New Times, New Media.

Going forward, we are moving to the SP-Arte's digital platform. It is a way to follow international fairs and to create opportunities for the art market to present artists in these times of pandemic and social distancing.

We have selected three artists for our first publication on the platform:

Santídio Pereira, aged 23, the only living artist to be presented was born in Curral Comprido, state of Piauí. He is being recognized on both the national and international art scenes. We present exclusively to SP-Arte his latest work: “Morros”.

With a residency and exhibition at Annex_B in New York, two solo exhibitions at Galeria Estação in Sao Paulo, several group shows on the Sesc network, a collective show named TREE at the Fondation Cartier in Paris (an exhibition that will also go to Shanghai, China in June 2021), a participation in 2019 at the 36th Panorama of Brazilian Art: Sertão from MAM, works in the collections of the Pinacoteca of the State of São Paulo and in the Fondation Cartier pour l’art contemporain, we can say that he has quickly become a dominate force wherever he has exhibited his work.

Santidio works with paper and his medium, the woodcut.

Amadeo Luciano Lorenzato, an artist from the state of Minas Gerais, was a self-taught modernist painter who portrayed the landscape and everyday life in the countryside around Belo Horizonte. Born in January 1900, he died at the age of 95 in the capital of Minas Gerais. His story is linked to Galeria Estação, since it was the first gallery from São Paulo to show his work on the local scene.

Being successful with both the art critics and the public, his exhibition sold out. Today he is recognized internationally, having had a solo exhibition in 2019 at the David Zwirner Gallery in London and another at the S ? 2 London Gallery (Sotheby’s).

José Antônio da Silva, the third artist selected for this publication, is directly linked to my personal and professional life. Undoubtedly, the most important self-taught Brazilian artist, he was considered a painter by Volpi, who made a distinction between an artist and a painter (Matisse was a painter ...). Volpi, the greatest representative of Brazilian art, had a Silva in his studio.

He participated in six Biennials in São Paulo, two Venice Biennales and a group exhibition at Carnegie International in Pittsburgh, USA thus, having a national and international career. His works are part of the MAC collection, Masp, Pinacoteca of the State of São Paulo, MAM SP, in addition to important private collections.

He was born in Sales de Oliveira, interior of the state of São Paulo, in March 1909 and died in São Paulo in 1996. He left an expansive critical fortune and a great legacy of works of art.

Although he also painted urban themes, his favorite themes were rural, still life and religious themes among others. In addition to being a painter, he was a poet and writer having published some books.

I hope you enjoy our selection

Vilma Eid

SP-Arte is pleased to announce the first edition of the SP-Arte Viewing Room – the main art fair in Latin America, now in a virtual environment!

Between 24th and 30th August, the public will be able to explore exclusive exhibition projects, conceived by over 100 renowned art and design galleries from Brazil and worldwide. Through a bold and smart platform, visitors can read, listen and watch curiosities about the artists and artworks exhibited. The possibility to request more information and start a conversation with the gallery will be just a click away!

Additionally, specialized magazines, special projects and artistic collectives debut as exhibitors, heating up the event’s online programming. It’s the opportunity to have all the experience, diversity and energy of SP-Arte, now in a new kind of immersion!

HILLS - AFFECTIVE LANDSCAPES

This is a series of hills that I have been developing for quite some time. The works are in both woodcut and paint. The materiality of the color in the engraving is something that enchants me very much and the character of the paint on Hahnemühle paper is something different that I also really like.

With regard to technical procedures, woodcut works are born from an examination of the different ways of understanding the expansiveness of woodcutting. I say this because it is really a joy to rethink what woodcutting is and to create techniques that allow me to express myself in the best possible way.

At the beginning, I made a woodcut conventionally with the aid of gouges and chisels to make incisions in the wood. From there I created a matrix that would allow me to perform some prototypes in black and white. Currently, I think of a print from different points of view and make use of other sources of knowledge so that I can develop works that make me happy - make me see the world outside the rhythms of contemporary culture.

I continue the series also using offset ink - the same used in woodcut – but on Hahnemühle paper. It is interesting to see how the work takes on a different perspective and reverberates in different ways when the paint is applied directly to the underlying surface.

The hills, which I tend to call landscapes, are also born from my experiences traveling to Santos, Boiçucanga, Santo Antônio do Pinhal and even from childhood memories in the Caatinga of Northeast Brazil.

Santídio Pereira