previews

  • ERNESTO NETO

    Pinacoteca do Estado / Estação Pinacoteca
    Praça da Luz, 2
    March 30–July 15

    Curated by Jochen Volz and Valeria Piccoli

    Since the late 1980s, Ernesto Neto has displayed an uncanny, sensual understanding of sculpture and its relation to the spectator, imploding all formal innova­tions of Brazilian modernity and Neo­Concretism. His retrospective at São Paulo’s Pinacoteca—itself a feat of twentieth­century Brazilian art, having been renovated in the 1990s by architect Paulo Mendes da Rocha—will include some sixty pieces, dating from the late 1980s to this year; the selection promises to exacerbate the friction between the loose, organic contours of his polyamide spheres and hanging bags of spices and the crystalline geometries of his hovering walkways. While many of his works hinge on the participation of the public (certain of his sculptures are meant to be penetrated and activated by the spectator), some of Neto’s latest works are rooted in concern for the environment and for indige­nous populations. An exhibition catalogue with texts by the curators will elaborate on the varied stages of Neto’s three­decade career. Travels to the Museo de Arte Latinoamericano de Buenos Aires, August 2019.

  • RUBEM VALENTIM

    MASP - Museu de Arte de São Paulo Assis Chateaubriand
    Avenida Paulista, 1578
    November 13–March 10

    Curated by Adriano Pedrosa and Fernando Oliva

    The oeuvre of self-taught painter, sculptor, and printmaker Rubem Valentim does not easily fit into the prevailing categories of Brazilian modernism. Tridental forms in the painted reliefs and sculptures that the artist described as “emblems” recall works of geometric abstraction by Alfredo Volpi or Lygia Pape, yet they are specifically drawn from the Afro-Brazilian religion candomblé. Valentim understood this faith as the foundation of a national symbology, one he tapped for his showings at the First Festival Mundial das Artes Negras in Dakar, Senegal, in 1966 and at the Fourteenth São Paulo Bienal in 1977. This long-overdue, extensive exhibition, organized by artistic director Adriano Pedrosa and curator Fernando Oliva, will feature more than one hundred works from the artist’s forty-plus-year career, as well as a catalogue with essays by Lilia Schwarcz, Hélio Menezes, and Renata Bittencourt, among others.