COLECTA Magazine - Apr-Jun/21 - Year II - Vol 2 by AVESSA

APRIL - JUNE 2021 | YEAR II

Colecta Cover

Atlântico, 2008 Oil and plaster on canvas Polyptych of 8

Adriana Varejão Adriana Varejão was born in Rio de Janeiro in 1964. She works in various disciplines including painting, drawing, sculpture, installation and photography. Her artwork engages with the complex artistic and political history of Brazil. She appropriates stylistic traditions introduced to Brazil as part of the colonial encounter. Varejão’s paintings have become increasingly sculptural, introducing elements that extend beyond the canvas, and she has transitioned to sculpture and installation art. By the time the artist initiated the series Jerked-beef Ruins (2000–04), the decorative, distinctly European tiles gave way to more universal pale blue or white tiles found in public buildings or bathrooms. In these sculptures, the cadaverous contents do not burst from the center as they had in her earlier pieces, but rather lurk hidden within, exposed only at the edges of the smooth facade. adrianavarejao.net

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Photo Patricia Almeida

Ruína de Charque – Penha, 2002 Oil on polyurethane and wood

Adriana and her work Nascimento de Ondina, 2009 Oil on fiberglass and resin

O sedutor, 2004 Oil on canvas 2021 |

Os Gêmeos - Exhibition at Pinacoteca Sao Paulo - Brazil

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editorial Courtesy Pinacoteca São Paulo Press Office

Though the unprecedented

times of COVID remain, we are extremely proud of reaching our second edition of Colecta Magazine more inspired than ever. We are certain that we made the right choice when we decided to create this cultural channel of direct communication between designers, artists and our readers. This creative channel is composed of incredible and talented people who we respect and admire, and inspire us in the journey of sharing their stories, values and purposes. We share the ethos of making our daily lives even more colorful and inspiring. The second edition of Colecta Magazine arrives with yet another group of connected thinkers and creators directly from our first unit in Europe. The goal of being a bridge between the different ways of thinking, knowing and doing now reaches Firenze, Italy. This new team is dedi-

Art

cated and attentive to habits, customs and events in the old world as well as the new. Follow their creations and journeys through the next pages. The cultural industry continues to suffer transformative consequences, but fortunately, that does not stop art in its tracks. Artistic messages manifest themselves in the most varied forms, from soft and subtle brushstrokes to the necessary and energetic protests through writing, music or an art object, either for historical documentation or for the construction of a new reality. Creative leisure suddenly became a ‘norm’, and time made us understand the value of each moment, enhancing a certain cultural wealth that is often invisible in the challenges of our daily lives. Dive into this second creative journey with us, and get inspired by new places, colors, and flavors.

En joy yo ur r e a d i ng !

Giuliana Brandao Editor-in-chief

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T h e

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M a g a z i n e

Contribuitors

Editor-in-Chief Giuliana Brandao

Art Expression Business Art History Architecture Transcending Art Art and Social Out & About Fashion and Art Wearable Art Featured Art Photography

ART CURATOR & DIRECTOR Jade Matarazzo

Graphic Art Director Vivian Lobenwein

Business Development Managers Flavio Iryoda Giuliana Brandao Jade Matarazzo

SPECIAL THANKS

Simone Piva Art Basel Miami Jonatas Chimen Agnaldo Farias Bruna Amorim Ronaldo Fraga Jade Matarazzo Giuliana Brandao Giuliana Brandao Jade Matarazzo Alex Korolkovas

Karo Delgoboo

Content Writer Bruna Amorim

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CONSUMER SERVICES

COLECTA Magazine is a quarterly digital and print on-demand publication focused on Art Expression, Fashion & Art, Art Editorials, Art & Design, POP Culture, Art Tech, The Art of Living, Art Gastronomy, Art & Purpose, Out & About, and Featured Artist by The House of Arts. Founded in December 2020 with main operations in Miami and Sao Paulo, Brazil with a wide network of collaborators distributed across the globe.

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AVESSA Media Group LLC Brickell - Miami, FL 33130 United States of America A Proud Member of B R A Z I L I A N I N T E R N AT I O N A L

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ASSOCIATION

© 2021 AVESSA Media Group LLC, a Florida limited liability corporation. All rights reserved. The information contained herein is of a general nature and is not intended to address the circumstances of any particular individual or entity. Although we endeavor to provide accurate and timely information, there can be no guarantee that such information is accurate as of the date it is received or that it will continue to be accurate in the future. No one should act on such information without appropriate professional advice after a thorough examination of the particular situation.

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summary

10 art Expression IT M OND O + Th e Hou s e of A rts

24 Business Th e A rt M a rket 2 0 2 1

28 Art History L e gitim izin g Op tim is m : Th e C re ativ e Ze itge is t of th e 2 0 2 0 s

36 Architecture Th e Fa ll of th e Hou s e s of Atafon a

46 TRANSCENDING ART You r voice m atte rs !

53 art and social M in h a C a s a e m M im

60 Out & About Ex p e rie n ce L if e

84 Fashion & Art C re ativ e Con n e ction s

91 WEARABLE ART A n ca Stefa n e s cu

94 Featured Th e Hou s e of A rts

106 ART photography A b ov e u s on ly s kie s

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M E D IA G R O UP

W W W. AV E S S A . M E D I A

Art Expression

IT MONDO + The House of Arts

I T M ON D O wa s b o r n i n Ita l y 7 y ea r s a g o a nd ha s b e e n of f e r i ng m a ny a r ti s ts a nd a r t l ov e r s f r e s h ways to co nne c t w i th the a r t wo r l d thro ug h the c r e ati o n of a c c e s s i b l e o p p o r tuni ti e s . By Simone Piva

Samantha Sadik Cut the cord | 2021

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Art Expression

Samantha Sadik Mandy

Founded by Simone Piva, this art curatorial company is partnered with galleries, art platforms, artists and other curators. IT MONDO promotes exhibitions and art events to create new possibilities around the world, always striving to bring artists and collectors from all over the globe together. Though she initially graduated in Law, Piva studied ceramics, painting, jewelry-making, then architecture and interior design. She worked in the latter field for over 18 years, and had extensive contact with the world of arts and artists. Piva moved to Italy 7 years ago when she started specializing in this field, and felt that she had the mission to unite artists and creators from various areas.

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australia Australian artist Samantha Sadik has a wide array of experience and qualifications which lead her to the accomplished artist she is today. Having had a natural affinity towards the art world since 1997 at the age of nine selling her first sculpture at Perth galleries - Subiaco. She also proceeded to hone her technical skills with an Advanced Diploma in Fashion and textiles as well as a Certificate 4 in Visual art and Graphic design.

Art Expression

based in USA Brazilian-born Simone Kestelman is a sculptor and multi-media artist working in glass, ceramics, and photography. Her work speaks to archetypal themes of life, death, love, violence, and ambition.

Simone Kestelman Raven

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Art Expression

Anca Stefanescu Saltus, Homo Deus

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Art Expression

Romanian Anca Stefanescu is a Romanian-born and UK-based artist. Her symbolic and figurative paintings explore the notion of identity and the settings that compose the texture of life in contrast with the concept of time and space in metaphysical interpretation.

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Art Expression

Serbia Serbian artist GALA ČAKI got her Bachelor’s and Master’s degree in Fine Arts with Honours, Section for painting and drawing at Academy of Arts at the University of Novi Sad. She is also a Ph.D. study of painting, Faculty of Fine Arts in Belgrade at the University of Belgrade, and member of Art Link Us (The Association of Artist of Ehime, Japan).

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GALA CAKI Flying horse

“I believe art is a powerful tool that builds bridges between people, strengthening mutual understanding. Art can be a great engine of economic and social development, which can engage not only citizens but whole communities and governments, too. Art is the key to understanding the way of life of an era and its people. It will represent our society to generations to come, and this is the greatest value of the artist.” Captivating, powerful, emotional and authentic -- no matter whether the art takes the form of a play, a photograph, a sculpture, drawing or painting, it allows people to express themselves and communicate with others. From this process of communication and expression comes the partnership between IT MONDO and The House of Art.

Art Expression

BRAZIL

Paulo Ricardo Campos Soul_s voice

Paulo Ricardo Campos is a plastic artist by the formation and was born in the state of Goias Brazil. Ricardo specialized in human figures and his art is admired in countries like Austria, China, and Thailand. His art was chosen to be part of the art collection of the Brazilian consulate in Hard Vorarlberg - Austria.

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Photo Kauana Benelli

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Art Expression

ITALY Liz ar Us - was born in 1996, in Firenze, Italy. Liz ar Us graduated in July 2020 in graphic art at The Academy of Fine Arts in Bologna. She is a graphic designer, illustrator, and serigrapher. Also, the illustrator at Maglior Editora of the La fine collection.

Liz ar Us DUBBONI

“Art is the key to understanding the way of life of an era and its people. It will represent our society to generations to come, and this is the greatest value of the artist”. Simone Piva

BRAZIL Filite was born in 1991, in a city in the countryside of São Paulo. Having inherited the artistic inclination from his maternal grandfather, Filite has been working with drawing, painting, and sculpture since childhood. Since 2018 Filite has also been dedicated to the study of Italian Renaissance techniques in the studio of the master Paulo Frade. Filite Expansão 2021 |

Art Expression

Caio Cezar Banana 45

BRAZIL Brazilian photographer Caio Cezar is the son and grandson of photographers. He started his career at 16 as a laboratory worker, developing black and white films. Since 2005, he has been working as a freelancer for clients such as Editora Globo, Revista Trip, UOL, Folha de São Paulo among others.

