MAGAZINE
digital edition #73

With the Naked Eye, the largest retrospective exhibition ever held by the prestigious Brazilian artist Vik Muniz arrives at Museum of Contemporary Art of Bahia (MAC_Bahia).

Over 200 works distributed in 37 series"Naked Eye" brings together fundamental works from different phases of Vik Muniz's career, internationally recognized for his ability to transform everyday materials into images of strong visual and symbolic impact. Chocolate, sugar, dust, garbage, magazine fragments, and wire are some of the elements that make up his artistic vocabulary and bring his production closer to both pop art and everyday life. The public will be able to follow his work from his first sculptural experiments to works that mark the consolidation of photography as the central axis of his creation.

Among the highlights, the exhibition features four pieces never before seen at MAC_Bahia, which were not part of the Recife leg: Cheese, Skates, Golden Nest, and Souvenir No. 18. The show also presents works never before exhibited in Brazil, such as Oklahoma, Boy 2, and Neurons 2, previously seen only in the United States.

The retrospective occupies the MAC_Bahia and expands to two other spaces in the city: the artist's studio in Santo Antônio Além do Carmo, which will host meetings and special visits, and the Galeria Lugar Comum, in the São Joaquim Fair, where a new installation inspired by the work Nail Fetish will be exhibited. This is the first time Vik Muniz has presented a work at this location, reinforcing the dialogue between his production and popular territories of Salvador.

Exhibition "Naked Eye," by Vik Muniz, at the Museum of Contemporary Art. Photo: Vik Muniz
Considered fundamental to understanding the artist's transition from object to photography, the Relicário series (1989–2025) greets visitors right at the entrance of MAC_Bahia. Not exhibited since 2014, it presents three-dimensional sculptures that help to understand Muniz's conceptual shift, when the artist realized he could construct scenes designed exclusively to be photographed, a movement that redefined his international career.

For curator Daniel Rangel, who is also the director of MAC_Bahia, the arrival of A Olho Nu has special significance. "This is the first major retrospective dedicated to the work of Vik Muniz, with a selection designed to create a dialogue between his works and the culture of the region," he states.

The arrival of the retrospective in Salvador also strengthens the partnership between IPAC and the Banco do Brasil Cultural Center (CCBB), responsible for organizing the exhibition and in an advanced stage of establishing its unit in the Palácio da Aclamação, a historic building managed by the Institute. Even before officially opening its doors in Bahia, CCBB Salvador has already been promoting cultural activities in the capital, including the presentation of the largest exhibition dedicated to the artist.

To host "A Olho Nu" (Naked Eye), IPAC and MAC_Bahia are mobilizing a complete structure that includes maintenance, security, cleaning, museum lighting, and operational logistics, in addition to the work of the mediation team and educational activities aimed at schools, universities, cultural groups, and visitors in general. The expectation is that the museum will receive approximately 400 people per day during the exhibition period, consolidating MAC_Bahia as one of the main venues for the circulation of contemporary art in the Northeast. It is no coincidence that the Museum is listed among the best institutions of 2025 by Revista Continente.

With free admission and ongoing educational programming, "A Olho Nu" is expected to significantly impact Salvador's cultural calendar in the coming months. The exhibition offers the public the opportunity to immerse themselves in the work of one of Brazil's most celebrated contemporary artists and to experience different stages of his creative process, reaffirming MAC_Bahia as a benchmark in promoting major national and international exhibitions.

Service
Exhibition | With the Naked Eye
From December 13th to March 29th
Tuesday to Sunday, from 10pm to 20pm

"The unraveling of things" is the inaugural exhibition of Portico and presents works of 16 artistsWith a selection that includes emerging and established names from different generations and geographical locations, the exhibition serves as a prelude to the gallery's series of exhibitions and programming for the 2026 cycle, reflecting the breadth of perspectives that guide the project.

They are: Angela Bassan (São Paulo, 1952), Caio Borges (São Paulo, 1974), Edson Chagas (Luanda, 1977), Gege Mbakudi (Luanda, 1999), Giovanna Mitrani (São Paulo, 1997), Hugo Barata (Lisbon, 1978), Inês Moura (Cascais, 1982), José Maçãs de Carvalho (Anadia, 1960), Laerte Ramos (São Paulo, 1978), Lilian Walker (Americana, 1994), Lucimélia Romão (Jacareí, 1988), Manoel Canada (São Paulo, 1966), Neno del Castillo (Rio de Janeiro, 1956), Omar Khouri (Pirajuí, 1948), Peter de Brito (Gastão Vidigal, 1967) and Ricardo Coelho (São Paulo). Paulo, 1974).

The exhibition – in addition to believing in the power of objects such as photographs by artists like Lucimélia Romão and the Angolan artist Edson Chagas, winner of the Golden Lion at the Venice Biennale in 2013, and the video by the Portuguese artist José Maçãs de Carvalho, who has just returned from the Macau International Art Biennale 2025 – also showcases the interdisciplinary nature of the gallery, as it represents names that may also carry out other research during the cycle that will be presented in 2026.

