Tuesday, March 6, 2018

Brazilian Galleries at "The Armory Show"   
MARCH 8  - 12    
Piers 92 & 94 (Manhattan)


— Financial Times
Staged on Piers 92 & 94, The Armory Show features presentations by over 200 leading international galleries, innovative artist commissions and dynamic public programs.
PIERS 92 & 94

Twelfth Avenue at 55th Street
New York City
Wednesday, March 7


Thursday, March 8, 12–8pm
Friday, March 9, 12–8pm
Saturday, March 10, 12–8pm
Sunday, March 11, 12–6pm

More information: https://www.thearmoryshow.com/Bother Line
The Tank
New York, NY
"Are you morally so old-fashioned as to regard female vanity as frivolous?" 

This is how Helen Palmer questions her readers about the importance of keeping vanity up to date. Helen is the pseudonym of Clarice Lispector, a Ukrainian writer naturalized Brazilian who used her column in several newspapers to give beauty and femininity tips to women all around the country. The issues raised by Clarice at the time come against the annoyances of Gio Mielle, a Brazilian actress based in NY since 2015. 

It is 2018 and feminism, a subject in constant evidence, still leads Gios imaginary to an obsessive interest about her universe as a woman. She finds herself bothered with issues that do not match with her own idea of a woman's place in the world today. Why, despite struggling to make every women know her power and her uniqueness, I still look in the mirror and find myself bothered by a new line that appears on my face? 

Perhaps Aphrodite, Goddess of love and beauty, was responsible for creating the first frame of femininity. The figure of a woman coming out of her shell, hair traversing the body, an image full of sensuality and mystery. The goddess who is far from being human, but who finds in the common people the mirror of desperation of who wants to be like her. Is it human to seek perfection? Is human the search for the ideal body, the angelic face, the smooth skin? The humanity of imperfect human-being leads to a kind of inhumanization when it gets to the constant attempt to perfect itself. Human-perfect-inhuman, should that be the goal in a womens life?

What to do with the bombardment of images, products, advertisements that crosses us daily trying to make us need more to be the woman they require me to be - and that we often still try to be. The lines bother, the routines of beauty are still part of the day to day and the discomfort is constant when most women think about what others see on them. Who are these women who live a plastic life, who exaggerate in beauty products, who do all sorts of procedure in the desperation of being as perfect as the model of the magazine. And how much do I have of them? Lines, they bother.

Gio presents a show that touches these subjects sometimes in a personal way, others in a critical, ironic and reflexive way, always bringing to the scene the physical theater that is characteristic of her work as an actress. The text is based on the articles by Helen Palmer - Clarice Lispector - printed in the columns and feminine supplements of the Brazilian press during the 50s and 60s. 

From hypocrisy to exposure, this is the result of Gio Mielles own discomfort with the lines that make her the woman she is today.

MOre information: https://www.brownpapertickets.com/event/3348666


The Black Body in Brazilian Dance
A place of resistance and invention, a practice of hope
Screening of Um Filme de Dança
Documentary directed and produced by Carmen Luz
In Portuguese with English subtitles
Trailer: https://vimeo.com/66777139

Post-screening conversation with director Carmen Luz,
PhD student Maria Fantinato and performer Autumn Knight.
Event in Portuguese/English, translation available.

“And the blacks? Where are the black people?” Jean-Paul Sartre asked on a visit to Brazil in 1960. The question still resonates today and motivated UM FILME DE DANÇA, a pioneering documentary on the history of Brazilian dance. Filmed in four major Brazilian cities and in New York, this documentary shows the personal histories, philosophies and work of some of the most active black creators of dance in Brazil. It celebrates the perseverance of black dancers and choreographers of different generations and the black body’s dominion over its own dance. Carmen Luz is a prize-winning filmmaker, choreographer and art educator. She started her professional life as an actor, dancer and teacher, and has studied literature, theater, film and art. In 1994, she founded her contemporary dance company and in 1997, opened a pioneering dance and theater education project for youth, children and adults in the Andaraí favela in Rio de Janeiro. Carmen Luz hasserved as the director of two cultural centers, Centro Coreográfico da Cidade do Rio de Janeiro, for contemporary dance, and Centro Cultural José Bonifácio, dedicated to Afro-Brazilian culture. She started to make short films in 2009 and in 2013 launched Um filme de dança. Currently, she dedicates herself to research on black women in contemporary dance and to creative work in dance, and in teaching and making documentary and experimental films.

