AnnexB in collaboration with Galeria Estação co-presents
Santídio Pereira: Between Two Skies
Curated by Tatiane Schilaro
Dates: March 8 - Apr 19, 2019
Opening reception: March 8, 2019 | 6-9pm
After the opening reception, visits by appointment only. Please contact Larissa Ferreira at email@example.com.
AnnexB in collaboration with Galeria Estação co-presents
Santídio Pereira: Between Two Skies
Curated by Tatiane Schilaro
The horizon is a sight often taken for granted. It is always there, and it will always be there, surrounding us, even if hidden behind layers of skyscrapers that proliferate in cities across the globe. Universal and stable: the line between the firmament and the ground keeps us together, maintain us ashore, inland, while life around may be chaotic, falling apart. If this stability protects us, what happens when two skies meet?
Working mostly in printmaking and large scales, Santidio Pereira mingles organic-like, nature-inspired elements with themes such as childhood memories or the urban culture of São Paulo, where he lives. The works in Between Two Skies, Pereira’s first solo show in New York, invite us to imagine the collapsing of the horizon, the multiplying of firmaments and grounds, as they become one.
In another series of works, bulbous plants, algae, fish, and hummingbirds appear in Pereira’s prints. These almost-abstractions burst in earthly and watery shades, as plants and animals get juxtaposed. His shapes, abstracted from nature, are similar to modernist artists’ cut-outs, but they do not remain loose or fragmented, they come together, entwined. Color plays a fundamental role in Pereira’s works: the artist balances serene and vibrant shades, creating unifying compositions that are at the same time comforting and energizing. The organic quality of these pieces is intensified by the wooden texture perceived on the prints.
The other four minimalist abstract Untitled works shown here suggest the possibility of inversion and permutation of the horizon line that grounds our experience of seeing a figurative painting, or overall, of being a vertical body in the world. Positive and negative spaces in three-part compositions, transform, moving up and down the work’s surface, until they coalesce, intersect. It is this character of entirety in Pereira’s works that binds them together: a desire for making the world full, and whole.
Santidio Pereira was born in Curral Comprido (Piauí) and lives and works in São Paulo. With the incentive of his mother, Pereira has, since his childhood, studied printmaking at the Instituto Acaia which offers art lessons to youth living in favelas in Sao Paulo. Today, Pereira’s work has been receiving quick recognition. He had his first solo exhibition in 2016 at Galeria Estação, which represents him, and is AnnexB’s partner to support his residency. His works have been recently shown at SESC 24 de Maio, Instituto Tomie Ohtake, SESC Santo Amaro, SP Arte 2017, Centro Cultural São Paulo, and PINTA Miami 2018.
Espartaco’s Work-in-Progress - a collaboration with the public
1. Choose a word
2. Choose a canvas
3. With a pencil, draw a line from the chosen word to the chosen canvas
4. On your chosen canvas, visually express with art materials what your chosen word means to you. Feel free to think outside the box. You may use symbols, letters, colors, etc.
Holiday Fun Show // Ebony Bolt
November 30 - January 11
This showcase is inspired by Bolt’s love for Art & Commerce. During the holiday season the thought of shopping for loved ones can be an overwhelming process. The goal was to create a space where people can have fun participating in an art activity and look at great gift ideas for the season. The life size interactive coloring book sheet is a collage of people Bolt has drawn during her train commutes throughout the city. The work is a two way print that is used in the scarves that are for sale. The idea is to complete the piece by the last day of viewing January 11, 2019. Bring your loved ones to help complete the piece before time runs out.
Ebony Bolt is an illustrator who uses the commuters she sees on a daily basis as her inspiration for her print work. She was born and raised in Brooklyn, New York where she experienced the diverse cultures that the city housed. She went to High School of Fashion Industries where she learned to sew and drape. During her college years she studied Illustration and Entrepreneurship at the Fashion Institute of Technology in Manhattan, New York. She loved art and fashion, creating her own unique take on fusing the two. In 2018 Bolt was the Spring Artist-In-Residence at the Hudson River Museum in Yonkers, NY. She exhibited her piece during her residency in the Neo-Victorians Show called, “Botanical Dreams In The Concrete Jungle,” which is now a permanent work of the museum’s collection. In the Fall of 2018 Bolt was commissioned by the New York Transit Museum to design the wallpaper for its 17th Annual Holiday Train Show locates at its Gallery & Annex Store in Grand Central Terminal. As she looks to the future in 2019 her goals is to create more inclusive works of art and spaces for the masses.
“Diary of a Chat Girl” is a series of mixed media paintings that explores an online chat platform and dives deep into the philosophical and psychological machinery of the mind and human relationships. It is an insightful look at a microcosm of society, and shows the artist Orange Li’s journey from the depths of Hell to her own personal Utopia.
NYC, August 2018.
