Stirring structures

Questioner, André Komatsu positions his work in a powerful way on questions of the system

They always were

Exhibitions “Women’s Histories” and “Feminist Histories” at MASP map the plastic creation of authors in different historical moments

Working with memory is working with present

Portuguese curator João Fernandes, new artistic director of the Moreira Salles Institute – ims, wants to work with the institution’s collections to reflect the current times
Jutai River. State of Amazonas, Brazil, 2017. Photo: Sebastião Salgado.

Paradise must be defended

Sebastião Salgado portrays the beauty of the Amazon and its peoples in an urgent plea for the salvation of the forest
Vista de parte da exposição que está em cartaz no SESC 24 de Maio.

A Curatorship

By Aracy Amaral A CURATORSHIP  IS NOT AN EASY TASK TO BE CONCEIVED. Especially if the number of participants is extensive, the space difficult, and...
Laura Vinci

Visual arts get inside FLIP

New project seeks to insert arts in the Paraty International Literary Festival and pannels with names that work visual arts in their most various forms show that the event seeks to be even more interdisciplinary
Joseph Beuys, La Rivoluzioni Siamo Noi (1972). Foto: Cortesia Bergamin & Gomide.

Joseph Beuys and the abandonment of art

One of the most radical and influential artists of the second half of the 20th century, an inescapable reference for contemporary production, would complete 100 years in 2021; arte!brasileiros publishes text that analyzes different moments and works of the german artist’s trajectory

“We agreed we are not going to die”, 2019

Confira editorial da edição 47 da ARTE!Brasileiros

The regionalization of Art Basel

After having been successful in sales in the Miami Beach edition, the fair lands in Hong Kong
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