Nathalia Lavigne

  • picks March 13, 2018

    Mira Schendel

    Silence seems to be the message imparted by “Signals,” an exhibition comprising graphic elements that have always been ubiquitous in Mira Schendel’s artistic output. Rather than communicate something or spur action, Schendel’s signals indicate quietness—such as the subtle marks on her almost-transparent “Monotipias” (Monotypes), 1964–67, which were made on Japanese rice paper. Among the multitude of semantic elements that Schendel began to explore in this series, many are included here: lines and arrows that cross the paper and divide it into separate fields; numbers and punctuation marks; and

  • picks September 05, 2017

    Mauro Restiffe

    The cover of a 1909 book titled Atlas do Brazil, photographed alongside documents and pictures on a desk, is the enigmatic opening image of this important panoramic exhibition featuring Mauro Restiffe’s work. Presented as a prelude to the show’s predominant scenes—a variety of bucolic landscapes, crowds gathered during historical events—the still life also introduces significant ways to read the work on view. It immediately evokes the artist’s archive, which prompted this exhibition, which gathers never-before-displayed photos, including a good number of intimate family portraits taken over

  • picks July 05, 2017

    Ricardo Basbaum

    Among the artists of Brazil’s so-called Geração 80 (’80s Generation), referring to the main wave of new creators of that decade, Ricardo Basbaum was a dissonant presence. Although he was included in the seminal 1984 exhibition “Como vai você, geração de 80?” (How Are You Doing, ’80s Generation?), Basbaum’s practice challenged misreadings of the group, which was stereotypically associated with a return to painting from the politically engaged art of the previous decades, after a twenty-year dictatorship. He has continued to be open to a variety of processes and mediums, and attentive to the

  • picks June 24, 2015

    Nelson Felix

    Most of the works in Nelson Felix’s first retrospective exist on a continuum, as if they had no ends or beginnings. Some of the series took more than a decade to complete; others seem they will never be entirely. Gathering fifteen pieces including sculptures, drawings, and installations as well as nine videos documenting his ambitious site-specific works, the survey, curated by Rodrigo Naves, smartly avoids a chronological approach, letting a notion of temporal fluidityinform the very structure of the show.

    An artist who combines different kinds of materials that eventually will be affected by

  • picks May 29, 2015

    Damián Ortega

    Damián Ortega has dealt with matter and its physical properties for quite some time. A pupil of Gabriel Orozco, he dissects and reassembles objects of daily life, playing with their functionality and hidden energy. This interest is revealed by many of Ortega’s titles, such as Resting Matter, 2004 (a series of photographs of unfinished brick houses in Brazil), and Spirit and Matter, 2004 (an outdoor installation made in London), and the same word appears again in “The End of Matter,” the artist’s current exhibition. His material, now: an enormous Styrofoam block that he used to create copies of

  • picks April 02, 2015

    “Imagine Brazil”

    “Imagine Brazil” evokes a country long construed (and misread) via the superficial perspectives of other nations. But scholar Benedict Anderson’s notion of imagined communities as permanent social constructions is very relevant, too, as is anthropologist Arjun Appadurai’s view of imagination as a “a key component of the new global order.” Featuring fourteen emerging artists, the show, curated by Hans Ulrich Obrist, Gunnar B. Kvaran, and Thierry Raspail, also includes works from more established names that have been chosen by each young artist as an attempt to contextualize their production in

  • news February 05, 2015

    International News Digest

    Special Edition: Theme, Curatorial Team Unveiled for 2016 São Paulo Biennial

    FEBRUARY 5

    In his first official press conference, yesterday, as the curator of the thirty-second São Paulo Bienal, Jochen Volz revealed some themes that will define the upcoming edition in 2016. With the provisional title “Medidas da Incerteza” (Uncertainty Measures), the event aims to raise discussions around collective intelligence, climate change, entropy, and other concepts that will be examined via an interdisciplinary approach.

    The timely topics of the anthropocene and human extinction, in particular, will receive special attention on his curatorial process. Recently engaging in this theme