For example, names like Omar Khouri, an intersemiotic poet revered since the 70s, and Inês Moura, a participant in the Atlânticos exhibition held this year at the Museum of the Portuguese Language, are artists who will be involved in curatorial and educational research in 2026 under the artistic direction of Adolfo Caboclo. The expertise of figures such as the painter Manoel Canada – an artist, restorer, and art historian who develops paintings about the city and the territory, bringing together the historiography of constructions – and the sculptor Angela Bassan – who worked for two decades as an artist-educator at the Brazilian Sculpture Museum and at FAAP (Armando Álvares Penteado Foundation), teaching sculpture courses, in addition to working in object design – will influence the proposals that Pórtico will present in 2026.

Service
Exhibition The unraveling of things
From December 16th to February 14th
Tuesday, Wednesday, Thursday, Friday from 10 AM to 19 PM, Saturdays from 10 AM to 17 PM

A Nara Roesler Sao Paulo is pleased to present Telluric, a group exhibition curated by Ana Carolina Ralston that gathers 16 artists To investigate the profound force of terrestrial matter and the visceral relationships between the human body and the body of the Earth. The exhibition is based on the concept of telluric imagination, inspired by the philosopher Gaston Bachelard, to explore how art can excavate surfaces and touch what is densest and most vibrant in nature and technology. The exhibition proposes a shift from the eye-centric gaze, inviting the public to a multisensory experience that encompasses smell, hearing, and touch. As the curator states, "telluric imagination always digs deep, not contenting itself with surfaces." TelluricThe Earth ceases to be a passive backdrop and becomes a protagonist and political actor, transforming our ways of inhabiting it.

The curatorial selection establishes a dialogue between historical names in Land Art and contemporary voices, where matter ceases to be a support and becomes body and voice. Richard Long represents the tradition of direct intervention in the territory, while artists such as Brígida Baltar They present emblematic works, such as To bury is to plant., which reinforce the life cycle and rebirth of matter. The exhibition also features the presence of Isaac Julien, Not Vital and a work in amethyst of Amelia Toledo, chosen for its mineral and spiritual resonance. CL Salvaro's installation simulates the Earth's interior through an experimental passage of canvas and planting, evoking archaeology and memory, while the artist Amorí brings paintings and sculptures that narrate the metamorphosis of her body and her history. The spiritual dimension and indigenous transience are explored by Kuenan Mayu, who uses natural pigments, while Alessandro Fracta activates ancestral and ritualistic worlds by creating works with jute fiber embroidery.

The sensory experience is one of the pillars of the exhibition, driven especially by the work of Karola Braga, whose beeswax sculptures exude the aromas of nature. In the gallery's window, the golden structure Perfume, It releases smoke, mimicking the vapors exhaled by volcanoes, a radical expression of the planet's capacity to alter itself, reinvent its form, and impose rhythms. Cosmology and sound are also present with Felippe Moraes' neon works, which depict constellations of earth signs such as Taurus, Virgo, and Capricorn, and the sonic dimension of Denise Alves-Rodrigues. The journey is completed with the mobiles from Lia Chaia's "Organoid" series, Ana Sant'anna's imaginative landscapes, Flávia Ventura's materiality, and Felipe Góes' investigations into nature. Each work functions as a document of negotiation with the planet, where the ground we walk on also protests and speaks.

Service
Exhibition Dada Brasilis
From February 05th to March 12th
Monday to Friday from 10:19 to 11:15, Saturday from XNUMX:XNUMX to XNUMX:XNUMX

First solo exhibition of Daniel Barrett In Bahia. Born in Rio de Janeiro, the artist presents his work to the public in Salvador for the first time.

The exhibition's title, inspired by a phrase from Jorge Amado's novel *Captains of the Sands*, guides a sensitive reading of the body, territory, and memory, curated by Victor Gorgulho.

The exhibition occupies the space designed by Lina Bo Bardi as an annex to the Gregório de Mattos Theater, in direct dialogue with the urban landscape of Castro Alves Square and the Bay of All Saints.

Service
Exhibition | Pinoia
From January 13th to February 28th
Wednesday to Sunday, from 14 PM to 21 PM

Curated by Osmar Paulino, Marlon Amaro exposes MirongarThe exhibition brings together key works from his career, recognized for addressing in a forceful way themes such as structural racism, the erasure of the Black population, and the historical dynamics of violence and subservience imposed on Black bodies.

Service
Exhibition Mirongar
From January 13th to March 21th
Wednesday to Sunday, from 14 PM to 21 PM

A Zipper Gallery, in São Paulo, receives the 17th edition of the Salon of Artists Without Galleries, promoted by the Mapa das Artes portal. The exhibition features works by eleven artists, ten of whom were selected, plus one who was awarded the prize. Incentive Award Outside the MainstreamThis year it was 371 subscriptions, which represents a 22% increase in the number of entries received for the 2025 exhibition.

In this edition, the following were selected: Bernardo Liu (RJ), Dani Shirozono (MG/SP), Demir (DF), Isabela Vatavuk (SP), Mariana Riera (RS), Paulo Valeriano (DF), Rafael Santacosta (SP), Romildo Rocha (MA), Shay Marias (RJ/SP) and Timóteo Lopes (BA).

The Salon also awarded, this year, the "Outside the Axis" Incentive Prize, worth R$ 1.000,00, to an artist not selected and residing outside the Rio-São Paulo axis. The winner was Pedro Kubitschek (MG). The selection jury was composed of the producer and independent curator Alef Bazilio; the artist, curator and university professor Diogo Santos Bessa; and the journalist, critic and independent curator Mario Gioia. At the end of the exhibition, three of the selected artists will be awarded prizes of R$ 3, R$ 2 and R$ 1.

