Felipe Scovino

  • Paulo Roberto Leal

    Paulo Roberto Leal (1946–1991) began his artistic career in the late 1960s. Based in Rio de Janeiro, he had the historical distance to perceive the importance of the Neo-Concretism of the preceding generation of Brazilian artists, especially Willys de Castro’s combination of emptiness, inventive settings, and painting in his “Objetos ativos” (Active Objects), ca. 1959–63, and Lygia Clark’s invention of the “organic line” when she abandoned the canvas in the mid-1950s in favor of works constructed from wooden panels with spaces between them. Each of those gaps made up, in the words of the critic

  • picks January 09, 2019

    Luiz Zerbini

    What landscape is exactly remains a constant concern in Luiz Zerbini’s work. The mood of the Rio-based artist’s earliest paintings, from the 1980s, suggests not only the elation and foreboding with which Brazil regarded its future in the wake of dictatorship, but also the explosion of rock music and new media. Since the 1990s and into this century, Zerbini has engaged the characters, architectural shapes, rhythm, sound, and color of a city where nature is a steadfast presence. Mindful of modernist architecture’s influence in Brazil during the second half of the twentieth century, the artist

  • Miguel Rio Branco

    Miguel Rio Branco’s recent exhibition “Através do olhar dourado” (Through the Golden Eye) brought together a collection of photographs produced in various times and places. Beyond the way in which he merges photography and painting, color and light, Rio Branco is interested in aberrant visual stories—narratives and images that recodify ideas of beauty and relevance in art. An iconic example is his early work “Maciel,” 1979. In that photographic series, the artist—playing on the line between documentary and fiction—revealed bodies, architecture in ruins, and the everyday life and

  • Laura Vinci

    In 1951, the Brazilian poet Carlos Drummond de Andrade published the poem “A máquina do mundo” (The Machine of the World), which among its verses reads: “The machine of the world has partially opened . . . / opened itself majestic and circumspect, / without giving off any impure sound / nor even a flash of light greater than is bearable.” The poem, which Laura Vinci has referenced in the past, again came to mind when one viewed her recent exhibition “Morro mundo” (Hillside World), which was made up of a structure comprising various interlocking glass tubes that occupied the total space of the

  • Marcius Galan

    Martelinho de ouro” (Golden Hammer), the title of Marcius Galan’s recent exhibition, refers to a technique for repairing dented cars using tools specially designed to smoothly apply pressure to the damaged part of the chassis. Here, the artist’s interventions sometimes seemed more invasive than that phrase would imply: He’d ripped apart a wall in spots, leaving in view the underlying metal studs. The 2017 work that gave the show its title was a wooden panel covered in white automotive paint with an iron bar jammed through it. In several works, iron was cut and folded, leaping through space. In

  • Carlos Zilio

    Carlos Zilio began his career in the mid-1960s, when Brazil was undergoing the trauma of dictatorship. His production has always addressed the political dimension of art through a powerful critical reading of reality; throughout his career, his works have continued to reflect a fragmented world, pitiless and constantly in conflict.

    Zilio’s recent exhibition brought together paintings using the motif of the Tamandua, a genus of anteater, and objects reflecting on the theme of the artist’s atelier. The tamandua is not a new image in his work. It emerged following the death of his father in 1985,

  • Sonia Andrade

    Sonia Andrade is part of the first generation of Brazilian video artists. Established in Rio de Janeiro at the beginning of the 1970s, with multidisciplinary artist Anna Bella Geiger as their teacher, this group included Fernando Cocchiarale, Ivens Machado, Letícia Parente, and Paulo Herkenhoff. At that time, Brazil was controlled by a dictatorship—resources for artists were minimal, and there was a general lack of knowledge about the Super 8 format. Members of the group even shared a single Porta-Pak for the production of videos. It is important to note that a number of female artists in

  • Otto Stupakoff

    This exhibition of the work of Otto Stupakoff (1935–2009) reveals the multiple practices of this important Brazilian photographer. By presenting a broad and representative selection of his work, curators Bob Wolfenson and Sergio Burgi have reintroduced one of the pioneers of fashion photography in Brazil. But as this show also demonstrates, Stupakoff’s oeuvre is much more extensive than that. We see his portraits and his advertising work but also his important artistic essays, which led to his first exhibition of photography in a Brazilian art gallery. As Burgi says, “The photos, collages,