Walking as a stolen moment, allowing the necessary time for things to unfold, a pause
where you set your own pace, define your own path or just wander and get lost, deciding
where to stop and when to start again.
Wandering around Mexico City’s busy streets, you wonder: what is and where is Tepito? It
is said that strangers are not allowed there, but this assumption only increases the mystery
of the place. You keep wondering: how many miles, how many kilometers to Tepito? How
will you know when you get in or out? Does the territory covered by Tepito ever end or
does it expand according to the constant movement of its itinerant shops and passersby?
The sound of your steps, the sound of other people’s steps, how the weight itinerant
traders carry impacts on the noise they make, the sounds and music escaping from the
windows, the fragrances, the colors, the patterns, the shapes of the bodies, the shapes of
the packages they carry, the physical and the emotional burden they represent; they all
merge with the imaginary that surrounds Tepito, adding to its appeal.
When you enter Tepito, you immediately feel it, as the atmosphere has a different quality, a
sensation of emergency, a latent violence, life pulses faster, stronger. The air is thicker
here, it has another essence.
Walking in NYC, you encounter another kind of landscape, as busy and urban as Tepito's,
but vertical. Breathing, emptying your mind from the saturation felt becomes necessary to
avoid suffocation. The city’s glamorous imaginary collapses when you confront its tough
reality. It’s easy to be swept of your center here, it seems you could die in the middle of the
street and no one would care unless you’d disrupt the traffic flow. Even when
overwhelmed, hope never totally fades, stars stay bright in the sky, even when hiding
behind skyscrapers or rain clouds.
A moment in-between. In-between two places, tasks and thoughts. A necessary break from
the frantic world. Sometimes you need to stand still then walk, get out of the crowd. There
is always a beginning and an end. And a resumption...
In Descanso (Rest), two masts, resting on an air-filled cardboard-paper-pouch, refer to this
moment of suspension. The ghosts of the previous flags remain, floating lightly. The
flagpoles’ sharp points remind us that the battle is not over, not unless one dies or
dissolves into a state of total permeability.
The video Hasta Tepito, contrasting with this moment of pause, depicts Mano Penalva’s
lifelong interest for popular markets, their imagery, their aesthetics, the various rhythms
that mark their beat. The permanent fluxes and crossings observed by the artist's camera
relate to his subjective view of the circulation of objects and bodies in a globalized world,
sharing an insight of what it is to be a stranger. Alçadas, an expanded painting made of
colored bag handlers completes this narrative.
Opposing the infinite possibilities of intersections that define open markets like Tepito's, the
American flags of Desvio Vermelho e Branco (Red and White Shift) are hung, folded once,
partially hiding their stars. The connection between the pieces occurs through the
decreasing shape of the composition and the space the artist chose to leave between
them, creating a painterly installation. The verticality and the separation between the flags
evoke the sensation of social isolation you can feel when lost in an impersonal space.
Hope remains, somehow. Rain clouds pass, and skyscrapers never really eclipse the sky,
it is all a matter of perception.
The body of works presented in Hasta Tepito bring us to the core of Mano Penalva’s
practice. These works make us feel in the position of the outsider, the stranger, the
traveler, the artist. They offer an invitation to rest and leave room to a creative idleness, a
time to reconnect with our insights and nurture our gifts. In a permanent effort to reach
otherness, Mano Penalva performs a formal exercise of construction and deconstruction,
starting from everyday symbols and objects to reveal their essence through their material
characteristics, as if they were seen for the first time.
In this mix of high and low culture, a simple twist moves the ordinary into the contemporary
art field and proposes new meanings and functions, displacing boundaries and actively
breaking art’s classical structures. Hasta Tepito, in this sense, is a reflection on the time
lapse corresponding to a wandering moment, a moment when anything can happen, as is
the case when the artist displaces everyday references and turns them into an artwork.
Text by Julie Dumont / The Bridge Project
Mano Penalva (Salvador de Bahia, Brasil, 1987)
Mano Penalva documents the material culture, globalization and the corresponding behavior
patterns changes. His artwork are deliberately nonrepresentational, allowing materials to dictate form and come together on their own. He is graduated in Social Communication (2008, PUC-RJ), Social Sciences (PUC-RJ) and frequented the art lectures at Parque Laje (RJ). He showed his work in Latin America, the United States and Europe, with highlights for the solo shows Re-Que-Bra, Frédéric de Godlschmitd Collection (Brussels, 2018), truk(ə), Soma Galeria (Curitiba, 2018), Estado Sul, Camelódromo (Porto Alegre, 2017); Andejos, Museu de Arte de Ribeirão Preto (2017); Balneário, Central Galeria (São Paulo, 2016); and for the group shows O Maravilhamento das Coisas, Galeria Sancovsky (São Paulo, 2018); A Bela e a Fera, Central Galeria (São Paulo, 2017); Hecha la ley, hecha la trampa, Hangar (Barcelona, 2017); Simphony of Hunger: Digesting FLUXUS in five moviments, A PLUS A Gallery (Veneza, Itália, 2015); and CONTRAPROVA, Paço das Artes (São Paulo, 2015).
