THE DEPTH OF THINGS: NICOLÁS BACAL AT GALERÍA VERMELHO

Vermelho Gallery presented two new exhibitions: O espaço entre eu e você (The space between me and you) by Marcelo Cidade and Estratos (Strata) by Ximena Garrido-Lecca.

Edgard de Souza is showing a selection of works made during the least three years, including two in pandemic seclusion, in his third solo show at Vermelho. In the exhibition, the artist presents a set of four new sculptures in bronze, one in carved mahogany, and a series of new embroideries.

Four years after de donation of Paulo Mendes da Rocha’s entire archive to Casa da Architectura, the Portuguese Center for Architecture presented two simultaneous exhibtions, a book and a ten-month parallel program of activities around the artist’s principles, aesthetics and ethics.

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.

Casa Triângulo presented Fernanda Galvão’s first solo exhibition at the brazilian gallery: As colinas murmuravam e sonhavam em cair no mar (The Hills Muttered and Dreamed of Falling in the Sea). Curated by Luana Fortes.

Breath Pieces is Camila Sposati’s –a Brazilian artist and researcher– first solo exhibition in Germany. The artist creates a unique experiential space that vibrates throughout the city of Stuttgart and builds on her artistic exploration over the past years.

Instituto Inhotim inaugurates a new permanent gallery dedicated to Yayoi Kusama. Galeria Yayoi Kusama features two of her works: I’m here, but nothing (2000) and Aftermath of Obliteration of Eternity (2009), both belonging to the Instituto Inhotim Collection.

The exhibition Manifiesto verde (Green Manifesto) at the Museo Moderno de Buenos Aires takes its title from the declaration written in 1971 by artist Nicolás García Uriburu in which he expressed his desire to denounce the antagonism between nature and civilization.

With the third act dedicated to the memory of Abdias Nascimento (1914-2011), an exhibition focused on the work of Mestre Didi (1917-2013) and a large installation by the emerging Mônica Ventura, Inhotim is consolidating an important change in the profile of its collection and in the commissioning of new works.

Vermelho Gallery presented two new exhibitions: O espaço entre eu e você (The space between me and you) by Marcelo Cidade and Estratos (Strata) by Ximena Garrido-Lecca.

Edgard de Souza is showing a selection of works made during the least three years, including two in pandemic seclusion, in his third solo show at Vermelho. In the exhibition, the artist presents a set of four new sculptures in bronze, one in carved mahogany, and a series of new embroideries.

Four years after de donation of Paulo Mendes da Rocha’s entire archive to Casa da Architectura, the Portuguese Center for Architecture presented two simultaneous exhibtions, a book and a ten-month parallel program of activities around the artist’s principles, aesthetics and ethics.

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.

Casa Triângulo presented Fernanda Galvão’s first solo exhibition at the brazilian gallery: As colinas murmuravam e sonhavam em cair no mar (The Hills Muttered and Dreamed of Falling in the Sea). Curated by Luana Fortes.

Breath Pieces is Camila Sposati’s –a Brazilian artist and researcher– first solo exhibition in Germany. The artist creates a unique experiential space that vibrates throughout the city of Stuttgart and builds on her artistic exploration over the past years.

Instituto Inhotim inaugurates a new permanent gallery dedicated to Yayoi Kusama. Galeria Yayoi Kusama features two of her works: I’m here, but nothing (2000) and Aftermath of Obliteration of Eternity (2009), both belonging to the Instituto Inhotim Collection.

The exhibition Manifiesto verde (Green Manifesto) at the Museo Moderno de Buenos Aires takes its title from the declaration written in 1971 by artist Nicolás García Uriburu in which he expressed his desire to denounce the antagonism between nature and civilization.

With the third act dedicated to the memory of Abdias Nascimento (1914-2011), an exhibition focused on the work of Mestre Didi (1917-2013) and a large installation by the emerging Mônica Ventura, Inhotim is consolidating an important change in the profile of its collection and in the commissioning of new works.

Edgard de Souza is showing a selection of works made during the least three years, including two in pandemic seclusion, in his third solo show at Vermelho. In the exhibition, the artist presents a set of four new sculptures in bronze, one in carved mahogany, and a series of new embroideries.

Four years after de donation of Paulo Mendes da Rocha’s entire archive to Casa da Architectura, the Portuguese Center for Architecture presented two simultaneous exhibtions, a book and a ten-month parallel program of activities around the artist’s principles, aesthetics and ethics.

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.

Casa Triângulo presented Fernanda Galvão’s first solo exhibition at the brazilian gallery: As colinas murmuravam e sonhavam em cair no mar (The Hills Muttered and Dreamed of Falling in the Sea). Curated by Luana Fortes.

