Exposição Renato Valle - Cristos e Anticristos - DUMARESQ - 14 de março.

Rosa Esteves - na Graphias

exposição Janela de Papel - gravuras

convocatória - Arte Postal – MAPAS DE INFLUÊNCIAS

Arte Postal – Mapas de Influências

convocatória

Tema: MAPAS DE INFLUÊNCIAS

A participação está aberta a todos

Formato Postal: 10 X 15 cm

apenas postais em gravura - técnica livre: xilogravura, calcogravuras, fotogravura, litogravura, etc.

Mande quantos cartões quiser!

Sem júri – Todos os trabalhos serão expostos na Oficina Oswald de Andrade e publicados no blog

http://mapasdeinfluencias.wordpress.com/

Encaminharemos aos artistas participantes um dos cartões postais recebidos pelo projeto. Serão reenviados aos artistas, aleatoriamente, com uma identificação do Projeto Mapas de Influências, certificando e agradecendo pela participação e apoio.

DATA LIMITE:

10 de agosto de 2012

Enviar para:

arte postal – MAPAS DE INFLUÊNCIAS 

Ponto Gráfico Ateliê

Caixa Postal 17002

CEP 02340-970

São Paulo - SP - BRASIL

Mais detalhes poderão ser encontrados no blog:

http://mapasdeinfluencias.wordpress.com/

dúvidas escrevam para:

mapasdeinfluencias@gmail.com

fonte: http://mapasdeinfluencias.wordpress.com/arte-postal/convocatori-arte-postal/

Four artists explore how parts make up the whole in "Fragmented" at the Hunterdon Art Museum

Astrid Bowlby, 12.16.07 (chrysanthemums floating). Ink on paper, 2007, 11 x 11 inches. Courtesy Gallery Joe, Philadelphia. Ben Butler, Invention #50 (detail), 2010, ink on paper. Courtesy of the artist and Coleman Burke Gallery

CLINTON, NJ.- The Hunterdon Art Museum opened an exhibition of work by four artists: Astrid Bowlby, Ben Butler, Sebastian Rug, and Christopher Skura. The show, titled Fragmented, explores how all four of the artists presented create art work that is the result of extremely labor intensive processes. The end result of the effort is art that is solid, yet fragile; if one piece or thread was moved or removed, the entire structure would collapse. Each piece in the show is constructed of repeating parts. In some works, such as Sebastian Rug’s drawings, it is a repetition of the same or similar marks. In others, such as those by Christopher Skura, the repeating parts are the layers of drawing, rather than the marks themselves. They are all assembled piece by piece, whether drawn on paper or constructed from wood. Astrid Bowlby grows her drawings through a slow and meticulous process. She is focused on building a surface and often it is this surface that offers to her a pattern; a pattern that she continues, until the passage of time and the darkness of the work tells her to stop. Astrid Bowlby finds her influences for drawing in disparate sources: geological patterns of growth, embroidery, knitting and weaving. Bowlby lives and works in Philadelphia, PA. Ben Butler creates organic drawings and sculpture by allowing his process to develop incrementally. The drawings are woven together with a fluidity that allows the amorphous shape to grow into something spectacular, but not necessarily identifiable. Butler’s sculptures encompass the same process, but involve the actual work of building as he uses the smaller elements to substantiate and invigorate the final work of art. Butler lets his work reveal itself to the viewer in time, just as he lets his form reveal itself through his process. Ben Butler lives and works in Memphis, TN. Sebastian Rug delicately constructs intertwined frameworks that appear to float on the surface. A complex combination of texture and proportion, Rug’s drawings invite the viewer in to closely examine the execution of his marks. This magnified view shows just how interlaced the complete work is and from this, the potential fragmentation can be seen readily. Although tightly bound, the slightest cut or break would seem to unravel the complicated drawing into one line, the line where Rug likely began this journey. Sebastian Rug lives and works in Leipzig, Germany. Christopher Skura creates systems. Systems thrive or fail based on the connectedness of its parts and Skura’s work is no different. Although improvised and free at their inception, his drawings evolve into technological and biological architecture through his ability to make contrasting elements work together seamlessly. Christopher Skura takes the viewer on a behind-the-scenes voyage through a complex imaginative system of shape, theory and color. He lives and works in New York, NY. Fragmented is an embodiment of repetition, detail and interconnectivity. These four artists share the unique obsession with creating a picture by developing an ongoing correlation between its smaller sections. Upon close inspection of the work in Fragmented, the viewer can quickly see how it would be impossible to remove just a section of the image without completely dismantling the entire work. This is where the dynamic lies: these images are strong because of their connections, but one disruption in any of these artist’s processes would leave the overall work fragmented.

