Tobi Maier

  • Zé Celso, Walmor y Cacilda 64–2014: O ROBOGÓLPE, 2014. Performance views, Teatro Oficina, São Paulo. Left: Zé Celso.
    performance May 29, 2014

    A Life in the Theater

    SINCE ITS FOUNDING IN 1958, Teatro Oficina has been the touchstone for avant-garde theater in Brazil. Originally conceived and still led by legendary actor-director José Celso Martinez Corrêa—aka Zé Celso—Teatro Oficina is housed in downtown São Paulo in a heritage-listed building designed by architects Lina Bo Bardi and Edson Elito. Directly engaging the ideology and rhetoric of the military dictatorship during its reign while exemplifying the “anthropophagic” strategies propagated by the Brazilian artistic movement known as Tropicália, the group continues to be one of the stalwart critical

  • View of  “Hudinilson Jr.,” 2014.
    picks April 15, 2014

    Hudinilson Jr.

    While experimenting with graffiti in the late 1970s, the São Paulo–based artist Hudinilson Jr. founded the collective 3NÓS3 with Mario Ramiro and Rafael França. They collaborated on a series of urban interventions, obscuring monuments with bags and obstructing street crossings with tape during the height of the military dictatorship. Marginalized in the Brazilian art world for decades and now rediscovered (with a simultaneous focus on his work in the current edition of the Glasgow International), Hudinilson Jr. passed away in August 2013. This exhibition, the first solo presentation of his work

  • picks April 02, 2014

    Tino Sehgal

    Tino Sehgal’s debut and simultaneous exhibitions in Brazil (at the Centro Cultural Banco do Brasil in Rio de Janeiro and at Pinacoteca do Estado de São Paulo) transpire within the historical, social, and political contexts of this country's legacy of relational actions, structures, and objects, and underscore the importance of human interaction with an art museum. As one enters the show—the artist has requested no documentation—two uniformed guards perform Sehgal’s This Is New, 2003, in which they whisper headlines from the day’s local papers while scanning barcodes on entrance tickets. On the