SP-Arte 2024: EN

For this 2024 edition of SP-Arte, Luciana Brito Galeria is presenting a group of artworks that reflect the main highlights of its programming. From the state of Santa Catarina, the artist Gabriela Machado (1960, Joinville) is opening her 2024 exhibition schedule with the largest show so far in her career, curated by Oswaldo Corrêa da Costa, featuring paintings along with porcelain sculptures that evince the narratives that have driven her artistic journey. Another highlight is Mexican artist Bosco Sodi (1970, Mexico), who is presenting some of his iconic texturized paintings, made during his participation in “Luciana Brito Galeria | LAB,” a new open studio project. During his stint at the LAB he produced works for his first institutional show in Brazil, currently running at the museum Casa das Rosas, in São Paulo, curated by Marcello Dantas. The gallery is furthermore presenting a new large-format painting by Rafael Carneiro (1985, São Paulo), a group of silkscreen prints from the historical series Middle Class & CO (1972), by Regina Silveira, works by Jorge Pardo (1963, Cuba) that were featured in his show at the Pinacoteca do Estado de São Paulo, in 2021. Rounding out its program for SP-Arte, the gallery is moreover featuring representative works by Caio Reisewitz (1967, São Paulo), Iván Navarro (1972, Chile) and Guatemalan artists Antonio Pichillá (1982, Guatemala) and Manuel Chavajay (1982, Guatemala), who were invited to take part in the exhibition d Primavera Silenciosa, which concluded Luciana Brito Galeria’s program of exhibitions in 2023.

Bosco Sodi’s research is outstanding for its simplicity of materials from a natural origin, such as pigments, sawdust, fibers, wood, soil, etc. The combination of these elements with the gesturality of his production makes each work unique, while creating a special connection between the artist and his process of creation, which transcends the conceptual. Currently, he has been making increasing use of techniques from olden times, which not only establish a direct relationship with the ethnobotanical discourse, but also recover his native Latin American ancestrality. Bosco Sodi also associates these techniques to traditional and contemporary processes, dialoguing with the movements of land art and informalism.

 

He has presented solo shows at prominent institutions that include Casa das Rosas (2024, São Paulo, Brazil), Harvard Art Museum (2023, Cambridge, USA), Fundación Casa de Mexico (2023, Madrid, Spain), the Fondazione dell’Alberto d’Oro, Venice, Italy (2022, as part of the official program of Venice Biennale); University of South Florida Contemporary Art Museum, Tampa, USA (2021); CAC Málaga, Spain (2020); the Royal Society of Sculptors, London, England (2019); the Museo di Scultura Antica Giovanni Barracco, Rome, Italy (2019); the Mexican Cultural Institute, Washington, DC, USA (2019); the Museo Nacional de Arte, Mexico (2017); and the Bronx Museum, New York, USA (2010). He has participated in group shows at venues that include the Desert X (2024, AlUla, Saudi Arabia), Converge 45 Biennial (2023, Oregon, USA), Harbour Arts Sculpture Park, Hong Kong (2018); the Museum of Modern Art, Gunma, Japan (2017) and the Museo Espacio, Mexico (2016). Bosco Sodi’s work is also part of important collections such as Colección JUMEX (Mexico), the Harvard Art Museums (USA), the Museum of Contemporary Art San Diego (USA), the New Orleans Museum of Art (USA), the Scottish National Gallery of Art (Scotland), and Walker Art Center (USA).

Gabriela Machado’s research is focused mainly on painting. The imagery of day-to-day experience is a great source of inspiration, providing the artist with parameters for landscapes and still lifes, in which she emulates small slices of everyday life on the canvas. Her processes spring from quick, organic and spontaneous gesturality, lending pure visuality to the lively colors and forms. As an outgrowth of this aesthetics, she also creates sculptures, in which she investigate shapes through the potentials of other materials, such as clay, plaster and bronze.

