GABRIEL RIBEIRO'S SOLAR EXPERIMENTATION, IN KUBIKULO

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Museum of Modern Art of São Paulo presents the 38th Panorama of Brazilian Art: Mil Graus [A thousand degrees], an exhibition curated by Germano Dushá and Thiago de Paula Souza, and co-curated by Ariana Nuala, whose title evokes the idea of a “heat-limit,” where everything is transformed, referring to the intense climatic and metaphysical conditions that challenge and lead to inevitable processes of transmutation. In this edition, the MAM biennial exhibition presents 34 artists from 16 Brazilian states.

The approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Museum of Modern Art of São Paulo presents the 38th Panorama of Brazilian Art: Mil Graus [A thousand degrees], an exhibition curated by Germano Dushá and Thiago de Paula Souza, and co-curated by Ariana Nuala, whose title evokes the idea of a “heat-limit,” where everything is transformed, referring to the intense climatic and metaphysical conditions that challenge and lead to inevitable processes of transmutation. In this edition, the MAM biennial exhibition presents 34 artists from 16 Brazilian states.

The approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Museum of Modern Art of São Paulo presents the 38th Panorama of Brazilian Art: Mil Graus [A thousand degrees], an exhibition curated by Germano Dushá and Thiago de Paula Souza, and co-curated by Ariana Nuala, whose title evokes the idea of a “heat-limit,” where everything is transformed, referring to the intense climatic and metaphysical conditions that challenge and lead to inevitable processes of transmutation. In this edition, the MAM biennial exhibition presents 34 artists from 16 Brazilian states.

The approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Museum of Modern Art of São Paulo presents the 38th Panorama of Brazilian Art: Mil Graus [A thousand degrees], an exhibition curated by Germano Dushá and Thiago de Paula Souza, and co-curated by Ariana Nuala, whose title evokes the idea of a “heat-limit,” where everything is transformed, referring to the intense climatic and metaphysical conditions that challenge and lead to inevitable processes of transmutation. In this edition, the MAM biennial exhibition presents 34 artists from 16 Brazilian states.

The approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Museum of Modern Art of São Paulo presents the 38th Panorama of Brazilian Art: Mil Graus [A thousand degrees], an exhibition curated by Germano Dushá and Thiago de Paula Souza, and co-curated by Ariana Nuala, whose title evokes the idea of a “heat-limit,” where everything is transformed, referring to the intense climatic and metaphysical conditions that challenge and lead to inevitable processes of transmutation. In this edition, the MAM biennial exhibition presents 34 artists from 16 Brazilian states.

The approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.