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VALDIR CRUZ  PRESENCES December 7, 2017 – February 24, 2018 Opening Reception: Dec. 7, 2017 6-8pm  Throckmorton Fine Art announces a special 20th anniversary exhibition of photographs by Guggenheim Award- winning Brazilian photographer Valdir Cruz from December 7, 2017 through February 24, 2018. Presences, is Cruz’s seventh solo exhibition at Throckmorton Fine Art in New York City. It is a selection of vintage, gelatin silver prints from three projects: Faces of the Rainforest, The Water’s Way (O caminho das águas), and Roots (Raízes). Thus, three presences dominate this exhibition of photographs by Valdir Cruz and a show catalogue is available. Faces of the Rainforest – People The photographs of indigenous people in this show are drawn from six years of expeditions to remote areas of the Brazilian and Venezuelan Amazon rainforests. Cruz did not merely visit these tribes. He spent upwards of five months living with them and participating in their daily lives. The candor of these images reflects the familiar terms of their relationship. Among the human subjects chosen by Cruz is the Chief of the Wai-Wai, an Archer, a Makuxi Woman, a Man with Painted Body and Face, a Korubo Mother and Child, a Boy with a Bow and Arrow, Makuxi Youth, a Yanomami Girl Playing in a Hammock, The Hunt, and an Afternoon Ritual dance. The Water’s Way (O caminho das águas) – Waterfalls With the same intensity, Cruz, over many years, photographed the otherworldly waterfalls of his native state, Paraná. Lyle Rexer, in his essay for this catalog, writes, “The magnetic center of Cruz’s work is Brazil’s southern Paraná state, where the vast network of tributaries and waterfalls expunges the boundaries between Argentina, Brazil, and Paraguay....Water is a force, throughout this part of the world, and everything is process, not fixity. You can hear the water when you can’t see it – like the ocean. But unlike the ocean, its motion is not repetitive but one of ceaseless transit....‘Immersive’ is the word used by the critic Rubens Fernandes Junior to describe their capacity to convey a viewer to that place.” Roots (Raízes) – Trees The Brazilian state of São Paulo commissioned Cruz to research and photograph the extraordinary trees of the region, resulting in a collection of spectacular “portraits.” Rexer writes, “He focuses his most attentive gaze on the trunks and roots of the tallest trees. As with the waterfalls, his camera creates a second nature, with extreme viewpoints and an exaggerated sense of towering growth...The motion of the trees is all upward rather than downward, a vast defiant struggle against gravity and time....Yet these photographs of roots and ascending trunks do not arrest time but almost seem to deny it.” VALDIR CRUZ Over the past three decades, Cruz has chronicled unique and ephemeral places in Brazil where the people and the landscapes create an indelible impression on the viewer. In the words of Spencer Throckmorton, “Valdir Cruz’s exquisite photography bears out Tolstoy’s observation that to be universal one only needs to talk about his own village.” The power of these images of Brazilian people, distinctive landscapes, and magnificent waterfalls opens a discussion about human societies and the environment.” Cruz was born in Guarapuava, in the Southern State of Paraná, and while he has lived primarily in the United States for more than thirty years, much of his work in photography has focused on the people and landscapes of Brazil. He was awarded a Guggenheim Fellowship in 1996 for Faces of the Rainforest, a project documenting the life of indigenous people in the Brazilian rainforest from 1995 to 2000 as well as additional Guggenheim support with a publication subvention award in 2000. Since 1996 he has published ten photography books. Cruz has been honored with more than fifty solo exhibitions. He is represented in the permanent collections of the Museu de Arte de São Paulo (MASP), the Museum of Modern Art (MoMA) in New York City, the New York Public Library, Museum of Fine Arts in Houston, TX., and the Smithsonian Institution, Washington, D.C., among others.  