Maria Fantinato was born in Rio de Janeiro, Brazil. She received her BA and MA in Communication and Culture from the Federal University of Rio de Janeiro and is currently a PhD student in ethnomusicology at Columbia University. Her dissertation investigates the relationship between loudness, divergent simultaneity, and sonic coexistence in boat routes and festivals in the North of Brazil. She is interested in queer and feminist politics of collaboration, and in how the sensorial articulates contemporary notions of the commons in Brazil.
Guest performer
Autumn Knight is an interdisciplinary artist working with performance, installation and text. Her performance work has been in exhibitions at various institutions in the United States, including DiverseWorks (TX), The New Museum (NY), The Contemporary Art Museum Houston (TX), and a solo exhibition at Krannert Art Museum (IL). Knight has been artist in residence with In-Situ (Brierfield, UK), Galveston Artist Residency (Texas, USA), YICA (Yamaguchi, Japan), Artpace (Texas, USA) and The Studio Museum in Harlem (New York City, USA). She attended the Skowhegan School of Painting and Sculpture and holds an MA in
Drama Therapy from New York University. http://autumnjoiknight.com

Event coordinator: Léonard Cortana, Cinema Studies Department / NYU

This event is co sponsored by NYU CLACS, NYU Institute of African American Affairs, NYU Leadership Initiative and NYU Cinema Studies

Talea Ensemble and Michelle Agnes Magalhães: Herbarium

Americas Society
680 Park Avenue
New York, NY

March 5, 2018
7:00 p.m.

n their Americas Society debut, NYC-based new music group Talea Ensemble — dubbed “a vital part of the New York contemporary-classical scene” by The New York Times — presents the world premiere of a new chamber music cycle by Brazilian composer Michelle Agnes Magalhães, who is currently a Radcliffe Fellow at Harvard University. Herbarium explores sonic complexity and visual structures through the lens of Emily Dickinson’s poetry.
Program: Herbarium
Before you thought of springpiano and percussion
Pink small and punctualpiano
I know a place where summer strivespiano, percussion, double bass and electronics
It sounded as if the streets were runningpiano and electronics
Besides the autumn poets singdouble bass
Of all the sounds despatched abroadpercussion
The Souls that Snowpiano, percussion, double bass and electronics]

Jonathas de Andrade

Eu, mestiço

March 3, 2018 - April 21, 2018

Alexander and Bonin is pleased to announce the opening of a solo exhibition of Jonathas de Andrade’s most recent work, Eu, mestiço (Me, mestizo) and Voyeristico on Saturday, March 3, 2018.
MOre information:

Jonathas de Andrade


March 21, 2018Time: 4:00 PM to 5:30 PMLocation: Brazilian-American Chamber of Commerce, Inc., New York, New York

This hour and a half long afterschool workshop for kids based on two children’s picture books, Stolen Spirit and Without Words, which introduces a brief overview of Brazil’s early history while encouraging young people to think about their Brazilian heritage through their personal experiences as immigrants, or as the children of immigrants.  This workshop would present some general information about Brazil’s early history through a brief discussion, but it will also be interactive.   
Stolen Spirit, which takes place in 1500, focuses on the arrival of the Portuguese from an Indian boy’s point of view.   We can bring objects such as a sample of brazilwood to talk about how Brazil got its name and why the Portuguese were interested in this land. That would be Part I of the workshop.  We would base Part II of the workshop on our book Without Words, which is about a Brazilian immigrant boy who uses his talent for draw to adapt to life in the United States.  We would encourage kids or draw or to write about some personal experience they had with Brazil, and then share that memory with everyone else if they are comfortable. 

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Aipad Photography Show

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Aipad Photography Show is a 4 day event being held from 5th to 8th April 2018 in New York, United States Of America. This event showcases products like provide a wide range of services to the public, such as exhibitions, appraisals, expert opinions and consultations etc. in the Photography & Imaging industry.

The Brazilian-American Chamber of Commerce of Florida and
Shutts & Bowen invite you to:

Convinced: The Science of Persuasive Leadership
Presented by: Dr. Ted Cross, Clinical Assistant Professor of Leadership and Management, as well as the Director of the Master of Applied Leadership & Management program at the Thunderbird School of Global Management

Learn more about Dr. Ted Cross - click here

The goal of this session is to provide information and context from scientific literature on how leaders can be more persuasive. Participants will learn how studies on decision making, persuasion, and leadership can be translated into real-world applications. Participants will leave the session with new mental models, as well as practical examples, of how to incorporate leadership practices that are supported by research.

Tuesday, March 13th, 2018
8:30am - 11:00am
Shutts & Bowen, LLP

BACCF members: $40
Non-members: $65
Trustee & Patron Members: Complimentary*
 (*discount applied after registration is completed)

Register Today!

