Grada Kilomba works with horrors for which we have no language.

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

O Museum of Art of Espírito Santo (MAES) gets the exposure Black Strike Now!, artist's project Luciano Feijãoin conjunction with Black Strike MovementThe exhibition presents an aesthetic investigation and political proposition that challenges the historical ways in which the Black body has been constructed, questioning scientific, anatomical, and normative paradigms that have sustained, and continue to sustain, structures of racial domination.

The exhibition stems from a problematization of the processes of Black subjectivities that have been systematically shaped by labor exploitation, the capitalist logic of value production, and institutional violence. In this sense, the works construct a critical arena that highlights how these mechanisms operate in maintaining inequalities and naturalizing the precariousness of Black life.

Bringing together drawings and installations, Greve Negra Já! (Black Strike Now!) is curated by Renato Lopes (SP) and presents a collection of works that challenge hegemonic models of representation, contrasting them with other ways of reading the body, existence, and Black experience. The works act as devices of confrontation, establishing a perspective that rejects imposed patterns and affirms the possibility of political reorganization.

The notion of strike, in the context of the exhibition, is constructed as an amplified field of action and a key element for thinking about radical changes. More than a suspension, it is an active stance, a strategic movement to annul the logics that transform the exploitation of the Black population into the norm. The exhibition highlights the centrality of the Black working class in the production of wealth, while simultaneously denouncing its systematic exclusion from access to that wealth.

By establishing a direct dialogue with the legacies of enslavement and their contemporary updates, Black Strike Now! asserts itself as a direct action of collective affirmation. Produced by Elaine Pinheiro, the exhibition proposes to the public a critical reflection on the various mechanisms that condition the exploitation of strictly Black labor and calls for the construction of a class consciousness guided by an Afrocentric perspective.

Educational program

Throughout the exhibition, educational activities will be held for the general public. These include drawing workshops and specific training for teachers in formal and non-formal education, led by Karenn Amorim, an art educator with a degree in Fine Arts and a master's degree in Arts from the Federal University of Espírito Santo, currently a doctoral candidate in Arts at the Postgraduate Program in Arts at the State University of Rio de Janeiro.

Service
Exhibition Black Strike Now!
From February 24th to April 26th
Tuesday to Friday, from 10am to 18pm; Saturdays, Sundays and holidays, from 10am to 16pm

Part of a private art collection will be available to the public between February 24th and April 26th at... Espírito Santo Dionísio Del Santo Art Museum (MAES)It's the exhibition “Art in every sense.”, which will bring together contemporary works by 36 artists from Espírito Santo and other parts of Brazil.

The exhibition is part of the RDA Collection project – Preservation and Dissemination of the Ronaldo Domingues de Almeida Collection at the Capixaba Media Library, whose objective is to contribute to the democratization of access to art and safeguard the memory of the artistic heritage of Espírito Santo, in particular.

The project was approved in Public Notice No. 18, launched by the Secretariat of Culture (Secultes) in 2024, and was awarded resources from the Culture Fund of the State of Espírito Santo (Funcultura) and the Aldir Blanc National Policy (PNAB), of the Ministry of Culture (MINC).

41 works

With a focus on contemporary art, the director of MAES, Nicolas Soares, curated the exhibition and selected 41 paintings, prints, drawings, photographs, and sculptures from the collection of art collector Ronaldo Domingues de Almeida.

“I never planned to build a collection. I just wanted to live with art in my daily life. The collection grew spontaneously, driven by aesthetic interest and the experience provided by each work. Over time, I began to wonder what the point was of keeping so many works restricted to a few,” describes the collector and assistant curator of the exhibition.

The exhibition will allow visitors to appreciate creations by national artists who have never, or very rarely, exhibited in Vitória.

"Regarding the artists from Espírito Santo chosen, given the impossibility of presenting them all, the curator selected representative names from diverse periods, seeking works whose themes deviate from those for which they are usually recognized," adds journalist Adriana Machado, coordinator of the project and executive producer of the exhibition.

The name “Art in Every Sense” is a reference to a detail in a work by the artist Paulo Bruscky, a piece of mail art titled “Today Art is this Announcement.” The piece is part of the collection, and the choice of title resonates with the project.