The Salon of Artists Without Galleries aims to energize and stimulate the art scene right at the beginning of the year. For 17 years, the event has evaluated, exhibited, documented, and promoted the work of visual artists who do not have verbal or formal contracts (representation) with any art gallery in the city of São Paulo. The Salon opens the art calendar in São Paulo and is a gateway for these artists into the competitive commercial art circuit in the country.

The Salon of Artists Without Galleries is conceived and organized by Celso Fioravante, with assistance from Lucas Malkut and graphic design by Cláudia Gil (Estúdio Ponto).

Artists selected for the 17th edition (in order of registration)

Timóteo Lopes – BA: @timoteolopes_
Mariana Riera – RS: @marianariera82
Romildo Rocha – MA: @rocha.abencoado
Isabela Vatavuk – SP: @isabelavatavuk
Rafael Santacosta – SP: @santacosta.art
Paulo Valeriano – DF: @paulovalerianopaulovaleriano
Shay Marias – RJ/SP: @shaymarias
Dani Shirozono – MG/SP: @danishirozono
Demir – DF: @demirartesplastica
Bernardo Liu – RJ: @bernardoliu
Pedro Kubitschek – MG (Outside the Mainstream Incentive Award): @pedrodinizkubitschek

Service
collective exhibition 17th Salon of Artists without Galleries
From January 17th to February 28th
Monday to Friday, from 10 am to 19 pm, Saturdays, from 11 am to 17 pm

In her practice, the Franco-Brazilian artist Julia hangover This work investigates the relationship between landscape, color, and surface. It moves between photography and collage, focusing on the construction of the image through cutting and juxtaposition. In photography, Kater starts from the understanding that every image is, by definition, a fragment – ​​a framing that cuts and isolates a part of the scene. In her work, the image is not merely a record of a moment, but rather the result of a displacement – ​​something that is undone and recomposed by the same gesture. The images, often close together, do not seek to document, but to construct a new field of meaning. In the collages, the gesture of cutting takes shape. Fragments of photographs are manually cut, superimposed, and organized into layers that create visual passages marked by subtle color transitions. These accumulations evoke variations in light, atmospheres, and the very passage of time through chromatic gradations.

In the individual Double, Julia hangover The exhibition presents recent works developed from research conducted during her artistic residency in Paris. “My research focuses on landscape and how color participates in the construction of the image – sometimes as an element added to the photograph, sometimes as something that emerges from the surface itself. In the collages, the landscape is constructed through cutouts, juxtapositions, and gradations of color. In the works on fabric, color acts from the surface itself, through manual dyeing, passing through the printed photograph. These procedures deepen my investigation into the relationship between landscape, color, and surface,” explains the artist.

Featured are two works that will be exhibited in the show: one in fabric that is part of the new series and a previously unseen diptych. Stone Body (Centauro), 2025, pigment digital print on silk hand-dyed with plant-based inks and, Untitled, 2025, collage with mineral pigment print on Hahnemühle 210g matt paper, diptych measuring 167 x 144 cm each.

The artist comments: “I continue with the collages made from cut-out photographs printed on cotton paper and now I also work with silk as a medium. The process involves manually dyeing the fabric with natural plants, such as indigo, followed by printing the photographic image. This procedure interests me because of its proximity to the analog photographic process, especially the notion of bathing, immersion time, and color fixation on the surface.” All the works were produced especially for the exhibition, which runs until March 07, 2026.

Service
Exhibition Julia Kater: Double
From January 22th to March 07th
Monday to Friday, 10am to 19pm; Saturday, from 10am to 15pm

A Galatea is pleased to present Guilherme Gallé: between painting and painting, first solo exhibition by the São Paulo artist Guilherme Gallé (1994, São Paulo), at the gallery unit on the street Father John ManuelThe exhibition brings together more than 20 unpublished paintings, carried out in 2025, and includes critical text by the curator and art critic. Thaddeus Chiarelli and with introductory text by art critic Rodrigo Naves.

The exhibition presents a body of work in which Gallé reveals a continuous process of refinement: one painting triggers the next, in a movement where color, form, and space reorganize themselves, responding to one another. Situated on the threshold between abstraction and figurative suggestion, his compositions, always untitled, invite slow contemplation, allowing the gaze to oscillate between attention to detail and to the whole.

Always starting from a "place" or pretext of reality, such as landscapes or still lifes, but without resorting to the Renaissance vanishing point, Gallé deliberately maintains a flat pictorial surface. The tonal colors, built up in layers, structure the plane with a thick matter, marked by incisions, erasures, and pentimentos, which give clues to the painting process while simultaneously propelling it forward.

Among the exhibitions in which Guilherme has participated throughout his career, the following stand out: Joaquín Torres García – 150 years (Group exhibition, Centro Cultural Banco do Brasil – CCBB, São Paulo / Brasília / Belo Horizonte, 2025–2026); Point of Mutation (Group exhibition, Almeida & Dale, São Paulo, 2025); The Silence of Tradition: Contemporary Paintings (Group exhibition, Centro Cultural Maria Antonia, São Paulo, 2025); To Speak of Love (Group exhibition, Noviciado Nossa Senhora das Graças Irmãs Salesianas, São Paulo, 2024); 18th Territory of Art of Araraquara (2021); Invisible Art (Group exhibition, Oficina Cultural Oswald de Andrade, São Paulo, 2019); and Luiz Sacilotto, the Gesture of Reason (Group exhibition, Centro Cultural do Alumínio, São Paulo, 2018).

