The Allure of Matter: Material Art from China at Los Angeles County Museum of Art (LACMA) (2 June 2019–5 January 2020) is an inter-generational show of 21 Chinese artists working from the 1980s to the present, including Ai Weiwei, Cai Guo-Qiang, Lin Tianmiao, Song Dong, He Xiangyu, Yin Xiuzhen, and Ma Qiusha.Staged on Level 2 of LACMA's Renzo...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
To coincide with Art Basel 2019, which opens to the public from 13 to 16 June, galleries and institutions across the city are presenting a range of stellar exhibitions. From Rebecca Horn at Museum Tinguely to Geumhyung Jeong at Kunsthalle Basel, here is a selection of what to see.William Kentridge, Dead Remus (2014–2016). Charcoal on found ledger...
A career spanning more than four decades, Bruscky never ceased to experiment and innovate: employing photocopiers, blueprint machines, besides stamps and postmark devices; he utilised medical equipment from the Agamenon Magalhães Hospital, where the artist worked for several years, producing encephalographic works such as the series O meu cérebro desenha assim (1976), recently acquired by MoMA in 2013. He organized the first Mail Art exhibit (1976, closed by the police) and the first _Street Art_exhibition (1981) in Brazil, both of them in Recife. He also created sound works, among them a Ra(u)dio Art Show, which was broadcast live on a mainstream radio station, conceived various utopian projects (many to this day unrealized), such as Presépio Urbano (1987) which sought to transform the city of Recife into a single Christmas light ornament.
Recipient of the Guggenheim Fellowship in 1982, Bruscky lived in New York for one year where, in collaboration with Xerox, developed the foundations for his xerox-art. Paulo Bruscky was born in 1949 in Recife, where he lives and works. He featured in the 16th, 20th, 26th, and 29th editions of the São Paulo Biennal (1981, 1989, 2004 and 2010); the 10th Havana Biennial, Cuba (2009), among other biennials, as well as group shows such as 30 x Bienal (Fundação Bienal de São Paulo, São Paulo, Brazil, 2013); Reinventando o mundo (Museu Vale, Vila Velha, Brazil, 2013); Mitologias por procuração (Museu de Arte Moderna de São Paulo, São Paulo, Brazil, 2013); In cloud country (Harewood House, Leeds, England, 2013); Perder la forma humana (Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, 2012); Trienal Poli/Gráfica de San Juan (San Juan, Puerto Rico 2012); and Sistemas, acciones y procesos (Fundación Proa, Buenos Aires, Argentina, 2011). Recent solo shows include Art is our last hope (The Bronx Museum, New York, USA, 2013); Paulo Bruscky (Plataforma Bogotá, Bogotá, Colombia, 2013); Banco de ideias (Instituto Tomie Ohtake, São Paulo, Brazil, 2012); and Arte correio (Centro Cultural dos Correios, Recife, Brazil, 2011). His works are included in the collections of: MoMA, New York, USA; Guggenheim Museum, New York, USA; Tate Gallery, London, England; Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil; Museu d'Art Contemporani de Barcelona, Barcelona, Spain; Stedelijk Museum, Amsterdam, Holland; among others.
Marcos Chaves works on the parameters of appropriation and intervention, in which his production is characterised by the use of diverse media, and openly moves between the production of objects, sculptures, installations, photographs, videos, words and sounds. His works, in which stand out the process of overlapping images or of image and text, are marked by the presence of parodies, humour and irony.