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Art Expression

Sara Sepulveda Landscape of Geometry

Spain Sara Sepulveda is a Spanish abstract artist based in Basel, Switzerland. Her works express a reduction of reality to sheer emotion using the voice of colors, the sensitivity of textures and the changing beauty of light.

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Art Expression

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Art Expression

MEXICO JAPAN Born and based in Fukuoka, Tanaka Gakusyu started learning Japanese Calligraphy when he was 7 years old. During his 20s, he encountered avant-garde calligraphy, which pushed his focus beyond the characters themselves. This freedom of expression and the possibilities of creativity impacted him greatly. As a Japanese-calligrapher, he continues his earnest journey towards mastering the great traditions and techniques of his medium. As an avant-garde calligraphy artist who pursuits new expressions for setting himself free, he keeps on expanding his horizons for himself and his works.

Tanaka Gakusyu Work 3.20

DULCE LUNA was born in Mexico City and moved to Guadalajara, Mexico, where she lives and works since 2012. After several years living in different cities, her family returned to the capital where she started to study at the recognized University La Esmeralda, a member of the National Institute of Fine Arts of Mexico.

By joining IT MONDO + The House of Arts, artists have the opportunity to show their work in the world’s largest showcases, and reach collectors interested in contemporary art. We welcome artists from around the world who wish to showcase their work in a curated, high-impact environment with a personal touch and targeted marketing strategy. Each artist benefits from the strengths of their peers, galleries benefit from aligning themselves with the freshest artwork on the market, and collectors gain access to exciting new works. This is the mission of the ITM + THOA partnership. 2021 |

Business

The Art Market 2021 A n Art B a s e l & U BS Rep or t Prepared by Dr. Clare McAndrew Founder of Arts Economics

The changes brought about by the global economic downturn due to the COVID-19 pandemic will certainly capture the imagination of the public for years to come. The merits of analysis-oriented business intelligence in the art market have undoubtedly never taken center stage as much as they do now. The findings of this year’s report encompass the tremendous rise in online sales, which doubled in value from 2019 to 2020, accounting for a quarter of total sales. This precipitous rise was both the product of tireless digital innovation and absolute necessity. While the permanence of these changes is yet to be fully tested, there is no denying the turbulent impact the pandemic has had on trade. Virtually all market segments experienced declines in the past year, creating the biggest recession in the global art market since the financial crisis of 2009. The pace of fairs, gallery openings and auctions are driven by events has been slowed, limiting sales opportunities and remittances amid uncertainty. According to Dr. McAndrew’s extensive research on individuals of high net worth, the aggregated declines of 22% in overall value were not as sharp as might have been expected, since collectors continued to acquire art assiduously. Resellers were driven to reimagine their strategies, often through collaborations and innovative partnerships. Auction houses experimented with new digital sales offers while expanding their private sales channels. Online businesses have broadly expanded their scope and services.

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Business

THE NUMBERS

Global sales of art and antiques reached an estimated $50.1 billion in 2020, down 22% in 2019 and 27% since 2018.

Online sales of art and antiques reached a record high of $12.4 billion, doubling in value in the previous year, and accounting for a record share of 25% of the market’s value.

Although all three of the major art hubs - the US, the UK, and Greater China - experienced a decline in sales, they continued to account for a majority of global sales by value in 2020, at 82%. The US retained its leading position with a share of 42%, with Greater China and the UK on par at 20%.

THE IMPORTANCE It is estimated that there were approximately 305,250 businesses operating in the global art and antique market in 2020, directly employing about 2.9 million people. More than 2.6 million people were employed worldwide in the gallery and dealer sector in 2020, down 5% year-on-year in about 291,000 businesses. There were an estimated 14,250 businesses operating in the auction market, including both online and offline companies. The global art trade spent an estimated $16.6 billion on a range of ancillary and external support services directly linked to their businesses, a decline of 16% year-on-year. Online Sales Despite the contraction of sales overall, aggregate online sales reached a record high of $12.4 billion, doubling in value from 2019.

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The share accounted for by online sales also expanded from 9% of total sales by value in 2019 to 25% in 2020, the first time the share of e-commerce in the art market has exceeded that of general retail. The share of online sales in the dealer sector, including art fair OVRs, expanded threefold in 2020 to 39% from 13% in 2019. Dealers at all levels showed significant increases in the online component of their sales, with the largest increase by those in the $10 million-plus turnover segment (to 47%). In the fine art auction sector, 22% of the lots sold in 2020 were in online-only sales, double the share in 2019. Works priced over $1 million made up only 6% of total online-only values, versus 58% for offline sales. Despite the unprecedented high use in 2020, online channels were not the preferred for art sales: 66%

Business

of HNW collectors preferred to attend a physical exhibition, 22% preferred online, and 12% had no preference of one over the other. Besides galleries, OVRs also had a major impact on the art fair sector in 2020. Although art fairs had, for almost a decade, offered some portion of their shows online or through digital partners, the COVID-19 pandemic thrust what had historically been considered a supplement to the IRL experience into entirely new prominence. The pandemic also forced many to rethink how their sites and online offerings functioned. While there was mixed feedback on the success of art fair OVRs during 2020, many

galleries felt they were not able to generate the same level of sales or engagement as an in-person event. Looking ahead, the biggest uncertainty is around what will happen with these initiatives, especially when the art world starts to revert to being IRL. The general consensus seems to be that there will be continued investment in the online space, particularly while some collectors remain hesitant to resume the same pace of their previous, hectic, globe-trotting schedules. The relatively low expense of executing an OVR and encouraging sales in 2020 (even if far from what normal sales offer) has also kept galleries focused online.

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Legitimizing Legitimizing Optimism: Optimism: The Creative The Zeitgeist Creative of the 2020 tgeist of the Art History

By Jônatas Chimen, MFA.

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g : e e

Artist: Dana Blickensderfer Country: USA Title: Artist Statement, 2021 Medium: Time-Based Year: 2021

Artist: Jônatas Country: France/USA Title: Traveler in Times of Pandemic Medium: Time-Based Year: 2021

Artist: Parsa Kamehkhosh Country: Iran Title: Thing(-ing) Eleven Snow Partridges Medium: Time-Based Performance Year: 2021

With the onset of Covid-19 vaccinations and a possible reopening of society, a renewed sense of creativity arises! This extraordinary claim is backed by history, as it shows that the greatest boons of inventiveness in the West occurred once major plagues, famines, and wars came to an end. Thus, the question prevails: Why is the relationship between devastation and new artistic movements so close? History points out that the European Renaissance happened, at least in part, because of the end of the Black Plague – as a response to the rejection of science, philosophy, and the direct observation of the natural world. Likewise, history shows that Cubism was born as criticism to post-World War I society, which often failed to consider uncommon perspectives as valid options. Yet another example; Abstract Expressionism occurred as a manifestation of a deeply felt skepticism against grand narratives and rigid structures, which were critically challenged at the end of the Second World War at all levels of society. 2021 |

Art History

Artist: Jamie Moshe Straz Country: USA Title: Pleasing to the Sight Medium: Time Based Year: 2021

Artist: Aurelien Tranchet Title: Cindy Medium: Photograph Country: France Year: 2019

Artist: Manu Militao Country: Brazil Title: Artist Statement Medium: Time Based Year: 2021

Artist: Daniela de Castro Sucre Country: Venezuela/USA Title: Reach (Alcance) Medium: Mural Year: 2021

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Artist: Ginat Salman Country: Israel Title: D Y I N G S U N Medium: Time-Based Performance Year: 2020

Artist: Iasmin Benayon Country: Brazil Title: Performance covid-19 Medium: Time Based Year: 2021

Based on such observations, one can identify a pattern that ebbs and flows from darkness to light, ignorance to inquisitiveness, and lackluster energy to explosive creativity, as major catastrophes finally come to a closure. The current situation is the following: According to the New York Times, as of midMarch of 2021, the global number of deaths caused by Covid-19 has surpassed 2.6 million. Coupled with the social isolation, loss of economic security, and a mental health crisis, it is evident we are experiencing a catastrophe of war-like proportions. What comes next? Today, as in past moments of insurmountable destruction, artists are fashioning a creative renaissance of sorts, to take hold in a post-Covid World. This renaissance will be born out of great artistic resilience, governed by hope, guided by sincerity, and framed through a structure of

deeply felt intention. This next stage in artistic development is referred to by many as “Metamodernism,” a direct reaction against Post-Modernism’s nihilism and irony, and it offers sincerity, content, and overall fulfillment, as a way to build more meaningful lives — placing the role of the artist at center of this cataclysm. Metamodernist artists are spread throughout the globe today, intimately connected via social media, and committed to writing the next chapter of art history by claiming spaces of prominence in society, the market, academia, and government – all by being aggressive makers and thinkers, who value skill, communication, education, and above all, connectedness — be it virtual or physical. A clear example of this kind of artistic expression is a statement-based exhibition that occurred in February of 2021 in Miami Beach 2021 |

From left to right: Jamie Moshe Straz, Daniela de Castro Sucre, Artem Rakhlev, Alex Proctor, Jônatas, Samuel Lochster, Jade Matarazzo

