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Nara Roesler
511 West 21st Street
New York, NY 10011
212 794 5038
Nara Roesler is a leading Brazilian contemporary art gallery, representing seminal Brazilian and international artists who emerged in the 1950s as well as preeminent mid-career and emerging artists who dialogue with the currents put forth by these historical figures. Founded by Nara Roesler in 1989, the gallery has consistently fomented curatorial practice while upholding the utmost quality in art production. This has actively been put into practice through a select and rigorous exhibitions program created in close collaboration with its artists; the implementation and fostering of the Roesler Hotel program, a platform for curatorial projects; and continued support to artists beyond the gallery space, working with institutions and curators in offsite shows. In 2012, the gallery doubled its São Paulo exhibition space, in 2014 it expanded to Rio, and in 2015 it opened in New York City, continuing its mission to provide the best platform for its artists to show their work.
Artists Represented:
Abraham Palatnik
Alberto Barayaa
Alexandre Arrechea
Alice Miceli
Amelia Toledo
André Griffo
Angelo Venosa
Antonio Dias
Artur Lescher
Berna Reale
Brígida Baltar
Bruno Dunley
Cao Guimarães
Carlito Carvalhosa
Cássio Vasconcellos
Cristina Canale
Dan Graham
Daniel Buren
Daniel Senise
Eduardo Navarro
Elian Almeida
Fabio Miguez 
Heinz Mack
Isaac Julien 
Jonathas de Andrade
José Patrício
JR
Julio Le Parc
Karin Lambrecht
Laura Vinci
Lucia Koch
Manoela Medeiros
Marcelo Silveira
Marco A. Castillo
Marco Maggi
Marcos Chaves 
Maria Klabin
Milton Machado
Not Vital 
O Grivo
Paul Ramirez Jonas
Paulo Bruscky
Philippe Decrauzat
Raul Mourão
Rodolpho Parigi
Sérgio Sister
Thiago Barbalho
Tomie Ohtake
Vik Muniz
Virginia de Medeiros
Xavier Veilhan
Works Available By:
Abraham Palatnik
Alberto Barayaa
Alexandre Arrechea
Alice Miceli
Amelia Toledo
André Griffo
Angelo Venosa
Antonio Dias
Artur Lescher
Berna Reale
Brígida Baltar
Bruno Dunley
Cao Guimarães
Carlito Carvalhosa
Cássio Vasconcellos
Cristina Canale
Dan Graham
Daniel Buren
Daniel Senise
Eduardo Navarro
Elian Almeida
Fabio Miguez 
Heinz Mack
Isaac Julien 
Jonathas de Andrade
José Patrício
JR
Julio Le Parc
Karin Lambrecht
Laura Vinci
Lucia Koch
Manoela Medeiros
Marcelo Silveira
Marco A. Castillo
Marco Maggi
Marcos Chaves 
Maria Klabin
Milton Machado
Not Vital 
O Grivo
Paul Ramirez Jonas
Paulo Bruscky
Philippe Decrauzat
Raul Mourão
Rodolpho Parigi
Sérgio Sister
Thiago Barbalho
Tomie Ohtake
Vik Muniz
Virginia de Medeiros
Xavier Veilhan

