The newest Ray-Ban legend was inspired by the authentic style of modern intellectuals and bohemian creatives : introducing the Clubround. As unmistakable as it is unique, the Clubround is the combination of two of the year’s most successful trends, the Clubmaster and Round styles. Yet this authentic design with unique new colors and lenses is about to become an icon in its own right.
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Comme Des Garçons DOT captures the mysterious scent and allure that penetrates the air of a park filled with Osmantus trees in bloom. Its radiant green notes illustrate the leaves and white ambery woods reflect the bark of the tree, to this olibanum and pepper oil were introduced to enhance the balsamic, spicy aspect of Frankincense.
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In the jargon of São Paulo’s homosexual subculture, Fazer Tricô is a long conversation amongst homosexuals, mostly gossip on activities within their own minority culture. It literally means ‘to knit’. In the context of Hudinilson Jr.’s exhibition, it refers to the possibility of adopting a stance through writing that allows for the unravelling of a specific language’s inflections, corresponding with the framework of a marginal social field such as that of homosexuals in 1980s Brazil, yet aimed at a broader audience.
Hudinilson Urbano Junior (São Paulo, 1957- São Paulo, 28th of August of 2013) studied Fine Art at the Armando Álvares Penteado Foundation in the mid 70s, and began to experiment with drawing, painting, graffiti, mail art, performance, and urban intervention. His first big moment of public visibility came up in 1979 when he founded the collective 3 Nós 3, together with artists Màrio Ramiro (1957) and Rafael França (1957-1991). From its foundation and up until its dissolution in 1982, the group carried out public actions that saw the city as a page on which to compose graphic design, thus inserting monumental gestures in the city of São Paulo during the military dictatorship. From then on, Hudinilson Jr. began his most mature individual work in an unusual context: after decades of a repressive regime in Brazil, a political relaxation began to emerge, announcing the arrival of democracy. While the actions of 3 Nós 3, including the photo novel CASOS – produced in 1978 and reprinted in 2014 on occasion of the tribute exhibition to Rafael França at the Jacqueline Martins Gallery in São Paulo-, were defying the established social and urban order, Hudinilson Jr. was questioning the dictatorship’s scopic regimes through his first Xerox works. The precise and categorical control of citizens’ bodies in a military regime was substituted in his oeuvre by the opacity of his own flesh, by the metonymical promiscuity of the relations between the different parts of a social self-portrait.
Opposite – Untitled, 1980’s
Exhibition runs through to January 23rd, 2016
Galerie Sultana
12 rue ramponeau
75020 Paris
France
The exhibition includes works created in São Paulo, inspired in Barra Funda neighborhood. The canvases painted by Stupía, known for his drawings of utopian architectural forms, reveal a perception of the artist, rather than on the geographical displacement. Stupía believes that every physical and territorial change implies emotional changes, this is what transpires in the works that make up the exhibition. “The Barra Funda neighborhood imposes its qualities to a newcomer and a
strong scenic temperament. In this sense, I understand the exhibition as a real journey diary, besides geographical adventures, but psychic impressions, resonances, metaphors and illusions. Sometimes, looking at each of the screens, they individually appear to represent aspects mostly narrative” said Stupía.
According to the artist, the inspiration came naturally when he was visiting the hangar of Baró Gallery, on entering the large space, noted that there was a resonance between the reach and geometries, architectural structures and outdoor spaces around. “It started to be processed and translated in the form of pure graphic language, in other words, my impressions of the journey produced a phenomenon more analog than mimetic,” he adds.
Opposite – Paisaje, 2015
Exhibition runs through to January 16th, 2016
Baró Galeria
Galpão: Rua Barra Funda, 216 – Santa Cecilia
SP, 01152-000 São Paulo
Brazil
In 9th-century China, Nie Yinniang is a young woman who was abducted in childhood from the family of a decorated general and raised by a nun who trained her in the martial arts. After 13 years of exile, she is returned to the land of her birth as an exceptional assassin, with orders to kill her former betrothed. She must confront her parents, her memories, and her long-repressed feelings in a choice to sacrifice the man she loves or break forever with the sacred way of the righteous assassins
In theatres January 22nd, 2016
TweetWith a passion for the eccentric and a strong iconoclastic impulse, Enrico Baj was one of the central figures of the Italian neo-avant garde. His art and political writings have played an instrumental role in the chronologies of influential movements, from Dada and Surrealism to Art Informel and Cobra, as well as the Milanese movement of Nuclear Art, which he co-founded with Sergio Dangelo. Throughout it all, Baj formed an idiosyncratic iconography that was all his own. Departing from gestural abstraction in the mid-1950s, he honed a painterly practice that defiantly embraced figuration and kitsch symbols, subverting authoritative, bourgeois conventions of “good taste.”
In the late 1960s Enrico Baj’s main focus was on his Plastics. During this period he began exploring the aesthetic possibilities of all different kinds of plastic materials. His first steps into the new medium were made with little multi-coloured Lego bricks that Baj included into his conventional tapestry canvases, thereby adding a very contemporary, colourful and pop art component to his otherwise plushy fabric backgrounds. He cut, assembled and superimposed onto the entire spectrum that was offered by these new industrial materials: PVC, lego, polyethylene, polyester – all this gave birth to numberless colourful characters, landscapes and his ultimate series of loud and varicoloured neckties.
Opposite – Cravatta, 1968
Exhibition runs through to January 31st, 2016
Giò Marconi
via Tadino 20
I-20124 Milan
Italy
