Wednesday 9 April 2014 Strong Sales by Both Brazilian and International

Total Page:16

File Type:pdf, Size:1020Kb

Wednesday 9 April 2014 Strong Sales by Both Brazilian and International Press Release Date: Wednesday 9 April 2014 Strong sales by both Brazilian and International galleries combined with innovative programming make the 10th anniversary of SP-Arte the most successful edition to date (Clockwise from top left) Installation view of the fair, credit: Denise Andrade, The Galeria Nara Roesler Stand, The White Cube Stand, and Executive Director of SP-Arte Fernanda Feitosa with artist Regina Silveira credit: Refael Neddermeyer, Getty Images SP-Arte, the São Paulo International Art Fair 2014, which ran from 2-6 April 2014 and celebrated its 10th edition this year, drew record attendance and was widely considered by dealers, collectors and curators alike to be the best edition of the fair to date. SP-Arte 2014 benefitted from leading international galleries attending for the first time such as Marian Goodman, Michael Werner and Kurimanzutto, ‘Solo’, the new sector for this year which included galleries selected by Director of Inhotim, Rodrigo Moura and a strong programme for Dialogues and the Curatorial Lab, organised by renowned Brazilian curator Adriano Pedrosa. Under the leadership of Executive Director, Fernanda Feitosa, SP-Arte 2014 featured 136 of the best Brazilian and international galleries from 18 countries across the globe. For 2014, SP-Arte received 22,000 visitors over the course of the fair including the strongest ever attendance for the VIP preview day and more international visitors than ever before. Leading collectors in attendance at the fair included Martin Margulies of the Martin Z. Margulies Foundation (USA), Raymond Learsy and Melva Bucksbaum (USA), Maxine and Stuart Frankel of the Maxine and Stuart Frankel Foundation (USA), Lewis & Sue Nerman (USA), Stefan Edlis and Gael Neeson (USA), and leading art professionals included Franklin Sirmans Curator, LACMA (USA), Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, MoMA (USA, Venezuela) and Tanya Barson, Curator of International Art at Tate Modern (UK). For the first time this year a collector’s group was brought to the fair by AXA Art insurance. A group of professionals brought to the fair by Latitude: Platform for Brazilian Art Galleries Abroad included Beverly Adams, Curator of Blanton Museum of Art, University of Texas (USA), Fanni Fetzer, Director of the Kunstmuseum Luzern (Switzerland), Milovan Farronato, Director of the Fiorrucci Art Trust (Italy), Pauline Yao, Curator at M+ (Hong Kong) and Andrea Viliani, Director of the Madre Museum, Naples (Italy). Both Brazilian and international galleries in attendance for SP-Arte’s 10th edition reported strong sales for work by local as well as international artists. Sales at the fair this year illustrated that Brazilian collectors are increasingly more interested in acquiring work by both emerging and established international artists. Work sold at the fair by Brazilian artists included that of Mira Schendel, Cildo Meireles, Helio Oiticica, Alfredo Volpi, Sergio de Camargo, Abraham Palatnik, Emiliano Di Cavalcanti and Lasar Segall as well as contemporary artists such as Vik Muniz, Beatriz Milhazes, Jac Leirner, Adriana Varejão, Rivana Neuenschwander, Erika Verzutti, Sandra Cinto, Valeska Soares, Janaina Tschäpe, Miguel Rio Branco and Renata Lucas. Highlights of works by international artists sold included Anish Kapoor, Gabriel Orozco, Damian Ortega, Antoni Tàpies, Geta Brătescu, Michelangelo Pistoletto, William Kentridge, Oscar Murillo, Richard Serra, John Chamberlain, Alexander Calder, Damien Hirst, Antony Gormley, Allora & Calzadilla, Georg Baselitz, Robert Longo, Lucio Fontana and Pino Pascali as well as work by innovative emerging artists in the ‘Solo’ Sector including Jose Dávila, Néstor Sanmiguel, Voluspa Jarpa, Nathan Peter, David Zink Yi, Arnaldo Dias Baptista and Virginia de Medeiros. SP-Arte is also delighted to announce that the 3rd edition of the illy Sustain Art Prize was awarded at the fair to artist Cristiano Lenhardt who received 20,000 BRL as part of this award. The illy Sustain Art Prize honours Latin American artists under the age of 35. The artist for this year was selected by SP-Arte and curator Fernando Oliva. At this year’s fair, SP-Arte and ICCo (Instituto de Cultura Contemporanea) also presented a series of awards for artists to participate in residencies abroad. SP-Arte is pleased to announce that artist Bruno Cançado will be participating in a residency at Cerveira in Portugal and artist Alexandre Brandão will be participating in a residency at Residency Unlimited, (RU) in New York. Participating galleries spoke highly of their experience at SP-Arte: Greg Lulay, David Zwirner Gallery said: “The fair organizers and collectors have been so welcoming, and we have been able to use the fair as a new stage where our artists can be seen, and where we could reach a