Camila Belchior

  • Artur Lescher

    Artur Lescher has been making three-dimensional work since the 1980s, during which time he has built a solid artistic career in Brazil. In his most recent solo show, “Pensamento pantográfico” (Pantographic Thought), he presented seventeen works, most produced this year, inspired by the pantograph, an articulated gadget invented in the seventeenth century for copying forms at different scales.

    In the main gallery window was Pantográfica (Para Antonio Dias), 2013, a large, wall-mounted piece that resembles a metal gate, similar to the antique scissor types used in elevators. Hung on the wall, it

  • assume vivid astro focus

    The dynamic changes in the São Paulo skyline aren’t news to locals or regular visitors to the city. But the past couple of years have seen a dramatic acceleration in real estate speculation, turning São Paulo into a developer’s paradise, to the detriment of many of its inhabitants. The collective assume vivid astro focus, whose main contributors are Brazilian artist Eli Sudbrack and his French counterpart Christophe Hamaide-Pierson, framed its recent exhibition “alisabel viril apagão fenomenal” (virile hairstraightener phenomenal blackout) as a commentary on and a manifesto against the state of

  • Marcia de Moraes

    With an intensity bordering on obsession, the young Brazilian artist Marcia de Moraes questions the nature of coexistence in the six large-scale abstract drawings in colored pencil and graphite—five diptychs and one polyptych—that made up her exhibition “Corpo Duplo” (Double Body). Far from spontaneous, de Moraes’s drawings take as long as a month to finish. As significant as their pictorial form and color palette are the psychological qualities the artist attributes to them, as indicated by their titles. They evoke ambiguous mental spaces where opposing and attracting forces contend.

  • Iran do Espírito Santo

    A strange sort of tension filled the two rooms occupied by Iran do Espírito Santo’s solo show; like the calm before a storm, it seemed to be generated by pent-up energy before its release. At the core of the Brazilian artist’s work is an interest in what he describes as “the duality we live in; between the concrete world and that of ideas. It’s an existential human condition; the artworks are a way of negotiating this, a need to deal with immateriality.” Espírito Santo, who has exhibited consistently since the mid-1980s, has established an aesthetic that reflects his conceptual concerns by means