Valdir Cruz publications include: Retratos de Afeto. São Paulo: Terra Virgem Edições, 2017 Guarapuava. São Paulo: Terra Virgem Edições, 2013 Bonito – Confins do novo mundo. São Paulo: Capivara Editora, 2010 Raízes – Árvores na paisagem do Estado de São Paulo. São Paulo: Imprensa Oficial, 2010 caminho das águas. São Paulo: Cosac Naify, 2007 Carnaval, Salvador – Bahia – 1995/2005. New York: Throckmorton Fine Art, 2005 Faces da Floresta – Os Yanomami. São Paulo: Cosac Naify, 2004 Faces of the Rainforest – The Yanomami. New York: powerHouse Books, 2002 Faces of the Rainforest. New York: Throckmorton Fine Art, 1997 Catedral Basilica de Nossa Senhora da Luz dos Pinhais. New York: Brave Wolf Publishing, 1996  New York 1/17 to 2/24/2018 Bruno Dunley : The Mirror Galeria Nara Roesler | New York is pleased to present The Mirror, Bruno Dunley's U.S, solo debut. The exhibition includes a selection of works developed during the artist's 2016 residency, Further on Air, in East Hampton. The works engage with the history of painting, as well as the rich art historical legacy of the East End, where the region's specific light and landscape became an inspiration for Pollock, Kline and de Kooning in the 1940s and 50s. A new monographic publication on the past decade of Dunley's production will launch on the occasion of the exhibition. Dunley's work questions the specificity of painting, particularly in relation to representation and materiality. His canvases depart from carefully constructed compositions, gradually undergoing corrections and alterations which, at times, reveal the gaps in the apparent continuity of perception.  One of the nominees for the 2012 edition of the Pipa Prize, Dunley (b. 1984) has featured in several solo exhibitions including: Ruído (Galeria Nara Roesler, São Paulo 2016); Bruno Dunley (11 Bis, Paris, France, 2012); as well as group shows including: A luz que vela o corpo é a mesma que revela a tela (CAIXA Cultural, Rio de Janeiro, 2017); 9999 (The Fireplace Project, East Hampton, New York 2017) and A Bela e a Fera (Galeria Central, São Paulo, 2017). Alongside Marina Rheingantz and Lucas Arruda, Dunley's works are part of important institutional collections in Brazil, such as the Museum of Contemporary Art of the University of São Paulo, Pinacoteca do Estado de São Paulo, and the Instituto Figueiredo Ferraz. More information: https://nararoesler.art/en/exhibitions/127/

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Literary Wednesdays always take place at BEA on the last Wednesday of the month at 7:30pm.  GRAMS QUARTAS LITERÁRIAS Literary Wednesdays is a program developed to advance Brazilian Literature in New York, by inviting artists and intellectuals of paramount quality to present their work following with an open discussion with the public. The program is our longest running feature e presented over the course of the years lectures, readings and conferences about various themes and authors in Portuguese language. In the debates that follow each presentation, the guest speaker, the curator and the audience can interact and exchange ideas. Our audience is composed of invitees, students, academics and members of the community with an interest in Brazilian literature. Literary Wednesdays is a program to promote literature the last Wednesday of every month. Entrance to these events is free of charge. Invited writers include: Jô Ramos, Cristiane Bouger (Umwelt Studio), Stephen Bocskay (Harvard University), Cássia Maia(Cássia Maia Fine Art on Silk),  Yara Maura Silva (Maurício de Sousa Produções), Beti Rozen (Sem Fronteiras Press),  and Diana Menasché,  among others. Rozen (Sem Fronteiras Press),  and Diana Menasché,  among others. LIZA RENIA PAPI Curator Brazilian born Liza Renia Papi moved to New York as an international correspondent for major Brazilian magazines, Bloch editors and Abril publishers. Papi holds and MFA from CUNY and also studied contemporary dance with Ivy Epstein at Dance June Lewis & Company. She lectured on Popular Culture and taught courses at El Museo del Barrio, the Queens Museum of Art and the Solomon Guggenheim Museum. Papi works for LeAp (Learning through an Expanded Arts program)  and teaches Art Appreciation as an Adjunct Associate Professor at St. John’s University since 2002. Papi’s style is contemporary focusing on installation and mixed-media painting. She is part of the traveling exhibition “Artists Archive: The Alternet”, curated by Carla Rae Johnson. In addition, she is a published author at Rizzoli International Editors and at LEAPublishers. Her next book, Understanding What We are Seeing, will be released by Cognella Publishers in the end of 2015. Papi’s last curatorial exhibition was the Oral Tradition Symposium, in November 