Connect with us
Brazilian-American Chamber of Commerce of Florida | P.O. Box 310038Miami, FL 33231

"Almir Mavignier: Privileged Form" 
MARCH 2 - APRIL 19  

Nara Roesler 

Galeria Nara Roesler | New York is pleased to present Almir Mavignier: Privileged Form, featuring posters by Almir da Silva Mavignier (b.1925, Rio de Janeiro, Brazil). The exhibition will also include a seminal "Kinechromatic Device" produced circa 1955 by Abraham Palatnik (b.1928, Natal, Brazil), a sculpture that employs light play to create kaleidoscopic images. Palatnik's and Mavignier's trajectories overlap, as both artists, along with critic Mário Pedrosa and artist Ivan Serpa, were united in pursuit of what Pedrosa called a "privileged form." Almir Mavignier: Privileged Form will be on view from March 2 through April 14, 2018.
The aesthetic strategies employed in Mavignier's posters to investigate form and color have long been present in his practice. His work is informed by his early experiences in Rio de Janeiro, his time in the Constructivist Ulm School in Germany led by Max Bill, and his association with Group Zero. Mavignier masterfully embodied the artistic principles expounded by these movements in his designs, a skill that led him to secure a key position as poster-maker for the 20thcentury avant-garde. The presented pieces reflect the scope of Mavignier's production and include posters made to announce exhibitions by artists, movements, and institutions such as Paul Klee, Group Zero, and the Museum of Concrete Art. The show will also highlight posters produced to publicize exhibitions by Jesús Rafael Soto and Abraham Palatnik,emphasizing the commonalities between Mavignier's practice and the formal investigation led by these artists. 

Between 1946 and 1951, Mavignier led the painting studio, which he co-founded with Dr. Nise da Silveira, at the psychiatric hospital in Engenho de Dentro, Rio de Janeiro. His experience with psychiatric patients led him to recognize that an artist's "creative fantasy" comes from within. Throughout these early years, Mavignier produced his first abstract works, which were situated between geometric form and organic figuration. The artist's experience at the psychiatric hospital also drew him close to Pedrosa, Serpa, and Palatnik. Pedrosa's thesis concerning form as an object of direct experience provided a theoretical framework for the artists who surrounded him to conceptualize the patients' inherent artistic potential, witnessed at Engenho de Dentro. During this period, Palatnik produced his first prototype for a Kinechromatic Device, which projected sequential patterns of colored light onto a semi-translucent screen. The piece in the exhibition, Untitled (c. 1955), is one of the artist's early attempts to control these patterns with a hand-turned knob, a process that later, in the 1960s, became automatic. As art historian Dr. Michael Asbury points out, "The mechanical character of the work combined with the association with his colleagues posits those early experiences at the psychiatric hospital firmly withinthe Brazilian constructive tradition, or so it seems."
The late 1940s and early 1950s marked the dawn of the Concrete age in Brazilian art, a transition largely marked by Max Bill's first exhibition in São Paulo. As the Concrete poet and art critic Ferreira Gullar explains, "The end of the [Second World War] aroused a wave of optimism and renewal, which was reflected in the arts. The Max Bill exhibit in São Paulo, in 1949, created the first connection with the Ulm group, the heir 
of some ideas from Bauhaus…"2 Bill, who would later become Mavignier's teacher, put forward the idea of beauty as product of mathematical form. The Ulm artists he led sought to replace naturalist reproduction by pursuing a fundamental understanding of the structures that surround us, focusing on point, line, and plane. Contact with Bill's practice shifted Mavignier's perspective on the representation of form. As the artist states, "I began to research forms and I began this non-naturalistic painting … a new world opened to us, so we were free."
Mavignier began his poster production in 1953 while studying under Bill at the Hochschule für Gestaltung Ulm (Ulm School of Design), and incorporated his newfound freedom into his designs. Toward the end of the 1950s the artist's posters took on a quality that he describes as "modular." These designs employed repetition to transform compositional and chromatic elements into mathematical constants. From 1960 onward, the artist continued to explore structured repetition through his "additive posters," each designed to be presented next to a print of itself, establishing a repetitive and continuous design. His handling of color also reveals the influence of Josef Albers, who lectured at the Ulm School from1953 to 1954. Mavignier's consequent focus on the relationship between colors is particularly noticeable in posters that employ typography in colors that, from afar, cause the words to seemingly coalesce with the background. As a result, theposters perform their informative function by captivating the viewer through a play of color and form.
Mavignier remained in the Ulm School until 1958, the same year he first exhibited with Group Zero, in Düsseldorf, Germany. The group united over the rejection of gestural abstraction trending in Europe at the time, and sought to employ simple colors and serial structures to approach a forward-looking minimal aesthetic. To that end, Mavignier developed a series of paintings that presented patterns of colored paint droplets with pointed tips. The movement's focus on light and space was also consistent with Mavignier's concern with the optical elements that mediate the relationship between observer and artwork. In the creation of his posters, he generates a perceptual response in the viewer's eye by combining contrasting color elements with geometric forms. Not only did Mavignier adopt the aesthetic principles put forward by the group, but he also produced posters for fellow artists in the Zero network, such as Jesús Rafael Soto. Mavignier's attention to color and form accentuates the work by the Venezuelan artist, whose practice focused on the perception of movement. Through his involvement in important art historical junctures, Mavignier's art anddesign became not only suffused with the most innovative ideas of his time, but also a relic of the post-war avant-garde.
This exhibition was developed in collaboration with the Institute for Studies on Latin American Art (ISLAA), and Galeria Nara Roesler would like to thank ISLAA for making its historically significant collection of 40 posters available for the exhibition. ISLAA is a New York-based non-profit 501(c)(3) philanthropic organization dedicated to the support of advanced research on the arts from Latin America through the promotion of lectures, symposia, publications, and exhibitions.

