Artur Lescher (b. 1962, São Paulo, Brazil) stands out in the contemporary Brazilian art scene with his three-dimensional work. His pieces transcend their sculptural character, crossbreeding the boundaries of installations and objects to modify the understanding of these categories and the space in which they insert themselves. The fundamental elements of his discourse artist relies in the particular, uninterrupted and precise dialogue with both architecture and design, and on his choice of materials, which can be metal, stone, wood, felt, salts, brass and copper.


Even if Lescher's work is strongly linked to industrial processes, achieving extreme refinement and rigor, his production does not have the form as the only purpose, actually, it goes beyond it. By juxtaposing solid geometrical structures and materials with characteristics of impermanence or changeability, such as water, olive oil, and salt, Lescher emphasizes imponderability. Or “the restlessness,” as the critic and curator Agnaldo Farias remarked in relation to “his pieces, which oppose an exact, clean appearance transmit a sense of inquietude, as if we, the spectators, were in the imminence of watching the irruption of something, (…) which could transform into violence, into the clashing of materials, in the deformation of a body, the traces of an action that is already finished.” This contradiction opens space for myth and imagination, essential elements for the construction process.


Some of his latest solo shows include: Artur Lescher, at Instituto Artium, in São Paulo, Brazil (2023); Observatório, at Farol Santander (2022), in Porto Alegre, Brazil; Artur Lescher: suspensão, at Estação Pinacoteca (2019), in São Paulo, Brazil; Asterismos, at Almine Rech Gallery (2019), in Paris, France; Porticus, at Palais d’Iéna (2017), in Paris, France; Inner Landscape, at Piero Atchugarry Gallery (2016), in Pueblo Garzón, Uruguay. Recent group shows include: 3rd Forever is Now, at the Great Pyramids of Giza, in Egypt (2023); Form Follows Energy, at Lago / Algo (2022), in Mexico City, Mexico; Tension and Dynamism, at Atchugarry Art Center (2018), in Miami, USA;  Mundos transversales – Colección permanente de la Fundación Pablo Atchugarry, at Fundación Pablo Atchugarry (2017), in Maldonado, Uruguay; Everything you are I am not: Latin American Contemporary Art from the Tiroche DeLeon Collection, at Mana Contemporary (2016), in Jersey, USA; El círculo caminaba tranquilo, at Museo de Arte Moderno de Buenos Aires (MAMBA) (2014), in Buenos Aires, Argentina; The Circle Walked Casually, at Deutsche Bank KunstHalle (2013), in Berlin, Germany. His works are included in major public collections such as those of the: Museo de Arte Latinoamericano de Buenos Aires (MALBA), Buenos Aires, Argentina; Museum of Fine Arts Houston (MFAH), Houston, USA; Philadelphia Museum of Art, Philadelphia, USA; Pinacoteca do Estado de São Paulo, São Paulo, Brazil.





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    Artur Lescher

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  • artur lescher and the ethics of constructive geometry Download

    artur lescher and the ethics of constructive geometry

    Claudia Fazzolari, ArtNexus 11.9.2018
  • telescópio para o chão Download

    telescópio para o chão

    Antonio Gonçalves Filho, O Estado de São Paulo 10.8.2013
  • injeção de ânimo Download

    injeção de ânimo

    Marcelo Pinheiro, ArteBrasileiros 1.7.2012
  • refinamento e depuração na arte de artur lescher Download

    refinamento e depuração na arte de artur lescher

    Maria Hirszman, O Estado de São Paulo 7.3.2006

Critical Essays

  • a poetics of height

    juliano garcia pessanha
    While weight enjoys the privileges of realism and has the hardness of life on its side, lightness seems to be of a lesser and paradoxical quality. Isn’t a visionary he who seeks to break loose from the force of gravity? How does one dare to hang in suspension when everything seeks support, and how can one proclaim the truths of levitation when everyone points to falling as our final destiny? In the unending debate between weight and lightness and between the idleness of support and the tenseness of suspension, Asterismos [Asterisms], by Artur Lescher, responds with the victory of lightness and the ascensional. Most of the objects included in the installation, despite possessing great mass, float like mathematical yogis and levitating entities. The pieces composed of tensioned wires are shot through by light and by the atmosphere of the surrounding space; some have an identifiable base on the wall or floor, as is the case of the Borromean knot-shaped piece with myriad wires rising up from its basis...