previews

  • Dominique Gonzalez-Foerster, Atomic Park (film version), 2003/2004, still from a black-and-white video, 8 minutes 14 seconds. From 27th Bienal de São Paulo.

    Dominique Gonzalez-Foerster, Atomic Park (film version), 2003/2004, still from a black-and-white video, 8 minutes 14 seconds. From 27th Bienal de São Paulo.

    27th Bienal de São Paulo

    Pavilhão Ciccillo Matarazzo
    Parque Ibirapuera, Portão 3
    July 23, 2013–December 17, 2006

    Curated by Lisette Lagnado

    The international biennial may be taken as an emblem—if not a symptom—of today’s global art world, but this direct descendant of the nineteenth-century world’s fair has yet to shed the nationalistic trappings of the bygone era from which it emerged. That is, until now. In a bid to bring the Bienal de São Paulo fully into the twenty-first century, Lisette Lagnado and her team (Adriano Pedrosa, Cristina Freire, José Roca, Rosa Martinez, and Jochen Volz) have dispensed entirely with the concept of “national representation” and invited 109 artists from around the world. An additional ten, including Marjetica Potrc, Minerva Cuevas, and Florian Pumhösl, will reside in Brazil for several months, creating projects that respond to their ensuing cross-cultural encounters and to the exhibition’s broader theme, “How to Live Together,” drawn from the title of Roland Barthes’s 1977 lecture series.

  • 50th Anniversary of the Exhibition of Concrete Art

    Museu de Arte Moderna de São Paulo (MAM)
    Parque Ibirapuera gate 3 - s/nº
    September 20–December 3, 2006

    Curated by Lorenzo Mammì and André Stolarski

    Although the 1st National Exhibition of Concrete Art in 1956 consolidated Brazilian constructivist trends, it also divided artists in São Paulo and Rio de Janeiro. The former group called for the rationalist integration of art and industry; the latter defended artistic autonomy and subjective expression. This retrospective tends toward integration, joining most pieces exhibited in 1956 with graphic art, furniture, and architecture from the era. Rio’s response to 1956 was Neo-concretism and, soon after, the radical social experiments of Lygia Clark and Hélio Oiticica. This anniversary exhibition also offers another vision of art’s entry into the social, one marked by a time when geometry was insistently, and optimistically, the order of the day.