2013. She also curated Cordel Literature, in November 2012 and Between Light and Shadow, in 2011, for the Brazilian Endowment for the Arts. Her previous work includes curating African Influences on Contemporary Altars in the Americas, in 2008, at Geoffrey Yet Art Gallery with a related lecture at the VI International of Ritual and Representation in Havana, Cuba, February 2009. www.lizapapi.com MORE INFORMATION : http://brazilianendowmentforthearts.org/exhibitions.html José Leonilson: Empty Man On view: September 27–February 3, 2018 Curated by Cecilia Brunson, Gabriela Rangel, and Susanna V. Temkin José Leonilson (1957-1993) came of age as an artist during the 80s generation in Brazil. What he shared with this diverse artistic milieu was the so-called ‘joy of painting,’ rediscovered in the years following the end of Brazil’s dictatorship. What separated him from his contemporaries was his personal way of working and his distinct aesthetic centered on raw emotional feelings, introspective musings, and private affairs. This Fall, Americas Society will present José Leonilson: Empty Man, the first U.S. solo exhibition of this key Brazilian artist. Focusing on Leonilson’s production as a mature artist, the show will feature approximately fifty paintings, drawings, and intimate embroideries made between the mid-1980s until 1993, when the artist died of AIDS. This short yet prolific period showcases the artist’s fully developed language, connecting Leonilson’s oeuvre with contemporary art practices, Brazilian vernacular traditions, and global issues prompted by the AIDS crisis. By taking as its starting point the works produced during the last three years of his life and moving backwards into the 1980s, the exhibition maps Leonilson’s artistic journey following the reverse chronology of T.S. Eliot: “in the beginning is my end. In my end is my beginning.” Edited by Karen Marta and Gabriela Rangel, a fully illustrated publication with newly commissioned texts is being produced in conjunction with the exhibition. The book, designed by Garrick Gott, will feature essays by the show’s curators, as well as texts by invited scholars Jenni Sorkin (University of California at Santa Barbara), Luis Enrique Pérez Oramas (writer and art historian), and Yuji Kawasima (Universidad Complutense in Madrid). About the Artist Born in Fortaleza in 1957, Leonilson studied at the Escola Pan-Americana de Arte and the Fundação Armando Alvares Penteado (FAAP) in São Paulo. A participant in the generation defining exhibition, Como vai você, Geração 80? (How Are You, Generation 80?), he emerged as a seminal figure of the Brazilian contemporary art world during this decade. Over the course of his career Leonilson traveled extensively throughout Europe, and his paintings, drawings, and installations were featured in solo and group shows in France, Germany, Italy, and Spain, in addition to many exhibitions held in Brazil. In 1991, the artist tested positive for HIV. This diagnosis compelled a decisive shift in his career, as Leonilson began to develop his intimate embroideries, a practice he continued until his death in 1993 at the age of 36. Artworks by Leonilson are today included in such major public and private collections as the Centre National d’Art et de Culture Georges-Pompidou; the Colección Patricia Phelps de Cisneros; the Los Angeles County Museum of Art; the Museo de Arte Contemporáneo de Barcelona; the Museu de Arte Moderna de São Paulo; The Museum of Modern Art, New York; Tate Modern, London; The Museum of Fine Arts, Houston, among others. Image: José Leonilson Bezerra Dias, Empty Man, 1991, Thread on embroidered linen, 20 7/8 x 14 9/16 in (53 x  37 cm). Família Bezerra Dias/Projeto Leonilson. © Projeto Leonilson Watch a video about the exhibition: Event Funders José Leonilson: Empty Man is made possible by the generous support of the Projeto Leonilson, Galeria de Arte Almeida e Dale, Diane & Bruce Halle Foundation, Fundación AMA, PHILLIPS, Genomma Lab Internacional, and Paul Boskind and Robbie McMillin-Boskind. This project is also supported, in part, by an award from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. More information: https://www.as-coa.org/jos%C3%A9-leonilson-empty-man VISUAL ARTS Group Exhibition "Onrush of Scenery" features Luiz Zerbini   JAN 25  - FEB 24    Sikkema Jenkins & Co     LEONARDO DREW, LUIZ ZERBINI, MARC HANDELMAN, MITCH EPSTEIN THE ONRUSH OF SCENERY More information: http://www.sikkemajenkinsco.com/index.php?v=exhibitions VISUAL ARTS Exhibition "In This Place", by Elizabeth Jobim DEC 01 - FEB 10  Henrique Faria Fine Art   ELIZABETH JOBIM: IN THIS PlaCE WORKS GALLERYABOUT A Constructivist Diagram: Elizabeth Jobim’s Archaeology of Abstract Forms The square is no longer an approximation to nothingness. Now the square has a history of its own. - Elizabeth Jobim, 2017 If concepts can be visual or visuality conceptual, it might be said of Elizabeth Jobim’s recent artistic output that it provides a visual concept of disjunction. Her works—a pinkish monochrome, for instance, whose uninflected surface maximizes the optical brunt of the slash that halves it; an all-white rectangle, also sliced in two so as to allow for a vertical glimpse of the black layer beneath it; or a deep-red solid, one section of which appears to have been cropped out and hangs suspended in midair—propose that the acts of cutting, cropping and disjointing be considered more than technical expedients. Jobim’s works propose the disjunctive cut, performed either through actual slices or dislodging lines, as a mode of fracturing their contained autonomy and invoking relations between segments of sub-segments, tidbits slivered from already broken parts. The result might be described as a shifting diagram: arranged across a wall, these works relate among themselves and others to form a sprawling network of connections that viewers can chart in ever renewable fashions, depending on how they choose to distribute their inspecting gaze. In the process, centrally, viewers are bound to conclude that the gap between the displayed works, crisscrossed as it is by diagrammatic connections, is not only spatial but also temporal. The gap is, in fact, historical. History informs, for instance, the space between works that resonate with the activation of the pictorial object proposed by Willys de Castro in the late 1950s and others that arch back to Lygia Pape’s Tarugos. In general, though marked by the experimental traits of recentness and staking, therefore, a well-grounded claim to contemporaneity, Jobim’s abstract painting projects a retrospective condition that could be expanded to include more distant connections—Unism, most probably, among other avatars of Constructivism understood in a broad sense—yet consistently narrows down to the renewed modality of concrete abstraction that Rio de Janeiro artists practiced in the mid-twentieth century. Such an emphasis is key.  Jobim retrieves from the legacy of Neo-Concrete abstraction formal expedients that, as rehearsed by De Castro, Pape, and Lygia Clark, among others, prompted the critic Ferreira Gullar to formulate the notion of the non-object as a temporal compound of shifting relations, markedly different from objects confined to the fixed space of their arrested existence. Yet in retrieving, Jobim reconstructs. The artist reclaims her country’s modernist legacy from a standpoint that, as observed, substitutes historicity for temporality. Inscribed within a network—and hence extricated from their isolated, autonomous space—these works exist only in their relations with one another, yet such relations are now saturated by historical memory. They are fraught with a mnemonic load that prevents perceiving the fracturing disjunctions that operate within the works only as the phenomenal modifications of form. So it is that such disjunctions can no longer be either grasped or theorized, as they were in the 1950s, from the vantage of a phenomenological gaze. Perceiving Jobim’s neo-abstract works demands the formation of another perspective. It involves the postulation of a constructivist diagram through which forms would be examined in their presentness, as themselves, and under the modality of their retrospective thrust, as documents of past constructions that summon an archaeological interpretation of sorts. This summons is keenly perceptible as Jobim’s pictures, which characteristically protrude from the wall to allow for their lateral inspection, are deployed freestanding within the site of exhibition. The experience of walking around what the artist calls Blocos (Blocks), columnar structures often arranged in packed maze-like configurations, has been recounted as coming across the dislocation of painting: when seen at close range, Jobim’s Blocos flatten out into pictorial surfaces that regain their volumetric presence as viewers step away, so that “painting”—conventionally