 

Gabriela Machado received her BA in architecture from Universidade Santa Úrsula (RJ), in 1984. She then furthered her studies in art at the Escola de Artes Visuais do Parque Lage (RJ), between 1985 in 1993, as well as in open courses. She has held solo shows at notable venues including Fundação Eugênio de Almeida (2019, Évora, Portugal), the Museu de Arte de Santa Catarina (2018, Santa Catarina), Auroras (2017, São Paulo), MAM (2016, Rio de Janeiro), the Espaço Caixa Cultural (2009, São Paulo and Rio de Janeiro), and the CCBB (2002, Rio de Janeiro). She has participated in group shows held by prestigious museums and organizations that include Paço Imperial (2014, Rio de Janeiro), Oi Futuro (2014, Rio de Janeiro), Instituto Figueiredo Ferraz (2012, Ribeirão Preto) (2012, São Paulo), Centro Cultural São Paulo (2011, São Paulo), the Museu de Arte da Pampulha (2010, Belo Horizonte), Centro Universitário Maria Antônia (2002, São Paulo), and MAM (1999, Salvador). Her work figures in the collections of important institutions, including those of the Museu de Arte da Pampulha (Belo Horizonte), the Instituto Brasileiro de Arte Contemporânea (IBAC, Rio de Janeiro), and the Museu de Arte de Santa Catarina (Santa Catarina).

Caio Reisewitz’s research takes photography as its main medium. Through technical and thematic refinement, his work evinces an interest in human action and its social and political effects, whether in the natural space or the architectural space. While his photographic technique highlights the dramaticity among shapes, colors and textures, his artistic poetics constructs a nearly dreamlike aesthetic repertoire. These aspects establish a dichotomous dialogue between the real (that which is characteristic of the photographic record) and the chimerical (our own repertoires).

 

With a degree in visual arts from Mainz University (Germany), Caio Reisewitz has an advanced degree in visual poetics and an MA from the University of São Paulo. The biennials he has participated in include: 23rd Sydney Biennale (2022), Biennale des Arts 2022 de Nice, France,  the 26th Bienal de São Paulo (2004), the 51st Biennale di Venezia (2005), in Italy, and the Nanjing Biennale (2010), in China. His work has also been shown at the Museo de Arte Contemporáneo de Castilla y León (MUSAC) (2024, 2023 and 2010, Spain); Instituto Moreira Salles, Rio de Janeiro and São Paulo (2010); the Ella Fontanals-Cisneros Collection Miami (2005, 2010, USA); the International Center of Photography (ICP), New York (2014, USA); the Maison Européenne de la Photographie, Paris (2015, France); the Pinacoteca de São Paulo (2017), as well as at Photo Shanghai (2019, China). In 2020, he released the book Altamira, based on a collection of the same name acquired by the Pinacoteca de São Paulo. His work figures in important collections such as those of the Cisneros Fontanals Art Foundation (USA); the Fundación ARCO Madrid (Spain); the Collezione Fondazione Giovanni Guastalla (Italy); the Fond National d’Art Contemporain (France); MUSAC (Spain); the Museu de Arte Moderna (MAM) of São Paulo, of Rio de Janeiro and of Salvador (Brazil); the Musée Malraux (France); and the Pinacoteca de São Paulo.

The appeal of Iván Navarro’s works springs from a combination of elements that question our perception. On the one hand, from a formalist point of view, his works are carefully constructed, having light as their main support. Light that arouses feelings, at the same time that it sparks enchantment in the spectator. Iván Navarro’s production is also imbued with political connotations, communicated to the public through countless strategies, as seen in the titles of his works, in his careful use of color, in the use of anagrams, or in the appropriation and deconstruction of symbols that represent ideologies and institutionalized power.

