Art Basel Miami Beach 2021 : English

Booth a09

Bosco sodi | Caio Reisewitz | Geraldo de Barros | héctor zamora

iván navarro | Regina Silveira | Waldemar Cordeiro

As a way of recognizing the evolution of artistic research and practice within the contemporary discourse, for this edition of Art Basel Miami Beach, Luciana Brito Galeria is presenting a selection of works that reflects the gallery’s commitment to the artistic debate in a curatorship that considers an intercrossing between different artistic languages and approaches, proper to contemporaneity. To this end, it is presenting a group of works by Waldemar Cordeiro (1925, Italy – 1973, Brazil), in a meaningful dialogue with works by Bosco Sodi (1970, Mexico), Héctor Zamora (1974, Mexico), Iván Navarro (1972, Chile) and Regina Silveira (1932, Brazil). Especially for this edition of the fair, Luciana Brito Galeria is introducing a brand-new partnership with Galeria Estação, reinforcing both galleries’ concern for valorizing art in Brazil as an inclusive and social solution.

Regina Silveira’s artistic research questions the orthodox, preestablished forms of representation, leading her to work with new possibilities of signification. Her works explore the architectural 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 employs in large site-specific installations, vinyl cutouts, luminous projections, works in printmaking, 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 and 1998 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 participated 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, Japan, in 2016. The artist’s work has been presented at 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).

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 the 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 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).

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 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).

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: 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) (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.