 
Current Exhibition

Maria Klabin

Liquid Air



September 7, 2022 - October 29, 2022
Nara Roesler New York is pleased to present Maria Klabin: Liquid Air, the first solo show by Brazilian artist Maria Klabin to be held in the United States. Curated by Luis Pérez-Oramas, the show introduces the North American public to Klabin’s work, an artist who has found in painting, a language for the constitution of images that can be apprehended both as imaginative, dreamlike and unusual, as well as realistic and quotidian. The exhibition is open to the public between September 7 and October 15, 2022. The holding of Maria Klabin's first international solo show in New York is a celebration of her own trajectory. In the late 1990s, the artist moved to the city to further her studies in photography. Soon after, she joined the Art Students League of New York and followed her long term interest in painting by delving into the study of pictorial language. In 2002, Klabin completed her studies and received her master's degree from Central Saint Martins, in London, UK. The works exhibited in Liquid Air reveal painting as an unfolding of the artist's practice in other fields, such as dance, which she has practiced since childhood, sculpture, developed in her youth, and photography. Exemplary, in this sense, are the large-scale landscape paintings that make up the show. Often, the artist uses an image photographed by herself as the starting point from which to develop her work on the canvas. Klabin finds in the photos visual pretexts that lead her to creating her own image. She begins with the movements of her body, drawing, with the brush, a choreography over the surface of the canvas. The physical attraction to the material is a manifest presence in Klabin's work, modeling the paint on the canvas to create figurations through the encounter between two bodies, hers and the painting's. Curator Luis Pérez-Oramas sees the origin of the artist's work in the body, noting that “Maria Klabin relates her decision to become a painter to her experience as a dancer. Dance – the body in movement, the body in space – is, therefore, involved in her practice, which, paradoxically, began in three-dimensional modeling.” For the artist, painting is an answer to a question that she does not yet know how to formulate. “I have the feeling that painting knows more about me than I do about it”, says Maria Klabin about her creative process. It all starts with a gesture, a mark that she makes on the canvas with her brush, a call and response, as each mark proposes a challenge, a question which needs an answer, through another brushstroke and another gesture, ultimately leading to a resolution and the creation of the final, dreamlike image. Another group of works presented in Liquid Air comes from research focused on observation, where the artist portrays everyday scenes on smaller canvases. During the pandemic, this production peaked as Klabin took isolation times as an opportunity to return to one of the key themes in her repertoire: portraiture. In 2017, the artist had already returned to the practice, painting people she was close to. One day, the model fell asleep during a session, which opened the way for Klabin to focus not only on the individuality of the subject, but on the relationships between them and the space, transforming the scene into a kind of domestic landscape. In Liquid Air, Klabin presents a series of paintings in which she has developed these portraits of sleeping individuals in greater depth, presenting them alongside paintings of still lifes, scenes of silence, as well as those of drowsiness, in which the painting – although remaining objective – finds a sense of freedom. In particular, it stands out how the two most usual scales, the intimate and the monumental, make it possible to establish different relationships between matter and representation, both in their making and in their fruition. According to Oramas, “her impressive paintings are true repositories of the trace of the gesture, of the density of the oil paint, of her broad, ambitious, fluid and liquid brushstrokes, behaving as the architectural structuring of her compositions.” Most often chosing intimate and monumental scales for her paintings, the artist establishes different relationships between matter and representation, both in their making and in their fruition. According to Oramas, “her impressive paintings are true repositories of the trace of the gesture, of the density of the oil paint, of her broad, ambitious, fluid and liquid brushstrokes, behaving as the architectural structuring of her compositions.”

 
Past Exhibitions

Brígida Baltar, Ricardo Basbaum, Ricardo Becker, Enrica Bernardelli, Carlos Bevilacqua, Roberto Cabot, Rodrigo Cardoso, Marcos Chaves, André Costa, José Damasceno, Fernanda Gomes, Tatiana Grinberg, Carla Guagliardi, Raul Mourão, Ernesto Neto, Marcia Thompson, João Modé