Testimonios: Works by largely self-taught artists color the galleries at El Museo

Ejlat Feuer, Cataño, East 110th Street, East Harlem, Manhattan, 1966, C-print, 29 x 20, inches, Collection El Museo del Barrio, NY, Anonymous gift, 2007. 2007.21.9

NEW YORK, NY.- El Museo del Barrio announced that it is presenting TESTIMONIOS: 100 Years of Popular Expression in its galleries through May 6, 2012. The exhibition draws on rarely seen works by non-traditionally trained makers from El Museo del Barrio’s Permanent Collection and loans from the New York area. TESTIMONIOS bears witness to mankind’s artistic manifestations created under difficult circumstances or for spiritual or communal celebrations. This uplifting exhibition is organized by El Museo del Barrio and curated by Deborah Cullen, Director of Curatorial Programs at the museum. Testimonios: 100 Years of Popular Expression will feature works and artist projects by well-known and beloved self-taught artists such as the Puerto Rican sculptor, Gregorio Marzán (1906-1997) and the Mexican draftsman, Martín Ramírez (1895-1963), both of whose intense visions allowed them to forge highly personal and intricate works. Projects undertaken by professional artists working with broader creative communities will be featured as well. Photographer Ejlat Feuer’s (b. 1950) documentation of the beauty, diversity, and cultural significance of casitas, small structures built in community gardens located in New York's Puerto Rican neighborhoods, will be among those featured. Curator Deborah Cullen notes, “We make a special effort to focus on popular works from our Permanent Collection in our rotating exhibitions every few years, which comprise one-tenth of our holdings. The public will be surprised and delighted by the rich stories that each of these works reveal.” The exhibition is comprised of a vast range of artistic expression and purpose, including a large selection of santos de palo (small, carved, polychromed wooden saints created for domestic altars) from the Spanish Caribbean, evincing both continuity and innovation within the humble devotional form. Among other works, a range of Vodun banners (ornately sequined textiles created for the Afro-Haitian religion) is notable as a study in both syncretism and design. Audiences will have the opportunity to explore the rich visual language of paño (handkerchief) drawings, painstakingly elaborated by Mexican-American inmates in Texas to communicate their histories and hopes to their loved ones. Finally, the unique textile idiom of the Kuna (Panama and Colombia), crafted in colorful, layered molas, depicts their worldview. El Museo’s galleries are divided as follows: Casitas & Santos: Ejlat Feuer photographed community gardens in El Barrio, the Lower East Side, and the South Bronx, where Puerto Ricans and other community groups draw upon Caribbean agricultural and architectural traditions to transform vacant lots into garden sites with ‘casitas,’ or small houses, for community exchange and celebration. Featured alongside Feuer’s work, are santos de palo, or “saints made of wood,” primarily from Puerto Rico, representing holy figures and traditions of popular