Viewing and inter-viewing Cildo Meireles

Carioca artist’s extensive “poetic and historical anthology” occupies Sesc Pompeia, in São Paulo, with about 150 works that defy the senses, invite interaction and point to the permanence of violence experienced in Brazil since the colonial and the military dictatorship period to this day
Estação da Luz. Photo: Joca Duarte

Museum of the Portuguese Language is reborn in downtown São Paulo

About five years after the fire that hit its headquarters at Estação da Luz, the institution reopens in 2021 with updates to its contents, but keeping as a basis the same curatorial project that made it recognized
Carlito Carvalhosa, Já Estava Assim Quando Cheguei, 2019

The inclusive policy by Sesc-SP also holds true for art

New building, which in its first weekend received 24 thousand visitors, presents several works signed by more than 15 artists

Berlin reduces radicalism of Hubert Fichte

In an ambitious encyclopedic project, Haus der Kulturen der Welt does not treat sexuality and spirituality with the same vigor as the German author’s narratives.
"Gargalheira ou quem falará por nós", Sidney Amaral, 2014. Foto: Coleção particular/Cortesia Sesc Jundiaí

Letter to Sidney Amaral

In the context of holding the exhibition "Viver até o fim o que me cabe! - Sidney Amaral: aproximação", at Sesc Jundiaí, artist and curator Daniel Lima writes a correspondence directed to the São Paulo artist, who died in 2017

Istanbul aims to collapse of nature

Curated by Nicolas Bourriaud, “The seventh continent” maps productions around the Anthropoceno

Portrait of Paul Klee when in balance

Show in the Centro Cultural Banco do Brasil in São Paulo explains the genius of the swiss artist

Adriana Varejão: For a cannibal rhetoric

The exhibition markes the first solo show by artist in the northeast, territory of strong baroque heritage and colonial slavery
Fabricio Lopes, Estuário, 2008-2009.

Xilo: Body and Landscape

The inaugural exhibition of the new Sesc building captivates the lively woodcut production in São Paulo in the last three decades

Just picturing is no longer enough

Because Swinguerra, by Barbara Wagner and Benjamim de Burca, is a work that dialogues with the concept of “standpoint”