Simon Watson

Uma linda surpresa nessa manha de 12/05/26 Que orgulho ler o @silasmarti e o meu proprio trabalho sob nova perspectiva. Silas, nunca alguem tinha apontado a relacao cênica-pictórica tao sensivelmente quanto precisamente - CARAMBA - “(…) Não é uma natureza virgem. E esse talvez seja o “plot twist” da obra de Gottschalk. À sua é uma selvageria cênica, controlada, iluminada a perfeição (…)” isso depois de ter feito uma leitura apoiada na história da arte; “(…) Desde que pintura existe e ela (no caso eu 😱😁) é uma pintora na raiz, muito se fala de luz, do ilusionismo de sua construção sobre a tela a moda assombrosa de Rembrandt ou Caravaggio, a busca obsessiva por uma luz interna que atravessa a superfície do quadro ou atmosfera pura e dura, à maneira de Mark Rothko ou mais literal James Turrell(…)” OBRIGADA ao curador de SOL @simonwatsonarts e sua equipe sempre criando comigo @impressive_xinstant @rafaelscur @craighensala @luz_artistsinresidence , a Irina ao @ericdereumaux da galeria @slagrxgallery que confiou nessa exposição ousada. Obrigada ao meu time da vida @danco.assist @emilioroge Obrigada ao meu amor @titoficarelli que desenhou e criou comigo essa atmosfera iluminada e bela e ao @arkitito que assina esse projeto. Obrigada a @sarinatang que amplia meu olhar para arte com tanta generosidade Obrigada a @project14c e @dianaburroughs por terem me recebido em seus studios solares ☀️ Estou genuinamente orgulhosa por ter realizado uma exposição sublime! Parabéns aos envolvidos, serio mesmo! Obrigada @folhailustrada , matéria encantadora 🌟 Quem tiver a oportunidade de ver ao vivo, faça isso! É um trabalho que merece. Até 16/05 no chelsea em NYC. 📸 @onwhitewall En version on coments

In the spring of 1986, as a 31‑year‑old gallerist, I traveled to Italy to visit Ettore Spalletti and select works for his fall exhibition at Baskerville+Watson in SoHo. We were met by Spalletti’s legendary Italian gallerist, Mario Pieroni, who took charge of our expedition at the wheel of his sports car. From Rome we sped east along the hairpin turns of the Abruzzo coast, finally arriving in the picturesque hilltop town of Cappelle sul Tavo. Ettore met us at the door of his home studio and invited us into an intimate antechamber: a wooden dining room set with a welcoming table. He calmly prepared and served a leisurely, all‑white, two‑hour lunch. Though I had traveled non‑stop from New York City with my curatorial assistant Corinne Diserens (now a renowned French museum director) to select works for the fall exhibition, Ettore was in no hurry. Everything served was monochrome—a gentle decompression that steadied our racing spirits and introduced us to his contemplative universe. After our languid meal and many cups of espresso, he led us into his studio, where we carefully selected the paintings and sculptures that, six months later, would comprise Spalletti’s first solo North American gallery exhibition. Exactly forty years since first exhibited in New York City, this exquisite dusty‑rose monochrome Spalletti fresco— with fluted metal flanges painted to match—will be shown again in Europe in “ANUNCIAÇÃO,” a curated exhibition by Xavier Auza at Convento da Graça, Lisbon. Ettore Spalletti’s estate is represented by Marian Goodman Gallery. The archive of the historic Galleria Pieroni (1975–1992) has recently been acquired by the MAXXI — National Museum of 21st‑Century Arts in Rome. @mariangoodmangallery #ettorespalletti #mariopieroni @impressive_xinstant @anunciacao_lis #ANUNCIAÇÄO 11.04.26

Like a ray of sunlight penetrating a forest glade, Gottschalk explores the sun (“sol” in Portuguese) by weaving together elements from two recent museum projects: the primordial woods of GLADE at the National Museum in Brasília (2022) and the radiant illumination of SOL, first staged at Parque das Ruínas in Rio de Janeiro (2024). Born in São Paulo and raised in the Serra da Mantiqueira, Gottschalk channels vivid childhood memories of dense forest into multilayered compositions of color, texture, and affect. Seen from the vantage of a child facing towering trees, her lush landscapes heighten the senses and evoke wonder. In her recent publication “Troposphere Shared – Artists Brazil China” author and international art historian Sarina Tang, writes, “A first reaction to Luiza Gottschalk’s paintings is the sensation of energy in motion. The choreography of gesture in the very act of painting produces fluid images in which memories, landscapes and emotions seem to surface.” Gottschalk’s increasingly abstract paintings achieve richly tactile surfaces through a distinctive process: cotton cloths are laid onto primed canvas and pigment is worked in by hand, building depth and an intimate physical rapport between artist and medium. Curator Simon Watson observes, “Gottschalk has evolved a painting practice rooted in the Global South, where movement and meaning emerge from an amalgamation of cultures. Music, motion, and dance are integral to her artistic experience.” This perspective highlights the cultural richness and dynamism animating her work, inviting layered engagement. LUIZA GOTTSCHALK | SOL curated by Simon Watson SLAG&RX Gallery through May 16 @luizagottschalk @slagrxgallery @titoficarelli @luz_artistsinresidence

