TRAVESÍA CUATRO VINDICATES THE LEGACY OF INEZ DA SILVA
The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.
Miriam Inez da Silva’s refined approach invites a meticulous analysis of both the subject matter and the technique she employed to render each detail. While her work may seem to embrace a naïve aesthetic, it conveys a sense of rupture and transgression, challenging the conventional narratives imposed by art historiography on certain artistic practices. Beyond rigid classifications, the intelligence and creativity embedded in this seemingly primitive style were the most powerful tools the artist wielded to assert her artistic vision.
Inez da Silva also sought to defy conventions in her personal life, not only through her artistic practice but also in her distinctive way of dressing. Sometimes perceived as eccentric, her ventures beyond the realm of painting embodied the same spirit of freedom that led her to distance herself from her academic training, expanding her creative horizons without constraints.
This exhibition is open to the public until May 8 at Travesía Cuatro, San Mateo 16, Madrid, Spain.
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The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