Service
Exhibition Guilherme Gallé: Between Painting and Painting
From January 22th to March 07th
Monday to Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 17 pm

The artist Luiza Sigulem inaugurates his second solo exhibition, A guide to traveling the shortest distance from one point to another., with its opening scheduled for January 24, 2026, in Workshop 397, in São Paulo. Bringing together a unique collection of works, the exhibition, curated by Juliana Caffé, explores the relationship between body, architecture and time, proposing displacement as an operation of adjustment and critical reflection.

The project takes instability as a condition that reorganizes the relationship between body and architecture, producing a time that does not coincide with the logic of efficiency. In tune with Crip theory (a term reappropriated from cripple, which names practices that displace the "standard body") and the concept of crip time—a temporality that embraces pauses, variable rhythms, and non-alignment with the productivist clock—Sigulem's work affirms difference not as an exception, but as a method.

“Throughout my process, the lack of accessibility manifested itself in the time needed to deal with small and large obstacles and in the attention required for minimal adjustments that accumulated almost imperceptibly,” the artist states. “This experience shifted the idea of ​​efficiency and brought my production closer to a notion of expanded time, in which the rhythm of the body does not coincide with the normative expectation of capitalist reproduction. It is in this mismatch that my work is constructed.”

The project, which for the first time incorporates video performances, interventions, and a sculpture in dialogue with photography, marks a moment of expansion in the artist's trajectory and places accessibility at the center of the aesthetic and poetic construction. It also highlights the invisibility of a significant portion of the population: according to data from the 2022 PNAD Contínua (IBGE), Brazil has approximately 18,6 million people with disabilities, of which approximately 3,4 million have physical disabilities in their lower limbs, a group that faces daily the architectural barriers discussed in the exhibition.

Architecture and poetics: an expository inversion

The project stems from an unavoidable fact of the São Paulo context: the structural difficulty of finding exhibition spaces capable of accommodating the artist's research in a way that is coherent with her issues. Faced with the lack of viable alternatives and institutional deadlines, the exhibition embraced this limitation as part of the project, transforming it into a field of reflection.

“The choice of Ateliê397 as the exhibition venue responds to this context. As an independent space, it offers a conceptual openness and a real field for negotiation in the construction of this project,” comments curator Juliana Caffé. “Located on Travessa Dona Paula, in an area marked by important cultural facilities that are also limited in terms of accessibility, the space is incorporated by the exhibition as an active element, ceasing to operate as a neutral support and integrating architecture, circulation, and surroundings into the proposed field of discussion.”

Given the architectural limitations of the Atelier, Sigulem does not treat the lack of accessibility as an obstacle to be corrected, but as a condition to be critically addressed. The exhibition design operates a deliberate inversion: instead of adapting the space to a normative standard, it is the public that is led to recalibrate their bodies in the face of reduced passageways and displaced scales.

In this sense, the exhibition presents an installation, developed by the artist in collaboration with the architectural duo Francisco Rivas and Rodrigo Messina, which brings together accessibility and permanence devices conceived as a constitutive part of the work. The intervention reorganizes the reception area: the door and frame were moved to allow for full opening (180°); benches and stools were distributed to accommodate rest; and cushions on the outdoor benches extend the experience to the surroundings.

The radical nature of the proposal is reflected in the institutional occupation: the side of the staircase, which leads to a second floor inaccessible to people with disabilities, was converted into a small library of Crip theory. “During the exhibition, Ateliê397 agreed to render the upper floor inoperable, suspending its use as a projection room to make the architectural limitation explicit instead of concealing it. And, as an external development, the project includes the production and donation of custom-made mobile ramps for neighboring cultural spaces in the village, prompting the circuit to collectively consider its accessibility conditions,” Caffé points out.

The project aligns with contemporary debates that seek visibility without capture, where the work operates through sensation, rhythm, and bodily micro-events that are not reduced to an "explanatory" image or easily consumable content. It is an approach that recognizes access as aesthetics and disability as a diagnosis of space and norms. In this way, curatorship and exhibition design become an active part of the work. Texts in Braille, audio description, and photo-tactile guides accompany the exhibition, whose operation and mediation incorporate the hiring of people with disabilities, respecting different circulation times.

Furthermore, all the devices in the exhibition were made with simple and low-cost materials, affirming the possibility of creating welcoming spaces even in architectural designs that do not fully comply with legal regulations.

Body in negotiation: video, sculpture and photography

In previous works, Sigulem invited the viewer to adjust to certain scales, as in the series Jeito de Corpo (2024). In this solo exhibition, the artist places her own body at the center of the experience. Different works explore this shift in perspective, sometimes proposing situations in which the public is led to reorient their spatial perception, and sometimes accompanying the artist in gestures of continuous negotiation with space.

The videos are based on reinterpretations of historical performances, created from the artist's body and traversed by issues of gender and power. The actions do not seek fidelity to the original gesture, but operate as a situated translation, in which each movement bears the mark of a necessary adjustment. The camera follows the process without correcting the deviation, allowing the flaw and the effort to remain visible.

This is the case with the previously unreleased series Ramps (2025), a set of twenty photographs derived from the video-performance Painting (Retouching) (based on Francis Alÿs). In the video, the artist marks points on the streets of São Paulo with yellow paint where access ramps should exist, highlighting the lack of accessibility in the urban landscape. The photographs isolate these gestures and traces, transforming the performative action into images that record the friction between body, city, and infrastructure.

