Carlito Carvalhosa
Artist

Carlito Carvalhosa (born 1961, São Paulo, Brazil) lives and works in Rio de Janeiro. Carvalhosa appeared in the national art scene in the 1980s, as a member of the collective Grupo Casa 7, alongside Rodrigo Andrade, Fabio Miguez, Nuno Ramos and Paulo Monteiro, a period in which he produced large paintings with an emphasis on the pictorial gesture. For more than twenty years the artist has been using varied means and various types of objects – including lamps, fabrics, wax, wood and mirrors – to investigate the architectural space, the nature of materials in abstract forms and the reception of the spectator in contact with them. According to the Portuguese curator Marta Mestre, what interests the artist is “the relation between space and the act of building. Mobilized by the artist, construction is a process to reorder the world ahead of it, to withstand its chaos and thus to differentiate activity from nature.” Mestre also points out that the work of Carvalhosa is “permeated by the thought of sculpture as a construction, adding the gesture and removing the emptiness.” These observations are evident in his more recent works such as Soma dos Dias (A Sum of Days), a monumental site-specific installation made for the Octagon project at the Pinacoteca do Estado de São Paulo (2010) and at the MoMA atrium (2011), and the installation Sala de Espera (Waiting Room) at MAC-USP (2013), in which twenty-four wooden posts were suspended in the exhibition space, in conjunction with the Niemeyer architecture.

Carvalhosa participated in the Biennial of Havana, Cuba (1986 and 2012); of the Mercosur Biennial in Porto Alegre, Brazil (2001 and 2009); of the 18th São Paulo Biennial, Brazil (1985). He performed the Rio action at MoMA in New York (2014) and some of his solo shows: at the Museum of Contemporary Art of the University of São Paulo, São Paulo, Brazil (2013); in the Containers Project, Guimarães, Portugal (2012); and at MoMA, New York, USA (2011).

His works are included in important public collections, such as: Cisneros Fontanals Art Foundation, Miami, USA; FUNARTE, Rio de Janeiro, Brazil; Museum of Art of Pará, Belém, Brazil; Museum of Modern Art of Rio de Janeiro, Brazil; Pinacoteca of the State of São Paulo, Brazil; Museum of Modern Art of São Paulo, Brazil; Museum of Contemporary Art, University of São Paulo, Brazil; Museum of Contemporary Art of Niterói, Brazil; Museum of Modern Art of Bahia, Salvador, Brazil.

[Galeria Nara Roesler]

Carlito Carvalhosa
Artist

Carlito Carvalhosa (born 1961, São Paulo, Brazil) lives and works in Rio de Janeiro. Carvalhosa appeared in the national art scene in the 1980s, as a member of the collective Grupo Casa 7, alongside Rodrigo Andrade, Fabio Miguez, Nuno Ramos and Paulo Monteiro, a period in which he produced large paintings with an emphasis on the pictorial gesture. For more than twenty years the artist has been using varied means and various types of objects – including lamps, fabrics, wax, wood and mirrors – to investigate the architectural space, the nature of materials in abstract forms and the reception of the spectator in contact with them. According to the Portuguese curator Marta Mestre, what interests the artist is “the relation between space and the act of building. Mobilized by the artist, construction is a process to reorder the world ahead of it, to withstand its chaos and thus to differentiate activity from nature.” Mestre also points out that the work of Carvalhosa is “permeated by the thought of sculpture as a construction, adding the gesture and removing the emptiness.” These observations are evident in his more recent works such as Soma dos Dias (A Sum of Days), a monumental site-specific installation made for the Octagon project at the Pinacoteca do Estado de São Paulo (2010) and at the MoMA atrium (2011), and the installation Sala de Espera (Waiting Room) at MAC-USP (2013), in which twenty-four wooden posts were suspended in the exhibition space, in conjunction with the Niemeyer architecture.

Carvalhosa participated in the Biennial of Havana, Cuba (1986 and 2012); of the Mercosur Biennial in Porto Alegre, Brazil (2001 and 2009); of the 18th São Paulo Biennial, Brazil (1985). He performed the Rio action at MoMA in New York (2014) and some of his solo shows: at the Museum of Contemporary Art of the University of São Paulo, São Paulo, Brazil (2013); in the Containers Project, Guimarães, Portugal (2012); and at MoMA, New York, USA (2011).

His works are included in important public collections, such as: Cisneros Fontanals Art Foundation, Miami, USA; FUNARTE, Rio de Janeiro, Brazil; Museum of Art of Pará, Belém, Brazil; Museum of Modern Art of Rio de Janeiro, Brazil; Pinacoteca of the State of São Paulo, Brazil; Museum of Modern Art of São Paulo, Brazil; Museum of Contemporary Art, University of São Paulo, Brazil; Museum of Contemporary Art of Niterói, Brazil; Museum of Modern Art of Bahia, Salvador, Brazil.

[Galeria Nara Roesler]

  • I AM / MAKANO
    Mar 29 – Jul 30, 2024
    Amasaka Gallery
    Masaka, Uganda
    “I AM” explores MAKANO’s personal and artistic journey highlighting identity, resilience, and transformation. He channels his personal tribulations into an inspiring narrative of rebirth and self-discovery. This exhibition delves into the depths of the human experience. He is influenced by his native country, the Democratic Republic of Congo (DRC), a nation marked by conflict. (more…)
  • Mary Frey: My Mother, My Son.
    Publication
    TBW Books
    International
    Using the title of her 2004 photograph, My Mother, My Son, as an inspirational and creative starting point, Mary Frey pulls from her vast archive of photographs to create a pictorial story collapsing linear time. Frey intimately and masterfully captures subjects at ease in environments that feel, at once, wholly familiar yet unmoored from their own reality. (more…)
  • Shuang Li: I’m Not
    May 1 – Aug 25, 2024
    Swiss Institute
    New York, USA
    Swiss Institute (SI) presents I’m Not, the first institutional solo exhibition by artist Shuang Li, featuring newly commissioned sculpture and video installations. Li’s work explores how language, relationships and identities are formed and mediated through screens and the internet. For I’m Not, Li delves into her own life as a fan to ruminate on how these technologies inform the social bonds and materiality of fandom (more…)
  • Polly Braden: Leaving Ukraine
    Mar 15 – Sep 15, 2024
    Foundling Museum
    London, UK
    Polly Braden: Leaving Ukraine is an intimate portrait of women, forced to leave their homes following the Russian invasion of Ukraine on 24 February 2022. In this new series of work we see the extraordinary journeys undertaken by mothers, daughters, teenagers and babies in arms. Since the outbreak of the war in Ukraine, Polly Braden has used her camera to document the lives of women and children unexpectedly scattered across Europe. (more…)
  • Artadia Awards 2024
    Deadline Nov 1, 2024
    Artadia
    International
    The Artadia Awards provide financial support, exposure and recognition to artists. The awards are unrestricted, allowing artists to use the funds in any way they choose. Each year, an open-call application is made available in each of the seven active partner cities. Supporting artists equitably is a critical part of the Artadia Award process (more…)
  • Justinien Tribillon: Visible upon Breakdown
    Publication
    Spector Books
    International
    The space in which we live is determined by currents, by transitions. However, we are so used to moving around in this hypermodern world that we don’t even notice the currents that make up our lives. They are invisible, hidden in plain sight – until they collapse. The war in Ukraine is preventing the export of wheat, Covid-19 and timber shortages are making themselves felt in construction projects all over the world: These events are not just human tragedies, they are also an urgent reminder of global dependencies. (more…)
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