Ernesto Neto

Ernesto Neto: Sopro [Blow] (solo show)
Pinacoteca de São Paulo, São Paulo
30 March - 15 July 2019

Ernesto Neto: Sopro [Blow], installation view, Pinacoteca de São Paulo, São Paulo, 2019 Photo: Isabella Matheus. Courtesy by Pinacoteca de São Paulo
Ernesto Neto: Sopro [Blow], installation view, Pinacoteca de São Paulo, São Paulo, 2019 Photo: Isabella Matheus. Courtesy by Pinacoteca de São Paulo

The Pinacoteca of São Paulo, a museum of the São Paulo State Secretariat of Culture and Creative Economy, and Banco Bradesco presents, from March 30 to July 15, 2019, the exhibition Ernesto Neto: Sopro [Blow], which will occupy the Octagon, seven rooms on the first floor and other spaces of the Pina Luz building. Curated by Jochen Volz and Valéria Piccoli, respectively director and chief-curator of the museum, the retrospective brings together 60 works by one of the most prominent names in contemporary sculpture. Since the beginning of his career, in the 1980s, the artist has been producing a body of work that sets in motion a dialogue between the exhibition space and the various dimensions of the spectator.

Bringing into play his unique comprehension of Neo-Concrete heritage, Ernesto Neto (Rio de Janeiro, 1964) unfolds his initial sculptures – elaborated from materials such as polyamide stockings, polystyrene spheres, spices and herbs – into large, immersive installations that proposes to the spectator a space for conviviality, for taking a breath and for fostering consciousness and awareness. His sculptural practice is engendered by the tension embodied in textile materials and in handicraft techniques like crochet. These great ludic structures accommodate rituals and actions that reveal the artist’s current concerns: the affirmation of the body as an element that cannot be dissociated from the mind and from spirituality.

Since 2013, the artist has been engaging with the peoples of the forest, particularly the indigenous community Huni Kuin, also known as Kaxinawá. The population of this ethnic group, which now stands at 7,500 people, inhabits part of the state of Acre and makes up the largest indigenous population of the state. “The indigenous peoples of the forest have a much deeper connection to nature. In actual fact, the word ‘nature’ as something that lies outside of us human beings doesn’t even exist in this community. They cannot make sense of this separation,” observes the artist. “In living and interacting with them, I developed a profound understanding of this spirituality, of this force of continuity of the ‘body-I’ and of the ‘body-environment’, and also gained a ‘spiritual-philosophical’ structural base, in addition to an awareness that there is much humanity has yet to discover: Who are we? Where are we? Where are we heading to?” The idea of the planet as an interdependent organism permeates the greater part of Neto’s oeuvre.

For the exhibition at the Pinacoteca the artist has made a number of new works, including a piece for the Octagon. Also among the group of works being shown is a seminal piece in his trajectory: Copulônia (1989). Made up of polyamide and lead spheres, its title is a reference to “copulation” (a term employed by the artist to characterize a type of element that is present in the work in which two parts penetrate each other) and to “colony” (a section of the work where the elements repeat themselves). “It conveys the idea of population, family, collective body and symbiotic coexistence,” defines Neto.

“Copulônia marks the moment in which Neto begins to conceive sculpture no longer as a single volume, but as a whole comprised of parts. Other iconic works by the artist also make up the selection, such as those containing herbs and spices (clove, saffron, urucum [achiote]), the Naves [Ships] (textile architectures in which the visitor is invited to enter) and even the most recent inhabitable structures made out of crochet. Neto’s works invoke the visitor’s participation and activate other senses besides sight,”  explains Piccoli.

The exhibition proposes to demonstrate how physicality, the individual and the collective have always been present from the very start in the artist’s practice, shaping his poetics. His current collaboration with political and spiritual leaders of the Huni Kuin nations emerges as a natural consequence of his first sculptural research. “Neto has been radically exploring and expanding the principles of sculpture since the beginning of his trajectory. Gravity and balance, solidity and opacity, texture, color and light, symbolism and abstraction are all features that anchor his practice, in a continuous exercise in both the individual and the collective body and in community-based processes of construction,” notes Jochen Volz.

This is also the first exhibition that proposes to trace his first experimentations in this field through investigation and appropriation of the exhibition space until attaining his current social engagement. Today, at a time marked by a fundamental dissonance between man and nature, Neto proposes that art be a bridge for human reconnection with more subtle spheres. “The artist is a type of pajé (shaman or witch doctor). He deals with the subjective, with the inexplicable, with that which takes place between earth and sky, with the invisible. He is able to bring things from this place,” concludes Neto.

Pinacoteca de São Paulo, São Paulo


Jeff Koons, Ernesto Neto, Richard Prince et al.

Happy! (group show)
NSU Art Museum Fort Lauderdale, Fort Lauderdale
27 October 2019 – 5 July 2020

NSU Art Museum Fort Lauderdale presents Happy!, a new exhibition of contemporary works produced by artists who aim to engage the viewer emotionally. As in life, sorrow and happiness are intertwined in their works. Happy! is organized by NSU Art Museum Fort Lauderdale and is curated by Bonnie Clearwater, the Museum’s director and chief curator, who states, “Many of these artists acknowledge that making art is an essential means for them to work out their own trauma and frustrations, and they suggest that art can provide viewers with a sense of well-being that will help them cope with life’s challenges.”

Happy! includes works by Gesner Abelard, Kathryn Andrews, Cory Arcangel, Eugene Brands, Francesco Clemente, Tracey Emin, Christina Forrer, FriendsWithYou, Félix González-Torres, Adler Guerrier, Keith Haring, Asger Jorn, Samson Kambalu, KAWS, Ragnar Kjartansson, Susan Te Kahurangi King, Jeff Koons, Takashi Murakami, Ernesto Neto, Tim Noble & Sue Webster, Yoko Ono, Jorge Pantoja, Carl-Henning Pederson, Enoc Perez, Esther Phillips, Fernand Pierre, Richard Prince, Rob Pruitt,  Mark Rothko, Robert Saint-Brice, Kenny Scharf, Alake Shilling, Frances Trombly, Andy Warhol, and others.

NSU Art Museum Fort Lauderdale

Ernesto Neto, Rebecca Warren et al.

Installationen from 25 Years of the Falckenberg Collection (group show)
Deichtorhallen - Falckenberg Collection, Hamburg
30 November 2019 – 30 August 2020

Falckenberg Collection. Photo: Henning Rogge/Deichtorhallen Hamburg. © Henning Rogge/Deichtorhallen Hamburg
Falckenberg Collection. Photo: Henning Rogge/Deichtorhallen Hamburg. © Henning Rogge/Deichtorhallen Hamburg

On the occasion of the 25th anniversary of the Falckenberg Collection, the Deichtorhallen Hamburg is presenting a comprehensive exhibition from 30 November 2019 to 24 May 2020 which will focus on installations and sculptures from the collection. The exhibition features some 60 works by 45 internationally renowned artists, including Olaf Breuning, Jimmie Durham, Mark Dion, Thomas Hirschhorn, Jon Kessler, Jessica Stockholder, Diana Thater, Cosima von Bonin, Franz West, Mike Kelley, General Idea, Erwin Wurm, Rebecca Warren and Ernesto Neto. Many of the works on view were previously on loan to museums such as the Centre Pompidou, PS1, the Walker Art Center, Tate Modern, MoMA in New York, MOCA in Los Angeles, as well as the Venice and Shanghai biennales. For the first time, these works will be brought together in a major survey exhibition at the Falckenberg Collection in Hamburg-Harburg.

Sammlung Falckenberg