The perceptually arresting oeuvre of Brazilian art’s grand dame Regina Silveira opened the new Paço das Artes museum with the solo exhibition “Limiares” (Threshold), curated by the institution’s director, Priscila Arantes. On view are the video-installations “Limiar” and “Lunar,” the outdoor sculpture “Dobras” and the installation “Cascata,” these two specially produced for the show. After fifty years of roaming around, the Paço, as it is frequently referred to, finally inaugurated permanent headquarters on the 466th anniversary of the city of São Paulo last January 25, in a turn-of-the-nineteenth-century eclectic French-style mansion in the leafy neighborhood of Higienópolis. To contribute to the institution’s collection, Silveira donated five video works.
However familiar Silveira’s visually intriguing research-driven projects may seem, the eighty-year-old artist has proven that constant reinvention is a mark of her singular career. Always giving something new, from November 2019 to February at Luciana Brito Galeria she mounted the solo exhibition simply dubbed “Coisas” (Things). Instead of toying with grand surfaces such as an architectural façade or interior—as she does now with the scattered windows of the 180-square-meter occupation of the Cascata installation in the main exhibition hall of the new Paço Imperial—the gallery exhibition addressed the issue of female domesticity, on unique editions of her famous black optical design this time splattered over white china dishware and translucent glass goblets that are objet d’art not fit to be used as mere tableware, as she pointed out.
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