RDA Archive Project

The exhibition is one of the educational activities integrated into the RDA Collection project, which is currently underway. Works from the collection are being cataloged and digitized for inclusion in the State Government's online platform, Midiateca Capixaba.

The exhibition at MAES is due to an invitation from the institution, which recognizes the project's relevance both in preserving the memory of these works and in its purpose of democratizing access to art.

“It was from this reflection that the desire to share was born. The digitization and inclusion of the collection in the Capixaba Media Library transforms what was private into public access, expanding the experience of art and its social function. And now, we are physically taking part of this collection with us during the exhibition,” adds Adriana Machado.

Service
Exhibition Art in every sense.
From February 24th to April 26th
Tuesday to Friday, from 10am to 18pm; Saturdays, Sundays and holidays, from 10am to 16pm

A Forts D'Aloia & Gabriel is pleased to present Purple apple, first solo exhibition of Willa Wasserman in Brazil, in FDAG Gardens, in São Paulo. The exhibition brings together intimate, small-scale paintings on linen and brass, alongside large-scale works on fabric, produced between New York, where the artist lives, and São Paulo, where she is currently undertaking a residency at Casa Onze.

Wasserman investigates issues of intimacy, gender, and metamorphosis, intertwining references to classical painting and material culture with contemporary expressions of the queer experience. Working on fabrics and metals, the artist treats the medium as an active participant in each composition. Oil, silverpoint — traces obtained by rubbing silver on a prepared surface — and chemical processes are applied in such a way as to allow oxidations, stains, and tonal variations to emerge and remain visible. His approach to figuration avoids bodily sharpness or rigidly defined contours, favoring amorphous spaces where forms float and dissolve. Historical techniques are reimagined to give rise to mutable bodies and atmospheres, simultaneously luminous and dark, suspended in a state of continuous emergence.

For some time now, Wasserman has worked with still life as a way of thinking visually, treating objects as a silent composition rather than a symbolic display. She paints floral arrangements and garden scenes, as in From the garden to the new squat (2026) [From the garden of the new occupation], in which the pigment seems to merge with the metallic surface, giving the images a quiet depth and atmosphere. In Still life with purple apple, empty bowl, lock rake (2026) [Still life with purple apple, empty bowl, lock pick], the instrument introduces a note of transgressive access, referencing lived experiences of trans identity and ways of traversing spaces beyond normative structures.

Service
Exhibition | Willa Wasserman: Purple apple
From February 25th to April 18th
Tuesday to Friday 10am to 19pm, Saturday 10am to 18pm

O Sesc Sorocaba receives the 4th edition of Cracks – Arts Triennial. titled A prayer along the way, The exhibition showcases the act of walking as a political, spiritual, and knowledge-building gesture, bringing together artistic, educational, and community practices.

Curated by Luciara Ribeiro, Naine Terena, and Khadyg Fares, the Triennial proposes a careful listening to the territory of Sorocaba, traversing its historical, visual, and social layers.

The title A prayer along the way It unites the concept of "path as prayer," popularized by professor and artist Tadeu Kaingang, with the Andean notion of "Thaki," described by sociologist Silvia Rivera Cusicanqui, and the idea of ​​"Afro-Pindoramic confluences," by quilombola thinker Antônio Bispo dos Santos (Nêgo Bispo), guiding a reconnection with cultural, educational, and memory experiences that articulate body, territory, and social life.

In total, there are 188 works (of which 26 were commissioned) developed from Black, Indigenous, marginalized, and dissident experiences, occupying both the building and spaces in the city, such as the João de Camargo Chapel, the Clube 28 de Setembro, the Pelourinho Monument, and the Monument to the Black Mother.

As in previous editions, Frestas establishes itself as an initiative that decentralizes the contemporary art circuit, recognizing Sorocaba and the interior of São Paulo as a territory of confluence between artistic and community relations.

Service
Exhibition | a prayer along the way
From February 27th to August 16th
Tuesdays to Fridays, 9:00 AM to 9:30 PM. Saturdays, 10:00 AM to 8:00 PM. Sundays and holidays, 10:00 AM to 6:30 PM. Except April 3rd.