The Bridge Project is a São Paulo based, nomadic curatorial initiative created by the Belgium
Born curator Julie Dumont, offering visibility to artists through the organization and
documentation of exhibitions and international residencies with partners from São Paulo,
Brussels and New York among others.
AnnexB focuses on the promotion of Brazilian art in New York by bringing artists, curators, art professionals and organizations together to foster a diverse art community in New York City, in addition to a more equitable and inclusive art scene. AnnexB’s missions is carried through art residencies, public programs and public art.
b[x] gallery is based in Bushwick, Brooklyn as part of b[x] spaces: creative workspaces for
artists, makers, and technologists.
Dates: August 24 – October 5, 2018
Opening reception: August 24 from 6pm until 9pm
Location: b[x] gallery, 203 Harrison Place, 3 rd floor, Brooklyn, NY
After the opening reception, visits by appointment only.
Please contact Larissa Ferreira at
Feel. Simple, yet a word that holds much depth. To feel is something that is explored and interpreted in endless ways by all of us every day. How one feels about themselves, about those around them, about their community, their world, their reality; these sensitivities are constantly in flux. As we navigate an increasingly divided society, a polarized political landscape, the dehumanizing affects of late-stage Capitalism, and an increasing addiction to screens, we must fight the inevitable, soothing urge for numbness. To feel numb is to lose feeling and we must always remember how to feel. How to wholeheartedly and earnestly *feel*. It is our humanity. It is our heartbeat. This show will feature Polaroid work from 12 artists that explore this theme. Imagery that explores closeness, humanity, community, and love. These times beg for warmth. Let's feel it.
Call for submissions: http://www.brooklynfilmcamera.com/call-for-submissions
Facebook event: https://www.facebook.com/events/186439305301946/
I communicate and express my ideas using colors and shapes. These colors and shapes interpret ideas I have about beauty, nature, my life experience, and the world. I primarily use acrylic and oil paint on large scale canvas to express my thoughts and emotions.
There is one main reason fine art is my chosen profession and that is because it is the best way for me to communicate with society. There are numerous messages I’d like to convey to the world and painting is the best platform for me to do that.
Most of these messages about nature and my surroundings come from my observations memories from my childhood, my take on current events and my general perspective on beauty. Beauty is one of the most important themes of my work and it is reflected by the colors that I use. The colors I use are natural, solid colors like green, turquoise, brown and blue.... I also use colors as a means to experiment with my work and to progress as an artist. This experimental process with colors gives me an idea as to which set of colors I should or should not use for my next painting.
Overall, I have gained plenty of life experience growing up in Africa, living in Canada and residing currently in the United States to address the topics I have mentioned. I continue to work on my art as I blend topical issues with its autobiographical nature. I consider fine art to be great tool for visual journalism.
Curated by Tatiane Schilaro
Fragmento, In-Process presents seven Brazilian artists articulating notions of fragmentation and proliferation in their work: Alice Quaresma, Bia Monteiro, Gustavo Prado, Julia Brandão, Júlia Pontés, Mateu Velasco and Vitoria Hadba. These artists use photography, sculpture, textiles, printmaking, and photomontage to juxtapose peculiar shapes, textures, objects,
landscapes, bodies, and characters.
In Vitoria Hadba’s prints, lines lead our eyes outside the picture plane, while gaps between the photographs from Julia Pontés’ series, Pig Iron, indicate the suspended space in which the artist’s performative body becomes a “void.” In Bia Monteiro’s photographs “tropicalness” is only suggested. Instead of capturing images of palm trees and foliage––the stereotypical idea of Brazilianness––Monteiro’s dialogue between the natural and the artificial is established through residue of modern architecture.
It is also within the Brazilian urban spaces that Mateu Velasco situates his proliferation of forms and themes; his street-art-inspired characters could just as well have inhabited public walls such as the modern fragments found in Monteiro’s work. On the other hand, Julia Brandão’s proliferations are repurposed from the fashion world and retain the dynamism of urban life; these sculptural textiles breed knots, earrings, buttons, and fringes, resulting in a relationship with an adorned, but implicit body.
The implicit body is also explored by Alice Quaresma, whose practice describes photography and painting as in-process mediums, eschewing traditional readings of landscape and abstraction. Both Quaresma and Gustavo Prado trigger recollections of the most famous narrative in Brazilian art history: neo-concretism. Prado’s Contortionist series consists of flexible loop-like sculptures made to be handled and reconfigured, an homage to Brazilian Lygia Clark’s participatory works, which emerged from neo- concretism. These processes, based on the articulation of proliferation and/or fragmentation, can be understood as ways of re-accessing notions of Brazil. But in these works, Brazil is not idealized; it is not marked as a site for an expat’s nostalgia, instead it is a place to be reimagined, regurgitated,
multiplied, and recollected.
