Artevida

The exhibition artevida (artlife) examines the relationships between art and life in the late 1950s, 1960s 1970s, and early 1980s taking Brazilian, and particularly Rio de Janeiro, art practices from that period as a point of departure (Lygia Papeœs, Lygia Clarkœs and Hélio Oiticicaœs, among others) and takes places in four venues in Rio de Janeiro. artevida is divided into four sections. artevida (corpo) (body), at Casa França-Brasil, comprises subsections around the self-portrait, the body in transformation, and the cut; the organic line and weave as alternatives to the grid and orthodox geometric abstraction; interactive, articulated, and participatory works. artevida (política) (politics), at Museu de Arte Moderna do Rio de Janeiro, gathers works made in resistance to authoritarian regimes, around topics such as feminisms and racism, democracy and elections, maps and flags, war and violence, strikes and revolutions.^ artevida (arquivo) (archive), at Biblioteca do Estado do Rio de Janeiro, features selections from two artistsœ archives, Recife-based Paulo Bruscky (curated by Cristiana Tejo) as well as Rosario-based Graciela Carnevale. artevida (parque) (park), at Escola de Artes Visuais do Parque Lage, Cavalariças and the surrounding park, includes works by Martha Araújo, Tsuruko Yamazakiand the single new commission of the exhibition, by Georges Adéagbo. artevida proposes to establish connections and read certain art practices from the period through different concepts, references and frameworks beyond the well-known Eurocentric ones. The exhibition draws links and correspondences between multiple artworks and documents, challenging canonical histories and focusing on artists from the Global South, as well as on female artists. It does not attempt to write a single, coherent, progressive history, but rather more plural, open and diverse narratives, neither tracing genealogies between artists, nor identifying antecessors and predecessors, let alone to be encycl