Artist: Ari Hirschman Country: USA, Argentina Title: Untitled Medium: Plaster Year: 2020

at the Normandy Isles Arts District, titled “Legitimizing Optimism” curated by the Jada Art Movement. The cohort of artists came together physically and digitally from the USA, Brazil, France, Venezuela, Israel, and Iran, to create an exhibition that focused on the artistic process, spontaneity, vulnerability, and resilience during the Covid-19 pandemic. As borders were still closed, the artists made plenty of use of QR-based artwork. To speak against the recent rise of nativism, they chose to emphasize their own diversity as a group – by coming together as Jews, Muslims, Christians, Atheists,

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Artist: Suzanne (Suzie) Khalil Country: USA Title: The Artist: An Essential Worker Medium: Digital Image Year: 2021

Art History

Artist: Ninon Lacoume Country: France Title: Artist Statement Medium: Time Based Year: 2021

Artist: Melina Khavari Country: Iran Title: Look into my eyes Medium: Time Based Year: 2021

33 Artist: Raziel Gates Country: USA Title: Artist Statement Medium: Time Based Year: 2021

immigrants, and across the full social, political, and sexual orientation spectrum. To these artists, all that mattered was that they were producing profound art regardless of all the turmoil. In essence, they think that the message of “Legitimizing Optimism” is of the utmost importance today, as it brings hope to an entire generation of creatives — who, contrary to postmodernists, wish to create new structures and narratives that promote togetherness and a deep sense of collective mission. Their message mobilizes artists to take matters into their own hands, in order to “be the change,” by prioritizing a profound dialogue on the human condition, and the ability to heal by forming complex, multilayered, sincere bonds — which in their view, will cause the much anticipated creative Zeitgeist of the 2020s! 2021 |

ART FOR WORLD

BRAZILIAN ART

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THE FALL OF THE HOUSES OF ATAFONA

The walls which saw men die, which saw the gold go away, which saw the kingdom come to an end, which saw, resaw, saw anew, no longer see. They also die De a t h o f t h e h o u s e s o f O u ro P re t o - Car l o s D r u m m o n d de A n d r ade

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Photo Vicente de Mello

Written by the Art Curator Agnaldo Farias

Abrigo Naufrago

Perhaps it’s because her last name is Terra¹. Perhaps it’s because the house where she spent her childhood years was torn down after the passing of her father, who sculpted figureheads out of wood and clay. Perhaps it’s because, as a child, she used to be taken to Minas Gerais’ historic towns, where sidewalks, houses and churches have a historic thickness; and there she was dazzled by altars and golden niches, the distant echoes of a wealth that she naively deemed solid, an impression that began to fade away as she noticed the signs of corrosion by time on everything. The wear and tear of the facades, the cracks in the joints where little plants sprout, small in the beginning but, left unattended, growing on to take over everything, reclaiming the what had been taken from them, giving proof that any pact with nature, however imposing it is that we build out of it, is temporary. Could it be due to all of that? Could it be due to some intimate reason, like being sure of what makes an artist do what they do? By the way, how do we know what drives us to do what we do, what motivates us to do it?

¹ The noun “Terra” can be translated either as earth or land in Portuguese. 2021 |

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connects them tomorrow will be laid to waste, pulverized by their reentry into the atmosphere. The peculiar landscape displayed in the gallery’s window, a shattered view of the edge of a city battered by the sea, is meant to let visitors and passersby know what to expect. Those who step inside will find, right at the entrance, on the wall to their left, a mural design that resulted from a linear excavation, a shallow gutter, as irregular as a path made by a termite, produced by the artist over many days of work with hammer and chisel. One can imagine the hard masonry work done by the artist; the dry percussion of the instruments wielded by her hands, carving a channel into the compact and hard material, spraying the mixture of sand, cement and bricks, and flouring up the room. The excavated design is interrupted here and there by fragments of floors and walls superimposed on it, capturing one’s sight and leading them to examine the peculiarities of each. One of them is a piece of hydraulic tile with a predictable geometric pattern, implying that it once belonged to one of the wet areas (kitchen or bathroom) of a house; another one, a piece of wall whose surface still shows the dark red paint with which it was covered, and so on. By itself, this overlapping game links the debris of old buildings to the gallery’s wall. But there is more: each of them has undergone the same excavation process as the wall. At last, even if gone unnoticed by the viewer, the design on the wall is not haphazard; it depicts what was once the Pontal de Afona, with its web-like set of streets now underwater. The wall and the ruins’ fragments collected in the archipelago of debris are united by the artist’s action: a destructive, premonitory action on the future of the gallery space -- a house that, as expected, has undergone many modifications. And what are we to think if we go back to the first construction done there, when Ipanema was a deserted beach? Taking another direction in this time-travelling train

Photo Vicente de Mello

Be that as it may, this collection of works by Jeane Terra has to do with experiences rekindled by what she has seen in Atafona, a small seaside district that belongs to São João da Barra, in the northern region of Rio de Janeiro, which has been slowly encroached upon by the Atlantic Ocean. That tug-of-war (or maybe tug-of-water) started over 50 years ago and has already taken a toll of over 500 homes in Atafona. Who is to blame? We are, naturally. We are the ones who devastated riparian forests along the course of the Paraíba do Sul River. With its silted bed and its flow becoming weaker by the year, the river can’t hold back the sea. So the latter, as sizeable and unrestrained as it is, comes in relentlessly destroying houses, sidewalks and streets. It starts with the combination of beats and intermittent infiltrations of the waves, alternating with short pauses of the tides. The sea has the gifts of time and strength. Thus it comes in, relentlessly, at the rate of 25 centimeters a year, charging from all sides and from below, hitting the foundations until the houses bend down, fall on their knees and drown; their broken walls, ripped apart by the hammering of the water, show the wretched bone structure of rusty rebar; their bricks dissolve, turning back into dirt and ground, while dyeing the water slightly red. In the native Tupi language, Paraíba means a river or a sea that is hard to invade. Atafona means grain mill. Paraíba is running dry, Atafona keeps being macerated and the artist’s name is Terra. How odd are these names that hint at destinations? In her first solo exhibition at Simone Cadinelli Art Gallery, Jeane Terra shows works that are related, directly or indirectly, to the events in Atafona and the ruins produced by the clash between the sea and the city. Such events point to the fact that everything that was, is or will be built is going to turn into rubble. It’s just a matter of time: the materials that go into the production of our world and everything that

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of thought, what will be the future of today’s houses, their fate? How long will these solid-looking walls last? In front of this wall, slightly obstructing the passageway, there is a Totem, a sculpture placed on the floor bigger than the fragments attached to the walls: a vertical piece, the remnant of a column with parts of its rebar rusted, like nerves showing. It’s simultaneously sculpture and debris, a fragment of one of Atafona’s ruined houses, a piece of a vertical sill plate with bricks, mortar and a coat of white paint. The piece also sports the same kind of intervention as the installation on the wall: a narrow geometric design, carved into the object’s body, shaped like the work done by tireless termites who carry out their duties day and night, indifferent to our sleep. Having been excavated and having formed images of who knows what, they seem less like a reference to Atafona’s layout and more like a reminder that houses and cities are subject to the same logic. Despite being totems, these sculptures represent nothing but themselves, unburied remains of a city that has partially disappeared. Jeane Terra proposes that all architecture is essentially self-destructive. Every construction brings along its dissolution, and everything we do is fleeting and our gestures are distinguished by negativity, even if we insist on valuing the opposite. This may be the justification for the presence of gold, covering parts of the veins furrowed in the wall, in the small fragments, in the totems. As a token of the magnitude of Minas Gerais of the past, the gold carries the unsuspected greatness of our actions, in their own way linked to the times of things. The gold serves as a remnant of the pride of when they were built, of the lives and dreams that they once sheltered, which, like what vanished from them, are presently asleep or in the process of falling asleep, like the last gasp of a burning coal before it is extinguished by water. The presence of gold, a noble metal that doesn’t react with oxygen and doesn’t oxidize, contradicts the fact that everything that exists inevi-

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tably faces decay and death. Even though both are inescapable. The prints - technically speaking, the monotypes - are made of silicone poured on the surfaces of floor and wall fragments, located in the gallery’s upper floor. I am referring to Lajeado 1 (Slab Construction 1) and Máscara Gold (Gold Mask), two negatives of fragments, two death masks that can be used to reproduce and delay the impetus towards self-dissolution. Máscara is a piece of concrete, left over from a tiled wall, onto which she applied a gold leaf, a reminiscence of the churches she had visited, such as Nossa Senhora do Ó, which was the first to awe her, as well as plenty others in the city of Tiradentes, where she gained insight into the use of gold in buildings destined for the atonements of souls. The use of molding is ancient, dating back to the magical foundation that guided the making of death masks. In an effort to keep the ancestors’ memory alive, to preserve their tutelary presence, masks of their faces have been produced, up to this day, as a sort of tangible, static and imposing bronze phantom, a reference to the incessant circulation of the living. It’s worth noticing the irony in the employment of this molding procedure in debris removed from the wall of a bathroom of one of the houses. The exhibition harks back to other losses, or hasn’t the mark left by the demolition of her father’s house been duly indicated? The other family losses are all female. Beginning with the memory of the artist’s grandmother, the reminiscence of the cross-stitch that she did on rugs, towels, table runners, napkins, shirts, etc. They were made in check patterns, with a reticulum that could be uniform, wide and rigid, or narrow and delicate, where colored threads were sewn in an X-shaped form, following a design, a scheme, a diagram or, in the embroiderers’ jargon, a “recipe”. Jeane employed this tiled pattern on her paintings, but instead of the usual abstract ornaments or the expected depiction of flowers, she turned to photos of Atafona’s destruction, seen from the houses at risk, and applied them onto these cross-stitch canvases.