Produced by AnnexB and b[x] Gallery, Fragmento, In-Process is curated by Tatiane Schilaro.
Acknowledging the importance of cultural and transnational exchanges to increase the diversity in contemporary art, Larissa Ferreira founded AnnexB, the first organization ever based in New York to offer arts management, programming, and an art residency exclusively for Brazilian artists. Since its inception, AnnexB has presented the work of 34 Brazilian artists in New York, with 8 of them participating in the residency program. The art projects include: murals, exhibitions, installations, live painting events, performances, workshops, book launches, as well as numerous visits to the atelier.
About Tatiane Schilaro
Tatiane Schilaro is a Brazilian-born art writer, an adjunct faculty at the San Francisco Art Institute, and a Ph.D. student in Visual Studies at the University of California Santa Cruz. She graduated in 2015 from the Art Criticism and Writing Master’s Program at the School of Visual Arts, and has an MA in Art History, Contemporary Art. In 2015, she coauthored the book Contemporary Art in Brazil (Edições Pinakotheke, Rio de Janeiro). She has curated shows in São Paulo (Fundação Pró-Memória), Quito (FLASCO), and in Brooklyn, N.Y. (A.I.R. Gallery). Her essays and reviews have been published by Guernica, ARTNews, Artcritical, Hyperallergic, LatinxSpaces and NewCityBrazil. She was a curatorial intern at El Museo del Barrio, the Museum of Modern Art, and at the Whitney Museum of American Art. Tatiane
is AnnexB’s Creative Director.
"My work creates absolute, non-hierarchical situations. In that way, I hope my audiences see/experience absolute, non-hierarchical situations which they might never experience in their everyday lives, and I hope these experiences have a positive effect on their lives.
Hierarchy and sign are social byproducts which are derived from a male-dominated history. Because signs decide the class structure between objects and persons, I attempt to erase or decontextualize sign in objects. I indiscriminately aggregate objects which are defined by a male-dominated society. I interpret these objects democratically, and assemble these objects for female-centered situations. I see objects and images as phenomena which need to be broken down. "
See ArtSlant interview here
July 21 - September 8
Opening reception: Friday, July 21st, 6-9pm
Saturday, August 5th at 11am
a workshop for the kids
Refreshments will be served
203 Harrison Pl. BK
Please RSVP at: firstname.lastname@example.org
"It Is You Who Awakens Me"
OPENING RECEPTION: Friday, June 2nd, 6-9PM
EXHIBITION: June 2 - July 14
I believe in a language of the body. A form that communicates and separates, full of intricate scars and wrinkles that read as prose, detachment and secretion that remind us of our materiality, holes and pits that demonstrate a constant hunger. Bodies are a place of experience and experimentation.
Working through performance, sculpture, and video I conceptually engage with the body in a ritualistic and reverent manner. In my practice, the body functions both formally and conceptually as an exploration of anxieties, sorrows, pleasures, longings, eroticism, and queerness. These and other points of inquiry have become embedded within my perception of bodies and self.
Motivated by a radical tenderness and strange love, I hope to expose myself to initiate a communal intimacy. The universality of bodies creates an opportunity to explore emotions and create visceral experiences in an inclusive manner. This ubiquity allows physicality to exist as a means of depicting what is felt.
I have a fascination with the grotesque, repressed, pleasurable, and shameful; this serves as motivation to explore the roots of each and how they are entangled within ourselves. Within this entanglement, issues of identity are brought into question and force the viewer to examine his/her degree of comfort or discomfort. Initiated by an exploration of self, it is my hope that this examination of comfort evolves into new questions and understandings. I am particularly interested in the power of the abject and our power of adaptability; the confrontation of our body’s materiality and the tools developed to cope with our endless questions.
Bodies exist in a social construct of high standards and stigmas, motivating shame and repression. I investigate the authority of my own body in relationship to my reaction of its origin.
Our bodies are the one living thing we will always know but while we are also passive in its construction we become active in its performance. It is time to reclaim our bodies.
“Anything with dice is a game of Chance”
OPENING RECEPTION: Friday, April 14th, 6-9pm
EXHIBITION: April 14 - May 19
- a possibility of something happening.
the occurrence and development of events in the absence of any obvious design
- fortuitous; accidental
Questions asked at our group meeting:
- How does one play with chance?
- Can you cheat chance?
- Is it still chance if someone knows the outcome?
- Is “second chance” taking chance within a chance?
- Are we living in a world of Chance?
A few standout points:
Increase probability = increase possibility
Chance and responsibility
Luck vs Chance
Being born = chance = luck?
Closing off chances