new audience. We are all impressed with the growing international art community here, and were excited to participate. It was also a great experience for our gallery artist, Oscar Murillo, to join us in São Paulo. Highlights of our sales included all three paintings made especially for the fair by Oscar, works by Francis Alÿs and American artists Carol Bove and Jason Rhoades." Alexandre Gabriel, Fortes Vilaça said: "Our participation in SP-Arte this year was great. Of all the international fairs the gallery participates in, SP-Arte occupies a very special place in our programme as we are in our hometown and dealing with collectors we know very well. The Brazilian art scene has been receiving growing interest over the past few years and we believe that SP-Arte in its 10th edition, represents an essential element of this process. Our gallery opened in 2001, and we are very proud to also be a part of this process. This fair, we were delighted to sell sculptural works by Erika Verzutti who was recently the only Brazilian artist to participate in the prestigious 2013 Carnegie International." Rose Lord, Marian Goodman Gallery said: “It has been a good fair for us. We’ve had great discussions with colleagues, curators, and collectors—and are very happy that many of our works have found Brazilian homes. In addition, many of our artists will have upcoming shows with Brazilian institutions.” Gordon Veneklasen, Michael Werner Gallery said: “We have been happy with our first experience at SP-Arte and it is a fair we will continue to do. We have had a number of sales to both Brazilian and international buyers and the fair has helped introduce us to new collectors.” Christophe Van de Weghe, Van de Weghe Gallery said: “This is a tremendous fair. We sold a painting by Lucio Fontana to a collector from São Paulo and we met not only new collectors and new clients but also encountered here a lot of buying potential for the gallery.” Daniel Roesler, Galeria Nara Roesler said: “SP-Arte 2014 has been a great fair and every year is getting stronger than the one before. The overall quality of the work is getting better and the level of attendance has been great. SP-Arte remains the only fair in the world to see a diverse range of Brazilian art.” Nicolo Cardi, Cardi Gallery said: “SP-Arte has definitely become one of the top art fairs in the world and this extraordinary 10th edition made us very happy. This was due to good sales and also the very sophisticated Brazilian public of collectors that love the gallery’s focus on Arte Povera & Italian Masters." Socorro de Andrade Lima, Galleria Millan said: "We see SP-Arte as a great opportunity to show our artists' work to a wide range of people from Brazil and abroad, from collectors and art dealers to curators and other artists. This edition of the fair was really good for increasing the visibility of the artworks, and, as always, we also made good sales." Johanne Tonger-Erk, Sies + Höke Gallery said: “This was our first year at SP-Arte and the fair has exceeded our expectations in terms of making great sales and meeting new clients but also in terms of the organisation of the event.” Olivier Belot, Yvon Lambert said: “This fair is getting stronger and stronger from one year to another and it proves that there are great groups of collectors here committed to buying international art.” Flavio Cohn, Dan Galeria said: “We have been here since the beginning and it gets better and better every year. SP-Arte 2014 has been the best edition yet.” Wagner Lungov, Central Galeria de Arte said: “It has been great to see more international galleries at the fair as it shows the strength of the Brazilian market. For 2014, we were happy to sell a work by young artist Bartolomeo Gelpi to Pinacoteca through a donation by Iguatemi.” Paulo Kassab Jr., Galerie Lume in the ‘Showcase’ sector said: “It is our third year at the fair and this year has been the best. We brought larger and more expensive works this year and have done very well. It seems that there is a larger group of collectors here than ever before.” Henrique Faria, Henrique Faria Fine Art, ‘Solo’ Sector said: “I am happy to be back in São Paulo for SP-Arte and also happy to highlight the great artist Anna Bella Geiger and give the Brazilian market an opportunity to know this historical material I have presented on my stand. At this year’s fair I have made sales and met new people.” Fernanda Feitosa, Executive Director, SP-Arte said: “We are very pleased with the results of SP-Arte for the 10th edition of the fair. It was great to see such a fantastic group of local and international collectors come together this year, and that so many galleries in attendance had such strong sales. This year the fair was able to result in many works being acquired on behalf of local museums in São Paulo and through our new Solo sector, curated by Director of Inhotim Rodrigo Moura, we were able to introduce a range of innovative artists to the Brazilian public.