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A r ch i t e c t u r e

Jeane Terra

Why? Who knows? Perhaps it’s due to an urge to capture and to understand, through geometry, this debris-producing machine. Perhaps it’s because, by overlaying her grandmother’s gestures with ones of her own, the two of them are reunited and all is not lost. Using a photo of the rear and side of a house suspended over a smoothed down beach as if nothing had happened until then, a portrait of calm violence, she has produced drawings, paintings and a movie, presented on the ground and upper floors. The drawing has the shape of a cross-stitch recipe; that is, its grid has tighter spacing than the graph paper of a math notebook. It’s on a rectangular surface, with the black and white indications of the color of the lines to be applied. Although the drawing is the transposition of a clear and strong image of a ruin, it’s itself abstract, or almost abstract: its content | 2021

Video Fabrica de Sonhos

may only be guessed when it’s next to the image that serves as a reference. The color indications are provided by means of hatching, the so-called graphic models, where the squares are filled with points, scratches, light circles with a black outline, black circles with a white outline, diagonal lines, etc., all of them small, detailed, producing patches more or less shaded, a confusing ensemble for anyone who is not a professional. There, the drawing breaks down into a myriad of dots, like the surface of an old painting, rife with microscopic cracks, having some flaws caused by loss of adhesion. Likewise, the drawing has its own flaws and losses, as if the mapping of a slow disaster like the one pictured was also affected by the same effects. That brings us to Jeane’s painting. The memory of her grandmother, her daily involvement with cross-stitch, nets and recipes, her systematic and intensive calculations and re-

A r ch i t e c t u r e

visions, in order not to deviate from what had been planned, led her to reinvent her painting. She started by taking advantage of the leftover paint spilled on the floor. The chromatic variations together with the pellicle’s plasticity, the skin of the painting, so to say, gave her the idea of cutting and pasting piece by piece onto the underlying recipe. Rather than embroidery, this procedure makes one think of the construction of a stained glass window, of a pointillist painting, of pixels on a computer monitor. Such a chain of events makes one think about how each of these steps played a part in reaching the other. The research for the development of this painting, made of quadrilateral fragments of skin, was a matter that demanded a thorough examination, which led to a mixture of paint, binder and marble powder, crucial for its firmness and malleability. That same material, spread over the surface of a table, was used for cold foil printing, monotypes resulting from Atafona’s images. In the artist’s set at hand, another image of the same family generated such an impression, stamped on a soft, cartilaginous skin, a ruined landscape of houses’ bodies. The top of the stairs leading to the upper floor was the site chosen for the projection of the film, drawing the viewers’ sight to the height beyond the steps. The fixed camera captures the image of the sea waxing and waning as it pounds mercilessly on a wall laid on the ground. The looping film enhances the feeling of a monotonous, obsessive punishment, while also conveying the idea of a rite of washing bodies, performed by multifarious communities all over the planet. But make no mistake: this washing rite is far from superficial, as it will speed up the dissolution of the body, its transformation into sand. A process that runs through the life of everything that exists, even if we don’t notice it, even if we go about our daily lives with the nonchalance of those who climb a staircase, without realizing how much is involved in simple gestures like this.

O Salto

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Transcending Art

t r Ain ! m s i v i t c A By Bruna Amorim

Artists and audiences alike can agree that art itself is difficult to fully define. However, one commonplace sentiment around the nature of art in any conversation about the medium is that it is fundamentally a tool of expression. It is a tool rooted in the differences in perception and the feelings that arise within us through stimuli whether one is an artist or part of an audience. Understanding art in this matter allows it to become one of the most effective mediums to express the most complex of feelings around social issues and movements. Furthermore, artistic expression can be fundamental to activism. Protest art not only allows for the communication of a central idea and its ramifications, but also empowers its creators to reach people on an emotional level. Art has the unique power to extract the essence of ideas and put them on display through adjustable lenses, and in the context of protest it is often shocking and disruptive, which usually leads to the strong emotions artists tend to seek. | 2021

“Afro-American Solidarity With the Oppressed People of the World” (1969) by Emory Douglas.

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Transcending Art

Courtesy Obey Giant

We the People series by Shepard Fairey

Art has the unique power to extract the essence of ideas and put them on display through adjustable lenses, and in the context of protest it is often shocking and disruptive, which usually leads to the strong emotions artists tend to seek.

For better or worse, human beings tend to be incredibly visual creatures. Most people are more likely to hang onto images as opposed to spoken word, which is perhaps translated most clearly by our historical social affinity to symbols and motifs in images. Indeed, it seems that our minds are incessantly seeking connections between any experience of the senses, and this is perhaps one of the biggest strengths of applying art to protest. Not only does it cause an emotional response to the audience by default, but it also allows one idea to take root simply by letting it make its connections both in the conscious and unconscious mind. The effectiveness of the use of symbols as communicative protest art cannot be overstated. Impactful imagery is necessary to any protest, but especially those organized by our most marginalized communities, as there is always mainstream interest in pushing back against the very idea of giving their cries any attention. An incredibly impactful example of | 2021

protest art is Act Up’s campaign protest from 1987, “Silence = Death.” After being neglected by the government during the early years of the AIDS/HIV epidemic and feeling increasingly frustrated with the state of activism around this Queer issue and health crisis, a group of six men created the haunting poster that would become a symbol of movement. As a call out to President Ronald Raegan’s unwillingness to even speak of the disease, the poster features the bold proclamation that gives name to the piece and directly addresses the President. The artists also headline the poster with a pink triangle: the symbol assigned to gay victims of the Holocaust at the concentration camps. The conjunction of these symbols create something bigger than themselves that not only express

On the next page , Act Up poster “Silence = Death.” Gran Fury Collection, Manuscripts and Archives Division. Astor, Lenox and Tilden Foundations.

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Transcending Art

Jim Lo Scalzo/EPA, via Shutterstock

Projection of Breonna Taylor and BLM over the statue of Robert E. Lee in Richmond, Virginia.

the essence of their ideas, but also become embedded in our minds once they are seen. Moreover, there is no need to look much further into the past for examples of protest art. The string of protests driven by the Black Lives Matter Movement in recent years has also been fruitful ground for incredible displays of political activism that can be understood as art. As the people took the streets, they also claimed symbolic public property as mediums through which they performed activism. One notable example was the defiant, continuous transformation of the base of the statue of Robert E. Lee in Richmond, Virginia. This statue was erected, essentially, in honor of the Confederacy and its violently racist values and goals, and today symbolizes America’s unwillingness to address its past and present racism. For months, activists took possession of the marble base of the statue and its surroundings, highlighting important slogans and symbols of the BLM movement and the fight against racism and its systems at large. Still, one of the most powerful | 2021

examples of this occupation was the creation of a memorial for Breona Taylor, a black woman shot dead in her home by a police officer in her sleep. This emotional protest installation featured the projection of a picture of Taylor over the marble, and the letters BLM over the body of Robert E. Lee’s horse. The sheer strength of the emotions that arise from this piece is impossible to forget. Truthfully, this listing is endless. Art and protest intersect more often than it is even intended by either activists or artists. There is inherent art in protest, because the expression of emotion created by protesting is, in a way, art itself. Lasting art is nothing more than an image so moving that it morphs into a symbol, either of itself or an idea. Sometimes artists cannot choose whether their work ascends into symbol, but activists can explore the same cues fostered by artists to promote the creation of symbolic connection between their demands and ideas. For both the artist and the activist, a single symbol can be worth a manifesto.

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Art and Social

Minha

Casa em Mim

Th e p ro je c t s ti m ul ate s e ntr e p r e ne ur s hi p b et w e e n c raf ts m e n a nd s m a l l p ro d uc e r s f ro m t h e M a r i a na a nd B a r ra Lo ng a r e g i o n - Mi na s G e ra i s B ra z i l .

By Ronaldo Fraga

Butter on a stone pot FAM; butter from Cooperativa Gesteira, Gesteira - Barra Longa; Cláudio Manoel lamp and Monsignor Horta, Feira Marte candle holder, decoupage plate Feira Marte, sweets tray Coletivo Padre Viegas and FAM.

This project, carried out with 175 people affected by the Fundão Dam breach, promoted the re-reading and re-signification of traditional artisanal and agricultural products from the region under the curatorship of designer Ronaldo Fraga. One year after its inception, with an early existence that demanded a series of technical and management activities with 13 groups of artisans from the region of Mariana and Barra Longa (MG), the collection “Minha Casa em Mim” (”My House Within Me”) has just been officially launched, and it’s composed of artisanal and gastronomic products that preserve and rescue the most genuine Minas Gerais traditions. Curated by Ronaldo Fraga, the project proposes reinterpretations of local production in order to implement a sense of creativity in the region’s economy, basing it on collaborative and sustainable concepts. 2021 |

Art and Social

The artisans were guided by consultants such as Ana Vaz, who specialized in textile design, Baba Santana, a master in the ‘papietagem’ process, and designer Marcelo, an expert in the use of bamboo. Their involvement aimed to improve the locals’ techniques and skills. Additionally, artisans received technical and managerial directions such as standardization of production, packaging, sanitary procedures and product pricing, among others. The collection, which seeks to highlight products with the most genuine DNA from Minas Gerais and stimulate the artisanal potential of the region, consists of several items that reveal the culture and traditions from the respective places in which they are developed, such as Monsenhor Horta’s jaboticaba wine, the sweet crunchy papaya roses by Mestre Ataíde from the community of Camargos, bamboo lamps from the Cláudio Manuel district and pillows embroidered with swallows by the Meninas da Barra Group, among others. Collaborative entrepreneurship To Mirian Rocha, from ACG - Associação de Culturas Gerais - responsible for the methodology applied during the activities, the biggest contribution of the project to the participants was the understanding of the need to build a collaborative network, as well as an understanding of the cultural and commercial value of local products. “These artisans and small producers have never been valued by the market, and the population

Meninas da Barra Cushion, Barra Longa; Mãos que Brilham Sabão Mágico Soap; Feira Marte candle holder; Feira Marte taioba table set; Feira Marte decoupage plate; FAM supla and soapstone coaster; FAM cross embroidered cloth (next to the boy); Coletivo Padre beeswax cloth (in red, packing the bottle and the jam); Viegas Namoros in feast days at Casa das Artes, Barra Longa.