 

Iván Navarro graduated in visual arts, in Santiago, Chile, in 1995. He has held solo shows at prominent institutions such as Micromuseo di arte Contemporanea della Tuscia, Italy (2023), Art-OMI Sculpture Park, Ghent, USA (2022), Farol Santander, São Paulo (2020); MAC – Niterói, RJ (2019); MACBA, Buenos Aires, Argentina (2019); the Museu Nacional de Belas Artes, Santiago, Chile (2015); and the Espace Culturel Louis Vuitton, Paris, France (2010). Titles and venues of group shows he has participated in most notably include the Illuminate SF Festival of Light, São Francisco, USA (2020); the XIV Bienal de Nuevos Medios, Museo Nacional de Bellas Artes, Santiago, Chile (2019); the 13th Biennale of Cairo, Egypt (2019); MACBA, Buenos Aires, Argentina (2018); Guggenheim NY, USA (2018); the Museo del Barrio, NY, USA (2017); MuBE-SP (2016); the Centro Nacional de Arte Contemporáneo, Santiago, Chile (2016); the 10th Bienal do Mercosul, Porto Alegre (2015); the Cairo International Biennale, Egypt (2010); the 53rd Biennale di Venezia, Italy (2009); and the 2nd Moscow Biennale, Russia (2007). His works figure in the collections of important institutions such as the Centro Galego de Arte Contemporánea (Spain), the Fonds National d’Art Contemporain (France), the Hirshhorn Museum and Sculpture Garden (USA), Inhotim, the Museum of Fine Arts (Boston, USA), the Saatchi Collection (England) and the Solomon R. Guggenheim Museum (USA).

Jorge Pardo’s investigation deals with the concept of functionality, questioning the limits of art, of design, and of the spaces of coexistence. His research is developed in a constructive narrative wherein various techniques are juxtaposed to build a pictorial set of references drawn not only from contemporaneity, but also from the history of art. The artist generally uses technology – he was one of the first artists to use computer programs for making his sculptures – and vibrant colors to enhance the eclectic and diversified motifs used in his paintings, sculptures and installations.

 

The artist graduated in fine arts from the Art Center College of Art, in Pasadena, California (USA), as well as from the University of Illinois at Chicago (USA). Throughout his career, he has won important prizes, including the MacArthur Fellowship Award (2010), the Smithsonian American Art Museum Lucelia Artist Award (2001) and the Louis Comfort Tiffany Foundation Award (1995). His most outstanding solo shows include those held at the SCAD Museum of Art, Savannah, USA (2023), University of Houston, Houston, USA (2022), Museum of Art and Design Miami Dade College, Miami, USA (2021), Pinacoteca de São Paulo (2019-2020), at David Gill Gallery, London (2015), at Petzel Gallery, New York (2014), at Gagosian Gallery, New York (2010), at the Irish Museum of Modern Art, Dublin (2010), at the Los Angeles County Museum of Art (2008), and at the Museum of Contemporary Art, Miami (2007). Group shows he has participated in most notably include the 57th Venice Biennale (2017). His works figure in important public collections, including those of the Museum of Contemporary Art, Los Angeles (USA), the Museum of Modern Art – MoMA, New York (USA), and Tate Modern, London (England).

Marina Abramovic became known worldwide for her research in performance art, which as early as the 1960s presented artistic experiences involving the discussion about the limits of the body and the mind, along with a direct relationship between the artist and the public. From the 1980s onward, the artist began to investigate the subjects related to spirituality and religious syncretism, as well as the potentials of the mind, body and spirit, through a connection with nature and the sacred. This investigation took on even greater importance in the artist’s work after her first visit to Brazil, in 1989, when she gained experiences that provided rich material for the production of photographs, videos, sculptures and installations.