Recommended publications
  • 70 Documentos Do Acervo
    DOBRA DOBRA MUSEU LASAR SEGALL MUSEU LASAR SEGALL Os documentos reunidos em vida por Lasar Segall ( ) formam o Arquivo Lasar Segall, uma importante coleção para pesquisa da história da arte brasileira e europeia. Esse acervo, composto por cerca de . itens, constitui-se, pelo seu ineditismo, natureza e dimensão, em uma das mais importantes fontes para a análise e compreensão da vida e da obra do artista, um dos principais nomes da arte moderna brasileira. _CAPA final_70 documentos_MLS.indd 1 06/02/20 11:05 DOBRA DOBRA _CAPA final_70documentos_MLS.indd 2 DOBRA DOBRA DOBRA DOBRA 06/02/20 11:05 MeMória e História MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 1 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 2 06/02/20 11:04 MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 3 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 4 06/02/20 11:04 7 ApresentAção Daniel Rincon caiRes 11 MeMóriA e históriA VeRa D’HoRta 31 CurAdoriA e Arquivos de Museus de Arte ana MagalHães 49 divisAs biográficas 63 diásporAs, derivAs, desloCAMentos 79 inquietAções estéticas 99 revolução ModernistA nA AleMAnhA 133 ModernisMos brAsileiros 169 intiMidAde 177 rAízes JudAicas 189 AnotAções téCnicas 197 biblioteCA pArtiCulAr 209 eMpreendiMentos iMobiliários 221 english version 287 Créditos _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 5 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 6 06/02/20 11:04 Apresentação Daniel Rincon caiRes Em 1986 o Arquivo Lasar Segall inaugurava a sua jorna- da.
    [Show full text]
  • Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)
    Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century.
    [Show full text]
  • 7. Tarsila Do Amaral
    ONTENTS Tarsila, Brazil, Europe Fundaciön Juan March IS Study of an Oeuvre. And a Biography Aracy Amaral 1. Manifestos and Testimonials of Avant-garde Brazil 19 Oswald de Andrade: Manifesto of Pau-Brasil Poetry (1924) • 23 Mario de Andrade: Letter to Tarsila (November 15, 1924) • 25 Oswald de Andrade: Anthropophagite Manifesto (1928) • 31 Tarsila do Amaral: Pau-Brasil and Anthropophagite Painting (1939) • 34 Tarsila do Amaral: Lasar Segall (1936) • 37 Blaise Cendrars (1938) • 41 Still the "Week" (1943) • 44 Anita Malfatti (1945) • 46 General Confession (1950) • 48 Memories of Paris (1952) * * • 2. Four Views of Tarsila 55 Tarsila: A Structural Painting Haroldo de Campos 59 Tarsila Revisited Aracy Amaral 67 A "Quest"for Tarsila Juan Manuel Bonet 93 Tarsila and Oswald in the Wise Laziness of the Sun Jorge Schwartz 105 3. Tarsila do Amaral: Works 177 4. History and Context: From the Virgin Jungle to Tarsila's Brazil 5. Tarsila the Writer (1936-39) 203 A Master of Modern Painting • 204 Fernand Leger • 205 The School ofLhote • 207 Rousseau, the Other • 208 Mystic Cubism • 209 Brancusi • 211 Delaunay and the Eiffel Tower • 212 From Joseph Monier to Le Corbusier • 213 The Poet of Gardens • 21S From the Banks of the Nile to the Modern Book • 216 Carnival • 217 Trends in Modern Art • 218 Forests 6. Tarsila Seen by Her Contemporaries 223 Antonio Ferro: Tarsila do Amoral (1926) • 223 Mario de Andrade: Tarsila (1927) • 224 Manuel Bandeira, Emiliano Di Cavalcanti and Jorge de Lima: About Tarsila (1940) • 225 Mario de Andrade: Decorativism (1940) • 226 Ribeiro Couto: Arbitrary Prose on Tarsila (1940) • 226 Sergio Milliet: Tarsila (1940) • 226 Carlos Drummond de Andrade: The Word "Tarsila" (1940) • 227 Sergio Milliet: Tarsila (1953) 7.
