Starting April 26th, in celebration of its 10th anniversary, Galeria Claudia Andujar undergoes a reconfiguration, adopting the name Galeria Claudia Andujar | Maxita Yano — “house of earth” in the Yanomami language. The reformulation marks the gallery’s opening to other artists, peoples, and cosmologies.

On this occasion, photography and video works by 22 Indigenous artists from South America will occupy the space, deepening discussions initiated by Andujar, with a focus on Indigenous photography, the struggle for land, and possible alliances in contemporary times.

The exhibition is curated by Beatriz Lemos, with Marilia Loureiro as Public Programming Curator and Varusa as Curatorial Assistant.

The exhibition “Fullgás – artes visuais e anos 1980 no Brasil” will open on October 2, 2024 at the Centro Cultural Banco do Brasil Rio de Janeiro, as part of the celebrations for the 35th anniversary of the CCBB RJ. With Raphael Fonseca as chief curator and Amanda Tavares and Tálisson Melo as assistant curators, the unprecedented exhibition will present around 300 works by more than 200 artists from all regions of the country, showing a broad panorama of Brazilian arts in the 1980s. Elements of the visual culture of the time, such as magazines, pamphlets, record covers and iconic objects, will complete the exhibition, expanding the reflection on the period.

Curated by Renato De Cara, curator of Paço das Artes, the exhibition features 58 works by 18 artists who, through their work, reflect on the significant and often irreversible impacts of human actions on the environment. In addition to changes in landscapes, the artists exhibit exercises in imagination for a fantastical future, investigating languages, utopian and apocalyptic representations and fictional objects.

Museo de Arte Contemporáneo de Monterrey presents ‘Diálogos. Women Artists from the Ella Fontanals-Cisneros Collection’, opening March 28.

The exhibition offers an opportunity to study and reclaim the space of women artists in recent history, highlighting their contributions to artistic practices, where their male counterparts are often more recognized.

Curated by Taiyana Pimentel, director of MARCO, and Sergio Fontanella, director of operations and collections at Cisneros Fontanals Art Foundation.

This show explores a previously unaddressed theme in the collection: the powerful presence of women artists in avant-garde movements from the second half of the 20th century to the present day.

“(…)The Sharjah Biennial 16 title, to carry, is a multivocal and open-ended proposition. The ever-expanding list of what to carry, and how to carry it, is an invitation to encounter the different formations and positions of the five curators as well as the constellation of resonances they have gathered.
The Biennial theme, to carry, entails understanding our precarity within spaces that are not our own while staying responsive to these sites through the cultures that we hold. It also signifies a bridge between multiple temporalities of embodied pasts and imagined futures, encompassing intergenerational stories and various modes of inheritance. What do we carry when it is time to travel, flee or move on? What are the passages that we form as we migrate between territories and across time? What do we carry when we remain? What do we carry when we survive?(…)”

Gabriela Albergaria opens her solo exhibition The Best Way to Kill a Tree, at OpenSpace in Nancy, France.

The exhibition is based on the cyclical processes of nature’s self-regeneration and the strategies of care and cooperation between humans and non-humans, developed by the artist through a series of objects and drawings of multiple scales.

These elements are now volumetrically projected in the exhibition. The process of editing, assembling, reconfiguring, and metamorphosis is at the core of Gabriela Albergaria’s methodology.

The exhibition runs until July 13.

The contemporary art center Espace Croisé will exhibit MEU LUGAR NA RODA, a video installation project by renowned artist duo Mauricio Dias and Walter Riedweg.

This project is inspired by the samba circle, a tradition of African origin that developed in Rio de Janeiro and later became popular as a musical genre in its own right, for which encounters and sharing are essential in musical creation.

