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...
Galeria Nara Roesler – the Brazilian gallery with bases in both São Paulo and Rio de Janeiro – has opened an outpost in Manhattan’s Chelsea, at 47 West 28th Street. Nara Roesler's inaugural US space also makes it the first Brazilian gallery to take on the New York art scene on its own turf.
The eponymous gallerist, who founded Galeria Nara Roesler in 1989, says, 'The viewing space allows us to show works by our extensive roster of artists, and expand the reach and legacy of the gallery.' Her son, director Daniel Roesler agrees. 'New York is a hub. The goal is to have a welcoming address to meet international gallery clients and to be closer to trustees, consultants and acquisition committees of museums.'
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.
Abraham Palatnik is aseminal figure of Brazilian kinetic and optical art. His interests lie in technology and the study of motion and light, the realms responsible for the functional, playful, poetic results that made his work known over seven decades’ worth of output. He rose to prominence in the art scene after creating his first Aparelho Cinecromático (Kinechromatic Device, 1949), whereby he set out to reinvent painting practice through light interplay and by relying on technological apparatus to create kaleidoscopic images on screen. Shown in the 1st Bienal de São Paulo (1951), his light installation was not included in the grand prize competition because it didn’t fit any of the art categories then in existence, but its originality won it an honourable mention from the international jury. Palatnik has control over the entire production of his pieces, which denotes less of an artisanal view of technology than it does an availability to experiment and take on production challenges. Instead of the fascination of some contemporary art for new media, the artist has focused since the outset of his career on the possibilities of machines and their processes, evoking a specific art-technology relationship.
His later series of progressions and reliefs in assorted materials, like wood, duplex cardboard and acrylic, also betray his interest in kinetic and optical effects, achieved through meticulous craftsmanship. The result is abstract compositions marked by rhythmic patterns reminiscent of the irregular movement–although his famed W series incorporated laser cuts made by a specialised company. Palatnik still arranges each of his pieces by hand, after cutting and painting them to complete his pictures.
Abraham Palatnik was born in Natal, Brazil, 1928, and lives and works in Rio de Janeiro, Brazil. His work has been featured in numerous exhibitions in Brazil and elsewhere, including eight editions of the Bienal de São Paulo, Brazil (1951–1969), and the 32nd La Biennale di Venezia, Italy (1964). A recent, major career-spanning show of his, Abraham Palatnik–A Reinvenção da Pintura (Abraham Palatnik–The Reinvention of Painting), was featured in several Brazilians venues including: Centro Cultural Banco do Brasil Rio de Janeiro (CCBB-RJ), Rio de Janeiro, 2017; Fundação Iberê Camargo (FIC), Porto Alegre, 2015; Museu Oscar Niemeyer (MON), Curitiba, 2014; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, 2014; and Centro Cultural Banco do Brasil Brasília (CCBB-DF), Brasília/DF, 2013.
Main recent group show include: The Other Trans-Atlantic: Kinetic & Op Art in Central & Eastern Europe and Latin America 1950s_1970s, Sesc Pinheiros, São Paulo, Brazil, 2018, Garage Museum of Contemporary Art, Moscow, Russia, 2018, and Museum of Modern Art in Warsaw, Warsaw, Poland, 2017–18; Delirious: Art at the Limits of Reason, 1950–1980, The Metropolitan Museum of Art (The Met Breuer), New York, USA, 2018; and Kinesthesia: Latin American Kinetic Art 1954–1969, Palm Springs Art Museum (PSAM), Palm Springs, USA, 2017–18. His works are included in important institutional collections, such as: Itaú Cultural, São Paulo, Brazil; Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, Brazil; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, Brazil; Royal Museums of Fine Arts of Belgium, Brussels, Belgium; The Adolpho Leirner Collection of Brazilian Constructive Art – Museum of Fine Arts Houston (MFAH), Houston, EUA; and The Museum of Modern Art (MoMA), New York, USA.
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