In The Seventh Continent, installations don’t so much play off one another as lead to a feeling of fatigue, as one ponders a stream of disparate weighty topics in rapid succession.
Jonathas de Andrade explores the inequities and societal pressures on marginalized Brazilian communities, but he also challenges his audience to consider solutions.
Centered on Brazil’s northeastern region, Jonathas de Andrade’s One to One dramatizes exchanges between the colonizer and colonized, between the haves and have-nots.
As riveting as many of the works on show were, I wasn’t the only one to notice that the fair presented itself as a bubble, completely disconnected from the reality of current Brazil.
In MoMA’s Unfinished Conversations, artists around the world engage with today’s political struggles while exposing their personal, cultural, and historical roots.
The 13th Sharjah Biennial, titled Tamawuj, immerses you in distinctly crafted and compelling realities through sound, video works, and maze-like installations.
The eighth edition of Migrating Forms, running March 24–30, includes works by General Idea, Cauleen Smith, Jonathas de Andrade, Sondra Perry, and others.
Jonathas de Andrade’s short film “O Peixe” mimics the style of anthropological documentaries to capture a made-up fishing custom in northeast Brazil.
SÃO PAULO — Critics in major Brazilian newspapers have been calling the 32nd São Paulo Biennial too “politically correct,” all ideas and no art.
As a Brazilian who has lived in the US for the past 10 years, I’ve found Americans’ growing enthusiasm for Brazilian culture and politics both welcome and bothersome.
Last year, the Brazilian government ruffled a few feathers when it decided that television didn’t count as culture, but a new miniseries by set designer, director, and writer Alberto Renault throws a bit of a monkey wrench into the government’s claim.
Post-colonial studies, the legacy of 19th and 20th century colonialism and imperialism, a hit on the academic circuit, underlies the raisone d’etre of the New Museum’s Triennale, The Ungovernables, the second Triennial devoted to global contemporary art. Artists are presented as “actors in the world around them rather than commentators,” and portrayed as “negatively ungovernable.” The show’s emphasis on a series of global “urgencies” casts a wide net focusing more on the message than the medium, which is both the show’s strength and its undoing.