 

Marina Abramovic graduated from the Academy of Fine Arts (Belgrade, 1970), the Academy of Fine Arts (Zagreb, 1972) and from the Art Institute of Chicago (2005). She is a cofounder of the Marina Abramovic Institute (MAI), in New York, a platform for immaterial art and long-duration performances. Her first solo show was held in 1964 at the Workers’ University, in Belgrade; since then, she has presented dozens of solo shows at institutions such as  Usina de Arte, Água Preta (Brasil), Stedelijk Museum, Amsterdã (Holanda), Royal Academy of Arts (UK), MoMA (USA), Guggenheim Museum (USA), Serpentine Galleries (UK), MoMA PS1 (USA), the Museo Nacional Centro de Arte Reina Sofía (Spain), Neue Nationalgalerie (Germany), the Centre Georges Pompidou (France), Stedelijk Museum (Netherlands), the Fundação Calouste Gulbenkian (Portugal), Sesc Pompeia (Brazil), and others. Abramovic has participated in countless group shows, most notably the 45th (1993) and the 47th (1997) editions of the Venice Biennale (winning the Golden Lion Award for Best Artist); dOCUMENTA (13), documenta IX, documenta 8 and documenta 6 (2012, 1992, 1988 and 1977); the 28th, 18th and 16th editions of the Bienal de São Paulo (2008, 1985 and 1981); the 5th and the 13th Bienal do Mercosul (2007); and the 7th Bienal de la Habana (2000). Marina Abramovic also performs the play "7 Deaths of Maria Callas", since 2020 roaming different countries. Her artworks figure in many prominent public and private collections, including those of Cisneros Fontanals Art Foundation, Miami (USA), the Kunstmuseum (Switzerland), Museum Ludwig (Germany), the San Francisco Museum of Modern Art (USA), the Solomon R. Guggenheim Museum (USA), and the Museum of Modern Art (MoMA), New York (USA).

Technical rigor is one of the main characteristics of the work of Rafael Carneiro, who over the years has been transforming within painting. The transcription of images to the canvas has become, in and of itself, the main thematics of his work, which seeks to avoid the formal commitments and labels proper to painting in order to approach the complex world of the images of culture and the collective imaginary. The meaning of the figures used by the artist is diluted by the technique he uses, which decontextualizes, reconfigures and resignifies, through the breaking of their integrality, subtracting and adding new elements, in order to compose more complex narratives. To this end, Rafael Carneiro uses a vast private collection of images, which he freely articulates with various forms of composition, through an organic creative process that often includes music.

 

Rafael Carneiro holds a BA in visual arts from ECA USP. His works have been shown at many institutions including the Centro Cultural Banco do Brasil, CCBB-DF and RJ (2019); the 33rd Bienal de São Paulo (2018); the Pinacoteca de São Paulo (2017); the Caixa Cultural Rio de Janeiro (2017); Instituto Tomie Ohtake, São Paulo (2016 and 2013); the Paço das Artes, São Paulo (2014); the Festival Sesc_Videobrasil, São Paulo (2013); Itaú Cultural, São Paulo (2011); the Centro Cultural São Paulo (2009 and 2006); and the Centro Universitário Maria Antonia, São Paulo (2005).

Geraldo de Barros is a key name of 20th-century Brazilian art. Combining his first studies on painting with a later interest in photography, he pushed the envelope of the traditional photographic processes, questioning the classic rules of composition. Geraldo de Barros took a formal concern – as clearly seen in Brazilian concretism, in which participated intensely – and managed to merge this with his social concerns, leading him to approach the industrial processes in his work, dealing coherently with geometric constructions, reproducibility, the socialization of art, the theory of form and industrial design.

