Camila Belchior

  • Alex Cerveny, Tela Novela (Soap Opera Canvas), 2019, oil on canvas, 11 × 17 3⁄8".

    Alex Cerveny

    Artworks by the dozens, in varying sizes and mediums, lined the walls of Casa Triângulo for “Todos os lugares” (All the Places), a retrospective covering twenty years of Alex Cerveny’s production since 1999. The artist’s incomparable style and readily recognizable visual lexicon blends text and images, while his aesthetic draws from popular (especially ex-voto) and Surrealist traditions. An avid printmaker, draftsperson, and painter who also makes collages and illustrates books, Cerveny displayed samples of the full range of his practice in the gallery’s two rooms. His images often show naked

  • Eduardo Navarro, Instant Weather Prediction, 2019. Performance view, June 15, 2019. Photo: Erika Mayumi.

    Eduardo Navarro

    There’s something phantasmagoric about garments hanging on display without any bodies to fill them. In the Argentinean artist Eduardo Navarro’s “Instant Weather Prediction,” white outfits hemmed in silver, resembling rudimentary three-piece space suits, were exhibited in small groups throughout Pivô’s concrete-clad exhibition spaces, which were designed by Oscar Niemeyer to complement the exterior of the institution’s home, the iconic S-shaped Copan Building in São Paulo. Navarro’s outfits were displayed spread-eagled on abstract wire mannequin-like structures; each nylon muumuu had two large

  • Tarsila do Amaral, Abaporu (The Man Who Eats), 1928, oil on canvas, 33 1⁄2 × 28 1⁄2".

    Tarsila do Amaral

    As part of a yearlong program dedicated to the art and histories of women, the exhibition “Tarsila Popular”—with a second official title, in English, “Tarsila do Amaral: Cannibalizing Modernism”—was the Museu de Arte de São Paulo’s first retrospective of one of Brazil’s most prominent and transgressive modernists. Known by her first name, Tarsila do Amoral (1886–1973) played a trailblazing role in reshaping the Eurocentric artistic traditions that were in place in Brazil at the beginning of the twentieth century to develop a visual language capable of capturing local cultures and narratives.

  • View of “Regina Parra,” 2019. From left: Bacante I (Bacchante I), 2019; Bacante II, 2019; Bacante III, 2019.

    Regina Parra

    As a wave of conservatism sweeps the globe, among the welcome signs of resistance is the continuing spread of feminist discourses. Regina Parra’s solo show “Bacante” (Bacchante) took inspiration from Euripides’s tragedy The Bacchae to offer a perspective on feminism and the female self that is rooted in antiquity. While the play was the artist’s point of departure, her research was informed by wider studies in Greek mythology and poetry as well as nineteenth-century photographic investigations of hysteria. 

    A series of six oil paintings on paper, “A Perigosa” (The Dangerous One) (all works 2019),

  • Clarissa Tossin, Ch’u Mayaa (Maya Blue), 2017, HD video, color, sound, 17 minutes  56 seconds.

    Clarissa Tossin

    Based in Los Angeles for the past decade, the Brazilian artist Clarissa Tossin makes sculptures and videos in which she places architecture and site at the center of investigations into exchanges that are at once cultural and economic. On first glance, Tossin’s recent show “Maya Blue”—featuring sculptures from the series “The Mayan,” 2017–18, and “Encontro das Águas” (Meeting of Waters), 2016–18—could easily have been mistaken for an unorthodox post-Minimalist display of anthropological artifacts. In New Grammar of Form #1, 2018, from the latter series, for instance, woven baskets in the style

  • View of “Marcia de Moraes,” 2018. From left: Realismo fantastico 1 (Fantastic Realism 1), 2018; O Olho (The Eye), 2018. Photo: Filipe Berndt.

    Marcia de Moraes

    Over the past decade, Marcia de Moraes has developed colorful, abstract drawings that explore coexistence, investigating and negotiating dichotomies such as vacuity and solidity, constriction and expansion, corporeality and abstraction, neurosis and calmness. Her use of similar recurring patterns, inspired by objects she photographs, has forged a recognizable visual lexicon that includes shapes reminiscent of abstracted tongues, teeth, eggs, leaves, vines, cylinders, cords, and spheres. This exhibition featured collages and visceral ceramic sculptures alongside her drawings, whose expansive

  • Jaime Lauriano, Trabalho (Work), 2017, mixed media, 8' 2 3/8“ X 16' 4 7/8”.

