sábado, 15 de julho de 2017





AT THE MET BRAUER

MARCH 21 - JULY 23,  2017


Exhibition Catalogue

This beautifully illustrated publication includes illuminating essays, a chronology, and interviews with the acclaimed Brazilian artist.


Exhibition Overview


Lygia Pape: A Multitude of Forms is the first monographic exhibition in the United States devoted to Brazilian artist Lygia Pape (1927–2004). A critical figure in the development of Brazilian modern art, Pape combined geometric abstraction with notions of body, time, and space in unique ways that radically transformed the nature of the art object in the late 1950s and early 1960s. Covering a prolific, unclassifiable career that spanned five decades, this exhibition examines Pape's extraordinarily rich oeuvre as manifest across varied media—from sculpture, prints, and painting to installation, photography, performance, and film.




COME ENJOY A TRULY BRAZILIAN CACHAÇA, SERVED BY LEBLON. 
RSVP - OPENING NIGHT
Location: 4W43 Gallery  
4 West 43rd St. off 5th Ave
New York, NY 10036

Free Admission
Any question
reservations@nyceventspaces.com 

Produced by
NYC Event Spaces, 4 West 43rd St, New York, NY 10036




María Freire (Uruguayan, 1917–2015). Untitled. 1954. Oil on canvas, 36 1/4 × 48 1/16″ (92 × 122 cm). The Museum of Modern Art, New York. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Gabriel Pérez-Barreiro, 2016





Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them. Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender.
Drawn entirely from the Museum’s collection, the exhibition features nearly 100 paintings, sculptures, photographs, drawings, prints, textiles, and ceramics by more than 50 artists. Within a trajectory that is at once loosely chronological and synchronous, it includes works that range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.
Organized by Starr Figura, Curator, Department of Drawings and Prints, and Sarah Hermanson Meister, Curator, Department of Photography, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.












Another Gesture/ Um Outro Gesto/Eine weitere Geste/ presents four German and Brazilian female artists working in painting, drawing, and photography. The notion of “another gesture” suggests a two-fold approach: first, one that moves away from the dominant male legacy of abstract expressionism, in which gesture and opticality were used to champion purity and the uniqueness of painting as a medium. The artists included in this show, working today, and in two differing hemispheres, either acknowledge or incorporate this past, but beyond that, they cling on to gesture, not only as a visual element, but as a conceptual vehicle for humor, for refusal, narrative, or memory. Second, within the word “another” there is a subtle play with the idea of being other to someone, a slight reference to the otherness that haunts historical relationships between Brazil and Germany.
These historical ties are mostly known in regards to colonial expeditions and German immigration to Brazilian territories: most famously, in 1557, the German explorer Hans Staden wrote about his capture by the Tupinambás and their cannibalism, a notion that would permeate, in the early 20th Century, Brazilian intellectuals’ idea of Anthropophagy, a time when Brazilian critic Oswald de Andrade famously said, “Only anthropophagy unite us.”
In the 19th Century, German traveling artists such John Moritz Rugendas and Eduard Hilderbrandt arrived in Brazil to depict its flora, fauna and native inhabitants. From the end of the 19th to the beginning of the 20th Century, German immigrants settled in cities all over Brazil, escaping war and poverty; many German artists had a fundamental participation in the first São Paulo Biennials. In the 21st Century, with the art world’s globalization, German and Brazilian art institutions have sought to shorten the geopolitical and invisible distances between the two countries.
Although these historical ties do exist, in Another Gesture/ Um Outro Gesto/Eine weitere Geste/ we eschew them to tell yet these women artists’ stories: we interrupt this rigid transnational narrative to create alternative ones through the idea of “gesture” as a generative theme. “Another Gesture” thus become an open-ended, consciously ambiguous, and fluid space, in which these artists, from different backgrounds, can navigate.
Dates: 3rd to 20th August, 2017
Logo(AIR)
Artists in Residence Gallery – 155 Plymouth Street   |   Brooklyn NY   |   (212) 255 6651  |

Acknowledgements

Our special thank you for the institutional support of the:

More information: 
https://anothergesture.com/2017/05/29/another-gesture-show/



The Brazilian Chorus of New York

Tamanduá 2009

No Auditions necessary. Everyone is welcome to join!

The Chorus rehearses regularly:

•  Sundays from 11:30am to 1pm. Father Demo Hall (downstairs).

• Thursdays from 7:00pm to 8:30pm. Organ Room (upstairs).

Rehearsal Location:




Our Lady of Pompeii Church

25 Carmine St, New York, NY 10014

Currently under the direction of João MacDowell.


History:

Founded by João MacDowell in 2008 for the first production of Tamanduá – The Anteater.
In 2013/14 the group was brought back together and increased in size with many new singers, for the IBOC debut concerts.
The Chorus has been in permanent activities since.
Maestro Neviton Barros directed the Chorus from the Spring 2014, to the Spring 2015 seasons.
Maestro Alan Aníbal directed the Chorus during the Spring 2016 season.