Adriano Pedrosa

André Mesquita

Erika Verzutti (São Paulo, 1971) is a key artist for understanding sculpture practice today, both in the Brazilian panorama and internationally. Her thought- provoking forms explore new routes for the medium, with renewed attention to the origin and materiality of sculpture, its varied references, and its formal intelligence. Using different materials, such as bronze, concrete, stone, and papier-maché, Verzuttiœs works are sensual and tactile, both rough and refined, evoking animals and plants, landscapes and minerals, everyday objects and objects of artfrom Tarsila do Amaral to Constantin Brancusi, from René Magritte to Piero Manzoni. Often with an uncanny character, Verzuttiœs sculptures give themselves up to unpredictability, sometimes with a certain degree of humor, refusing to accept pre-established definitions or traditionshence the catalogueœs subtitle: The Indiscipline of Sculpture. This is the most thorough publication dedicated to Verzuttiœs oeuvre, which accompanies her first exhibition in a Brazilian museumthe Museu de Arte de São Paulo Assis Chateaubriand. The book is divided into seven chapters organizing the artistœs practice, spanning her entire career since 2003: Becoming-Animalʺ, Tropical Pathwayʺ, World Metaphorʺ, Totemize the Tabooʺ, Wild Modernismʺ, Under Tarsilaœs Sun (and Other Stories),ʺ and Strangely Familiar.ʺ With texts written by curators, art critics, and historians, this is a fundamental book for understanding Erika Verzuttiœs work as one of the most singular contributions to the field of sculpture today.

The Indiscipline of Sculpture

Erika Verzutti

O MASP de Lina reúne textos e ensaios visuais especialmente comissionados no contexto das comemorações dos 50 anos do edifício do MASP na avenida Paulista, além de fotografias e de documentos históricos. Inaugurado em 7 de novembro de 1968, esse é o mais importante projeto da visionária arquiteta ítalo-brasileira Lina Bo Bardi (Roma, 1914 – São Paulo, 1992). A origem de muitos dos textos aqui publicados foi um seminário internacional realizado no próprio museu sobre esse marco da arquitetura modernista latino-americana e internacional. [Lina Bo Bardi’s Museu de Arte de São Paulo features texts and photo-essays specially commissioned in the context of the celebration of the 50 years of MASP’s building on avenida Paulista, along with photographs and historical documents. Inaugurated on November 7, 1968, this is the most important project of the visionary Italian-Brazilian architect Lina Bo Bardi (Rome, 1914 – São Paulo, 1992). The source of many of these texts was an international seminar held at the museum itself, concerning this landmark of Latin American and international modernist architecture.] Organização [Edited by] Adriano Pedrosa com a assistência de [with the assistance of] Guilherme Giufrida Textos [Texts by] Adriano Pedrosa; Annette Svaneklink Jakobsen; Barry Bergdoll; Eduardo Pierrotti Rossetti; Guilherme Giufrida; Guilherme Wisnik; Lina Bo Bardi; Marcelo Ferraz, Marcelo Suzuki, Roberto Rochlitz; Marina Grinover; Olivia de Oliveira; Renato Anelli; Sarah Feldman; Silvana Rubino; Silvio Oksman, Lúcia A. Furlan, Luiza Nadalutti, Heloísa Maringoni, Juca Pires; Zeuler R. M. de A. Lima Ensaios visuais [Photo-essays by] Lucia Guanaes; Luiza Baldan; Nair Benedicto Edição bilíngue português/inglês [Portuguese/English bilingual edition] Publicado por [Published by] MASP, Museu de Arte de São Paulo Assis Chateaubriand

LINA BO BARDI'S MUSEU DE ARTE DE SÃO PAULO

O Masp De Lina

Tomás Toledo

A colossal, panoramic, much-needed appraisal of the visual cultures of Afro-Atlantic territories across six centuries Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories--their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures. The plural and polyphonic quality of "histórias" is also of note; unlike the English "histories," the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives. The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism. Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

Afro-Atlantic Histories

Fernando Oliva

The most comprehensive exhibition catalog dedicated to the work of Brazilian artist Tarsila do Amaral (1886-1973), a pioneering figure in Latin American modernism. The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila's palette (which served as inspiration for the colors of the exhibition design) is also popular: "pure blue, violaceous rose, bright yellow, singing green." Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist's international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women's Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th.