Mirror of the Mind explores the entangled, inseparable relationship between the physical and emotional aspects of the body. This exhibition brings together more than 120 artists who use figuration and portraiture to examine the complexities of the human condition: the power of perception, the weight of trauma, the possibilities for healing, the space for introspection, the sense of belonging, and the impact on the flesh. Through various media—including photography, painting, sculpture, and video—the body is referenced as a vessel that experiences, documents, participates, and transforms throughout life’s journey. The duality of the body—its materiality and immateriality—becomes a visual landscape where dynamics of representation, from individual to collective, are addressed, illustrating the persistence of figuration in contemporary art.

Sorry, this entry is only available in Português.

Encruzilhadas da Arte Afro-brasileira, com curadoria de Deri Andrade, a mostra reúne 69 artistas de todas as regiões do Brasil, ocupando o térreo, o primeiro andar e a área externa do museu.

Encruzilhadas é um encontro da diversidade, das histórias, memórias e expressões que reafirmam a potência das artes visuais afro-brasileira na contemporaneidade.

Andrés Ramírez Gaviria opens today his first institutional solo exhibition in Mexico, at MUSAS – Museo de Arte de Sonora, in the city of Hermosillo. Dialéctica del Vacío: Forma y Percepción is curated by Octavio Avendaño Trujillo, director of MUSAS.

Covering works from 2010 to 2024, the exhibition explores the interaction between material and immaterial forms, reflecting on presence, absence, and the fluidity of time and space.

Gaviria’s practice investigates the fissures in systems of meaning: from science and technology to history, time, and mysticism. His works shed light on the poetic and enigmatic dimensions of these structures, reshaping cultural references through translations, associations, and reconfigurations. Often juxtaposing opposing ideas, Gaviria’s work challenges familiar paradigms, inspiring curiosity and introspection.

The exhibition Pleas of Resistance traverses more than twenty-five years of practice by the artist Carlos Motta (Bogota, 1978), who consistently engages with the body and sexual dissidence as a terrain of experimentation and political contestation. His early explorations of photographic self-portraiture are shown alongside his most recent performances and video installations. The exhibition explores the magnitude of Motta’s artistic research and its implacable rigor in relation to the archive, interrogating its violence, its silencing and its desires. Motta’s work challenges the imposition of Eurocentric epistemologies – from the time of the conquest and colonial period in the Americas to the present day – and considers the legacy of religion as a perpetrator and disturbing vehicle of coloniality.

Motta initiated his artistic trajectory at a young age, in the late 1990s, shortly before emigrating to New York and settling there. The exhibition pays close attention to the artist’s engagement with political histories and social movements – specifically the politics of sexuality and gender and the HIV/Aids epidemic – and their contemporary manifestations on the fragility of bodies. The notion of the collective body and the artist’s attention to the politics of care are central to both individual and self-representation, as well as to the various forms of collaboration that the artist has realised in his diverse projects over the years.

Motta’s works propose alternative accounts to the hegemonic narratives of history, religion and democracy. His work and artistic collaborations materialise the potential for social reform by rewriting the official histories of colonization, military dictatorships and neo-fascism – in a pilgrimage that is always blasphemous, corporeal and political.

JAMAC is taking part in the exhibition “ASSOJABA TUPINAMBÁ UMBEUMBESÀWA: the Tupinambá Mantle tells and sings history”, at Sesc Rio Preto, with an installation based on the prints “Borduna” and “Machado Tupinambá”, created in collaboration with Célia Tupinambá as part of her research into the paths of the Mantle. The work was produced at JAMAC’s studio.

This collaboration reaffirms JAMAC’s commitment to collective and educational artistic practices, engaging with processes of memory, territory, and resistance.

Intervention proposed by Daniela Avelar, Fabio Morais, and Lívia Aquino, stemming from the dialogue established between artists and Sesc Campo Limpo.

From the observation of the unit as an open field and the coexistence between different publics and uses of the spaces, Daniela, Fabio, and Lívia propose interventions that invite visitors to new perspectives on the place. The works were installed amidst daily circulation and integrate themselves into the landscape, through texts and words that activate other meanings in the architecture and in coexistence.