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Art and Social

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Art and Social

Association of Monsignor Horta candles; Feira Marte Mariana flowers; Cláudio Manoel and Monsignor Horta light fixture; Meninas da Barra cushion on the chair, Barra Longa.

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Art and Social

Associação Mãos que Brilham Sabão Mágico soap; Associação de Monsenhor Horta jabuticaba wine; Coletivo de Padre Viegas beeswax paper.

Assoc. Mãos que Brilham Sabão Mágico soap; Movimento Renovador postcard; Movimento Renovador table set; Coletivo de Padre Viegas cuscuz; Coletivo de Camargos cracknel. 2021 |

Art and Social

Cláudio Manoel e Monsenhor Horta light fixtures; Padre Viegas sweet cuscuz; Coletivo de Padre Viegas Mel do Mato honey; Monsenhor Horta jabuticaba wine; Arte Mãos e Flores pull bag.

itself has never recognized the importance of the creative economy in their communities. Undoubtedly, with “Minha Casa em Mim,” we managed to give visibility to this group, reinforcing a collaborative economy ”, he analyzes. According to the manager, the movement generated the creation of the first artisan cooperative in Mariana and surrounding region, and the income growth estimated by the families involved are also very promising. “We believe that, with the reframing of the products sold, they can even triple the current revenue”, concludes Mirian. This enthusiasm is also shared by groups of artisans involved in the initiative, such as Célia Antunes dos Passos, president of Associação Arte, Mãos e Flores, an organization that brings together 28 women dedicated to textile crafts. “We were almost giving up due to the lack of support, but the project increased our

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self-esteem by adding value to our work. It is very rewarding emotionally, and the financial results are already beginning to emerge. Today, our associates are able to afford better food, renovate their houses, and invest in their life at large”, says Célia. According to the artisan, the perpetuation of the work through the renewed interest of the young generation created by Minha Casa em Mim is what most encourages the group. “We want to leave our legacy to young people so as not to let the local tradition die,” she adds. “The program opened new horizons for our group, adding value to our work and promoting our city”, reveals Raimunda Maria dos Anjos, president of the Associação Movimento Renovador de Mariana, an entity that brings together embroiderers who are inspired by the city’s arts, traditions and monuments in their works. “We learned that we can add the city to

Art and Social

Cooperativa de Gesteira sweet dulce de leche straw, Gesteira - Barra Longa; Mestre Ataide Camargos sweet rose papaya crisps; Taioba Feira Marte table set; Feira Marte decoupage plate.

Store: www.minhacasaemmim.com.br

our products in new ways. With the arrival of the project, we gained space, improved personal income and improved our work. After all, if you commit to telling a story, the product has more value ”, concludes the embroiderer. Marlene Resende Fonseca, who chairs the Associação Feira de Artes e Ateliê de Mariana, an artistic and gastronomic collective, says that Minha Casa em Mim “brought immense substance to our work by perfecting and creating new products”. Marlene is also betting on increased sales due to the added value of the products. “It increased the value of the product, opening us up to the world. We are more professional ”, she concludes. The “Minha Casa em Mim” collection is part of the Collective Catharsis project, created by the Renova Foundation in partnership with the Associação de Culturas Gerais (ACG).

Participant g roups: • Associação Arte, Mãos e Flores • Associação Mãos que Brilham • Associação Monsenhor Horta • Casa das Artes • Clube de Mães da Colina • Coletivo Cláudio Manoel • Coletivo de Camargos • Coletivo Padre Viegas • Cooperativa Rural de Gesteira • FAM – Feira de Arte e Ateliê • Feira Marte • Meninas da Barra • Movimento Renovador

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O u t & Ab o u t

Experience

Life 60

Cre ativ it y , Fr ie n d s h ip , Cu ltura l Jo u r n eys, Th e Ar t s, a n d Cla s se s. Discove r a n int e r n at io n a l commun it y co n n e c t in g cu ltures a n d a r t fo r m s th rou gh im m e r s ive experie n c e s in a p lat for m acce ss ib le to a ll.

Human beings are natural explorers . Our curiosity moves us through life, igniting the desire to know and see more than what we have known or seen before. As social creatures, we inevitably take each other on journeys through words and ideas, introducing the world through millions of different eyes. Out and About aims to show you the light behind the eyes that inspire us. Eyes such as those of Marcos Amaro, the artist duo Os Gemeos, Adriana Varejao, Antonio Carlos Cavalcanti, and Andre Duek -- all of whom are featured in the upcoming pages. Take this journey with us and remember to keep your eyes wide open.

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Courtesy of Pinacoteca Press Office

Os Gemeos at Pinacoteca Sao Paulo - Brazil

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Os GEMEOS A n inc r e d i b l e j o ur ney thro ug h l i f e . Os GEMEOS (b. 1974, São Paulo, Brazil), translated as “THE TWINS”, Gustavo and Otavio Pandolfo, have worked together since birth. As children, growing up in the streets of the traditional district of Cambuci (SP), they developed a distinct way of playing and communicating through artistic language. With the encouragement of their family, and the introduction of hip hop culture in Brazil in the 1980s, Os Gêmeos found a direct connection to their dynamic and magical world and a way to communicate with the public. Guided mainly by their willpower, together they explored various techniques of painting, drawing and sculpture with dedication and care, and had the streets as their place of study. Os Gêmeos never stopped doing graffiti, but, over the years, this medium explored by the duo flooded the streets, becoming a language of its own with so many other influences and cultures, and it is constantly evolving. They believe that the encounters and experiences that life offers are natural and delicate. Today, recognized and admired both nationally and internationally, the artists utilize this combined visual language, improvisation and a sense of playfulness to intuitively create a variety of projects worldwide. The Pinacoteca de São Paulo museum, managed by the State of São Paulo Culture and Creative Economy Department currently displays, from October, 15, 2020 to May, 3, 2021, OSGEMEOS: Segredos [Secrets], the first panoramic exhibition of the artistic duo made up by brothers Otávio and Augusto Pandolfo (São Paulo, 1974). The exhibition, presented by Bradesco, gathers more than 1000 items, 50 of which have never been seen in Brazil, as well as more than 1.000 items from their rich imagery. The duo has carved out a path in the art world without ever losing sight of their wish to remain accessible to the general public. That path has included participating in shows at major international institutions, such as Hamburger Bahnhof, in Berlin, 2019, with a project devised in partnership with the Berlin breakdance group Flying Steps, a great international award-winner; the Vancouver Biennale, Canada (2014); MOCA – Museum of Contemporary Art, Los Angeles (2011); MOT – Museum of Contemporary Art Tokyo, Japan, and Tate Modern, London, UK (both in 2008); and the Milano Trienale (2006),

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among others. In the course of their career, the brothers have also been invited to create works for important public spaces in more than 60 countries, including Sweden, Germany, Portugal, Australia, Cuba and the United States – featuring the electronic displays at Times Square, New York (2015) – among others. Their works tell stories (sometimes autobiographical) with plots that involve fantasy, emotional relationships, questions, dreams, and life experiences. OSGEMEOS still have their studio in Cambuci, an old immigrant working-class neighborhood in downtown São Paulo, where they spent their childhood and youth. From the 1990s onwards, their experiments – not only graffiti-wise, but also those involving easel painting as well as static and moving sculptures – outgrew the two-dimensional limit and culminated in the creation of a unique universe operating on the spaces between dream and reality.

At the Pinacoteca exhibition, the duo presents paintings, immersive installations, sound installations, sculptures, site-specific interventions, drawings and notebooks. The notebooks, dating from their teenage years and now presented to the public for the first time, precede their famous yellow characters and illuminate the roots of their emergence. The works occupy all seven temporary exhibition rooms at the first floor, as well as one of the courtyards, several inner and outer spaces and, last but not least, the Octagon, which holds a specially-designed installation. As a traditional institution devised to foster art production in Brazil, Pinacoteca reaffirms its mission by presenting a comprehensive review of OSGEMEOS’ output through the opening of a year dedicated to the relationship between art and the city. “If in modern times the phenomenon of art has had the city as its place of existence, to think about art is to think about its incorporation in urban life. The urban reality, the city itself, the relationships that take hold in that particular space, are not only subjects of art, but also the very manner of its manifestation. To live in the city is to partake of a unique sociability marked by commuting, anonymity, collective production and conflict -- and inequality-generating factors, but also charged with a potential for freedom and change, which are very dear to modern and contemporary art practices”, concludes Jochen Volz, general director at Pinacoteca and the show’s curator. During the months in which the exhibition is on display, the museum will be filled with the unmistakable style and spelling of the artist duo. Pina’s store will receive a set of new products designed by them, such as mugs, t-shirts and caps. Temporarily, the traditional sign on the facade bearing the institution’s name, created by the award-winning graphic designer Carlos Perrone in the 1990s, will be replaced by a luminous one designed especially by Os Gêmeos.

