2022.

In this exhibition, the artist Tiago Sant’Ana presents two works: Rota de Fuga and O sol sempre nasce por Guiné [The sun always rises for Guinea]. Rota de Fuga [Escape Route] consists of a dark blue flag with a phrase embroidered in white letters: “The sea line is always at the height of your eyes”. If in the literal sense the phrase presents a true statement – considering that this optical effect actually happens – from a metaphorical point of view the artist brings the image of the horizon line as a possibility of freedom. “Even in captivity, when remembering his Atlantic memory, the sea will remain in the eye line and the synthesis idea is exactly this memory of the sea, which could be used as an escape route.”

In the video O sol sempre nasce por Guiné [The sun always rises for Guinea], the artist works with three layers: The images of the sea, the text and the soundtrack, which sometimes brings the softness of the sea, sometimes the impiety of the sun. According to Tiago: “In the video, the sun is understood as a natural fact, which indicates that when it rises it points to Guinea. Guinea would be that original land from which their descendants have a strong feeling of longing, especially when they see the sun”.

For more information access the website of Museu de Arte do Rio.

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Artist Heloisa Hariadne is one of the guests at the second edition of NaLata – International Festival of Urban Art. The event takes place throughout the month of September and has a team of ten Brazilian and international artists. With the aim of creating an open-air urban art museum, this edition has a total of nine gables and an installation in the Pinheiros neighborhood, São Paulo.

It is the first time that the artist produces her work on the street: “People’s interference is very strong. I haven’t even finished the painting yet and I’m already receiving many positive messages on social media about the impact of my work in the daily lives of those who circulate in the region”, says Hariadne.

The gable is located on St. Arthur de Azevedo, close to St. dos Pinheiros. For more information follow the artist’s instagram: @heloisahariadne and access the festival website: 

Photo: Nalata Festival

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Rebeca Carapiá, Flávio Cerqueira, Tiago Sant’Ana and Jaime Lauriano participate in a group exhibition at Instituto Moreira Salles. “Carolina Maria de Jesus: A Brazil for Brazilians” is dedicated to the trajectory and literary production of the author from Minas Gerais, who became internationally known with the publication of her book “Quarto de despejo” (English title: “Child of the Dark: The Diary of Carolina Maria de Jesus”), in August 1960.

The curatorial project by Hélio Menezes and Raquel Barreto aims to present the author’s production, in addition to include artworks that relate to the narratives written by Carolina.

FLÁVIO CERQUEIRA | Uma palavra que não seja esperar, 2018 | Bronze | 175 x 38 x 49 cm

“The image of a young black woman carrying a pile of books on her head relates to some references, which I consider important. Women who have carried a can of water on their heads, in order to feed their family.

The act of replacing the can with books is to emphasize that only through culture and education we can understand the past and build a future with more possibilities for change, because through education we become more inquisitive, contesting, and we can occupy spaces that are not occupied by past generations.

Etiquette classes, where wealthy class girls practiced their posture with books on their heads. At work, I put a larger number of books so that this figure keeps its head up, always looking straight ahead. The title indicates that of all the words and stories written in the books she carries, the only word she cannot accept is the word WAIT, because she believes it is time for change, time to create new narratives and bring new characters to occupy the prominent places and be a reference and a representative for future generations” – Flávio Cerqueira

JAIME LAURIANO | Ordem e Progresso, 2015 | transformer, timer, thermostat, wires and iron | 160 x 100 x 100 cm

In the “Bandeirantes” series, miniatures that pay homage to the bandeirantes purchased at flea markets, antique fairs and auction houses are remade from a foundry of brass and ammunition cartridges used by the Military Police and the Brazilian Armed Forces. As a base for the sculpture, a solid cube was built using the technique of rammed earth.

The choice to use ammunition cartridges used by the Military Police and the Brazilian Armed Forces was made to highlight the centrality of the figure of true genocides, such as the bandeirantes, in the construction of national identity and the notion of security and national sovereignty. This fact is clear in the various monuments, squares and highways in honor of the bandeirantes. However, the most perverse facet of these tributes is found in those paid by the state’s armed wing, such as: the OBAN (Operation Bandeirante), information, investigation and repression center of the military dictatorship, which had Carlos Alberto Brilhante Ustra its best known name; or the Batalhão Bandeirante (BINFA-14), a special operations group from the Brazilian Air Force (FAB); among others.

REBECA CARAPI´Á |Palavras de ferro e ar – Escultura 9 (da série Como colocar ar nas palavras), 2020 | Iron | 221,5 x 121 cm

In the series “Como colocar ar nas palavras”, the artist creates, through installations, drawings and sculptures, a cosmology around the conflicts related to the norms of language and the body, in addition to expanding a geopolitical debate that involves memory, the economy of precariousness, technologies and the power relations between speech and word.

TIAGO SANT’ANA |Sapatos de açúcar, 2019 | sugar and synthetic material | 25 x 10 x 13 cm (cada)

The so-called “tamancos de forra” were accessories used by black women who managed to conquer their freedom in colonial Bahia – often because they worked under a “gain” regime. Here, in addition to the shoes themselves – precarious symbols of a freedom only announced but never fully achieved – the robust platforms were used to give physical height to the bodies, giving them an impression of grandeur and haughtiness.

No wonder, this type of footwear starts to inhabit the urban imaginary of black women sellers of delicacies, being a recurrent accessory of those known (generically) as “baianas”. In the specific case of this piece, there is an approximation of narratives from the popular imaginary that interconnect the idea of ​​shoes as a symbol of conquest for the freedom of enslaved people, while shoes are formed by the very material that catalyzes the processes of subjugation and racial abjection in Brazil: sugar.

For more information access Instituto Moreira Salles’ website.

1 year ago


The exhibition “Buen Gobierno” by artist Sandra Gamarra opens this Tuesday (9/21) in Madrid, Spain, at Sala Alcalá 21.

In the show, curated by Agustín Pérez Rubio, artist Sandra Gamarra points out how the origins of the Latin American nations is intimately linked to the birth of Spain itself, using 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 requests the King of Spain, Felipe III, a reform of the viceroyalty govern to save the Andean people from exploitation, disease and racial miscegenation, synonymous of the indigenous culture disappearance.

The exhibition remains open until January 16th. More information on

1 year ago