The visit of Max Bill – Cacto Brasil, 2019 – Acrylic on canvas – 170 x 510 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Lauand/Castro/Carvão/Sacilotto/Bill, 2019 Acrylic on canvas 60 x 45 cm (Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like
The visit of Max Bill – Castro/Mavignier/Clark/Oiticica/Bill, 2019 Acrylic on canvas 40 x 47 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a
The visit of Max Bill – Bulcão/Bill, 2019Acrylic on canvas100 x 80 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Volpi/Sacilotto/Pape/Lauand/Oiticica/Bill, 2019 Acrylic on canvas 50 x 55 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Varandinha, 2019Acrylic on canvas90 x 120 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Pape/Clark/Serpa/Carvão/Oiticica/Bill, 2019 Acrylic on canvas 140 x 240 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of
The visit of Max Bill – Souvenirs, 2019 Acrylic on canvas 45 x 35 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Bichos, 2019Acrylic on canvas150 x 120 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes that
The visit of Max Bill – Souvenirs, 2019 Acrylic on canvas 40 x 35 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Taioba, 2018Acrylic on canvas180 x 400 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Zerbini/Bill, 2019 Acrylic on canvas 37 x 28 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Pedregulho, 2018Acrylic on canvas180 x 240 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes that
The visit of Max Bill – Clark/Pape/Sacilotto/Bill, 2019 Acrylic on canvas 33 x 42 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies
The visit of Max Bill – Clark/Bill, 2019Acrylic on canvas50 x 60 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Lauand/Fiaminghi/Bill, 2019 Acrylic on canvas34 x 29 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies are placed
The visit of Max Bill – Vase and wallpaper, 2018Acrylic on wood40 x 30 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number
The visit of Max Bill – Clark/Sacilotto/Oiticica/Castro/Bill, 2018 Acrylic on canvas 140 x 140 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies
The visit of Max Bill – Cobogós, 2018Acrylic on canvas50 x 40 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Brasílias’ subway tiles, 2017 Acrylic on canvas 210 x 170 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast
The visit of Max Bill – Bulcão/Bill 2, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Bulcão/Bill 1, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Ludolf/Clark/Carvão/Oiticica/Bill, 2017 Acrylic on gesso coated paper 130 x 80 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Carvão/Bill, 2017 Acrylic on gesso coated paper 36 x 28 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Mavignier/Wollner/Bill, 2017 Acrylic on gesso coated paper41 x 31 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies
The visit of Max Bill – Vieira/Bill, 2017 Acrylic on gesso coated paper 40 x 55 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Barsotti/Bill, 2016 Acrylic on gesso coated paper 150 x 130 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Clark/Bill, 2017 Acrylic on cardboard 29 x 42 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies are
The visit of Max Bill – Clark/Bill, 2017 Acrylic on gesso coated paper 120 x 105 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Barsotti/Bill, 2017 Acrylic on gesso coated paper 70 x 55 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