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Photo: Vicente de Mello. Courtesy the artist and Gagosian.

Adriana Varejão 67

As one of the most original and significant voices in contemporary Brazilian art, Adriana Varejão is celebrated internationally as a painter whose work addresses the complex, interweaving themes around history, memory and culture, and decolonial narratives. She is set to present an exhibition of new paintings and sculptures at the Gagosian gallery, marking her first solo exhibition with the New York gallery. Through an art that is as visually arresting as it is subversive, Varejão recontextualizes the fraught pluralism of Brazilian identity, engaging the drama of Baroque art with a modern sensibility to reflect on the colonial narratives still entrenched in art and history today. ADRIANA VAREJÃO Yellow Square, 2020 Oil and plaster on canvas 70 7/8 x 70 7/8 x 1 5/8 in 180 x 180 x 4 cm © Adriana Varejão. Photo: Vicente de Mello. Courtesy the artist and Gagosian.

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ADRIANA VAREJÃO Moorish Arabesque, 2020 Oil and plaster on canvas 70 7/8 x 70 7/8 x 1 5/8 in 180 x 180 x 4 cm © Adriana Varejão. Photo: Vicente de Mello. Courtesy the artist and Gagosian.

ADRIANA VAREJÃO Espiral [Spiral], 2020 Oil and plaster on canvas 70 7/8 x 70 7/8 x 2 3/8 in 180 x 180 x 6 cm © Adriana Varejão. Photo: Vicente de Mello. Courtesy the artist and Gagosian.

The exhibition, specially conceived for the 21st Street gallery, features Varejão’s latest series of distinctive oil paintings with their deep, cracked surfaces. Following the blue and white paintings inspired by Portuguese azulejos, and the subtle monochromes evoking Song porcelain, the new works explore the uncannily modernistic motifs of ancient Talavera tiles. Also on view for the first time in New York will be the latest of her large-scale, free-standing sculptures from the ongoing evocative “meat ruins” series, simulated architectural fragments that reveal interiors of visceral painted flesh.

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Adriana Varejão May 3-June 26, 2021 522 West 21st Street New York, NY 10011

O u t & Ab o u t

ADRIANA VAREJÃO Three Diamonds, 2019 Oil and plaster on canvas 70 7/8 x 70 7/8 x 1 5/8 in 180 x 180 x 4 cm © Adriana Varejão. Photo: Vicente de Mello. Courtesy the artist and Gagosian.

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O u t & Ab o u t Photo Camilla Jan

Marcos Amaro 70

Marcos Amaro has always been a visionary; he is an artist, businessman and the founder of Fundação Marcos Amaro, a non-profit private cultural organization in the town of Itu, a two-hour drive from São Paulo. The acronym FAMA for fame in Portuguese stands for Fábrica de Arte Marcos Amaro, an art factory managed by the Marcos Amaro Foundation (FMA), established by the art patron in 2012 on a twenty-thousand-square-meter property of an old textile mill. Amaro, the thirty-six-year-old entrepreneur, is himself an artist, art collector and philosophy major, and son of deceased billionaire pilot Commander Rolim, founder of TAM Airlines, now part of the LATAM Group. Since June 2018, the outdoor space with huge red brick ruins, originally styled in the fashion of the late-nineteenth-century Industrial Revolution, was revamped into a sculpture garden with works by renowned artists such as Caciporé Torres, Emanoel Araújo, Gilberto Salvador, José Resende, José Spaniol, Marcos Amaro, Mário Cravo, Mestre Didi, Sergio Romagnolo and Edith Derdyk. In the warehouses, now occupied with the foundation’s collection of fifteen-hundred works, the highlight is the permanent exhibition with tridimensional pieces—a special focus of the founder—by artists such as Adriana Varejão, Cildo Meireles, Iole de Freitas, Nuno Ramos, Nelson Leirner and Amaro’s close friend, the

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Rubens Gerchman Ar, 2003

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O u t & Ab o u t Photo Camilla Jan

Marcos Amaro Carro de boi, 2016

deceased artist who went by the name of Tunga, as well as the patron’s own large assemblages rightly appropriated and recycled from old aircraft fuselages he takes apart and welds in his gigantic studio in one of the brick buildings. Colecta has reached out to Marcos in order to bring a little more insight on this young artist, who has been revolutionizing the Brazilian cultural scene and supporting artists from diverse backgrounds. COLECTA-How did you come about the idea to create FAMA and what is its role in the cultural scene of Brazil? M.A. - The idea to create FAMA was basically pushed by my collection and also by my studio that I had inside the factory and I was working there. And I saw this big opportunity to buy the property and start the project and bring my collection to a public purpose.So basically that was the spirit. Its role in the cultural scene of Brazil is to bring art and culture to the countryside, as well as to support artists from Brazil with awards and commissions that can help and develop the whole scene in Brazil.

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COLECTA-What inspires you as an artist and what moves you as a businessman? M.A.- What inspires me as an artist is basically my history, everything that I lived when I was a child.What moves me as a businessman it that, since my childhood, I had this background with my father being an Entrepreneur and also my mother being a designer as well as an entrepreneur, which gave me this sense of becoming very business oriented in order to create things in this world. I think that moves me a lot. COLECTA-What inspires you as an artist and what moves you as a businessman? M.A.- Probably my family, my kids and everything that I developed to support them. My friends, the people that are working with me; those relationships are very important to me and in terms of achievement. Of course, realizing that I am living and building my dream is very, very important to me. COLECTA-What are the future plans for FAMA? M.A.-The future plans for FAMA basically surround the project of our concert hall that we

O u t & Ab o u t Photo Camilla Jan

Carmela Gross Se vende, 2008

are going to develop next year. We also have a small boutique hotel that we are going to create inside our museum. COLECTA-You also own a successful art gallery in São Paulo and Zurich, what is your secret to success in this segment? M.A.-We are working very hard during this lockdown in both galleries in São Paulo and Zurich. We have been lucky to sell very well online during this period. People have been buying more online, they are using social media platforms more, so we have been successful in the virtual world. It has been good for us as far as keeping operational costs down as we are also not doing any fairs right now. Rentals being lower have also been a positive factor.

Marcos Amaro Fossil, 2020

COLECTA-What is your advice for someone that wants to start their own art collection as an investment? M.A.- My advice for someone that wants to start their own art collection as an investment is to love what they are doing and to buy because of passion for a piece. It is important to study and gain experience as well as research and listen to people’s advice. It is necessary to understand how the market works and what is important, as well as knowing art history. To be part of the gallery scene, talk to artists, curators and read books.

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Antonio Carlos Cavalcanti 74

Antônio Carlos Cavalcanti has been working in the art field for exactly 20 years. He began his professional life in the city of Campo Grande, Mato Grosso do Sul, working with regional artists, some of whom already had national recognition. His first contact with the most well-known figures in Brazilian art was in 2003, when his business led him to São Paulo and into museums, galleries, art fairs, and auctions. Cavalcanti was enthralled by this fascinating world: a perfect fit for his interests and dedication to art studies. In partnership with dealers and galleries in São Paulo, he started to resell works by renowned artists in prints and canvas, which opened the door for him to engage with high profile collectors and clients. In 2008, the business expanded and Cavalcanti became an auctioneer in a live television program, selling works of art of the most varied styles and price-points. He stayed onair until the mid-2009, until he moved to the city of Guarujá and set up the DOS Galleria in partnership with two investors and friends. This was the beginning of a new phase in his life in which growth and expansion was abundant. Cavalcanti Escritório de Arte became an important art office that specializes in buying, selling, evaluating, and representing works of art and artists, as well as holding events related to art in general.

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Claudio Tozzi Aviador

Neno Ramos My Eyes of You, 2021

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Cláudio Tozzi Multidão colorida, 1996

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Arrista Antônio Peticov No tittle, 2005 76

Arrista ivald granato No tittle, 2007

Jose Roberto Aguilar Carboard and Acrylic Glued to Wood, 1982

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Wega Nery Marinha Noturna , 1971

Cavalcanti fosters a relationship with the Benedicto Calixto Pinacoteca, acting as part of the cultural team by invitation of Dr. Eduardo Paulino, former Pinacoteca director. The “Aldemir Martins” show was a success with both the public and the critics in the city of Santos and surrounding region. It brought the gallery director’s invitation to put together other exhibitions. Cavalcanti took up the challenge, knowing the importance of the Pinacoteca as an entity. He started by studying curatorship and everything that involves an art show worthy of such a space. Thus, a great partnership and friendship began between the directors, artists, curators, museums and other professionals in the area. Today there are more than 40 exhibitions and projects carried out in partnership with

the Pinacoteca, spread over a period of 10 years. Among the main highlights are the artists: Cláudio Tozzi, Ivald Granato, Antônio Peticov, Romero Britto, Roberto Burle Marx, Clóvis Graciano, José Zaragoza, Jô Soares, Cacipore Torres, Neno Ramos, Flávio Rossi, Marangoni, Silvio Oppenheim, Ewely Branco, and Sergio Martins. In the last few years, Cavalcanti has also expanded into the international market, participating in art fairs in the United States and South American countries, including Brazil. Cavalcanti has enjoyed a strong relationship with fellow artists throughout the years, which also brought fruitful architectural projects in cities and private companies. He is presently engaged in ongoing projects for individual exhibitions in New York, Monaco and London.