Chaves was participated in several biennials, such as: 17th Bienal de Cerveira, Cerveira, Portugal, 2013, in which he received Honorable Mention for his installation Horizonte Refletido (2013); 54th La Biennale di Venezia, Venice, Italy, 2011; 25th Bienal de São Paulo, São Paulo, Brazil, 2002; and 1st and 5th editions of the Bienal do Mercosul, Porto Alegre, Brazil (1997 and 2005). His recent solo shows include: Eu só vendo a vista, Museu de Arte Contemporânea de Niterói (MAC-Niterói), Rio de Janeiro, Brazil, 2017; Marcos Chaves, Galeria Nara Roesler, New York, USA, 2017; Amoroso, Museu Chácara do Céu, Rio de Janeiro, Brazil, 2016; and Marcos Chaves–ARBOLABOR, Centro de Arte de Caja de Burgos (CAB), Burgos, Spain, 2015. Main recent group shows include: Inside the Collection–Approaching Thirty Years of the Centro Pecci (1988–2018), Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy, 2018; Ready Made in Brasil, Centro Cultural Fiesp, São Paulo, Brazil, 2017; Modos de ver o Brasil: Itaú Cultural 30 anos, Oca – Pavilhão Lucas Nogueira Garcez, São Paulo, Brazil, 2017; Rotative Repository of Latin American Video Art: Mono Canal, El Museo del Barrio, New York, USA, 2017; and Brasil, Beleza?! Contemporary Brazilian Sculpture, Museum Beelden aan Zee, The Hague, The Netherlands, 2016. His works are including in important institutional collections, such as: Centro de Arte de Caja de Burgos (CAB), Burgos, Spain; Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy; Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, Brazil; and The Ella Fontanals-Cisneros Collection, Miami, USA.
Cao Guimarães (b. 1965, Belo Horizonte, Brazil) lives and works in Belo Horizonte. Considered to be one of Brazil’s most prolific contemporary artist, Cao Guimarães works in the intersection of cinema and the visual arts.
Producing films since the late 80s, the artist has been collected by prestigious names such as Tate Modern (United Kingdom), MoMA and the Guggenheim Museum (USA), Fondation Cartier (France), Colección Jumex (Mexico), Inhotim (Brazil), Museo Thyssen-Bornemisza (Spain) and others. He has participated of important exhibitions such as XXV and XXVII São Paulo Biennial, Brazil; Insite Biennial 2005, Mexico; Cruzamentos: Contemporary Art in Brazil, USA; Tropicália: The 60s in Brazil, Austria; Sharjah Biennial 11 Film Programme, United Arab Emirates and Ver é Uma Fábula, Brazil, a large mid-career survey with most of the artist’s works exhibited in Itaú Cultural, Brazil.
He is the author of 9 feature films: The Man of the Crowd (2013), Otto (2012), Elvira Lorelay Alma de Dragón (2012), Ex It (2010), Drifter (2007), Accident (2006), The Soul of the Bone (2004), Two Way Street (2002) and The End of the Endless (2001). Cao Guimarães has been invited to display his films at renowned international film festivals such as Cannes, Locarno, Sundance, Venice, Rotterdam and Berlin. In 2011, MoMA held a retrospective of his films and in 2014, BAFICI (Buenos Aires) and Mexico’s Cinematheque also held retrospectives of his work.
Describing her artworks as 'architectural interventions', Brazilian artist Lúcia Koch uses sculpture, photography, video, and colour filters to alter the viewer's sense of space and scale. She began creating these interventions within domestic spaces in the early 1990s, and later moved to installations within art institutions that often epmhasise existing architectural features.
Koch is perhaps best known for her use of transparent acrylic coloured sheets or Plexiglas colour correction filters to play with light and colour. For the Sharjah Biennial 11 in 2013, Koch constructed a roof-like structure from 68 filter panels in the empty courtyard of a house in Sharjah's Heritage Area. Titled Conversion, the panels were in a range of colours such as muted yellows, oranges, reds, blues, and pinks, with adjustable steel frames placed at various angles. The work played with the abundance of natural light in the courtyard, fragmenting the space into squares of varying hues. The shapes that the colours made as light fell on the floor at certain times of day also recalled the unfurling of prayer mats next to each other during Muslim prayers. Koch placed similar filters inside the alcoves of the house itself, creating naturally powered 'lightboxes' of colour in the room.
In addition to investigating architectural boundaries in Plexiglas for Conversion, she has made similar explorations in silk. For La Temperatura del Aire, exhibited at Centro de Arte Contemporáneo de Caja de Burgos in Spain in 2015, Koch installed six silk curtains of various colour gradients in the gallery. These semi-walls swayed with the gentle breeze stirred by visitors who were invited to walk directly through the translucent layers. In this simple gesture, the artist made architectural boundaries fluid, delineating and re-defining the exhibition space.
