Museu de Arte Moderna - A building that truly struts its stuff, MAM sits proud in Parque do Flamengo. Finished in 1958, it was designed by another Lucio Costa acolyte, Affonso Eduardo Reidy, who also work on Palacio Gustavo Capanema. The giant pillars and trusses that support the structure allow for huge expanses of glass and an interior space free from obstructions, resulting in great views of the city and Roberto Burle Marx's landscaping. Some complain that it is not the best venue in which to look at art, but it remains a fresh and powerful design. Ready was prolific in Rio but his oeuvre is often mistaken for that of Niemeyer. 

Keep an eye out for his snaking landmark residential block Conjunto Pedregulho, which is perched high in Sao Cristovao. 


O PESO DE CADA UM – IOLE DE FREITAS -  Ligia Canongia - 

The exhibition O peso de cada um [The Weight of Each One] presents a shift from the work that Iole de Freitas had been developing up to early 2014. The polycarbonate sheets that the artist used previously have been substituted by sheets of stainless steel, which are stronger but much more difficult to bend, requiring more intense twisting and precise engineering calculations, due to the material’s weight and stiffness.
Despite the material’s specificities, however, the sculptures are suspended in the air, evolving through the space in an unfathomable ethereal dance, their original weight giving way to the idea of lightness and movement. The current pieces conserve the thin line between the gestural and the geometric, or between expressiveness and formal precision, which has always been present in this set of works, but it is now coupled with the unexpected recovery of the reflections and mirrorings that the artist used in her works during the 1970s, at the outset of her career.


In a context of social and political upheaval the year after the military coup, Ceres Franco and Jean Boghici prepared a big exhibition of Brazilian and foreign artists – Argentineans and Europeans – to showcase a set of works that indicated a new global trend for realism in the arts. The title, Opinião 65 (Opinion 65), demonstrated the plural nature of the exhibition and a desire to give a voice to young people, who for the first time in history were taking the lead in what was going on.
This was the first time artists from the “movement” later known as new Brazilian figuration were brought together. The idea behind this return to figuration was to communicate directly with the public. There was also a new kind of participation that differed from the more sensory communication used by the neoconcretists, taking on more anthropological and social overtones. This happened partly in response to the curtailment of political freedoms, but also because of a more fluid cross-pollination between poetics and popular culture. The curators offset these young artists’ work against that of some of their main influences, like Wesley and Berni, from Argentina, as well as some leading figures from Brazilian concretism in a new phase, like Serpa and Oiticica.
(c) Chavanitas