Cannibalizing Modernism

A radical reconception of Degas' sculpture through the lens of gender, labor and more, with new photography of the works This substantial new monograph on the work of Edgar Degas (1834-1917), one of the most significant artists of the 19th and 20th centuries, is a decisive contribution to the literature on the French Impressionist artist. An innovative and groundbreaking book, with underlying discussions related to "dance, politics and society," it pays special attention to issues of gender, identity, labor, race and the representation of women. Degas worked in various mediums, and, at the end of his life, left around 6,000 works, including 2,000 related to the world of dance and ballet. The contradictions and ambiguities of his art, especially the way he straddles both tradition and modernity, reaffirm both his uniqueness and significance in the history of Western art. Degas: Dance, Politics and Society includes ten essays, never before published, by experts around the world, and also features a visual essay of black-and-white photographs of the bronze sculptures, including Little Dancer Aged Fourteen, by the Brazilian artist Sofia Borges. Through her camera, Borges reinterprets and conceives new images of Degas' most cherished and classic sculptures. Borges' extraordinary photographs reveal, transform and revisit Degas' works in an innovative and radical manner.

Degas: Dance, Politics and Society

Museo Nacional Centro de Arte Reina Sofía, 12/XII/00-26/III/01

F[r]icciones

Camila Bechelany

Curated by Adriano Pedrosa, Lilia Schwarcz, Camila Bechelany and Pablo León de la Barra, the collective exhibition brings a comprehensive and diverse account of the artistic productions dealing with sexuality, showing works by 60 artists that have permeated the history of art, including Brazilian contemporary artists like Aleta Valente, Ayrson Heráclito, Erika Verzutti, Lyz Parayzo, Rafael RG, and Virgínia de Medeiros. "Stories of sexuality" investigates the sexuality in its most varied expressions, like sex itself, as corporeality, or as pleasure, guilt, and in politics. Participating artists include: Adir Sodré, Adriana Varejão, Alair Gomes, Albino Braz, Aleta Valente, Alexandre da Cunha, Alice Neel, Almandrade, Álvaro Barrios, Ana Mendieta, Anita Malfatti, Anna Bella Geiger, Autorias desconhecidas, AVAF, Ayrson Heráclito, Balthus, Betty Tompkins, Bhupen Khakhar, Carlos Leppe, Carlos Martiel, Carlos Motta, Carlos Zéfiro, Carolee Schneeman, Chico Tabibuia, Cibelle Cavali Bastos, Cícero Dias, Cildo Meireles, Cláudia Andujar, Collier Schorr, Cristina Lucas, Dean Sameshima, Descartes Gadelha, Dias & Riedweg, Dorothy Iannone, Edgar Degas, Édouard Manet, Eduardo Costa, Eduardo Kac, Egon Schiele, Eisen, Eizan, Eliseu Visconti, Ellen Cantor, Erika Verzutti, Ernesto Neto, Flávio de Carvalho, Francis Bacon, Francisco Leopoldo e Silva, François Clouet, GALF-Grupo de Ação Lésbico Feminista, General Idea, Georgete Melhem, Giuseppe Campuzano, Glauco Mattoso, Graciela Iturbide, Hal Fischer, Hudinilson Jr., Hulda Gúzman, Iris Häussler, Jac Leirner, Javier Castro Rivera, J.A.D. Ingres, José Antonio da Silva, José Celestino da Silva, Juan Davila, Juca Martins, Kohei Yoshiyuki, Lasar Segall, Leda Catunda, Léon Ferrari, Leonilson, Leticia Parente, Lionel Wendt, Louise Bourgeois, Lynda Benglis, Lyz Parayzo, Madalena Schwartz, Marcelo Krasilcic, Márcia X, Maria Auxiliadora da Silva, María Galindo, Marta Minujin, Martha Wilson, Mickalene Thomas, Miguel Ángel Cárdenas, Miguel Angel Rojas, Miriam Cahn, Mirian Inês da Silva, Moacir, Movimento de Arte Pornô, Mujeres Creando, Nahum B. Zenil, Nancy Spero, Nicolas Poussin, Pablo Picasso, Paul Gauguin, Paulo Bruscky, Paulo Pedro Leal, Paz Errázuriz, Pedro Lemebel, Philip-Lorca diCorcia, Pierre-Auguste Renoir, Pietro Perugino, Rafael França, Rafael RG, Regina Vater, Renato de Lima, Rivane Neuenschwander, Robert Mapplethorpe, Fabulosos Nobodies, Rosa Gauditano, Sergio Zevallos, Serigrafistas Queer, Suzanne Valadon, Teresa Margolles, Tracey Emin, Tracey Moffatt, Valie Export, Vania Toledo, Vicente do Rego Monteiro, Victor Meirelles, Virginia de Medeiros, Wolfgang Tillmans, Yeguas del Apocalipsis and Zoe Leonard.

Adriano Pedrosa

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