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Events in Art and Archaeology

Batalhão de Telegrafistas (Army of Telegraphists)
SÃO PAULO  •  Galeria Jaqueline Martins  •  3 July - 16 August 2014
Sao Paulo's Galeria Jaqueline Martins presents the exhibition Batalhão de Telegrafistas (Army of Telegraphists) with works by Alexandre Brandão, Almandrade, Andrzej Dudek-Dürer, Charbel-joseph H. Boutros, Chris Marker, Edgard de Souza, Ilene Segalove, John Kelsey, Karin Sander, Mario Ishikawa, Anna Bella Geiger, Moyra Davey, Nadezhda Mendes da Rocha & Serguei Dias, Roberto Winter, Walead Beshty, Ze Frank, Francesca Woodman, and selected works from the mail art archives of Gastão de Magalhães, f. marquespenteado and Luis Neto Guardia.

Curated by Fernando Oliva and Tobi Maier, the exhibition conceives mail art as a global movement among artists from the centers and margins of the art system, from the late 1960s to the present. For many years the practice of using the post office services or fax machines as a strategy for creating and sharing graphic arts and other artistic projects has been at the root of mail art; the advent of information technology has shifted parameters towards the digital realm. Yet, ideas that were prevalent from the start of mail art have remained significant in artistic practice: networking, access to information, free movement, distribution, participation, collaborative work procedures and sharing are at the core of the conceptual framework for this exhibition. In Brazil, mail art matured during the dictatorship (1964–1985). For many artists living and working in the country during this time, sending art work via mail was the only way to personally connect with peers and other artists internationally.

Within a political context filled with tension, mail art also played a denunciatory role. As its starting point, the exhibition Batalhão de Telegrafistas uses a number of works drawn from the mail art archives of Brazilian artists that were active participants in different international networks at the time. While mail art networks as we have come to know them are less vibrant than they were before the advent of the internet, the methodology of using the post office and courier services as an inherent component in the production of mailed sculptures, paintings or photographs, for example, continues to resonate in the work of several artists.

Galeria Jaqueline Martins Website

Contact: Galeria Jaqueline Martins
Rua Dr. Virgílio de Carvalho Pinto, 74 - Pinheiros
São Paulo
Tel: (55) 11 262819 43

Fabian Marcaccio:<EM> Paintant Stories</EM>, 2000 (Detail)Photo: Peter Schälchli, Zürich
Fabian Marcaccio: Paintant Stories, 2000 (Detail)
Photo: Peter Schälchli, Zürich
Fabian Marcaccio: Paintant Stories
RIO DE JANEIRO  •  Casa Daros  •  29 March - 10 August 2014

Fabian Marcaccio was born in Argentina in 1963 and is now based in New York. He uses modern techniques in an attempt to redefine painting, extending its parameters in time and space. His Paintant Stories is in every way an exceptional work. Over a length of approximately 100 meters the artist unfolds a universal panorama of contemporary existence.

Marcaccio presents the human condition as a network of discontinuities frozen at a single moment in time.

Casa Daros Website

Contact: Casa Daros
Rua General Severiano 159
Rio de Janeiro

Milton Machado: Cabeca [Head]
RIO DE JANEIRO  •  Centro Cultural Banco do Brasil  •  6 August - 29 September 2014
Milton Machado's 45-year career with a retrospective exhibition brings together more than 100 works of drawing, painting, photography, video, sculpture and installation, produced between 1969 and 2014 – many of which never shown in Rio.

Milton Machado (born 1947, Rio de Janeiro) belongs to a generation of Brazilian artists whose careers began in the 1970s, with productions characterized by conceptual investigation and experimentation. His own production, initiated in that period and developed over the following decades with the exploration of diverse media and genres, can be said to constitute a 'theory' on the production of art, uniting conceptual universality and the singularity of authorial discourse, the political and the poetic dimensions. His multidisciplinary background – his training as an architect with a master degree in urban planning and a PhD in Fine Art.

CABEÇA [Head] include relevant works, such as a new version of the sculpture Módulo de Destruicão [Module of Destruction] (1990-2010-2014), part of the work-in-progress História do Futuro [History of the Future] (1978– ).

Another highlight is the series Conspiracão Arquitetura [Conspiracy Architecture], of drawings related to issues of architecture and urban design, shown for the first time at Galeria Sergio Milliet, Rio de Janeiro, in 1981.

Contact: Centro Cultural Banco do Brasil Rio de Janeiro
Rua Primeiro de Marco, 66 - Centro
Rio de Janeiro 20010-000
Tel: (55) 21 38 08 20 20

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