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O u t & Ab o u t

andre duek 78

As a graduate in Business Administration and an MBA from Fundação Getúlio Vargas in São Paulo, Brazil, Andre has been an entrepreneur for over 30 years. He has worked in several business segments including the fashion industry, financial investments, luxury real estate, tourism, sports management, and even as a motorsports commentator on TV and radio. Currently, Duek lives in Boca Raton, FL.

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COLECTA-Andre, according to economic data from the American government, Florida has become one of the 10 most sought-after destinations for opening new businesses and housing. What are the architectural elements and main characteristics of this Floridian lifestyle that has attracted so much attention? A.D-Brazilians adore Florida. Miami, Fort Lauderdale, Boca Raton, and Orlando all have many similarities with large cities in Brazil. I would say the main characteristics that have attracted so many people to this Floridian lifestyle would definitely be the climate, language, and security. As far as architecturally, these cities are composed of family-friendly neighborhoods, contemporary condominiums, and a modernized nightlife that includes places of entertainment and exceptional restaurants. Additionally, Florida has become a hot spot for boating lifestyles and one of the best places for car lovers such as myself.

@googleimages by Conde nast Traveler

COLECTA-You have accumulated nine years of entrepreneurship in America. What led you to choose the United States when deciding where to begin an international career? A.D-During my 25 years of working experience in Brazil, I acted as a CEO for one of the most important Brazilian fashion companies, the Triton-Forum Group. I also became heavily involved in the area of motorsports marketing & broadcasting. Not too long after, I started investing in the U.S. real estate market and fell completely in love with the industry. In 2012 and at the age of 40, I decided to launch a startup business which became Duek Realty LLC in Miami. In 2015, I saw an opportunity to found the first premium motorhome rental company composed of Brazilian partnerships. Finally, in 2020 we took the next step and leveled up in real estate as our boutique company was acquired by ONE Sotheby’s International Realty.

@googleimages by Ask for Adventure

@googleimages by Ra-Haus

Design Distric MDDA Market

Art Lovers Guide to Miami

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O u t & Ab o u t

@googleimages by One Lifestyle.com

Miami Skyline

COLECTA- There is also an effervescence in the art world in the state of Florida. In this case, does art imitate life or does life imitate art? A.D-I believe that art imitates life because it is through the artist’s work that he is able to express feelings and display reflections of life. COLECTA- Diversity has always been a trigger of great social transformations, reinforcing values and providing individual and collective growth. Moving professionally through the world of fashion, cars, houses, being a racing driver and radio & TV communicator prove that theory to be right? A.D-Yes, in a country that is so globalized such as the U.S., it is essential to bring qualities that stand out in the competitive market industry of real estate. There is no secret formula. We must always move using past experiences, visions for the future as far as upgrading professionally, and overall, be present as individuals. COLECTA- In your opinion, what does the future indicate in consumption behavior and in the lifestyle of the new generations? With the

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reality of the home-office accelerated by the pandemic, leisure, work and studies are all part of the solution? Or will they trigger new behavior profiles? A.D-I believe that the pandemic has taught us many lessons, but I do not believe that the world will become 100% digital with people working mostly from home. I feel that the mix between personal and digital contact, meeting face to face with partners and clients, as well as being present in the office and outdoor events will bring strength and refreshment that the best professionals need in order to continue growing. COLECTA- In your international business experience what would you consider to be a few of the best characteristics of American and Brazilian styles when considering their ways of doing business? A.D-Excellent question! The best in both worlds is a mix of organization, planning, and simplicity of bureaucratic American systems with the highest level of service, creativity, and the power of adaptation of Brazilian culture.

For those with a vision. Duek Lara Group is elevating real estate in South Florida. Leveraging the marketing platform of ONE Sotheby’s International Realty, we offer our clients global exposure, with innovative technology and unrivaled services. In one year, we have expanded our presence in one of the most competitive markets in the world. This remarkable story has been one of ambition, foresight, and inspiration… and it is only getting started.

Let’s have a conversation about your real estate vision. dueklaragroup.onesothebysrealty.com | info@duek-lara.group | 305.935.0300 2021 |

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Image courtesy of Moschino

Image courtesy of Vivienne Westwood

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Fashion & Art

Creative

Connections Fa s hi o n i s a perfect marriage of c r e ati v i ty , co m m uni cati o n, us ef ul ne s s a nd exp r e s s i o n, a nd they a r e m o r e i ntr i ns i ca l l y co nne c te d tha n ev e r. Tho s e w ho l ov e co ns um e r b e hav i o r , w hi c h i s r e p r e s e nte d b y hi s to r i ca l a nd s o c i a l nua nc e s thro ug h the way p e o p l e d r e s s , k now v e r y w e l l that A r t ca n ‘s av e’ us i n m a ny s i tuati o ns . by Giuliana Brandao

Pictured above, Moschino RTW Menswear Fall 2021 Collection. Pictured to the left, Vivienne Westwood Fall 2021 Collection. Inspired by the painting “Daphnis and Chloe”, 1743, by the French Rococo painter François Boucher. 2021 |

Fashion & Art

Indeed, the main international fashion weeks revealed an expressive tribute to Art in its most varied forms, often transforming digital videos into true art films. The intense plunge creators took into artistic references for the creation of a perfect aesthetic, which valued the collections of many brands worshiped around the world, brought a sophisticated freshness to a relentless walk of top models on the runways. Audiovisual concepts often resemble short films. The digital age has brought the fashion industry a chance to create genuine connections through designers, artists and art directors, providing unique experiences for its consumers. Whether it is through using references to the contemporary period or revisiting historical artistic eras, from the Rococo, Bauhaus, 17th century genre paintings appear as highlights, sculpting scenes from everyday life and ordinary people, giving them a certain air of immortality. Maison Dior presented their collection in the form of tarot cards. In the short “Le Château du Tarot” directed by Matteo Garrone, the aes-

thetics of Maria Grazia Chiuri, Dior’s creative image director, explicitly refers to a delicious mix of Renaissance, Pre-Raphaelite and Symbolist paintings. In another moment, Inspired by surrealist women, the creative director of Dior’s women’s collections, took the opportunity to express alternative views of femininity through the prism of the fashion doll. “Surrealistic images manage to make visible what is invisible in itself. I am interested in mystery and magic, which are also a way to exorcise uncertainty about the future ”, says Maria Grazia Chiuri about her fall-winter 2020-2021 Haute Couture collection for Maison Dior. Inspired by the work of artists like Lee Miller, Dora Maar and Jacqueline Lamba, the Italian stylist defends less conventional versions of femininity. The fashion doll is also a reference to the Théâtre de la Mode, an itinerant exhibition of miniatures by the greatest seamstresses of the time, which toured Europe and America shortly after World War II. The luminous and dreamlike tones of the paintings by Leonora Carrington and Dorothea Tanning come to life in the drawings by Maria Grazia Chiuri.

Image courtesy of Maison Dior.

Pictured above Dior Haute Couture Fall/Winter 2020 | 2021Collection.

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Fashion & Art

Image courtesy of Dior./Credit: ELINA KECHICHEVA

Pictured above Dior Couture Spring 2021 Collection.

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Fashion & Art

Pictured above, is a still of Act 1 Fashion Film for Fall 2021.

Image courtesy of Moschino.

Pictured to the left, Moschino RTW Womenswear Fall 2021 Collection. | 2021

Vivienne Westwood exhibited her collection inspired by the painting “Daphnis and Chloe”, a 1743 painting by French Rococo painter François Boucher, preserved at the Wallace Foundation. The collection maintained the eclectic characteristic of Vivienne Westwood’s punk soul, nowadays focused on sustainability. More than 90% of the creations were made with materials with a very low environmental impact. In Milan, the Act N.1 brand presented models in ethereal colored tulle, reminiscent of ballerinas and ‘damnatio memoriae’ in contrast with abstract paintings of fire in a timeless setting of sand and memories. The scene is dominated by the idea of a contemporary Last Supper by Leonardo da Vinci. Jil Sander paid tribute to Bauhaus at the Menswear Week in Paris. Stephen Kidd created a clear and intriguing video. The abstract, modern and sensitive photographic portraits of Bauhaus artists that Florence Henri made in the 1920s were enlarged, printed on canvas and sewn on tailored jackets, coats and knitwear. Art will always triumph in the end, even in these unprecedented times: art will challenge the Covid-19 pandemic.

Image courtesy of Jil Sander

Courtesy of Act 1

Pictured above, Jil Sander RTW Menswear Fall 2021 Collection.

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Wearable Art

Anca Stefanescu Illusion s a n d re ality co llid e in Anca St efa n e sc u ’s psyche d e lic d e s ign s .

by Giuliana Brandao

Anca Stefanescu is a Romanian born and UK based artist. She holds a degree in painting from the Art University of Bucharest, and has trained in London as a CG animation and visual effects artist, and Digital Intermediate Colourist, which deeply influences her art making process. Her symbolic and figurative paintings explore the notion of identity. She explores the settings that compose our lives through contrasting the concepts of time and space in metaphysical interpretations. “When I close my eyes, time and space do not exist, they are mere concepts….and when I open them I validate the world I am perceiving as the frame of reference to what I wish to create and experience through my own emotions.” Deceptively simple in their composition, the complexity of her work is revealed in impeccable geometric flat surfaces, gestural brushwork and vibrating colors, evoking the intricacy and yet clarity of interpersonal relationships from family to friendship and marriage, formed in the context of social and cultural influences 2021 |

Wearable Art

Patterns of Perception

Sacred Geometry Bags Collection - designed by Anca Stefanescu Collectible Handbags - One design for each single item All collection’s items are unique and each design presents a different artwork.