The Fold in the Horizon



June 24, 2022 - August 13, 2022
Nara Roesler New York is pleased to present The fold in the horizon, a group exhibition curated by artist Marcos Chaves. The show brings together works by artists who began their practices at the end of the 1980s, and the beginning of the 1990s in Rio de Janeiro, and who have played a fundamental role in Brazilian contemporary art. The presentation highlights how this generation’s interests converged, sharing the same aspirations and concerns, and thus creating a space for intellectual and affective exchanges that, despite not resulting in a movement or group, helped consolidate practices that later became representative of Brazilian art of the time. The fold in the horizon opens to the public on June 24, remaining on view through 13 August, 2022. According to artist and curator of the exhibition, Marcos Chaves, the works are woven together through their relationship to the horizon, a constant element of the landscape of Rio de Janeiro. Rather than a component of the environment, the horizon serves as a metaphor in the exhibition. In Brazil, the 1980s became known for a return to painting under the influence of German neoexpressionism that emerged at the end of the 1970s. However, the artists in this show did not follow the gestural painting trend, instead taking their investigations towards ideas related to materiality, through works that intertwined sculpture, painting, drawing, installation, photography and video, also questioning the lines separating these mediums. In this sense, the artists shared the same aesthetic horizon with similar creative concerns, which developed over time into their respective forms of expression. Chaves, whose work was notably presented in a retropesctive solo exhibition at the Museu de Arte Moderna do Rio de Janeiro last year, hereby presents a selection of lesser known works by established artists, together with other fundamental figures of the time, highlighting the similarities and differences between their practices. The exhibition includes artists represented by the gallery such as Brígida Baltar, who has had solo exhibitions at the Museum of Contemporary Art (2002), in Cleveland, OH, USA, and at Firstsite (2006), in Colchester, UK, as well as Raul Mourão who had a solo exhibition at Bronx Museum (2015) and at Nara Roesler (2021), both in NY, USA; alongside Marcos Chaves himself, Ernesto Neto, a leading figure in the fields of sculptural and installation work in Brazil, who has been presented at three editions of the Biennale de Venezia (2017, 2003 and 2001), and Fernanda Gomes, whose works are part of the permanent collections of Tate Modern, in London, UK, and of the Art Institute, in Chicago, IL, USA. The show also includes artists Ricardo Basbaum, Ricardo Becker, Enrica Bernardelli, Carlos Bevilacqua, Roberto Cabot, Rodrigo Cardoso, André Costa, José Damasceno, Fernanda Gomes,Tatiana Grinberg, Carla Guagliardi, João Modé, and Marcia Thompson. In Chaves’ words, the curatorial exercise brings together “artists that shared ideas, affections, and the same beach. As such, I have chosen these works through my affective memory.” Affection thus serves as yet another layer helping explain the cohesion between these different practices: not only are they formal investigations guided by the same principles, but also the result of exhanged ideas, and shared experiences that fomented artistic productions. The exhibition is part of the Roesler Curatorial Project, an initiative lead by Luis Pérez-Oramas that asserts the gallery’s ongoing commitment to innovative and experimental projects.

Carlito Carvalhosa

Matter as image: works from 1987 to 2021



May 4, 2022 - June 18, 2022

Marcelo Silveira

Hotel Solidão



March 9, 2022 - April 23, 2022
Nara Roesler New York is pleased to announce the first solo exhibition of Brazilian artist Marcelo Silveira (1962), in the United States. The show is curated by Moacir dos Anjos, who notably curated the 29th Bienal of São Paulo and the 30th Panorama of Brazilian Art, the two most significant shows of contemporary art in Brazil. The presentation brings together works from different periods within the artist’s oeuvre, (ranging from 2005 to 2021), with a particular focus on his practice with Cajacatinga, a native wood from the Brazilian Atlantic forest. In Pernambuco, where the artist lives and works, this wood has been extensively logged to open land for the cultivation of sugarcane, and is now almost extinct, with mostly only roots remaining, themselves burnt successively during seasonal fires. Silveira collects such fragments, creating works that give the remnants new forms and purposes. The show also presents recent collages from the series Hotel Solidão, created with the use of images extracted from old magazines from the 1950s.