    [Show full text]
  • A Arte Como Objeto De Políticas Públicas
    FAVOR CORRIGIR O TAMANHO DA LOMBADA DE ACORDO COM A MEDIDA DO MIOLO n. 13 2012 REVISTA OBSERVATÓRIO ITAÚ CULTURAL ITAÚ NÚMERO A arte como objeto de políticas públicas Banco de dados e pesquisas como instrumentos de construção de políticas O mercado das artes no Brasil .13 Artista como trabalhador: alguns elementos de análise itaú cultural avenida paulista 149 [estação brigadeiro do metrô] fone 11 2168 1777 [email protected] www.itaucultural.org.br twitter.com/itaucultural youtube.com/itaucultural Foto: iStockphoto Centro de Documentação e Referência Itaú Cultural Revista Observatório Itaú Cultural : OIC. – n. 13 (set. 2012). – São Paulo : Itaú Cultural, 2012. Semestral. ISSN 1981-125X 1. Política cultural. 2. Gestão cultural. 3. Arte no Brasil. 4. Setores artísticos no Brasil. 5. Pesquisa 6. Produção de conhecimento I. Título: Revista Observatório Itaú Cultural. CDD 353.7 .2 n. 132012 SUMÁRIO .06 AOS LEITORES Eduardo Saron .08 O BANCO DE DaDos DO ItaÚ Cultural: sobre O PassaDO E O Futuro Fabio Cypriano .23 CoNHECER PARA atuar: A IMPortÂNCIA DE ESTUDos E PESQuisas NA FORMULAÇÃO DE POLÍTICAS PÚBLICAS PARA A Cultura Ana Letícia Fialho e Ilana Seltzer Goldstein .33 SOBRE MOZart: soCioloGIA DE UM GÊNIO, DE Norbert ELIAS Dilma Fabri Marão Pichoneri .39 AS ESPECIFICAÇÕES DO MERCADO DE artes Visuais NO BRASIL: ENTREVista COM GeorGE KORNIS Isaura Botelho .55 Arte, Cultura E SEUS DEMÔNios Ana Angélica Albano .63 QuaNDO O toDO ERA MAIS DO QUE A soma DAS Partes: ÁLBUNS, SINGLES E os rumos DA MÚSICA GRAVADA Marcia Tosta Dias .75 CINEMA PARA QUEM PRECisa Francisco Alambert .85 O Direito ao teatro Sérgio de Carvalho .93 MÚSICA, DANÇA E artes Visuais: ASPECtos DO TRABALHO artÍSTICO EM DISCUSSÃO Liliana Rolfsen Petrilli Segnini .3 Revista Observatório Itaú Cultural n.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale.
    [Show full text]
  • FLETCHER-THESIS.Pdf
    Copyright by Kanitra Shenae Fletcher 2011 The Thesis Committee for Kanitra Shenae Fletcher Certifies that this is the approved version of the following thesis: Damage Control: Black Women's Visual Resistance in Brazil and Beyond APPROVED BY SUPERVISING COMMITTEE: Supervisor: Moyosore Okediji Cherise Smith Damage Control: Black Women's Visual Resistance in Brazil and Beyond by Kanitra Shenae Fletcher, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Dedication To my beloved late aunt Aundra Thornton. Abstract Damage Control: Black Women's Visual Resistance in Brazil and Beyond Kanitra Shenae Fletcher, M.A. The University of Texas at Austin, 2011 Supervisor: Moyosore Okediji Jezebels, Mammies, and Matriarchs… These labels signify racialized and gendered social constructions that transnationally pervade the lives of black women. By contextualizing black women’s artwork as visual responses to social subjugation and objectification, one can discern the (literal) materialization of black feminist epistemology through artistic production and the aesthetic concerns that drive expressive work. This thesis therefore analyzes black Brazilian artist Rosana Paulino’s work as a visual form of resistance to three major “controlling images” of black women in Brazil as sexually promiscuous, domestic laborers, and unfit mothers. Her work represents not only the Brazilian black woman’s experience; it broadens and deepens the conversation on black women’s art in Africa and its diasporas, where similar stereotypes exist. Several v of Paulino’s personal statements and artworks address subjects that parallel those made by black women artists--María Magdalena Campos-Pons, Lorna Simpson, Zanele Muholi, and Wangechi Mutu, to name a few--whose artwork is also considered in this paper.