The exhibited works remind us that words can suggest new uses, functions, and create other layers of reflection. Desabamento de textos is a writing on things and in physical space, collapsing the idea that the place of words is only the page, the book, the screen.

Iván Argote takes over MASP’s ground-level plaza with his monumental installation The Other, Me & the Others, opening on April 10. Now back under the museum’s management, the space has undergone a major restoration and revitalization of its historic 74-meter free-span slab, designed by Lina Bo Bardi. The reopening of the ground-level plaza as part of the museum’s programming coincides with the inauguration of MASP’s new building, Pietro Maria Bardi.

Argote’s work consists of two large-scale seesaws that tilt with visitors’ movements, reflecting the dynamics of motion and balance in a collective space.

The installation highlights how we are all connected in society, making these ties visible. In his work, Iván Argote questions and reimagines public monuments, which traditionally commemorate historical figures and events.

This time, instead of a traditional monument, he proposes an open playground for all—a space for gathering, exchange, and interaction, where the community comes together and takes part.

The work has been presented in several countries and exhibitions, including the most recent edition of the Lyon Biennale. The dual version of the work is currently in development for the ground-level plaza, where it will remain installed for one year.

Iván Argote is the fourth artist to be commissioned for the High Line Plinth in New York City. In October, the artist will unveil Dinosaur (2024), a colossal, hyper-realistic sculpture of a pigeon cast in aluminum.

The sculpture humorously challenges the grandeur of traditional monuments that celebrate significant historical figures, choosing instead to canonize the city’s well-known street bird. Posed on a concrete plinth that resembles the sidewalks and buildings that New York City’s pigeons call home, Dinosaur inverts the power dynamics between bird and human, towering 21 feet above the Spur, over the countless pedestrians and motorists who pass by on 10th Avenue.

Iván Argote is the first artist from the global south and the youngest to receive a commission for the High Line.

Pérez Art Museum Miami (PAMM) and ArtRio are pleased to announce  ZELO, a video art exhibition that explores the multifaceted concept of zeal, encompassing dedication, affection, and care.
Opening September 26, 2024 at ArtRio and online via PAMMTV, the exhibition can be accessed globally by visiting www.pamm.tv  and creating an account.
Accompanied by nightly screenings at ArtRio from September 26–29, 2024,  ZELO reflects the values of care, dedication, and emotional connections that are at the core of what makes us human. The exhibition features eleven video works by international and Brazilian artists, who illuminate diverse perspectives on zeal, presenting a range of interpretations rooted in their unique cultural backgrounds. Through these works,  ZELO  fosters a deeper appreciation for the threads of connection that bind us to one another and the world around us, encouraging a cross-cultural dialogue about the significance of care in its many forms.
The exhibition marks the first collaboration between PAMMTV and MIRA, ArtRio’s pioneering video art program, which has been instrumental in showcasing innovative video works and providing a platform for artists to explore new media in Brazil. Launched in 2023, PAMMTV is a streaming platform dedicated to amplifying video art from South Florida, Latin America, the Caribbean, and the African Diaspora. With its focus on boundary-pushing artists and civic-minded media, PAMMTV democratizes access to contemporary video art, creating an inclusive space for global viewers to discover innovative and thought-provoking works.
Artists exhibited: Jonathas de Andrade, Iván Argote, Charles Atlas, Widline Cadet, Seba Calfuqueo, Sabrina Fidalgo, Manuel Mathieu, Carlos Motta, Paulo Nazareth, Isadora Neves Marques, and Luiz Roque.
ZELO is organized by Jennifer Inacio, PAMM Associate Curator. PAMMTV is produced by PAMM’s Digital Engagement department under the guidance of Jay Mollica, Senior Director of Digital Engagement and Lauren Monzón, Program Manager Digital Engagement. Special thanks to Nathalia Bolivar, Daniela Vergaray, Patrick Fox, Michaela Blanc, Mariana Dias, and Zach Rubin for support with production. PAMM’s project galleries and digital initiatives are funded in part by the John S. and James L. Knight Foundation.