20 Disarrangements - Panorama on Brazilian Art in Vigo
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20 Disarrangements - Panorama on Brazilian Art in Vigo
VIGO, SPAIN: View of the art work made with 7,840 domino pieces "280 dominos" by Brazilian artist Jose Patricio, part of the contemporary art work "20 desarrangements, panorama of Brazilian art", during the exhibition at the Museum of Contemporary Art in Vigo, northwestern Spain, 25 January 2005. Photo by MIGUEL RIOPA/AFP/Getty Images.



VIGO, SPAIN.- The Museum of Contemporary Art in Vigo presents 20 Disarrangements - Panorama on Brazilian art, through May 8, 2005. MARCO will publish a bilingual offprint in Spanish and Galician with the adaptation of texts that appeared in the catalogue published in 2003 by the MAM (Museu de Arte Moderna de São Paulo) to mark the opening of Panorama da arte brasileira 2003. This catalogue, on sale together with the offprint at the museum shop, is a trilingual edition in Portuguese, Spanish and English with texts written by Gerardo Mosquera and Adrienne Samos about the artists and an interview with the curator by the journalist Washington de Carvalho Neves, apart from technical specifications and reproductions of most of the works on exhibition.

Gerardo Mosquera –art critic, curator and art historian– was born in Havana in 1945 and has been curator of exhibitions in the New Museum of Contemporary Art in New York for more than a decade. He is member of the editorial board of the magazines Art Nexus, Calabar, Ideas & ensayos, Nika and Third Text, as well as founder of the Havana Biennial and co-curator of “Ante América” in 1992-94. Among his latest exhibitions, the most remarkable are “No es sólo lo que ves. Pervirtiendo el minimalismo”, MNCARS Madrid, 2000, and “Wilfredo Lam”, XXIII São Paulo International Biennial, 1996. Gerardo Mosquera has written many books on contemporary art, such as Beyond the Fantastic. Contemporary Art Criticism from Latin America (editor), London, 1995; Contracandela, Caracas, 1995, and El diseño se definió en octubre, Havana, 1989, Bogotá, 1992.










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