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 organised 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 unrealised), such as Presépio Urbano (1987) which sought to transform the city of Recife into a single Christmas light ornament.Read More
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.
Text courtesy Galeria Nara Roesler.
Decades of resistance to political repression can do strange things to a man, but Bruscky's famous sense of humour remains intact. When I visited him at his studio in the historic heart of Recife, the
Given the current political climate, we here at frieze have been reflecting on the role of art in responding to conflict. With this in mind, we invited a cross-section of artists, curators and writers
Ocula’s photographer Charles Roussel visited Galeria Nara Roesler's booth (B29) at Art Basel Miami Beach. They brought works to the fair by Marcos Chaves, Lucia Koch, Artur Lescher, Cao Guimarães, Milton Machado and Paulo Bruscky.
In a climate of extraordinary censorship, Bruscky may have been brave just to ask, let alone answer his own question.