the flat, frontal extension of line, texture, and color—is alternately encountered and lost from sight, subjected to the operations of such inclusive disjunctions as pictureor sculpture, color or space. Yet it is the set of historical references to be detected in the Blocos that most forcefully confounds the experience of painting as such. Strict medium-specificity is lost, for one thing, to the phenomenological unfolding of the layout, which progressively wells up to provide viewers with a thickened awareness of the interrelation between color and its spatial, when not architectural, context. For another, such an unfolding of the distinct Blocos as an integrated corpus of sensations is also compromised, this time by a disjunction that overrides the others: contemporaneity or modernity, the sheer brunt of immediate experience orhistory’s blunt mediations. The two alternatives are inextricable from one another; the disjunctions are categorically inclusive. Indeed, Jobim’s variously disjunctive work in part grounds its contemporary condition in the capacity to engage its legacy. The artist’s stated acknowledgement that emblematic abstract forms have a history of their own, so that abstraction can no longer provide access to the trans-historical space of either sensorial plenitude or cognitive nothingness, links her constructions to those of other Latin American artists whose current work also integrates the realization that abstraction’s language is irremediably double. Non-discursive by definition, this language now reemerges as tinged by the discourse accumulated around it, and in the region this entails that abstraction is pervaded by the redemptive statements, the promissory utterances of a long past developmentalist discourse. Here again, Jobim resorts to strategies that make her proposal unique. For in the midst of her constructivist diagram the object reappears—not modernism’s theoretical objects, nor the historicist constructions of contemporary art, but things under their most simple, ordinary guise: unbalanced stacks, makeshift assemblages that propose a constructivism of the precarious, the fragile, or the mundane. Against the backdrop of abstraction’s rehearsed possibilities, these objects bear an unforeseen potential: the confrontation of the historical subject with the recalcitrant silence of things, waiting to be reclaimed by a discourse yet to be pronounced. Juan Ledezma Elizabeth Jobim was born in 1957 in Rio de Janeiro. She studied Visual Communication at the Pontifícia Universidade Católica of Rio de Janeiro (PUC/RJ) in 1981, and in 1991 she received her MFA at the School of Visual Arts in New York. She taught at Ateliê de Desenho e Pintura (Drawing and Painting Studio) at the Escola de Artes Visuais do Parque Lage (Rio de Janeiro), in 1994 and 2010. She has exhibited widely, with important solo exhibitions including Arranjo (2016), Horizontais (2007), Elizabeth Jobim (2001 and 2000), all at Galeria Raquel Arnaud, São Paulo; Blocos, Museu de Arte Moderna, Rio de Janeiro (2013); Mineral, Lurixs Arte Contemporânea, Rio de Janeiro (2012); Em azul, Estação Pinacoteca, São Paulo (2010); Voluminous, Frederico Sève Gallery, New York (2009); Endless Lines, Lehman College Art Gallery, New York (2008); and Aberturas, Paço Imperial, Rio de Janeiro (2006); among others. She has been included in group exhibitions such as (de)(re)construct, at the Bronx Museum of the Arts, New York (2015); Trio Bienal, Centro Cultural Banco do Brasil, Rio de Janeiro (2015); Art in Brasil 1950-2011 - Europalia 2011, at Palais des Beaux-Arts, Brussels (2011); the 5th Bienal do Mercosul, Porto Alegre (2005); Caminhos do contemporâneo – 1952/2002, at Paço Imperial, Rio de Janeiro (2002); O espírito de nossa época: Coleção Dulce e João Carlos de Figueiredo Ferraz, Museu de Arte Moderna,  São Paulo (2001); Arte contemporânea brasileira, Galeria Nacional de Belas Artes, Beijing (2001); Panorama da arte atual brasileira, Museu de Arte Moderna, São Paulo (1990); Rio hoje, Museu de Arte Moderna, Rio de Janeiro (1989); Como vai você Geração 80?, Escola de Artes Visuais do Parque Lage, Rio de Janeiro (1984); and Salão Nacional de Artes Plásticas, Museu de Arte Moderna, Rio de Janeiro (1982-1983); among others. Her work is featured in public collections such as Museu de Arte Moderna do Rio de Janeiro, Pinacoteca de São Paulo and the Bronx Museum of the Arts, New York. http://www.henriquefaria.com/exhibition?id=122