Catholicism that were used to convert native populations and African slaves. Many were also traditionally placed in household altars. Vodun Banners & Madama Dolls: Practitioners of Vodun (the African word for “spirit”) honor a pantheon of spirits resembling Christian saints, called Loa, who led exceptional lives and are associated with particular powers or attributes. This gallery will also feature Madama Dolls previously owned by Dr. Manual Aulí, whose specialty was emergency trauma. The dolls facilitated communication with patients from other cultures. In Espiritismo (Spiritism), la madama is a spiritual assistant who functions as a protector and who maintains the African traditions in the culture and conveys messages to those seeking guidance. Sacred objects are often sewn inside these dolls to protect its owner and their family. Molas & Marzán Sculptures: Mola refers to the decorative, hand-made panels in the blouses worn by Kuna women, as well as the entire garment that contains them. Originating from the tradition of Kuna women painting their bodies with geometrical designs, motifs include plants, animals, images from Kuna mythology and biblical scenes after the arrival of missionaries in the early 20th century. Also highlighted are the works of Gregorio Marzán, a self-taught artist who created a fantastical sculptural menagerie. After emigrating from Puerto Rico to New York in 1937, Marzán worked in bomb manufacturing but later became a “doll stuffer” at factories around the city. Marzán turned to art after retirement at age sixty-five using materials picked up in the neighborhood discount shops. “Nobody taught me, I made from the brain,” he once commented. Paños: Paños are standard cotton handkerchiefs that are transformed into expressive, emotional works of art by correctional facility inmates that are sent as letters to loved ones. Their creators were artists or others who worked in artistic fields prior to their incarceration, many returning to art after their release. Wardens began banning the practice in the 1990s when gang imagery appeared. Paños frequently convey love and longing for family as well as personal journeys in life from crime to redemption. Arpilleras & Margarita Cabrera: In Chile, on September 11, 1973, the freely elected government of Salvador Allende Gossens was overthrown by a violent coup, enacted by a military junta headed by Augusto Pinochet. The arpillera is one of the most potent art forms that flourished during this dark time. Arpilleras are small wall-hangings made from scraps of cloth attached to burlap food-sack backings that portray life under military rule, the desolate experiences of exile, and the search for “the disappeared.” Each arpillera helped ease isolation and fear of its female maker, often including pieces of clothing from missing loved ones. This tradition ended when democracy arrived in Chile in 1990 under Patricio Alwyn. Margarita Cabrera’s (b. 1973) workshops with female immigrants from Mexico resulted in the evocative works on display, as these women shared their stories of crossing the border by embroidering narratives on cactuses crafted from used U.S. border patrol uniforms.