By adopting the height of a wheelchair user's field of vision as a reference point, the exhibition shifts the normative scale of the exhibition space and introduces a regime of perception in which the body does not adjust to the architecture, but rather the architecture becomes an index of its limitations.

A sculpture punctuates the space, testing the boundaries between function and failure and questioning structures designed to guide movement. In an installation, a video dedicated to the image of falling articulates its repetition as a physical and symbolic experience. Together, the works suggest that every trajectory is traversed by detours, pauses, and negotiations, and that the shortest distance between two points rarely presents itself as a straight line.

The exhibition "Manual for Traveling the Shortest Distance from One Point to Another" is part of the "Jeito de Corpo" project, funded by the PNAB CULTURE FUNDING CALL NO. 25/2024, from the Secretariat of Culture, Economy and Creative Industries, State of São Paulo.

Service
Exhibition | A guide to traveling the shortest distance from one point to another
From January 24th to February 28th
Wednesday to Saturday, from 14pm to 18pm

A Soul of the Street Gallery, located at one of the most emblematic addresses in the capital of São Paulo, Beco do Batman, opens on January 24th the exhibition “Dreamlike"Of Kelly S. Reis The exhibition features dozens of previously unseen works focusing on the symbolic and surreal universe of the artist, who is Afro-Indigenous. Her work investigates hybridity and cultural and biological interconnections from a female perspective, with miscegenation as its central theme.

Oneirism manifests itself as a sensitive field linked to dreams, imagination, intuition, and the unconscious. In this territory, the Black woman takes center stage and establishes a symbiotic relationship with nature. Through the representation of Afro-Indigenous women and the use of symbolic language in ethereal settings, the artist evokes concrete issues, proposing a poetic reflection on ancestry, belonging, and identity.

The female figures in Kelly's works move away from stereotypical narratives of victimization and suffering. Thus, Kelly S. Reis constructs images of Black women as powerful beings – bodies that affirm strength, presence, and imposing presence.

Service
Exhibition | Dreamlike
From January 25th to February 19th
Every day from 10 am to 18 pm

O Museum of Modern Art of Rio de Janeiro (MAM Rio) will host the first Brazilian edition in January 2026. Voile/Toile – Toile/Voile (Sail/Canvas – Candle/Candle), a seminal project by the artist Daniel Buren (1938, Boulogne-Billancourt), carried out in partnership with Nara Roesler GalleryInitiated in 1975, the work transforms boat sails into art supports, shifting the viewer's gaze and activating the surrounding space through movement, color, and form. Over five decades, the project has been presented in cities such as Geneva, Lucerne, Miami, and Minneapolis, always in direct dialogue with the local landscape and context.

Originally conceived in Berlin in 1975, Voile/Toile – Toile/Voile highlights the use of vertical stripes, which Daniel Buren defines as his "visual tool." The work's title itself makes explicit the shift proposed by the artist in articulating two central fields of 20th-century modernism—abstract painting and the readymade—transforming boat sails into paintings and expanding the work's scope beyond the exhibition space.

“This is a work done outdoors and relies on external and unpredictable factors, such as weather, wind, visibility, and the positioning of sails and boats, so that, even though it has been performed dozens of times, it is never identical, just like a play or a dramatic act,” said Daniel Buren, in a conversation with Pavel Pyś, curator of the Walker Art Center in Minneapolis, published by the museum in 2018.

On January 24th, the event begins with a regatta-performance in Guanabara Bay. Eleven Optimist class sailboats will depart from Marina da Glória and sail to Flamengo Beach, equipped with sails incorporating the white and colored vertical stripes created by Buren. In motion, the sails transform into living artistic interventions, activating the maritime space and the Rio de Janeiro landscape as a constitutive part of the artwork. The public will be able to watch the event from the shore, and the entire performance will be recorded.

After the regatta concludes, the sails will be moved to the foyer of the MAM Rio (Museum of Modern Art of Rio de Janeiro), where they will become part of the exhibition derived from the regatta, on display from January 28th to April 12th, 2026. Installed in self-supporting structures, the eleven sails – 2,68 m high (2,98 m with the base) – will be arranged in the space according to the order of arrival of the regatta, following the protocol established by Buren since the first editions of the project. This procedure preserves the direct link between the performance and the exhibition, and highlights the transformation of the sails from utilitarian objects into artistic objects. The exhibition design is by architect Sol Camacho.

“Since the 1960s, Buren has developed a critical reflection on space and institutions, being one of the pioneers of situ art and conceptual art. Although Voile/Toile – Toile/Voile has circulated in several countries over the last 50 years, this is the first time the work has been presented in Brazil. The proximity of MAM Rio to Guanabara Bay, its history of experimentation, and its architecture integrated into the surroundings make the museum a particularly privileged space for the artist's work,” comments Yole Mendonça, executive director of MAM Rio.

By extending an experience begun at sea into the museum, Voile/Toile – Toile/Voile establishes a continuity between the action in Guanabara Bay and its presentation in the exhibition space of MAM Rio, integrating landscape, architecture, and journey into a single artistic experience.

“The way Buren explores the relationship between art and specific spaces, especially public spaces, is fundamental to understanding the history of contemporary art. And this piece, Voile/Toile – Toile/Voile, which begins in Guanabara Bay and extends into the museum's interior spaces, is a perfect example of this practice,” comments Pablo Lafuente, artistic director of MAM Rio.