    [Show full text]
  • Systems and Feedback: Cildo Meireles's Insertions Into Ideological Circuits, 1970—Ongoing
    SYSTEMS AND FEEDBACK: CILDO MEIRELES’S INSERTIONS INTO IDEOLOGICAL CIRCUITS, 1970—ONGOING BY TERESA CRISTINA JARDIM DE SANTA CRUZ OLIVEIRA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana–Champaign, 2013 Urbana, Illinois Doctoral Committee: Assistant Professor Irene V. Small, Chair Associate Professor David O’Brien Associate Professor Oscar E. Vázquez Assistant Professor Suzanne P. Hudson, University of Southern California Assistant Professor Terri Weissman Abstract In 1970, Brazilian artist Cildo Meireles began a series of artworks, commonly grouped under the title Insertions into Ideological Circuits, which has since become emblematic of a Latin American art often termed “ideological conceptualism.” This dissertation problematizes the limits of this terminology in shaping the readings of the Insertions into Ideological Circuits by offering detailed analyses of what the Insertions series is, how it operates, where it was first publicly received and what the impact of its exhibition was for different audiences. The main argument of this dissertation is that the Insertions series uses the notion of a system as its medium, and in so doing, seeks to question two interconnected systems: the system of art and the capitalist system. To support this argument, this dissertation draws from preexisting scholarship to offer analysis of the reproducibility and circulation of the projects in the art world as well as to demonstrate how language plays a significant role in the operation of the series as a system in and of itself. To further provide bases for my argument, I have used an investigative methodology that includes interviews with Meireles, the art critic Frederico Morais, as well as other Brazilian art historians.
    [Show full text]
  • A Cause for Reflection: Imagining Brazil at 100 Years of Independence
    A Cause for Reflection: Imagining Brazil at 100 Years of Independence By Joseph M. Pendergraph Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History August, 2015 Nashville, Tennessee Approved: Marshall C. Eakin, Ph.D. Sarah E. Igo, Ph.D. “O Gigante: Vossos irmãoes na pátria nova passam tranquillos com riqueza largos annos… outro sistema de gouverno abraçam, que julgam mais propício para os humanos, porque nesse regimen, ali novo, dizem que manda simplesmente o povo.”1 “For my part I will say that, if my body leaves [Brazil], my heart stays, and that, if one day it should split, on it will be seen the words Brazil and Portugal, so intensely linked, so intimately intertwined, that it shall not be possible to separate one from the other.”2 1 Augusto de Lacerda, As duas patrias: poêma em homenagem a Portugal e Brasil por occasião do centenário da abertura dos portos brasileiros ao commércio do mundo (Porto: Oficinas do Commercio do Porto, 1908), 116 – The passage reads roughly, “The Giant: Your brothers in the new Pátria calmly live long years with richness / embracing another form of government that they believe to be more propitious for mankind / because in this new regime it is said that the people simply govern.” The timing of this quotation is key for understanding the critique. The work was published in 1908 just two years before the overthrow of the Portuguese monarchy. The decadence of the throne in the nineteenth century had led to intellectual criticism in the 1870s and republican revolts and conspiracies in the last years of the century.