J. Luna, Death at the Cantina, 1997 (detail), black ink on handkerchief, 15 ¼ x 15 ¼, Private Collection

exposição de gravura no MACC-Campinas, com as amigas Altina Felício, Georgina Torres, Ruth Tarasantchi e Vera Chalmers

Arte Postal - Os Livros, na Gravura Brasileira

• Arte Postal - Os Livros OS LIVROS Os livros são companheiros de caminhos, são mágicos na sua capacidade de transportarem e partilharem sonhos com todos os que amam navegar pelos seus diversos universos. Exposição coletiva de Arte Postal - Os Livros projeto de Constança Lucas na Galeria Gravura Brasileira /anexo de 1 a 31 de Março de 2012 todas as informações pode ser obtidas no blog http://artepostaloslivros.blogspot.com/

Gravura Brasileira

rua doutor franco da rocha, 61, Perdizes, 05015040 São Paulo, Brazil

Exibir mapa · Obter orientações

carnaval - exposição na Abcdéf

Exposição "Carnaval" em comemoração aos 12 anos de atividades culturais da galeria Abcdéf.

Exílio e Modernidade - O Espaço e o Estrangeiro na Cidade de São Paulo

Exílio e Modernidade - O Espaço e o Estrangeiro na Cidade de São Paulo

São Paulo é indiscutivelmente uma cidade de imigrantes, histórica e numericamente. E o olhar desses imigrantes acabou por transformar radicalmente os nossos espaços de viver e morar, mormente no período entre as décadas de 30 e 60 do século XX. Esta é a tese defendida pela professora Anat Falbel na exposição “O espaço e o estrangeiro na cidade de São Paulo: Exílio e Modernidade”, re-visitada aqui pela Ação Educativa do Centro da Cultura Judaica, através deste roteiro de visita educativa.

de: 10 de janeiro a 11 de março
Datas: de terça a domingo 
Horários: 9h30, 14h30 e 16h30 (de terça a sexta), 14h30 (sábados e domingos)
Idade: a partir de 12 anos
Necessário agendamento
No fim de semana peça pelo serviço na recepção (mínimo de 5 pessoas)

fonte: http://www.culturajudaica.org.br/326/ex%C3%ADlio-modernidade-espa%C3%A7-estrangeiro-na-cidade-de-s%C3%A3-paulo

48 horas / 48 hours

"48 horas" / "48 hours"
mostra coletiva com / group show with

Anabela Santos
Mauro de Souza
Flavia Vivacqua
João Carlos de Souza
Fulvia Molina
Leticia Rita
Thereza Salazar
Julieta Machado

Moisés Zandonade
Carla Mercado e Luana Chiarelli

e
Eduardo Verderame


entre as 18 horas da Sexta feira, 10 de fevereiro
e as 18 horas do domingo, 12 de fevereiro.

between the 18h of Friday, February 10
and the 18h of Sunday, February 12.


na Galeria Smith
Rua João Moura, 417/419
Pinheiros, São Paulo, SP

coletiva aberta - barrenses e simpatizantes (ES)

a exposiçao a contecera no ateliê do grande mestre kleber galveas 

na barra do jucu ,vila velha,es 

em protesto do fechamento da casa da cultura nesse local,

de 7 de fev a 7 de março-2012 

abertura as 19 horas dia 7 de março

graffiti painted world war II military planes

'untitled' by nunca, 2011,
spray paint on dc3 aircraft
all images © eric firesone 


the boneyard project: return trip
pima air and space museum, tucson, arizona, USA
january 28th, 2012 until may 31st, 2012


the pima air + space museum (PIMA) is hosting 'art from the boneyard', a project curated by eric firestone, carlo mccormick, 
leslie oliver and med sobio featuring several non-functioning WWII american military airplanes covered in the painted work 
of contemporary artists. in 'art from the boneyard: return trip', how & nosm, retna, andrew shoultz, faile, and nunca, among 
other creatives, journeyed to a 'bone yard', a large resting space for planes in disuse, in order to complete the five massive 
mural paintings on the bodies of retired aircrafts. 

the tradition of using the massive surface of a plane as a canvas has been a tradition in the united states air force for generations. 
'nose art' became a popular form of graffiti painting in the WWII era as soldiers decorated the fronts of the planes which would 
carry them into battle. 'the boneyard project: return trip' is the second installation of the series in which the artists created
a semi-sculptural, painted expression of his/her associations with the history of air travel and warfare. 



detailed view of 'untitled' by nunca






alternate view of 'untitled' by nunca



'warning shot' by retna, 2011,
ink and spray paint on dc3 aircraft



'warning shot' by retna



detailed view of 'warning shot' nose by retna



bast's work in progress



'naughty angels' by faile, 2012
acrylic on c45 aircraft



additional view of 'naughty angels' by faile



'flying tiger' by andrew schoultz, 2012
acrylic on aircraft



andrew schoultz work in progress



'flying tiger' by andrew schoultz, 2012
acrylic on aircraft



'time flies by' by how and nosm, 2011
spray paint on dc3 aircraft



additional view of 'time flies' by how and nosm


via juxtapoz

Exposição "Os Sítios Italianos do Patrimônio Mundial da Unesco"

Exhibition of folded paper sculptures by staff, students, faculty, and alumni of MIT opens

Brian Chan, Longhorned Bettle, 2011. Paper. Courtesy of the artist.