 

At the age of 26, Geraldo de Barros participated in the creation of the photography course and darkroom at the Museu de Arte de São Paulo (Masp), where he presented the exhibition Fotoformas, in 1950. The artist was also one of the most active members of the Foto Cine Clube Bandeirante, which marked the experimentation of photography in Brazil. In 1951, he participated in the Hochschule für Gestaltung (HfG – School of Design) in Ulm, Germany. He was also one of the founders of Grupo Ruptura (1952) and of Grupo Rex (1966), and participated in the 1st, 2nd, 9th, 15th and 21st editions of the Bienal de São Paulo, and in the 1986 Venice Biennale (Italy). Geraldo de Barros’s works have participated posthumously in various national and international exhibitions. In 2014, Instituto Moreira Salles, in Rio de Janeiro, organized a retrospective of the artist, and in the following year the same exhibition was held at Sesc Belenzinho, in São Paulo. In 2017, the Fundação Arpad Szenes-Vieira da Silva in Lisbon (Portugal) and the Document Gallery, in Chicago (USA), held solo shows featuring works by the artist, followed by others at Side Gallery, in Barcelona (Spain), in 2018, and Kunst- und Kulturstiftung Opelvillen, in Rüsselsheim (Germany), in 2019. More recently, in 2021, Itau Cultural featured a solo exhibition, while in 2022, the Museé d'Art Moderne et Contemporain – MAMCO, in Switzerland, held the largest retrospective of the artist in Europe. His work figures in important collections such as those of the Fundação de Arte Cisneros Fontanals, the Art Fund of the State of Geneva, the Fundação Bienal de São Paulo, Instituto Inhotim, the Ludwig Museum, the Max Bill Foundation, the Max Art Museum, the Museu de Arte Contemporânea of São Paulo, the Museu de Arte Moderna of São Paulo, the Museu de Belas Artes, the Museu de Arte de São Paulo, MoMA, Tate Modern, Photographer’s Gallery, the Pinacoteca de São Paulo, the Museo de Arte Latinoamericano de Buenos Aires, and others.

Regina Silveira’s artistic research questions the orthodox, preestablished forms of representa-tion, leading her to work with new possibilities of signification. Her works explore the architec-tural and contextual space, generally evoking a sense of uncanniness through the displacement of the commonplace, that is, our common references. Regina Silveira is known for her research into the principles of perspective, tridimensionality, and the study of shadows, which she em-ploys in large site-specific installations, vinyl cutouts, luminous projections, works in printmak-ing, embroidery, porcelain and digital videos.

 

With a BA in arts from the Instituto de Artes do Rio Grande do Sul (1959), an MA (1980) and PhD in art (1984) from the School of Communication and Arts of the University of São Paulo (ECA USP), her career as a professor includes stints of teaching at the University of Puerto Rico, Mayagüez; at FAAP, São Paulo; and at ECA USP. She was an invited artist at the 1981, 1983, 1998 and 2021 editions of the Bienal de São Paulo, the 2013 and 2015 editions of the Bienal Internacional de Curitiba, and the 2001 and 2011 editions of the Bienal do Mercosul. She partic-ipated in the Bienal de La Habana, Cuba, in 1986, 1998 and 2015; Mediations Biennale, Poznan, Poland, in 2012; the 6th Taipei Biennial, Taiwan, in 2006; and the 2nd Setouchi Triennale, Ja-pan, in 2016. The artist’s work has been presented at Museu de Arte Contemporânea – MAC-USP, 2021-22, Paço das Artes, São Paulo, 2020; the Museu Brasileiro da Escultura (MuBE), São Paulo, 2018; the Museu Oscar Niemeyer, Curitiba, 2015; the Museo Amparo, Puebla, Mexico, 2014; the Fundação Iberê Camargo, Porto Alegre, 2011; Atlas Sztuki Gallery, Lodz, Poland, 2010; Masp, 2010; and the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, 2005. Regina Silveira was awarded the Prêmio Masp (2013), the Prêmio APCA for her career (2011), and the Prêmio Fundação Bunge (2009). She has received grants from the Fulbright (1994), Pollock-Krasner (1993) and Guggenheim (1990) foundations, and her work figures in countless public and private collections, such as those of the Cisneros-Fontanals Art Foundation (USA), Inhotim, Coleção Itaú, El Museo del Barrio (USA), MAC-USP, Masp, MAM-RJ/SP, the Pinacoteca de São Paulo, MoMA (USA), and the Phoenix Museum (USA).