Abraham Palatnik

Abraham Palatnik: Seismograph of Color



January 13, 2022 - February 19, 2022
Nara Roesler is pleased to inaugurate its 2022 exhibition calendar with the first retrospective of Brazilian artist Abraham Palatnik (1928-2020) in New York. Curated by Luis Pérez-Oramas, Abraham Palatnik: Seismograph of Color presents a selection of works that reveal Palatnik’s fundamental role in Brazilian art in the second half of the twentieth century. It also highlights the relevance and pioneer character of his production in conceptualizing works of visual art as force fields, mediums of energy, and vectors of chromatic dynamism. The show is on view from January 13 to February 19, 2022. Abraham Palatnik is a monumental figure in Latin American art. Author of the earliest mechanical experiments with movement and color, the artist was a pioneer among practitioners of Op Art in the Americas. Over the course of seventy years of production, he established himself as a complex creator who expanded the possibilities of visual art by bridging, within his work, technology and art, energy and color, function and ornament, and nature and movement. His work can be found in several collections around the world including The Museum of Modern Art (MoMA), New York; the Adolpho Leirner Collection of Brazilian Art, Museum of Fine Arts, Houston (MFAH); the Royal Museums of Fine Arts of Belgium, Brussels; and Museu de Arte Moderna do Rio de Janeiro (MAM Rio), among others. Born in 1938 in the Brazilian city of Natal, in his early childhood Palatnik moved with his family to Tel-Aviv, where he remained until 1948. Trained as an artist and engineer there, he began to work influenced by both the School of Paris and Modern Bauhaus-like ideas. Upon returning to Brazil at age 19, Palatnik lived in Rio de Janeiro and joined the artistic and intellectual circle established around critic Mário Pedrosa, a key figure in Brazilian art in the twentieth century. In this context, he became friends with artists of his generation, exhibiting with Grupo Frente (Frente Group), which brought together figures such as Hélio Oiticica, Lygia Clark, Lygia Pape, and Aluísio Carvão. One determining factor in his artistic development was his involvement with the National Center of Psychiatry in Rio de Janeiro, directed by the psychiatrist Nise da Silveira who, influenced by the ideas of Carl Jung, was an early advocate and fierce defender of art’s potential in the treatment of psychiatric patients. Palatnik coordinated painting and arts workshops alongside artists Ivan Serpa and Almir Mavignier. The impact of this experience with the psychiatric patients and the images they produced was so intense that it led Palatnik to abandon painting altogether. It was during the first São Paulo Biennial, in 1951, that Palatnik emerged on the art scene in a decisive way. This year his first Kinechromatic Device (1949) was rejected for not fitting into the existing categories. The piece would subsequently be accepted and awarded a special mention from the international jury. The work is pioneer in its use of artificial light sources, and over seven editions of the Biennial, between 1951 and 1963, several other Kinechromatic Devices were exhibited. In 1964, the artist gained international renown when these works were also exhibited at the Venice Biennale. Palatnik continued to investigate and innovate in the artistic field until the end of his life, creating works capable of fascinating viewers due to the elegance of their composition—whether by using mechanisms that choreograph a dance of colors and forms or by painting and molding materials such as wood, metal, plaster, and cardboard to create abstract images full of rhythm and movement. Although generally associated with kinetic art movements, Palatnik’s work seems to transcend categories. For curator Luis Pérez-Oramas, this “perhaps means that the central question of his work is not movement directly, and consequently his production transcends the trivial categories art history and criticism attribute to Op Art and even to Concrete Art...It is not, of course, about representing something in Palatnik’s work; on the contrary, it is precisely about presenting, for example, the clues, marks, and traces of movement and therefore what the work makes visible.” The essence of the artist’s work is movement and its vertigo, the transforming force that has one of its most powerful metaphors in nature. We see in his work a harmonic combination of these two universes: that of mechanical regularity, linked to human rationality and the desire to build things, and that of the organic character of the natural world, evoking the universe of sensations renewed by the constant transformation of the landscape. In addition to pieces from emblematic series, such as Kinechromatic Devices and Kinetic Objects, Abraham Palatnik: Seismograph of Color presents figurative paintings from the beginning of the artist’s career, including a self-portrait, sketches, drawings, and projects that allow us to enter into his creative process. On the occasion of the exhibition, Nara Roesler Books, the gallery’s editorial branch, will launch Abraham Palatnik: Encantamento/Experimentação, the most extensive monograph ever published on the artist. Organized by Luiz Camillo Osorio, it will be available in two editions: English and Portuguese. In addition to a prolific notebook with archival images and works by the artist, the book features historical and unpublished texts by renowned art writers such as Hans-Ulrich Obrist, Mário Pedrosa, Luis Pérez-Oramas, Abigail Winograd, Kayra Cabanas, and Gabriel Pérez-Barreiro.