BROCKTON, MA.- Fuller Craft Museum, New England’s home for contemporary craft, presents Mens et Manus on display February 4, 2012 – April 29, 2012. Mens et Manus is an exhibition of complex folded paper sculptures by staff, students, faculty, and alumni of the Massachusetts Institute of Techonology. Latin for “mind and hand,” the MIT motto mens et manus is meant to exemplify the relationship between the work of the intellect and the work of the hand. This holistic approach uniting hand and mind emerges in a community of paper folders that has garnered a reputation for new, innovative, and extreme patterns. Paper folding—or origami as it is also popularly known—is the practice of transforming paper into complex representational and abstract three-dimensional sculpture through a series of complex folds. Typically artists will use only one sheet of square paper and avoid any cuts or adhesive, a challenging yet relatively recent restriction. The more complicated patterns, small as the finished piece may be, can begin with enormous sheets of paper, include hundreds of folds, and require days to complete. The sequence and location of folds on the single sheet of paper, called a crease pattern, is a complex geometric relationship reserving areas of paper for the constituent parts of a representational sculpture. This exhibit draws a connection between origami, a folk art with roots in the 17th century and contemporary complex mathematical inquiry. Abstract or geometric expressions in paper folding may be used to explore mathematical questions or problems, and often result in new patterns, new forms, and new ideas. For these artists, folded paper serves as the nexus between mathematical and aesthetic inquiry, uniting mind and hand. Mens et Manus: Folded Paper of MITFebruary 4, 2012 – April 29, 2012 Lecture: Folding Paper: Visual Art Meets Mathematics  Sunday, February 5, 1:00 pm Members $7 • Nonmembers $18 Opening Reception: Sunday, February 5, 2:00 - 5:00 pm Mens et Manus is an introduction to the work of MIT students, alumni, and faculty who have made the school a hub for a stimulating community of artists in folded paper. Paper folding—or origami as it is also popularly known—is the practice of transforming paper into complex representational and abstract three-dimensional sculpture through a series of complex folds. Abstract or geometric expressions in paper folding may be used to explore mathematical questions or problems, and often result in new patterns, new forms, and new ideas. For these artists, folded paper serves as the nexus between mathematical and aesthetic inquiry, uniting mind and hand,mens et manus.

poéticas urbanas

na rota da arte de verão - Galeria Mali Villas-Bôas

clique sobre a imagem para ver no tamanho original

a regra do jogo - Renata Egreja

“A pintura é uma festa, mas não se perca na purpurina.”

Sobre as pinturas recentes de Renata Egreja,

Texto de  Paula Braga.

“A vida é assim: esquenta e esfria, aperta e daí afrouxa, sossega e depois desinquieta. O que ela quer da gente é coragem.” Como que conduzida pela sabedoria de Guimarães Rosa, Renata Egreja vai acumulando em suas telas de grande formato os humores da vida, registrando dia a dia a fúria, depois a gentileza, o movimento amplo, depois a vontade de apagar tudo. Quando sossega, pinta com gratidão pela vida; quando desinquieta, pinta com furor de quem sabe da inevitável finitude da vida. Vai assim embaralhando vida, coragem perante a vida e pintura.

O gesto que um dia foi contido, a ponto de traçar o contorno de uma flor, no dia seguinte é descontrolado, derramando tinta líquida sobre a tela. Cada pintura é composta de várias camadas desses humores. Uma se sobrepõe à outra, ou melhor, pousa sobre a outra, sem escondê-la. Convivem como convivemos com os dias que vão passando, alguns de tranquilidade, outros de desespero. E segue-se. Esse registro de estados psíquicos intercepta um diário de viagens e culturas que a artista vivenciou nos últimos anos, mesclando cores carnavalescas bem brasileiras à iconografia indiana.