    Jaime Lauriano

    Brazil’s colonial past was the central theme of Jaime Lauriano’s exhibition “Assentamento” (Settlement). The title refers both to the name given to territory occupied by landless or homeless settlers and to the sacred areas designated for worship in Candomblé, a religion practiced mainly in Brazil, which draws its beliefs from various African traditions and is historically associated with slaves’ resistance.

    The exhibition featured eight works, all from 2017. Trabalho (Work) was a large wall installation for which Lauriano collected found objects such as tapestries, a jigsaw puzzle, calendars,

  • Paula Rego, Visions, 2015, pastel on paper on aluminum, 51 1/4 x 43 1/2".

    Paula Rego and Adriana Varejão

    A powerful pairing of artworks by artists of different generations and backgrounds brought together imagery that spoke to their shared interests. Both Adriana Varejão (from Brazil and born in 1964) and Paula Rego (born in Portugal in 1935 and based mostly in London since the 1950s) use parody, theatricality, and collage-like recombinations of image fragments derived from literature, history, and folklore to explore the central role of narrative in shaping notions of culture and identity and how they are rooted in cross-pollination and power dynamics.

    Rego is known for her taste for female

  • Pedro Reyes, Litophone (Teponaztli), 2017, volcanic rock, plywood, 15 3/4 x 27 1/2 x 15 3/4".

    Pedro Reyes

    Mexican artist Pedro Reyes’s recent exhibition featured two distinct groups of medium-size sculptures, one figurative and the other geometric. While this juxtaposition might at first have appeared incongruous, it follows the practice of an artist who was trained as an architect and never cultivated one signature style or preferred medium. His passion is exploring the transformative power of activism, collaboration, and collective and individual participation in art.

    Visitors first encountered five black stone monoliths (four made of marble and one of volcanic rock) set on pale plywood plinths.

  • Valdirlei Dias Nunes, Untitled, 2017, acrylic on canvas, 19 5/8 x 11 7/8".

    Valdirlei Dias Nunes

    Valdirlei Dias Nunes has been working in between painting, sculpture, and drawing for more than twenty-five years, but the formal economy and precision in his work has kept his aesthetic singular and untouched by current stylistic trends. His exhibition “Pinturas e Relevos Recentes” (Recent Paintings and Reliefs) included seventeen pristinely executed, predominantly black or white, wall-mounted pieces that seductively hovered between abstraction and figuration.

    Six black paintings in various sizes lined up along one of the gallery’s long walls showed delicate regular golden grids on their surfaces,

  • Daniel Senise, Skylight, 2017, monotype on cotton on aluminum, 98 3/8 × 118 1/8".

    Daniel Senise

    Brazilian artist Daniel Senise is often referred to as a painter, despite his use of many different mediums since he began making artwork in the 1980s. Senise has painted a great deal, of course; he was trained in the practice (after earning a degree in engineering), and the term painting accurately describes most of the work he made early in his career. But as his oeuvre has developed, it’s become clear that the core of his art lies not in a medium that defines what he does, but in the impetus to experiment and decipher ways of seeing and constructing images. In doing so, he works through

  • Lydia Okumura, Untitled I, Installation at Pratt Institute Gallery, Brooklyn, NY 1980; SP 2017, 1980/2017, acrylic and cord, 7' 6 1/2“ × 14' 5 1/4” × 5' 10 7/8".

    Lydia Okumura

    With little more than acrylic paint, graphite, and string, Lydia Okumura’s large-scale artworks heighten viewers’ perceptions of space. For the installations and wall drawings in “Dentro, o que existe fora” (Inside, What Exists Outside), the artist used colored planes to form simple geometrical compositions that nonetheless produced complex experiential effects, giving the impression of three-dimensional shapes folding into and out of the corners, walls, and floors of the gallery, as if collapsing out of and drawing viewers into revealed spaces existing parallel to the structural planes of the