Material and its structure, as well as forms of connection, fixation and support, are the concepts that Afonso Tostes finds most interesting. And in the 2000s the artist began an investigation that now guides his work: tridimensionality and its representation in space. This research springs from a consistent evolution since the outset of his career, which has included the study of organic structural forms in drawing and in painting. Known for his large installations, Tostes recovers the previous histories of materials, mainly wood, revealing and transforming their narratives, according to a sensitive reconstruction of the exhibition space, or even through the resignification of preexisting smaller objects such as work tools and utensils.

 

Afonso Tostes studied arts at Escola Guignard (1980, Belo Horizonte/ MG) and, later, at the Escola de Artes Visuais do Parque Lage (1989 to 1994, Rio de Janeiro). The venues of his main solo shows have included Fundação Iberê Camargo (2023, Porto Alegre, Brazil), Sesc Pompeia (2019, São Paulo, Brazil), Casa França Brasil (2013, Rio de Janeiro, Brazil), Museu de Arte Moderna – MAM/RJ (2011, Rio de Janeiro, Brazil), Museu de Arte Contemporânea – MAC Niterói (2009, Rio de Janeiro, Brazil), Centro Cultural Maria Antônia (2003, São Paulo, Brazil) and Centro Cultural São Paulo – CCSP (1996, São Paulo, Brazil). He has participated in group shows at Casa Roberto Marinho (2023, Rio de Janeiro, Brazil), Museu de Arte do Rio – MAR (2020, Rio de Janeiro, Brazil), Fondation Cartier pour l’Art Contemporain (2019, Paris, France), National Art Museum of China (2018, Beijing, China), Frestas Trienal Sesc (2014, Sorocaba, Brazil), Instituto Tomie Ohtake (2010, São Paulo, Brazil) and the 5th Bienal do Mercosul (2005, Porto Alegre, Brazil). His work figures in important collections such as those of MAM-RJ (Brazil), MAM-BA (Brazil), MAC Niterói (Brazil), Fondation Cartier pour l’Art Contemporain (France) and Coleção SESC de Arte (Brazil).

The main object in Delson Uchôa’s research is light, which he identifies with his region of origin: the city of Maceió, in northeast Brazil. It is through light that the artist works with time, color, texture and transparency – as well as scale, since most of his paintings have monumental dimensions and take years to finish. He also studies the natural chromaticity of the flora and fauna of that region, which he combines with the Northeastern popular constructive geometry. Considered one of the main artists of the “80s Generation” of Brazilian painting, Delson also works with photography and sculpture – practices he considers as ways of constructing colors, that is, as extensions of painting.

 

With a degree in medicine received from the Federal University of Alagoas in 1981, Delson Uchôa studied painting at Fundação Pierre Chalita. He has held solo shows at renowned institutions such as the Museu Oscar Niemeyer (Curitiba, Brazil, 2023) Museu do Estado de Pernambuco (Recife, Brazil, 2022), Museu de Ecologia e Escultura (São Paulo, Brazil 2018), Ludwig Museum (Koblenz, Germany 2015), Centro Cultural São Paulo (São Paulo, Brazil, 2012), and Instituto Tomie Ohtake (São Paulo, Brazil 2003). He has participated extensively in national and international art biennials, such as those of Venice, São Paulo, Havana and Cairo, and his works figure in important collections, including those of Inhotim (Brumadinho, Brazil), the Museu de Arte Moderna do Rio de Janeiro (Brazil), the Museu de Arte Moderna de São Paulo (Brazil), the Pinacoteca do Estado de São Paulo (Brasil), the Vogt Collection (Berlin, Germany) and the York Stack Collection (Berlin, Germany).