    [Show full text]
  • ALFREDO BOSI, Um Dos Maiores Gravadora E Artista Intermídia Com As Artes
    mensal | julho de 2021 | nº 1 | ano 28 /sescrevistae sescsp.org.br/revistae [email protected] | Distribuição gratuita | Venda proibida FAROL CRIATIVO | SER HUMANO E ATLETA | ANNA BELLA GEIGER | ALFREDO BOSI | NOVOS RUMOS DO LAZER | ALBERTO MANGUEL | 30 ANOS DA LEI DE COTAS | TELMA SCHERER | MARÍLIA BONAS | RICARDO TACIOLI SERAFINI Ação urgente realização contra a fome. Faça sua doação. A fome é uma realidade que atinge milhões de brasileiros. Agora, você pode doar qualquer tipo de alimento não perecível diretamente nas unidades do Sesc e Senac no Estado de São Paulo Ajude a mudar essa situação! Acesse www.sescsp.org.br/doemesabrasil Ação urgente realização contra a fome. Faça sua doação. A fome é uma realidade que atinge milhões de brasileiros. Agora, você pode doar qualquer tipo de alimento não perecível diretamente nas unidades do Sesc e Senac no Estado de São Paulo Ajude a mudar essa situação! Acesse www.sescsp.org.br/doemesabrasil EDITORIAL julho de 2021 | nº 1 | ano 28 Somatória de esforços Com o objetivo de ampliar as ações de combate à fome, uma triste realidade que a pandemia agravou, o Sesc – Serviço Social do Comércio e o Senac – Serviço Nacional de Aprendizagem Comercial somaram seus esforços na arrecadação de alimentos não perecíveis para distribuição às famílias necessitadas. Juntos, disponibilizaram todas as suas | Marcelino Melo (Nenê) unidades operacionais no estado para receber doações de seu Casa 06 público frequentador e de toda a IMAGEM DA CAPA comunidade. Estes alimentos são A foto que ilustra a capa desta edição, do artista Marcelino Melo (Nenê), posteriormente encaminhados compõe o projeto Galeria Virtual, realizado pelo Sesc Campo Limpo, para inúmeras famílias por meio no qual artistas são convidados para expressar sua relação com a de instituições cadastradas no região em que vivem.
    [Show full text]
  • A Visceral Azulejaria De Adriana Varejão / Priscila Beatriz Alves Andreghetto
    A visceral azulejaria de Adriana Varejão UNIVERSIDADE ESTADUAL PAULSITA “JULIO DE MESQUITA FILHO” INSTITUTO DE ARTES – IA/UNESP Priscila Beatriz Alves Andreghetto Dissertação de mestrado apresentada ao Programa de Pós-Graduação em Artes, área de concentração Artes Visuais, linha de pesquisa Abordagens Teóricas, Histórias e Culturais da Arte, no Instituto de Artes da Universidade Estadual Paulista, sob orientação do Prof. Dr. José Leonardo do Nascimento como requisito para obtenção do título de mestre. São Paulo, junho 2015 Ficha catalográfica preparada pelo Serviço de Biblioteca e Documentação do Instituto de Artes da UNESP A558h Andreghetto, Priscila Beatriz Alves, 1960 A visceral azulejaria de Adriana Varejão / Priscila Beatriz Alves Andreghetto. - São Paulo, 2015. 175 f. : il. Orientador: Prof. Dr. José Leonardo do Nascimento Dissertação (Mestrado em Artes) – Universidade Estadual Paulista, Instituto de Artes. 1. Varejão, Adriana. 2. Arte e história. 3. Arte brasileira – Período colonial. 4. Trabalhos em azulejo. 5. Mestiçagem. I. Nascimento, José Leonardo do. II. Universidade Estadual Paulista, Instituto de Artes. III. Título CDD 709.81 Dissertação apresentada ao Programa de Pós-Graduação em Artes Visuais do Instituto de Artes da Universidade Estadual Paulista “Júlio de Mesquita Filho”, como requisito parcial para obtenção do título de Mestre em Artes Visuais pela banca composta pelos professores: BANCA _______________________________________________________ Prof. Dr. José Leonardo do Nascimento Orientador Departamento de Artes Plásticas - Instituto de Artes de São Paulo _______________________________________________________ Profa. Dra. Neide Antônia Marcondes Faria Universidade de São Paulo - Departamento de Artes Plásticas ______________________________________________________ Prof. Dr. Oscar Alejandro F. D’Ambrosio Pesquisador Independente - Instituto de Artes de São Paulo Local de defesa: Instituto de Artes, UNESP, Campus São Paulo Ao Orandyr.
