Artist Rudy Vavra’s Paintings of Natural Emanations

I wrote a monograph about artist Rudy Vavra’s career and his aesthetics of grooming nature. To know more about his work visit   Rudy Vavra’s Natural Emanations and Aesthetics of Grooming: 2007-present Spirituality, abstraction and nature, although acquiring renewed contours, have accompanied Rudy Vavra to his most recent iteration, a practice of color painting via mark-making, which has lasted ten years. It started in 1998, when Vavra left New York City and moved to Rhinebeck, NY, in the Hudson Valley. He and his wife bought a 19th-century Greek Revival house and barn on eight acres. Vavra spent several years Read More

Recent Publications

2016 The Pointless and Foolish in Endearing Films About Childhood and Old Age, Hyperallergic, 2016. An Outsider’s Tale: Ana Mendieta at Galerie Lelong, artcritical, 2016. 2015 A William Eggleston Retrospective on Tropical Soil, artcritical, 2015. Jonathas de Andrade: Subverting Cheap Labor and Racism in Brazil, artcritical. First Solo of Jonathas de Andrade in NYC, Alexander and Bonin. 2014 Photographing and Fashioning the Reality of Brazil, Hyperallergic. Review:  Caio Reisewitz at the International Center of Photography, NY. The Radical Brazilian Artist Who Abandoned Art, Hyperallergic. Lygia Clark’s retrospective at the Museum of Modern Art, NY. Um encontro com a Triplopia de Gregório Read More

William Kentdrige's The Refusal of Time, 2012, Install shot at The Metropolitan Museum of Art, NYC.

The Refusal of the Spectacle in William Kentdrige’s The Refusal of Time – Three journal entries

1st Journal Entry February: Struggling hearts — What are all these marks, dad? A boy repeatedly tugged on his father’s coat. I followed, with a certain hesitation, a family that was walking into a black cube; I had been drawn in by loud music that sounded like a lousy marching band, sometimes playing off beat, a bit tragic-comic. While I was stepping into the room, the song started to dissolve into a man’s voice that reminded me of newsreel or documentary narrations from the 1950s. The boy noticed thousands of white markings being projected across the dark: for me, it Read More

nstallation view of Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan 1970-1980 (Whitney Museum of American Art, New York, October 31, 2013–February 2, 2014). Photograph by Ron Amstutz

Breaking out of the tomb

An essay in two voices on Rituals of the Rented Island at the Whitney Museum, 2013 VOICE 1: Art made of flesh and bones. Objects that are extensions of the body in a specific moment: the duration of a mise–en–scène. Artists sneaking in the interior of cramped spaces, their voices tending to be lost, in the minds––even in the memories of history––blurred between their figure and their being. Art that has lived and perished, or that has emerged to fade away, materializing and dematerializing under the flickering, glimmering lights of trashy lofts, garbage rooms in SoHo, New York. Rituals of Read More


Sisyphus: the heroism of absurd

Last weeks to visit the show Sisyphus: el heroismo del absurdo at Arte Actual, Flacso, in Quito, Ecuador. Works by Francis Alÿs, Kate Gilmore, Cinthia Marcelle and Carla Zaccagnini. Curated by Tatiane Santa Rosa and Anamaría Garzón Mantilla, the  show Sisyphus: the heroism of absurd revisits the idea of useless labor and failure, but in regards to a globalized, postcolonial world. Download the catalogue of the exhibition in English or read the curatorial essay below. Sisyphus: a myth taken to a postcolonial era Tatiane Schilaro Santa Rosa Sisyphus is one of those mythological figures, which, implicitly or not, keeps coming Read More

Habemus Gasoline, Antonio Vega Macotela

Whitney Biennial 2012 & The Ungovernables, finding intersections

What has a tequila distiller in common with half-liquid, half-solid forms boiling from sheets on a room’s floor? Although the question seems as awkward as its contents, first of all, they are both contemporary artworks. Yet, that sole explanation does not simplify the answer, it only extends the problem. 2012’s two most important Contemporary Art exhibitions in New York proposed visions of today’s art. The New Museum’s Triennial revealed political urgency in the art of Third World countries. In The Whitney Biennial, curators and American artists focused on experimentation between hand-made and technology-made practices. But did those two visions, somehow, Read More



[Photograph: Prayer (Bathing Series), 2011] [Fotografia: Prece (Série Banhos), 2011] We haven’t heard, but we are aware We haven’t seen, but we know is there Invisible, wandering, willing Our fullness, our wholeness, our solitude We couldn’t pray for ourselves, our own gods, our own demons We are blind, resolved, continuously stable We are scattered, we are everywhere Our independency, our inadequacy We can’t touch, we can’t embrace Our fear is to feel Our skin, frozen, but boiling inside with despair We haven’t questioned, but we know we care We haven’t prayed, we are desire We are distant, we are concise, Read More



[Photograph: Breathing (Bathing Series), 2011] [Fotografia: Respirando (Série Banhos), 2011] Como enfrentar um poema Dizer o que se quer dizer Tocar onde ninguém tocou Mostrar o que ninguém mais vê Como viver em ressaca Querendo o que não se deve querer Escutando promessas e discursos Sendo o que ninguém quer ser As palavras que nos envolvem São as mesmas que nos mordem No escuro, no véu, no tempo Essas palavras que nos dizem Que nos avisam, mas não nos protegem Instáveis, efêmeras Neste mundo que nada origina Como escutar um sussurro Se se espera um concerto? Embalamos nosso sono no Read More