Abstracting the human figure, Stefanescu’s work explores the contrasts and polarities of feminine and masculine, restraint and fluidity, effectively blurring the boundaries between illusions and reality. Her paintings express aspects of the creative potential of the human mind. She explores the boundaries of the relationship between the body, self, gender, time and space. Stefanescu transmutes the human form into colourful geometric shapes, contrasting them to fields of flat, solid colour stained into or spread across the canvas. The colour becomes the subject in itself, creating the sense that the canvases are pulsating with energy. She often marks these colour planes with gestures and brushstrokes, emphasizing spontaneous, automatic, or subconscious creation. Bracelet Collection | 2021

Timeless Collection / Diorama Concept By Anca Stefanescu & Alina Gavrila

Art & Interior Design by Anca Stefanescu

Wearable art Wearable art, also known as Artwear or “art to wear”, usually refers to individually designed pieces of handmade clothing, accessories or jewellery created as fine or expressive art. While the making of any article of clothing or other wearable object typically involves aesthetic considerations, the term wearable art implies that the work is intended to be accepted as a serious and unique artistic creation or statement. Pieces may be sold and/or exhibited. Artists creating wearable art may use purchased finished fabrics or other materials, making them into unique garments, or may dye and paint virgin fabric. As with any other art form, the talent and skills of artists in this field vary widely. Since the nature of the medium requires craft skills as well as artistic skills, an advanced artist may wish to study color theory, chemistry, sewing, clothing design, and computer software such as Photoshop and Illustrator.

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Ana Francisca Simple 2020 | 2021

of Arts W e a r e a n in sp irat io n a l co nte m p o ra r y b us i ne s s platfo r m co n n e c t in g a l l fo r m s of c ul tura l manif e s t at io n s & se l f- exp r e s s i o ns i n A r t a nd Fa s hi o n, me r gin g c r e ato r s , a r ti s a ns , p a i nte r s , d e s i g ne r s , visio n a r ie s , a n d e nt r e p r e ne ur s . 95

By Giu Brandao & Jade Matarazz o

As an artist, curator and cultural entrepreneur, our founder Jade Matarazzo felt the need to foster cultural exchange through broader and more creative platforms. In collaboration with other art institutions and organizations, Jade branched out towards promoting artistic encounters and exhibitions using art as a tool of cultural and community identity. She is the founder and Co-Founder of many international projects such as The House of Arts, Expoart Japan, Expoart London, Atelier Without Borders, and Urban Legends, all focusing on cultural, social, and educational components. In 2021, The House of Arts expanded its presence in other forms of art expression, bringing the fashion specialist Giuliana Brandao to be part of the team. This instant connection took THOA to open a new cultural exchange between design, fashion, and special projects not only in the USA but also in Brazil Julio Alves Faces 00’ 2021 |

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and in Europe. Their next steps and upcoming projects are being planned for the upcoming semester with an optimistic and realistic view of the cultural market scenario. Enjoy the work of our artists and visit our website to know more about each one of them and their wonderful artwork.

Stenio Oliveira Brothers Playing

Blagojco Dimitrov Mostruario Field 4976-01

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ART MEDIUMS Humans have been using all sorts of materials to express themselves since the Stone Age: early paintings in caves were done with pigments from fruits or roots and have lasted through centuries. Today we use the term artistic medium to refer to the type of material used to create a work of art, be it paintings, sculptures and everything in between. For example, a painting might be ‘oil on canvas’, while a sculpture might be made of marble or steel. The term ‘medium’ was first used specifically in the context of art 90 years after Lessing mentioned it in an essay in 1861. Earlier, art was described in terms of the substance mixed with each pigment to make paint. For example, oil and water are different mediums into which paint is mixed to make pigment. Now, the term “medium” is used to convey what material art is made of. Here we will touch on a few different mediums.

WATERCOLORS Watercolors are difficult to work with, as once the paint is on paper, there is very little you can do to change it. However, once you master it, there are several advantages to its use. Watercolors are relatively inexpensive compared to other mediums. One tube of color goes a long way, since the paint is mixed with a lot of water to create its signature effect. Watercolor paintings are generally translucent, meaning that you can see the texture of the paper that lies beneath it.

Ronaldo Fraga Portinari 2021 |

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Alois Hunka Untitled 004’

Watercolor allows light to bounce off the paper and give the color its effect rather than bouncing off the paint. This gives such paintings a mesmerizing clarity. Watercolors are generally used to paint landscapes, abstract pieces or other subtle subjects that don’t require too much precision. Some watercolor techniques include wet on wet, color lifting and flat washes.

ACRYLIC PAINTING This is the newest medium used in art and was only developed in 1940. Compared to watercolors and oil paints, acrylics have a lot of advantages. It dries very fast, unlike oil paints. It is also very versatile and durable. Additionally, it creates fewer messes and can simply be scraped off Daniel Taveira Innocence

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Alex Korolkovas Untitled 02’ Surreal Series

Marli Takeda Humanity XXXI, 2019

Cristina Canepa Untiltled 2012

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Adriana Samora Abstract Lines II

Carmem Gusmao The Girl from Shangai

Miriam da Silva Way to Andromeda | 2021

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Mariella Morrone Maternita

Geraldo Jacob Pandora I.

if you spill it on the floor; it can be peeled off the hand like glue! Pop artists like Andy Warhol used this medium, even in his legendary creation of the ‘Campbell Soup Can’. ACRYLIC POUR Another recently developed technique that doesn’t require you to be a born artist is the ‘Acrylic Pour’. Acrylic pour is a technique of simply pouring layers of different acrylic colors on a canvas. To make thin the paint into a liquid or pourable consistency, you need to mix it with a pouring medium. To add to the fun, you can add silicone oil to the mixture and use a heat gun or a lighter to create patterns on the canvas after pouring. You will see the paint separate from the oil (since acrylics are water-based) and form beautiful bubbles on the painting. Although it’s a simple technique, the painting does depend on the way you pour and the colors you have layered. 2021 |

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Thidama Dawn of the Earth

Miriam Nigri Black in White

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Wilson Pinto Orange with Red Corals

Art Installations Installation artworks (also sometimes described as ‘environments’) often occupy an entire room or gallery space that the spectator has to walk through in order to fully engage with the work of art. Some installations, however, are designed simply to be contemplated, others are so fragile that they can only be viewed from a doorway or one end of a room. What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The experience of the artwork and the desire to make it as intense as possible are the main concerns of the artist when creating installation pieces. The creation of installations has become a major strand in modern art since the 1960s. There was an increased interest in the medium from the early 1990s when the ‘crash’ of the art market 2021 |

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Ton Costa World Vision - 2012

in the late 1980s led to a reawakening of interest in conceptual art, which is focused on ideas rather than objects. Miscellaneous materials (mixed media), light and sound have remained fundamental to installation art.

Sculptures A sculpture is an artistic form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be embedded in freestanding objects, over surfaces, or in environments ranging from tableaux to installations that envelop the spectator. An enormous variety of media may be used, including clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects. Materials may be carved, modeled, molded, cast, wrought, welded, sewn, assembled, or otherwise shaped and combined. Sculpture imagery may be symbolic on a number of levels. Apart from conventional symbols, such as those of heraldry and other insignia, the simplest and most straightforward kind of sculptural symbol is that in which an abstract idea is represented by means of allegory and personification. | 2021

Carlos Alves The White Wolf

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Leonardo Bacan Shouganai

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Mariella Morrone Semente da Vida

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Art photography

a b ove us o nly ski e s by

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Alex Korolkovas

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Photographer Alex Korolkovas @korolkovas Fashion Stylist Ricardo Bruno @ricardobruno Hair Stylist Jason Linkow @jasonlinkow Makeup John Fabulin @johnfabulin Models Michella Cruz @michellacruz @elitenyc and Thais Oliveira @thaisoficial @onemanagement Photo Assistant & Video Theresa Helena @thereza.helena Catering Mariana Tamiozzy @marianatamiozzy Location Showroom Seven @showroomseven Special Thanks to Karen and Mandie Erickson Fashion Styling Credits: @asanchezfashion @antonia_nae @beautiisoles @charlotteolympiabrand @ericksonbeamon @jackvartanian @katebartondesign @molawalker @perfidemleather @rossituxedo @thesisgems @zell_official @georginajewlryofficial @oxygeneus Special Thanks @flyingsolonyc @showroomseven

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MEET T H E TEAM

Our Contributors

Giuliana Brandao

JADE MATARAZZO

Flávio Iryoda

E d i tor- i n - C h i ef @ g i u _ b ra n d a o

Ar t Curator @ t hehous eof. ar ts

Aves s a Group @f lavio. ir yoda

Simone Piva

Ronaldo fraga

Alex Korolkovas

IT M o n d o @s i p i va

Fa s hion Des igner @f ragaronaldo

Ar t Photography @korolkovas

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VIVIAN LOBENWEIN

BRUNA AMORIM

G ra p h i c & A r t Di r ector

Wr iter & T rans lator @br una. im g

ADRIANA VAREJÃO Talavera

Gagosian New York

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@colectamag