#felipe-lobo

#felipe-lobo

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

"My paintings can be described as sculptural in nature, emphasising physical presence, weight and materiality."

The initial challenge was to create a club that valued the view of the lagoon without obstructing that landscape with the building. The solution was an architectural design in two levels.

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

In Cabranes, Asturias, Atelier Poem has realized the Taller Agropoetico for Foresta Collective—a space that integrates agricultural practice with pedagogy.

Cezar Berje's visual approach is a mix of chaos-vibrant colours, symbols, and new age psychedelia. His illustrations often suggest universes within universes, with each part of the image telling its own story through symbols and references.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

When I'm painting, I try not to look at too many things so I don't become overly influenced. But we can't really escape ourselves. There are imaginations from other people that I love. Diogo's work is a colourful combo of Alejandro Jodorowsky's strange filmic palettes, Japanese sci-fi and vintage posters.

In 2004, the Brazilian musician Seu Jorge recorded a series of Portuguese covers of David Bowie songs for Wes Anderson's film The Life Aquatic with Steve Zissou. The next year, he released a full album of 13 Bowie classics, and in 2016-2017, he even took the songs on tour. Now, in 2026, to mark the 10th anniversary of Bowie's passing, Jorge returns with the performance above.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

For ABERTO5, the itinerant exhibition series is set to open next month at Casa Bola, Eduardo Longo's spherical residence in São Paulo, opening the architect's private home to the public as the setting for its fifth edition. From March 7th to May 31st, 2026, ABERTO returns to Brazil after its Paris chapter at Le Corbusier's Maison La Roche (read more here) and shifts its attention to one of the city's most unique dwellings.

Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.

I don't want to be Botero or only a lady who paints,

OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.

One of the great things about making art is discovering something that sprang from seemingly nowhere. In retrospect it looks logical but in the moment it's an epiphany and suddenly it's exciting to explore it. My studio is across the street from Creative Woodworking and they have a box where they put scrap wood for anyone who wants it and it's irresistible to me.

The artist is known for his absurdist paintings of animals with overly long legs, contorted bodies, or myriad mutant-like heads or limbs. They're often set amid woodlands or meadows evocative of 18th- and 19th-century academic landscape paintings or depictions of formal hunts. Instead, both domesticated and wild animals graze as normally as they would without dozens of heads or udders attached in unnatural places around their bodies.