Continuing the project, Nara Roesler Books will publish an edition dedicated to Daniel Buren's presence in Brazil, bringing together critical essays and documents from the realization of Voile/Toile – Toile/Voile in Rio de Janeiro in 2026.

Service
Exhibition | Voile/Toile – Toile/Voile (Candle/Canvas – Canvas/Candle)
From January 28th to April 12th
Wednesdays, Thursdays, Fridays, Saturdays, Sundays and holidays, from 10am to 18pm

Galatea e Nara Roesler They are delighted to be collaborating for the first time in organizing the exhibition. Stalls and facades of the Northeast,

Curated by Thomas Toledo, founding partner of Galatea and Alana SilveiraAccording to the director of Galatea Salvador, the group exhibition proposes a dialogue between the galleries' programs by exploring the affinities between the artists Montez Magno (1934, Pernambuco), Mari Ra (1996, São Paulo), Zé di Cabeça (1974, Bahia), Fabio Miguez (1962, São Paulo), and Adenor Gondim (1950, Bahia). The show proposes a broader view of the vernacular architectures that characterize the Northeast: urban facades, ornamental parapets, market and festival stalls, and ephemeral structures that shape the social and cultural landscape of the region.

In this collection, Fabio Miguez investigates the facades of Salvador as a mosaic of architectural variations, while Zé di Cabeça transforms records of the parapets of Salvador's suburban railway buildings into paintings. Mari Ra recognizes affinities between the geometries she found in Recife and Olinda and those present in the East Zone of São Paulo, revealing links built by Northeastern migration. Montez Magno and Adenor Gondim converge in highlighting the vernacular forms of the Northeast, Magno through the geometric abstraction present in the series Barracas do Nordeste (1972-1993) and Fachadas do Nordeste (1996-1997), and Gondim through the photographic record of the stalls that marked the popular festivals of Salvador.

The partnership between the galleries coincides with Galatea's 2nd anniversary in Salvador and reinforces its intention to make its headquarters in the Bahian capital a point of convergence for exchanges and collaborations between artists, cultural agents, collectors, galleries, and the general public.

Service
Exhibition | Stalls and facades of the Northeast
From January 30th to May 30th
Tuesday – Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 15 pm

A picture gallery de Are Bernard do Countryside presents, between the days January 31 and March 28, 2026, a solo exhibition by the artist Daniel Melim (Are Bernard do Countryside, SP – 1979). Curated by the researcher and specialist in public art. Baixo Ribeiro and produced by Paradoxa Cultural, the exhibition Urban Reflections: the art of Daniel Melim It brings together a collection of 12 works – including eight previously unseen pieces.

The exhibition presents a true introspective look at Daniel Melim's work – a dive into his creative process from inside his studio. Alongside works that have marked his career, the public will find previously unseen pieces that point to new directions in his production. Among the highlights are a large-format painting – 2,5m x 12m – and a collective mural that will be produced throughout the exhibition.

Featuring works in different formats and dimensions – paintings on canvas, reliefs, installations, notebooks, elements from the artist's studio – the exhibition addresses the role of urban art in the construction of collective identities, the symbolic occupation of public spaces, and the challenge of bringing these languages ​​into the institutional context without losing their character of dialogue with the community.

The selection proposed by Baixo Ribeiro's curatorial team connects past and present, but mainly highlights how Melim transforms everyday visual references into works that generate critical reflection, making it possible to create bridges between public and institutional spaces.

The expography of Urban Reflections: the art of Daniel Melim"It was conceived as an expanded studio, with the aim of bringing the public closer to Melim's creative process. Within the exhibition space, there will be a collaborative mural where visitors can experiment with techniques such as..." stencil and street art. This initiative is part of the exhibition's educational proposal and transforms the visitor into a co-author, strengthening the relationship between the public and the artwork.

"I've always been interested in the relationship between art and urban space. The stencil "It was my first language and continues to be the starting point for creating visual narratives that engage with everyday life. This exhibition is about that dialogue: city, artwork, and audience," explains Daniel Melim.

Visual artist and educator, recognized as one of the leading names in Brazilian urban art, Daniel Melim began his artistic career in the late 1990s with graffiti and stencil in the streets of ABC Paulista. He develops original research on the stencil as an expressive medium, reclaiming its historical importance in the formation of street art. in Brazil and expanding its pictorial potential beyond public spaces. His work is characterized by a dialogue between artwork, architecture, and the city, frequently installed in areas undergoing urban transformation.

"This solo exhibition is a way for me to reconnect with the place where it all began." Are Bernard do Countryside It was my first art school – not just through college, but through the streets, the walls, the strikes I witnessed as a child. That experience shaped my worldview. Bringing this work back, in the space of picture gallery"It's like opening my studio to the city that has welcomed me so warmly and helped me grow," she says.

Os stencils, the graphic imagery of advertising, critiques of consumer society and urban daily life are The hallmarks of Melim's work: flat colors, layering, and balanced compositions. are Some of the characteristics that appear both in Daniel Melim's historical works and in new works that the artist is producing for his solo exhibition. Urban Reflections: the art of Daniel Melim"This is an invitation for visitors to immerse themselves in and get closer to the artist's creative process. The exhibition runs until March 28, 2026."