Koch also uses photography to explore the boundaries of architecture. In her playful 'Fundos' series (2001–ongoing), the artist photographs the insides of empty boxes, creating disorienting and uncanny images that resemble life-size rooms. In Vinho Duplo (Double Wine) (2003), for example, the two holes in the box's 'ceiling'—originally intended to provide a view of the wine the container used to hold—now read as skylights in a small room. For the exhibition Schaurausch at OK Centrum, Linz Austri, Koch printed the photographs Lâmpada aberta (2004) and Lâmpada fechada (2001) from the 'Fundos' series at four metres tall. She then attached the reproductions to a building façade so that the box-spaces became life-size and appeared as though they were inhabitable rooms. Unlike other artists who photograph architectural models, such as Anna Carey's Californian motels or James Casebere's re-enactments of the iconic designs of Mexican architect Luis Barragán, Koch does not challenge the materiality of her miniature worlds. Instead of turning the box into a house, she explores how the box is already a house.
Koch lives and works in São Paulo.
Artur Lescher’s work represents his constant experimentation with materials, their physical qualities and objectual characteristics. Through his works, the artist makes reference to natural elements which, when impeccably reproduced by means of industrial processes, reveal and, at the same time, deny these very real origins.
Another key component in Lescher’s body of work is architecture, both in synthesis and context. In an abstraction exercise of in-situ installations, the artist adopts the spatial situations of the exhibition space to transform corners, walls and doors into large-scale installations. His works emerge subtly as poetic gestures in space transmitting force and instability, balance and movement, tension and silence. Neutralized, the functionality of the object ceases to exist and the possibilities of interpretation and meaning multiply.
Artur Lescher emerged in the mid-80’s into the Brazilian art scene, influenced by the Neo-Concrete movement of Mira Schendel, Helio Oiticica and Sergio Camargo. Since then he has presented his work in the major museums and institutions of Brazil including: the Sao Paulo Biennale, Biennale MercoSur, the Museum of Contemporary Art and the Museum of Modern Art in Sao Paulo. He has also exhibited his work in the USA, Germany, Mexico, Argentina, Colombia, Spain and France.
Milton Machado was born in 1947 in Rio de Janeiro, where he lives and works. His work has been included in the 10th, 19th, and 29th editions of the São Paulo Biennial (1969, 1987, and 2010) and the 10th and 7th Mercosul Biennial, in Porto Alegre (2015 and 2009), all in Brazil.
In addition, Milton Machado has had various solo exhibitions at institutions such as Centro Cultural Banco do Brasil (Belo Horizonte, 2015); Centro Cultural Banco do Brasil (Rio de Janeiro, 2014); Escola de Artes Visuais Parque Lage (Rio de Janeiro, 2012); Instituto Tomie Ohtake (São Paulo, 2005); Paço Imperial (Rio de Janeiro, 2002); Barbican Centre (London, 2000); and Museo Civico Gibellina (Sicily, 1991).
Recent group exhibitions include: Made in Brasil (Casa Daros, Rio de Janeiro, 2015); Imagine Brazil (Astrup Fearnley Museet, Oslo, 2013; Musée d'Art Moderne de Lyon, 2014; Museum of Modern Art, Qatar, 2014; Instituto Tomie Ohtake, São Paulo, 2015; DHC/Art Foundation for Contemporary Art, Montreal, Canada, 2015); O Abrigo e o Terreno (Museu de Arte do Rio, Rio de Janeiro, 2014); and Genealogias do Contemporâneo (Museu de Arte Moderna do Rio de Janeiro, 2013).
His works are housed in collections such as that of the Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Museu de Arte Contemporânea de Niterói, Niterói, Brazil; LP Morgan Chase Manhattan Bank, Brazil; MAR - Museu de Arte do Rio, Rio de Janeiro, Brazil; Centro Cultural São Paulo, São Paulo, Brazil; Museu de Arte de Belo Horizonte, Belo Horizonte, Brazil; University of Essex, Essex, England; Museo de Arte de Lima, Lima, Peru; Museo Civico di Arte Contemporanea, Gibellina, Italy; and Daros Foundation, Zurich, Switzerland.
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