    [Show full text]
  • Curatorial Statement Past/Future/Present: Contemporary
    Curatorial Statement Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo presents a panorama of the most innovative art produced in Brazil from the 1990s to the 2010s. More than a cross-section of contemporary Brazilian art, however, it constitutes an exhibition of contemporary art made by Brazilian artists. This distinction highlights a fundamental question: In the era of globalization, in which the internationalization of art has increasingly eroded regional differences, what is “Brazilian” about contemporary Brazilian art? The answer is ultimately too slippery to grasp in a determined totality. It is impossible to pin down a homogeneous essence of contemporary Brazilian identity or a monolithic idea of Brazilian culture. In addition, the place of an artist’s birth is insufficient for establishing a sense of “brasilidade,” or “Brazilianness.” Were this the case, Lasar Segall (Lithuania, 1891 – Brazil, 1957), one of the great artists of Brazilian modernism, or Mira Schendel (Switzerland, 1919 – Brazil, 1988), an artist who quietly revolutionized abstraction in Brazil between the 1950s and the 1980s, would not be duly recognized as landmark references in the history of art in Brazil. Rather than their relation to physical geography, one central factor that ties contemporary artists to a Brazilian tradition is a shared symbolic repertoire drawn from images, experiences, and histories to which they often allude. Other common threads are references to social norms (and transgressions), internal art historical traditions (both in homage and subversion), and historical moments. In the globalized present, the accelerated pace of cultural exchange, as well as the dynamic displacement of artists from their home territories to other parts of the world, have engendered intense debates over the dissolution of national identities.
    [Show full text]
  • A ARTE NAS ARMADILHAS DOS DIREITOS AUTORAIS Uma Leitura Dos Conceitos De Autoria, Obra E Originalidade
    UNIVERSIDADE FEDERAL DO PARANÁ MARCELO MIGUEL CONRADO A ARTE NAS ARMADILHAS DOS DIREITOS AUTORAIS uma leitura dos conceitos de autoria, obra e originalidade CURITIBA 2013 MARCELO MIGUEL CONRADO A ARTE NAS ARMADILHAS DOS DIREITOS AUTORAIS uma leitura dos conceitos de autoria, obra e originalidade Tese apresentada como requisito parcial para a obtenção do título de Doutor em Direito pelo Programa de Pós-Graduação, Setor de Ciências Jurídicas da Universidade Federal do Paraná. Orientador: Prof. Dr. Eroulths Cortiano Junior CURITIBA 2013 TERMO DE APROVAÇÃO MARCELO MIGUEL CONRADO A ARTE NAS ARMADILHAS DOS DIREITOS AUTORAIS UMA LEITURA DOS CONCEITOS DE AUTORIA, OBRA E ORIGINALIDADE Tese aprovada como requisito parcial para obtenção do título de Doutor em Direito, pelo Programa de Pós-Graduação em Direito, Setor de Ciências Jurídicas da Universidade Federal do Paraná, pela seguinte banca examinadora: Orientador: Prof. Dr. Eroulths Cortiano Junior Departamento de Direito Civil e Processual Civil Setor de Ciências Jurídicas - UFPR Prof. Dr. Agnaldo Farias Universidade de São Paulo - USP Prof. Dr. José Antônio Peres Gediel Universidade Federal do Paraná - UFPR Prof. Dr. Laymert Garcia dos Santos Universidade Estadual de Campinhas - UNICAMP Prof. Dr. Luiz Edson Fachin Universidade Federal do Paraná - UFPR Prof.a Dr.a Maria José Justino (Suplente) Escola de Música e Belas Artes do Paraná - EMBAP Curitiba, 12 de junho de 2013 Toda a “humanidade é obra de um autor, em um único volume; quando um homem morre, não é que um capítulo se perca, John Donne apenas ele é traduzido para uma linguagem melhor, e “ cada capítulo deve assim ser traduzido. AGRADECIMENTOS Os primeiros agradecimentos são endereçados ao Orientador, Professor Doutor Eroulths Cortiano Junior, que eu já conhecia como um notável civilista, e que no decorrer da pesquisa mostrou também ser detentor de um sólido conhecimento que se estende para além do direito, com um repertório de leituras em várias áreas, especialmente na literatura e na história.
    [Show full text]