The exhibition “Urban Reflections: the art of Daniel Melim” is held with the support of the Aldir Blanc National Policy for the Promotion of Culture (PNAB); and the Cultural Action Program – ProAC, of ​​the Secretariat of Culture, Economy and Creative Industries of the State Government of [State Name]. Are Paulo; from the Ministry of Culture and the Federal Government.

Service
Exhibition Urban Reflections: the art of Daniel Melim
From January 31st to March 28th
Tuesday, from 9 am to 20 pm; Wednesday to Friday, from 9 am to 17 pm; Saturday, from 10 am to 16 pm

A Luciana Brito Gallery opens its 2026 program with the exhibition Thank goodness I crossed the clouds., the artist's second Gabriela Machado in the gallery. The exhibition highlights previously unseen, larger-scale paintings – in dialogue with smaller ones – created between 2024 and 2026, occupying the entire space of the Pavilion. The critical text is written by Amanda Abi Khalil.

The chronicles of daily life, real and dreamlike scenarios, the temperature and brilliance of colors, the sensations of everyday life. Nothing escapes the sieve of a sensitive imagination that guides Gabriela Machado's gaze. The artist selects what is most attractive to her and translates it into pictorial language. In this set of previously unseen paintings, produced in recent years, she articulates fragments of stories and memories, as well as landscape scenes captured on her travels. These small events, scenes, or observations of life, although banal at first glance, gain meaning, density, and poetry when reinterpreted by the artist.

Unlike her first exhibition at the gallery, held in 2024, the paintings in Ainda Bem, Atravessei as Nuvens (Thank Goodness, I Crossed the Clouds) are now more figurative, revealing a hybrid interplay that articulates not only the immediate perception of what the eye sees, but also the artist's imagination and memory. The fantastic circus universe, for example, emerges in several works, such as Marambaia (2026) and Ainda Bem, Atravessei as Nuvens (2026), in which the figure of the lion is portrayed from a childhood repertoire shared by her generation.

In other, smaller-format paintings, landscapes appear that combine sky, vegetation, and sea, as well as portraits of objects and sculptures. In all of them, however, the artist emphasizes luminosity and brightness, elements that immediately impose themselves on the viewer's eye and translate an atmosphere of lightness and mystery deliberately constructed. In the works Largo do Machado (2026), Luzinhas (2014–2025), and Veronese (2013–2025), Christmas lights take center stage. As the artist explains, the luminous effect is deliberately produced during the production process: in a first stage she works with acrylic paint, and then finishes with oil paint.

The pink background seen in some paintings, such as Ginger (2026), was inspired by the shade of construction site hoardings. Another relevant detail is the frame reproduced by the artist in some smaller works, functioning as an extension of the painting and contributing to the creation of greater spatial depth.

Service
Exhibition Thank goodness I crossed the clouds.
From February 05th to March 21th
Monday, 10am to 18pm; Tuesday to Friday, 10am to 19pm; Saturday, 11am to 17pm.

A Gomide&Co is pleased to present ANTONIO DIAS / IMAGE + MIRAGE, first solo show Antonio Dias (1944–2018) in the gallery. Organized in partnership with Sprovieri, London, based on works by the artist preserved by Gió Marconi, the exhibition features organization and critical text by Gustavo Motta and exhibition design by Deyson Gilbert.

The opening takes place on February 10th (Tuesday) at 18 PM, and the exhibition runs until March 21st. Among the works on display, the exhibition highlights seven paintings belonging to Gio Marconi, created by Antonio Dias between 1968 and 71, during his early years in Milan, marking an important moment in the artist's career.

On March 14th (Saturday), at 11 am, there will be a launch of a publication accompanying the exhibition. Also organized and written by Gustavo Motta, the publication presents the complete collection of the artist's works held by Gió Marconi, as well as supplementary documentation about their period of execution. At the launch, there will be a round table discussion with Gustavo Motta, Sergio Martins, and Lara Cristina Casares Rivetti. The discussion will be moderated by Deyson Gilbert.

Born in Campina Grande (Paraíba state) in 1944, Antonio Dias moved with his family to Rio de Janeiro in 1957, where he began his artistic career, standing out with a production that was soon associated with Pop Art and New Figuration. In the mid-1960s, the artist left Brazil – in a context marked by the Military Dictatorship – and went to Paris, after receiving a grant from the French government for his participation in the 4th Paris Biennial. In Europe, Dias' work began to present a more conceptual configuration, attracting the attention of gallerist Giorgio Marconi (1930–2024), founder of Studio Marconi (1965–1992) – a space that, from its inception, was a reference for contemporary art in Milan.

Under the gallery's representation, Dias decided to settle in the city, where he maintained one of his residences until the end of his life. There, he established close relationships with artists such as Mario Schifano, Luciano Fabro, Alighiero Boetti, and Giulio Paolini. The works from this period, presented in the exhibition, reflect the consolidation of the artist's conceptual language from his early years in Europe, marked by formal precision, with austere surfaces combined with words, phrases, or diagrams that operate as self-reflective commentaries on artistic creation as a mental activity. This period anticipates – and in part coincides with – the production of the series. The Illustration of Art (1971–78), considered one of the artist's most emblematic works.