Quantos verbos ficam marcados nessas telas? Esparramar, derramar, erguer,

raspar, contornar, espirrar, bater, esfumaçar, misturar, jogar, aplicar, colar, traçar, preencher. Para finalizar esses cataclismos de energia vital, a artista fecha a tela com uma chave, que é sempre um padrão linear traçado na camada mais superior: linhas que fazem a pintura persiana (e quem ousa abrir essa persiana e olhar de frente para a massa disforme da vida?), uma flor que atravessa a tela de cima abaixo, suavemente contendo os dias passados, que ainda pulsam na composição, bandeirinhas que separam a festa caótica do mundo real, desenhadas em movimentos que mimetizam a escrita cursiva.

Ainda em um paralelo com a escrita, se essas telas fossem textos, seriam uma prosa coloquial, na qual a delícia está na ortografia errada e na gramática trôpega, que vai formando um espaço para a expressividade espontânea. E, iniciadas nos anos em que a artista brasileira estudou na École de Beaux-Arts de Paris, essas pinturas vernaculares ficam entre Guimarães Rosa e Raymond Queneau, sem esconder os sotaques, os ruídos, a falta de acabamento, em frases garranchadas com autenticidade.

“Não tem nada mais belo que morrer numa festa. Para mim a pintura representa esse drama, de morrer numa festa

diz a artista. Pintar para continuar, para fazer medrar do corpo a energia vital. Desmorrer a cada dia. Quando secar e for fim da festa, viveu-se bem; então é passar a chave e partir para a próxima. Tela? Vida? Tudo embrulhado. Se a pintura acabou, recomeçar uma pintura nova.

Em Paris, Renata Egreja concluiu em 2010 o mestrado em artes visuais na École Nationale Supérieure des Beaux-Arts (ENSBA), onde terminou em 2008 a graduação em artes visuais iniciada na FAAP, São Paulo. Na estadia de quatro anos na França, aprimorou seus estudos sobre os pintores do grupo Suporte/Superfície (1970-1972) e sobre a fisicalidade da pintura, trabalhando sob orientação de Dominique Gauthier. Participou do salão de arte abstrata Réalités Nouvelles, no Parc Floral, Paris (2008), expôs na Galerie Droite, Palais des Études, e em 2010 foi premiada na exposição Jeunes Talents na Universidade Paris-Dauphine. De volta ao Brasil, foi selecionada em 2010 para uma exposição coletiva do programa de exposições do Museu de Arte de Ribeirão Preto. Em 2011, apresentará exposições individuais no Museu de Arte de Goiânia, Museu de Arte Contemporânea de Jataí, também em Goiás, e Museu de Arte Contemporânea de Curitiba.

GroupArt en Estudio Artizar

Hemos querido que la primera exposición que se inicia en este 2012 en la galería Estudio ARTIZAR, sea una colectiva con algunos de los artistas más representativos de nuestra trayectoria. Con el título de Group ART, como guiño a la sinfonía de obras, estilos, energías y personalidades que se recogerán en la sala lagunera, queremos mostrar la evidencia de cada una de las nueve firmas. Empezando por los últimos trabajos de Sema Castro, los magníficos juegos de color de Luis Palmero o la sutileza en el grafito de Julio Blancas, pasando por las experiencias en blanco y negro de Carlos Rivero y Alexis W, que nos anticipa su serie San Borondón, creada en 1997. Los materiales cromáticos en las estructuras de Ángel Padrón en contraste con el óleo en bruto de Santiago Palenzuela llenan las paredes de vida y acompañan a la Santísima de Vicente López, la más reciente creación de su inconformista línea pop. Y para terminar este magnífico cartel de creadores, la artista gallega Pamen Pereira desemboca en Tenerife con sus líneas naturales, laberintos sanguíneos para demostrarnos que el mundo entero es medicina, y que hacen las veces de aperitivo para su muestra individual en el mes de Junio.

, como creación grupal, como fundición de ideas o como sendero por las nueve identidades de los artistas que lo forman. Una invitación al más puro arte contemporáneo y a la imagen de pasado, presente y sobre todo futuro de la galería Estudio ARTIZAR.

soma das formas