Breath Pieces is Camila Sposati’s –a Brazilian artist and researcher– first solo exhibition in Germany. The artist creates a unique experiential space that vibrates throughout the city of Stuttgart and builds on her artistic exploration over the past years.

Instituto Inhotim inaugurates a new permanent gallery dedicated to Yayoi Kusama. Galeria Yayoi Kusama features two of her works: I’m here, but nothing (2000) and Aftermath of Obliteration of Eternity (2009), both belonging to the Instituto Inhotim Collection.

The exhibition Manifiesto verde (Green Manifesto) at the Museo Moderno de Buenos Aires takes its title from the declaration written in 1971 by artist Nicolás García Uriburu in which he expressed his desire to denounce the antagonism between nature and civilization.

With the third act dedicated to the memory of Abdias Nascimento (1914-2011), an exhibition focused on the work of Mestre Didi (1917-2013) and a large installation by the emerging Mônica Ventura, Inhotim is consolidating an important change in the profile of its collection and in the commissioning of new works.

Vermelho Gallery presented two new exhibitions: O espaço entre eu e você (The space between me and you) by Marcelo Cidade and Estratos (Strata) by Ximena Garrido-Lecca.

Edgard de Souza is showing a selection of works made during the least three years, including two in pandemic seclusion, in his third solo show at Vermelho. In the exhibition, the artist presents a set of four new sculptures in bronze, one in carved mahogany, and a series of new embroideries.

Four years after de donation of Paulo Mendes da Rocha’s entire archive to Casa da Architectura, the Portuguese Center for Architecture presented two simultaneous exhibtions, a book and a ten-month parallel program of activities around the artist’s principles, aesthetics and ethics.

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.

Casa Triângulo presented Fernanda Galvão’s first solo exhibition at the brazilian gallery: As colinas murmuravam e sonhavam em cair no mar (The Hills Muttered and Dreamed of Falling in the Sea). Curated by Luana Fortes.

Breath Pieces is Camila Sposati’s –a Brazilian artist and researcher– first solo exhibition in Germany. The artist creates a unique experiential space that vibrates throughout the city of Stuttgart and builds on her artistic exploration over the past years.

Instituto Inhotim inaugurates a new permanent gallery dedicated to Yayoi Kusama. Galeria Yayoi Kusama features two of her works: I’m here, but nothing (2000) and Aftermath of Obliteration of Eternity (2009), both belonging to the Instituto Inhotim Collection.

The exhibition Manifiesto verde (Green Manifesto) at the Museo Moderno de Buenos Aires takes its title from the declaration written in 1971 by artist Nicolás García Uriburu in which he expressed his desire to denounce the antagonism between nature and civilization.

With the third act dedicated to the memory of Abdias Nascimento (1914-2011), an exhibition focused on the work of Mestre Didi (1917-2013) and a large installation by the emerging Mônica Ventura, Inhotim is consolidating an important change in the profile of its collection and in the commissioning of new works.

Vermelho Gallery presented two new exhibitions: O espaço entre eu e você (The space between me and you) by Marcelo Cidade and Estratos (Strata) by Ximena Garrido-Lecca.

Edgard de Souza is showing a selection of works made during the least three years, including two in pandemic seclusion, in his third solo show at Vermelho. In the exhibition, the artist presents a set of four new sculptures in bronze, one in carved mahogany, and a series of new embroideries.

Four years after de donation of Paulo Mendes da Rocha’s entire archive to Casa da Architectura, the Portuguese Center for Architecture presented two simultaneous exhibtions, a book and a ten-month parallel program of activities around the artist’s principles, aesthetics and ethics.

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.

Casa Triângulo presented Fernanda Galvão’s first solo exhibition at the brazilian gallery: As colinas murmuravam e sonhavam em cair no mar (The Hills Muttered and Dreamed of Falling in the Sea). Curated by Luana Fortes.

Breath Pieces is Camila Sposati’s –a Brazilian artist and researcher– first solo exhibition in Germany. The artist creates a unique experiential space that vibrates throughout the city of Stuttgart and builds on her artistic exploration over the past years.

Instituto Inhotim inaugurates a new permanent gallery dedicated to Yayoi Kusama. Galeria Yayoi Kusama features two of her works: I’m here, but nothing (2000) and Aftermath of Obliteration of Eternity (2009), both belonging to the Instituto Inhotim Collection.

The exhibition Manifiesto verde (Green Manifesto) at the Museo Moderno de Buenos Aires takes its title from the declaration written in 1971 by artist Nicolás García Uriburu in which he expressed his desire to denounce the antagonism between nature and civilization.

With the third act dedicated to the memory of Abdias Nascimento (1914-2011), an exhibition focused on the work of Mestre Didi (1917-2013) and a large installation by the emerging Mônica Ventura, Inhotim is consolidating an important change in the profile of its collection and in the commissioning of new works.