More information:


Bruno Miguel at "VOLTA NY" - Gallery Sapar Contemporary
MARCH 7 - 11  

Pier 90  (Manhattan) 

Bruno Miguel (b. 1981) lives and works in Rio de Janeiro, Brazil. An inveterate collector of quotidian objects, Miguel’s practice explores the fluid relationships and personal stories embedded in familiar household items and consumer products to reframe the international dimensions of Pop Art and the avant-garde in Brazil. Miguel’s paintings and installations — which frequently manipulate traditional Carnival techniques in polyurethane foam, resin, and papier mache — convey the layered histories of Rio de Janeiro's landscape from a critical periphery. 
He has had individual institutional exhibitions at Largo das Artes (2010), Museum Paço Imperial, Rio de Janeiro (2016), Centro Cultural da Caixa Econômica Federal, and Centro Cultural São Paulo (2016). His work was included in multiple editions of the Biennial of La Paz, Bolivia.  In 2007, Miguel received an honorary mention at the V International Biennial of Art SIART in La Paz, Bolivia, followed by a fellowship from the Furnas Social-cultural for Artistic Talents.  His work was included in group exhibitions at the Cultural Center Bank of Brazil in Rio de Janeiro and São Paulo (2008 and 2009); Museum of Contemporary Art, Santiago, Chile (2010); Caixa Cultural, Rio de Janeiro (2011); Museum of Modern Art, Rio de Janeiro (MAM-RJ, 2012); Hélio Oiticica Art Center, Rio de Janeiro (2012); Museum of the Republic, Rio de Janeiro (2013); and Museum of Art, Rio de Janeiro (MAR-RJ, 2014). 
Miguel graduated in Fine Arts and Painting from the the School of Visual Arts, Federal University of Rio de Janeiro. Currently, he teaches art and art theory at Federal University of Rio de Janeiro and at the School of Visual Arts, Parque Lage. He also curates Mais Pintura, a project and publication series dedicated to the emerging generation of Brazilian painters.
Miguel’s artworks investigate the fluid narratives between past and present, high and low, and domestic and professional space. In his large series Essas Pessoas na Sala de Jantar (Those People In the Dining Room) (2012–2015), Miguel creates an immersive environment of individual fantastical trees and sinuous mountains from which porcelain plates, cups, and saucers emerge only to be readily consumed and devoured. His use of starkly bright colors and traditional techniques and materials from carnival, including polyurethane foam, papier mache, resin, and spray paint, emphasize the work’s ephemeral and sardonic nature. An ornamental confection fusing porcelain tea sets and garish foam, Essas Pessoas evokes a baroque yet atrophied landscape continually regurgitating its history. In contrast, a related series A Cristaleira (Cabinet) (2015) recalls the luxury crystal carefully stored in a hutch or china cabinet, but the amorphous assemblages of stacked glasses, vessels, and molds filled with vivid resins collapse their precious provenance. On a grandeur scale, Fé (Faith) from the series Sala de Jantar (Dining Room) (2013) manipulates the material surfaces of his varied collection of antique porcelain and earthenware for a gestural tension between abstraction and planarity. Through the conflation of personal and popular artifacts, Miguel reflects a nostalgic vision of his universe that rests uneasily on the edge of painting.