Héctor Zamora is better known for his research, which involves public spaces and the built environment. In his works, the artist reinvents and redefines conventional spaces – exhibition spaces or others – giving rise to noise between the meanings of public and private, exterior and interior, real and imaginary. If, on the one hand, Héctor Zamora’s work deals with the aesthetic and formal legacy of concretism and other Latin American vanguard movements, on the other, it problematizes social and political questions related to work in a consumer society and to the subversion of architectures, of the city, and of history.

 

Héctor holds a degree in graphic design and structural geometry. He has held solo shows at prominent institutions which include Museu Marítimo de Ílhavo, Ílhavo, Portugal (2023), The Roof Garden Commission, MET NY, USA (2020); LABOR, Mexico City (2019); Pavilhão Branco (Portugal, 2018); the Museo de Arte Contemporáneo de Monterrey (Mexico, 2017); Fundación RAC (Spain, 2017); the Palais de Tokyo (Spain, 2016); CCBB São Paulo (2016), the Center for Contemporary Art (Los Angeles, USA, 2013) and Itaú Cultural (São Paulo, 2010). He has participated in group shows at venues that include the Instituto Cultural de Mexico, France (2023), Desert X, Coachella Valley Palm Springs, USA (2023); 13th Mercosul Biennial (2022), 4th Mediterranean Biennial, Israel (2021); Hirshhorn Museum, USA (2020); the Centro Galego de Arte Contemporánea, Spain (2018); the 12th Shanghai Biennale, China (2018); MAM-RJ (2014); Guggenheim Museum (USA, 2013); the Museo de Arte de Lima (Peru, 2012); the 54th Venice Biennale (Italy, 2011); the 11th and 14th editions of the Biennale de Lyon (2011 and 2017); the 12th International Cairo Biennale (Egypt, 2010); the 9th and 12th editions of the Bienal de la Habana (2006 and 2015); and the 27th Bienal de São Paulo (2006). Zamora has moreover been awarded prizes from the Graham Foundation Arquitetura + Arte (2011), the Garage Centre for Contemporary Culture (2009), the Pollock-Krasner Foundation (2007), the Cisneros Fontanals Art Foundation (2006), the Jumex Collection Foundation (2006), and others. His works figure in collections of important institutions such as Amparo Museum (Mexico), Fundación RAC (Spain), and Hirshhorn Museum and Sculpture Garden (USA).

Rob Wynne is a collector of memories. Keenly aware of his own context and popular culture, the artist uses visual syntax to combine fragments excerpted from conversations, literature, theater, cinema, etc., in works that involve images and, primarily, texts as the main elements – whether in sculptures, installations, collages, digital prints, or embroidery. One of his preferred materials is glass, from which he typically obtains organic forms that he manually spreads. His investigation is also influenced by concepts reminiscent of Fluxus, the 1960s American art movement that used an experimental and multidisciplinary approach to forge connections between everyday life with art, and with which he was intimately related.

 

With a degree in art from the Pratt Institute (New York, USA), Rob Wynne has held solo shows at important venues that include the Norton Museum of Art (2019 and 2012, Palm Beach, USA), the Brooklyn Museum (2019, New York, USA), and New York University (1994, New York, USA). He has also participated in group shows at institutions that include New Orleans Museum of Art (2017, New Orleans, USA), Massachusetts College of Art & Design (2017, Boston, USA), the Museum of Modern Art (2013, New York, USA), the Georgia Museum of Fine Art (2005, Athens, USA), and P.S.1 Institute for Contemporary Art (1998, Long Island City, USA). His works figure in important public and private collections, such as those of the Brooklyn Museum of Art (USA), Centre Pompidou (France), Museum of Fine Arts (USA), Columbus Museum of Art, Columbus (USA), the Museum of Modern Art – MoMA (USA), the Whitney Museum of Art (USA), the Philadelphia Museum of Art (USA), Frac des Pays de la Loire (France), the Bibliothèque National Paris (France), and Norton Museum of Art (USA). In 2023, the publishing house Gregory R. Miller & Co released his monograph Obstacle Illusion.