Curated by Pollyanna Quintella, the show gathers an original set of approximately 20 paintings and drawings created on various supports and sizes throughout 2020. Through these pieces, one can observe the pictorial links as established on the realm of ideas. Like an intrinsic phenomenon, they rest within a sharing and referencing correlation…

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In the 1949 anti-epic poem “A máquina do mundo” [The Machine of the World] by Carlos Drummond de Andrade (*), the renowned Brazilian poet reveals the mechanism of the world while the individual remains an enigma. Like Drummond, the installation Peso-contrapeso [Weight-Counterweight] by São Paulo-born conceptual artist Marcia Pastore thrives in the Hellenic and Renaissance theory that the world is a machine.

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Brazilian artist employs recycled fabric from his homeland’s industry in artworks created along with local craftswomen.

A series of artworks created during the new coronavirus pandemic in which he reflects upon the cultural and environmental impact caused by the textile industry in Pernambuco’s Agreste, in Brazil, as of the consolidation of an Apparel Manufacture Hub, responsible for radically changing the economic dynamics.

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Sao Paulo, Brazil – 1993
Lives and works in Sao Paulo

His contact with painting begins in 2013, through incursions with graffiti in the city of São Paulo. Then, he begins to be guided in the light of the influences given by the relations between gestural painting and oriental calligraphy, or more precisely by the history of the expressionist abstract movement led by the New York School in the immediate post-war period.

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Using the canvas as a diary, her practice has the body as primer matter, investigating the self outlined by her vulnerabilities and secrets, and revolves around the interplay between reality and fantasy, identity and time, offering a dreamlike alternative to reality.

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At first sight the sculptural work by Marcia Pastore and the paintings by Shizue Sakamoto for Art Basel Miami Beach’s Nova sector 2020 deal with issues of opposite nature, however, to a greater extent there is a silent dialogue that occurs between the contrasting layers found in the poetics of these two Brazilian women artists […]

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The group of works in the solo exhibition “Ephemeral Fields” by artist Daniel Mullen at Kogan Amaro, the Glasgow-born artist’s first in Zurich, starts from the question “in what ways can we imagine a future monument or the idea of a monument?”

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Nos Confins brings together paintings that, on purpose, do not faithfully represent the image of the real. On the contrary, they propose enigmas, whisper secrets, and cloud the viewer’s vision, providing the sensation that it is only possible to glimpse, peek, and glimpse […]

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