Tomie Ohtake

Tomie Ohtake: Visible Persistence



November 4, 2021 - December 23, 2021
Nara Roesler New York is proud to announce Tomie Ohtake: Visible Persistence a solo exhibition by artist Tomie Ohtake (b. 1913, in Kyoto, Japan-d. 2015, in São Paulo, Brazil), curated by Luis Pérez-Oramas. The show proposes a selection of key works, embracing over 50 years of production, which together punctuate the defining phases in the artist’s career, offering a succinct retrospective of her oeuvre. The exhibition inaugurates on November 4th, remaining on view through December 23rd, 2021. A paramount figure in Brazilian art during the second half of the 20th and the first decades of the 21st centuries, Tomie Ohtake is known for having produced one the most compelling body of works in late modern art in the Americas, embracing painting, sculpture, print-making, drawing, collage, theater staging, and monumental civic-scaled works. After a seminal period under the influence of lyrical abstraction, her work developed into a daring investigation on the density of painting that contrasted vis-à-vis the constructive-geometric and rational concrete art trending in Brazil during the 1950s and 1960s. Ohtake produced paintings featuring rich textural surfaces, notably made while blinding her eyes. These striking ‘blind paintings’ are of monumental historical significance in the Americas as they emphasize a corporeal density, contrasting against the backdrop of schematic concrete art, and proposing a bold phenomenological standpoint that stresses the whole human body—and not only its eyes—at the root of visual art. During the 1970s and 1980s, Ohtake produced an extraordinary series of paintings featuring a color-field, organic-driven figural version of abstraction. These works, exceptional for their beauty and masterful execution, and a peak within that period, can be linked to the whole tradition of vernacular modernism that took place in Brazil starting in the 1920s with the work of artists such as Tarsila do Amaral and Emiliano di Cavalcanti. Drawing from her Japanese upbringing and her understanding of visual art as a topological experience, she later pursued her work as a painter, theater-stage designer, and sculptor, which beautifully manifested in her late tubular structures and paintings of impeccable textural whiteness, created as she was approaching 102 years old. With works pertaining to each of these fundamental periods, Tomie Ohtake: Visible Persistence foregrounds the marked phases of the artist’s career, celebrating every stage in its distinction, but also stressing Ohtake’s drive to capture the density of space, color as a generative field, and the corporal experience of form. As one of Brazil’s most significant artists of her time, Ohtake attained outstanding institutional acclaim in the country, and more recently has received significant recognition worldwide, notably joining the permanent collections of the Dallas Museum of Art, in Dallas/TX (2019), the Metropolitan Museum of Art, in New York/NY (2017), the M+ Collection, in Hong Kong (2017), and the Tate, in London (2016). Furthering the gallery’s continuous effort to expand the artist’s international presence, Nara Roesler presents Tomie Ohtake: Visible Persistence as an opportunity to consolidate the US public’s awareness of this artist’s truly unique legacy.

Cristina Canale

The Encounter



September 9, 2021 - October 23, 2021
Nara Roesler New York is proud to announce a solo exhibition by Brazilian artist Cristina Canale (b. 1961, in Rio de Janeiro, Brazil), curated by Luis Pérez-Oramas. The exhibition opens on September 8, 2021, marking the artist's first solo presentation in the US, and will showcase a selection of Canale's most recent production.

Alan Adi, Gabi Bresola, Gustavo Caboco, Leila Danziger, Randolpho Lamonier and Victor Galvão, André Griffo, Andréa Hygino, Filipe Lippe ,Adriano Machado, No Martins, Virginia de Medeiros, Marta Neves, Amador e JR. Segurança Patrimonial

On the shoulders of Giants



June 24, 2021 - August 20, 2021
Nara Roesler New York is proud to announce On the shoulders of giants, a group exhibition curated by Raphael Fonseca, one of Brazil’s most acclaimed emerging contemporary art curators, opening on June 24 2021. On the shoulders of giants will showcase Brazilian artists from different generations, whose practices investigate the relations and tensions between ideas of time and memory. The plurality of the works presented will offer an opportunity to delve into an ample array of propositions on these themes, presenting different aesthetic and conceptual interpretations. The exhibition foregrounds contemporary engagements with popular and ancestral narratives, exploring how they coexist and intertwine with modern day contexts, in order to develop collective memory. Image caption: On the shoulders of giants, exhibition view, Nara Roesler New York, 2021. Photo: Charles Roussel.

Raul Mourão

Empthy Head



April 27, 2021 - June 19, 2021
Nara Roesler is pleased to announce Empty Head, Raul Mourão’s first solo exhibition in its New York gallery, from April 27 until June 19, 2021. The presentation includes recent works that synthesize and connect Mourão's formal investigations to a political critique of contemporary issues.