The works created by Dias in Milan synthesize a decisive turning point in the artist's trajectory, in which painting becomes simultaneously more sober and more reflective. Through large monochromatic fields, isolated words, and rigorously diagrammed structures, the artist reduces the image to its essentials and transforms the painting into a space for thought. As Motta clarifies, what is seen is less important than what is missing: the painting begins to operate as an open device, inviting the viewer to complete meanings and produce mental images. By incorporating graphic procedures originating from design and mass communication, Dias shifts painting from the realm of representation to that of problematization, articulating, in the artist's words, a "negative art" that reflects on the very status of the image and on artistic creation as an intellectual activity. In this context, a language is consolidated in which the work does not offer answers, but presents itself as a field of tension between word, surface, and imagination.

The exhibition in São Paulo follows up on the one presented by Sprovieri in London in October 2025, composed of works from the same period – all belonging to Gió Marconi, son of Giorgio. At the helm of the Galleria Gió Marconi since 1990, after having worked with his father in the experimental space for young artists called Studio Marconi 17 (1987–1990), Gió is also responsible for the Fondazioni Marconi, founded in 2004 with the purpose of continuing the legacy of the former Studio Marconi.

Among the works presented in the Gomide&Co exhibition are paintings that were featured in Antonio Dias' inaugural solo show at Studio Marconi in 1969, which included a critical text by Tommaso Trini, as well as the most recent exhibition dedicated to the artist by the foundation. Antonio Dias – A collection, 1968–1976 (2017). The selection also includes works that were featured in other important events in the artist's career, such as the historic (and controversial) Guggenheim International Exhibition of 1971 and the 34th São Paulo Biennial (2021).

The exhibition at Gomide&Co also stands out for offering a more contemporary look at Dias' early years in Milan. The gallery assembled a renowned young team to update perspectives on the artist's work during this period. Starting with the organization, under the responsibility of Gustavo Motta, currently considered one of the most recognized intellectuals of the new generation when it comes to Antonio Dias, who curated the exhibition. Antonio Dias / Archive / The Place of Work At the Institute of Contemporary Art (IAC) in 2021, an exhibition based on the artist's documentary collection belonging to the institution. The exhibition design is by the artist Deyson Gilbert, who was responsible for the exhibition design of the show curated by Motta at the IAC. In the case of the gallery exhibition, Gilbert's proposal aims to reflect and continue the aesthetic process characteristic of Dias' production during that period.

In addition to the artworks, the exhibition also presents a previously unpublished selection of documents from the Antonio Dias Fund in the IAC collection, with materials that were not yet available at the institution at the time of the 2021 exhibition. The team is complemented by the M-CAU studio, by artist Maria Cau Levy, responsible for the publication's graphic design.

Bringing together historical works, previously unpublished documentation, and a team that directly engages with the critical legacy of Antonio Dias, the exhibition reaffirms the relevance and complexity of the artist's work in an international context. ANTONIO DIAS / IMAGE + MIRAGE This work proposes not only a review of a decisive moment in Dias's career, but also a renewed reading of his contribution to conceptual art, highlighting how the questions formulated by the artist in the late 1960s continue to resonate incisively in contemporary debate.

Service
Exhibition | ANTONIO DIAS / IMAGE + MIRAGE
From February 10th to March 21th
Monday to Friday, from 10 am to 19 pm; Saturdays, from 11 am to 17 pm

About to turn 95, Augusto de Campos recently published the book “post poems"(2025), which brings together a collection of works, understood as a landmark synthesis of the evolution of his poetic research. Produced over the last two decades, the works gathered in the volume gave rise to a selection transposed to the space of the Modernist Room of the gallery, proposing an experience that is not only visual, but also spatial, in dialogue with the environment designed by Rino Levi. In the context of the exhibition, the poems cease to be merely objects of reading and assert themselves as visual and spatial experiences: letters become images, colors assume a semantic function, and the graphic arrangement establishes rhythms and tensions that demand an active perception from the public."

Augusto de Campos's poems are not organized by the linearity of verse, but by visual and sound fields of force that challenge conventional reading. Resulting from a process initiated by the poet in the 1950s, these works present a verbivocovisual structure, characteristic of Concretism, in which word, sound, color, and form are articulated in an inseparable way. At the same time, they incorporate graphic and digital resources typical of the 21st century. Beyond the broad technological field offered by computer graphics, used by the artist since the early 1990s, Augusto de Campos also experiments with specific elements of his context, with ideograms and mathematical logic, as well as intertextual procedures that dialogue with references such as Marcel Duchamp, James Joyce, and Fernando Pessoa, among others, and with strategies associated with the concept of "ready-made".

In the works Forget (2017) and Truth (2021), reading ceases to be linear and becomes also perceptive, almost physical, requiring attentive monitoring from the reader. In TruthAugusto de Campos deceives the eye by switching the letters D and T in antonymous words. truth e mentira, creating a semantic short circuit that undermines trust in reading. Already in ForgetThe artist promotes the progressive loss of words from a pre-existing poem, rescued and inserted onto the surface of a cloudy sky. As they pass through the clouds, the words fade and merge with the image, provoking a visual erasure effect that becomes a sensitive reflection on memory, forgetting, and time. The latter, incidentally, is also a central reference in the exhibition's title, "post-poems," where the term "post" carries a semantic duality: it indicates both the after how much is the plural of dust, residual matter of what once was.

Service
Exhibition | post poems
From February 5th to March 7nd
Monday, 10 AM to 18 PM; Tuesday to Friday, 10 AM to 19 PM; Saturday, 11 AM to 17 PM.