In Chris Dorland’s studio previewing his superb new paintings to be unveiled next Friday April 10th at Lyles & King, New York. @chris_dorland @lylesandking

Opening night. Andres Valencia — Profiles in Color On view at the Nassau County Museum of Art March 21 – July 12, 2026 #andresvalenciaart #profilesincolor #NassauMuseum #artexhibition #museumshow

Join me at the Nassau County Museum of Art for my solo exhibition, on view March 21–July 12. Thank you to the @perryjcohenfoundation , Bernie Chase @chasecontemporary , Larry Warsh @cartdept , and curator @simonwatsonarts for making this possible. @nassaumuseum

SOL - NYC season Openning april 9th at @slagrxgallery . SOL is an immersive installation by Luiza Gottschalk and design by @titoficarelli comprising sixteen paintings set against walls painted in deep, wood-toned hues and anchored by a reflective metallic gold floor. Like a ray of sunlight entering a forest glade, the installation evokes the sun—sol in her native Brazilian Portuguese—by interweaving natural elements developed in two recent museum projects: the primordial depths of GLADE at the National Museum in Brasília (2022) and the radiant luminosity of SOL, first realized in Rio de Janeiro at Parque das Ruínas (2025). - Simon Watson . Curator @simonwatsonarts observes, “Gottschalk has evolved a painting process rooted in the Global South, where movement and meaning emerge from an amalgamation of cultures. Music, motion, and dance are integral to her lived artistic experience.” This perspective underscores the cultural richness and dynamism that animate Gottschalk’s work, inviting viewers to engage with it on multiple levels. . “The first time I was in NYC during the spring, I was surprised by people’s joy at the streets, welcoming into their skin the first sunshine rays after winter ends. That’s why the exhibition will take place in April 2026, bringing the vibrations of the sun light also to inside the gallery space.” . To develop SOL exhibition NYC season, I was at the @arts14c residence where I was able to receive the sunlight entering every day, blessing my paintings. This are what i’ve done till now ☀️ . 📸 @beatriz_meseguer @onwhitewall

Andres Valencia opens a solo exhibition at the Nassau County Museum on March 21. The California-based young artist is known for large, dramatic, vividly colored figurative paintings. Born in 2011, his talent was recognized by visual arts teachers when he was just five. As curator, I recently visited his studio, where Andres and his parents shared the evolution of his work—from early painted book portraits to recent paintings, drawings, sculptures, and animation videos—many featured in the exhibition. Check out HypeBeast for more. @andresvalenciaart @nassaumuseum @hypeart @hypebeast 📷 by Elsa Valencia

Exciting plans for the next several years! Instituto Franz Weissman and DAN Galeria ✨ #franzweissmann @dangaleria

Topographies of Wonder During the pandemic, André Miagui spent nights at the windowed wall of his eighth-floor Anhangabaú studio, staring up at the sky. He began painting imagined star clusters and galaxies — a painterly vision of the cosmos that would later shape his work. Building on these early explorations, Miagui’s most recent paintings, arranged in two parallel series, take viewers on a celestial journey. One series, almost two meters square, feels as if we are looking through the visor of a gamer’s helmet: pixel-inflected constellations and compressed perspective suggest the mediation of screen technology. The other series, roughly twice that size, evokes imagined planetary surfaces and darting laser lights rendered with meticulous brushwork and subtle topography. Interlayering imagery alluding to the telescopic interweaved with digital motifs, Miagui’s canvases investigate how immersive virtual environments and rapid technological change reshape perception and consciousness. By bridging cosmic wonder and technological mediation, his work asks how we locate ourselves — physically and mentally — within an increasingly virtual universe, and suggests new modes of intimacy, estrangement, and collective longing. — Simon Watson @miaguiarts

Great studio visit to Rosângela! @rosangeladorazio

Valentina and David 😌