taiskoshino@gmail.com<\/span><\/p>\n <\/p>\n
selected art exhibitions | exposi\u00e7\u00f5es selecionadas<\/b><\/p>\n
\u2022 OcupaMIS 2023, Museu da Imagem e Som do Cear\u00e1, Fortaleza, Brazil. 2024;
\u2022 Garot\u00e3o de prata e regatinha sobre Rosa Choque, Museu Nacional da Rep\u00fablica, Bras\u00edlia, 2024;
\u2022 FEMGEN, Art Basel Miami, 2022, colective;
\u2022 Del\u00edrios Digitais, Bienal de Arte Digital 2022, Oi Futuro, Rio de Janeiro 2022, colective;
\u2022 Pupila Dilatada 3, online, 2022, colective;
\u2022 State of afairs, online, Bica + GUAVA, 2022;
\u2022 T\u00e1cito, Biblioteca da Universidade Cat\u00f3lica de Bras\u00edlia, Bras\u00edlia, Brazil, 2022, colective;
\u2022 At\u00e9 onde a vista (des)cansa, Vilarejo 21, Bras\u00edlia, Brazil, 2022, colective;
\u2022 Human+Machines, Art Basel Miami, 2021, colective;
\u2022 Jardim, Guava Gallery, online, 2021, individual;
\u2022 Rip, Homeostasis online platform, 2021, colective;
\u2022 \u201cPupila Dilatada\u201d, Hic et nunc online platform, 2021, colective;
\u2022 Voragem, Guava Gallery, online, 2020, individual;
\u2022 \u30af\u30e9\u30b2 (kurage): \u00e1gua viva, Itoshima, Japan, 2019, individual;
\u2022 \u201cO mundo \u00e9 mesmo muito grande assim\u201d, Parque Lage, Rio de Janeiro, Brazil, 2019, colective;
\u2022 \u201cCoisas mais ou menos mal feitas\u201d, A Pilastra, Bras\u00edlia, Brazil, 2018, colective;
\u2022 Transborda Bras\u00edlia Contemporary Art Prize, with Coletivo Desculpinha, Caixa Cultural, Bras\u00edlia, Brazil, 2016, colective;
\u2022 Mil house: end\/ateli\u00ea\/tv with Coletivo desculpinha, Espa\u00e7o Piloto, Bras\u00edlia, Brazil, 2015, colective.<\/p>\n
<\/p>\n
<\/p>\n
resid\u00eancias art\u00edsticas | art Residency<\/b><\/p>\n
\u2022 AniMAM 2024. Museu de Arte Moderna do Rio de Janeiro, fevereiro – agosto\/2024;
\u2022 Past Wrongs, Future Choices. University of Victoria, Canad\u00e1, maio\/2023;
\u2022 Casa L\u00edquida, S\u00e3o Paulo, agosto-novembro\/2022;
\u2022 Studio Kura, Jap\u00e3o, setembro-outubro\/2019.<\/p>\n
<\/p>\n
<\/p>\n
award nominations | nomea\u00e7\u00f5es em pr\u00eamio<\/b><\/p>\n
\u2022 Selected in Convocat\u00f3ria Des.Gr\u00e1fica\/2017, promoted by Museum of Image and Sound, S\u00e3o Paulo, Brazil, 2017;
\u2022 Finalist, with Coletivo Desculpinha, at the Transborda Bras\u00edlia – Contemporary Art Prize, 2016;
\u2022Finalist, with the publication Coral, at Pr\u00eamio Miolo(s), S\u00e3o Paulo, Brazil, 2015.<\/p>\n
<\/p>\n
<\/p>\n
main books | principais publica\u00e7\u00f5es<\/b><\/p>\n
\u2022 Mas ainda vivos in Plaf #7, S\u00e3o Paulo, Brazil, 2022;
\u2022 For the Right to Exsist, Movements and Moments, Goethe Indonesia, 2021;
\u2022 Terra Devastada in Ragu, CEPE, Recife, Brazil, 2021;
\u2022 Batchan, Sapata Press, Brazil\/Portugal, 2020;
\u2022 Ejercicios\u00a0er\u00f3ticos<\/span>\u00a0a\u00a0distancia<\/span>, Comunidade Obscenica, Santiago, Chile, 2019.
\u2022 C\u00e1psula, O quiabo, Belo Horizonte, Brazil 2019;
\u2022 Ainda ontem, Des.gr\u00e1fica MIS\/SP, S\u00e3o Paulo, Brazil, 2017;
\u2022 Teneusa, Topografias, Piqui, Bras\u00edlia, Brazil, 2016;
\u2022 Sem t\u00edtulo, Lisboa \u00e9 very very typical, Chili com carne, Lisboa, Portugal, 2015;
\u2022 Coral, Selo Piqui, Bras\u00edlia, Brazil, 2015;
\u2022 Attempt #37, Zine still without name #2, Kitokia Grafika, Lithuania, 2014;
\u2022 mr spoqui #41, Lisbon, Portugal, 2013;<\/p>\n <\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”3.22″][et_pb_row column_structure=”1_5,1_5,1_5,1_5,1_5″ _builder_version=”4.4.2″ module_alignment=”center”][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″] << back\/voltar [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”row” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” hover_enabled=”0″ use_border_color=”off”] Ta\u00eds Koshino (1992) nasceu em Bras\u00edlia, \u00e9 nipo-brasileira e […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"footnotes":""},"class_list":["post-47","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/pages\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":25,"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/pages\/47\/revisions"}],"predecessor-version":[{"id":2734,"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/pages\/47\/revisions\/2734"}],"wp:attachment":[{"href":"https:\/\/taiskoshino.com\/en\/wp-json\/wp\/v2\/media?parent=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}