Landscapes with horizons and formations that appear to be vegetation, possibly geological. Interior and exterior scenes of human and animal interactions. Screens veiled by frames and boxes, scenes revealed between theatrical frames—these are some of the main motifs that appear in the recent production of Thales PombHis paintings, drawings, and sculptures produce images that cannot be easily associated with reality. By confronting the tension between color and form in pictorial construction, these works subvert figuration to favor gesture. The figures, scenes, and landscapes become metaphysical means for the contemplation of the imagination.

By summarily assembling and disassembling space-time, the fields of diffuse colors in the paintings evoke rare lights, like the oblique luminosity that envelops the surroundings of sunrise and sunset, especially in nature. These lights traverse space in a short time and, despite—or because of—this, deposit moments of suspension, in which everything is about to be revealed or concealed, everything seems poised to transform. The contrasts and chromatic gradations schematize phases of a fragmented light, structuring the space-time of a perpetual gerund, in which there is only the possible infinity of the moment as it unfolds.

In Thales Pomb's recent paintings, scenes are frequently constructed in series, such as the series of installers, the series of cats outdoors, and the series of proscenium arches. In the first, the images mobilize art installers between liminal forms and spaces, alluding to the mysterious dynamics of the art world itself: the circulation of works, their controlled entry and exit from spaces. The content of these works is a veiled but indifferent fact—the frames, boxes, and packaging integrate with the rhythm of the color fields nuanced between light and shadow, of the horizontals and diagonals that suggest possible horizons and depths, structuring time and space. The movements of the boxes and these veiled works do not generate suspicion under the sunlight: they naturally traverse the planes where this light stretches, as if arriving or preparing to depart. The titles of these paintings allude to dance and the choreography of precise movements: dancing, tango, little step, little adjustment, bolero, and little pull. The potential for liberation in these actions lies in the tension between colors and forms, which, by metaphysically depositing time in pictorial space, uses figuration to gesture the poetics of an enigma.

In his paintings on canvas, Thales Pomb works with a process of "burning," applying intense layers of warm tones to the canvas from which the formal immanence of his images emerges. In his Conté pencil drawings on Ingres paper, the artist establishes another immanence, founded on the white of the paper—the material "background" of these images. The stains and marks in shades of gray and black produced by the Conté pencil pay homage to the effects of light and shadow in the drawings of Georges Seurat (1859–1891), also making use of the texture of the Ingres paper to suggest backlit masses. In these drawings, the density of the darker forms relates to empty—or softly constituted—fields, producing the same suspending effect present in the paintings.

Thales Pomb's recent work, creating images from color and form, proposes a reflection on the contemporary difficulty of "being present": contemplating the moment requires the ability to inhabit the unsettling. This does not mean succumbing to sensory overstimulation, but seeking that which does not yet conform to the image of reality. Reflecting on the practical philosophy of our time, Vladimir Safatle proposes that, faced with the worsening crises and the urgency of confronting reality, it would be necessary to "let the fragments of experience speak, to be exposed at the initial point where they collide with thought." Safatle suggests that the sublime, like other concepts, is subject to the contemporary obsession with security, the reason for the general intolerance of collision and rupture. The sublime, however, "as an indeterminate concept of reason," is linked to experiences that make the imagination confront its own limits, formalizing precisely "that which does not submit to the form of representation." If historically the sublime resided in the feeling of smallness or terror in the face of the totality imposed by nature, in contemporary times the sublime lies precisely in the feeling of fragmentation that a world in crisis produces.

This fragmentation is reflected in Thales Pomb's painting, where each color field can be seen individually or separately, creating and undoing the uniqueness of the image. Thales reflected in his studio: “Before, I already knew the image I wanted from the beginning. Now, I don't know what I'm going to paint. I pay to see.” Instead of a design dependency that ensures the image even before it exists, his paintings and drawings confront the spatio-temporal experience of the moment, without the pretension of knowing it as a definition. Only with the awareness that the pictorial gesture is capable of giving form to sublime liminality and transforming each instant into a moment of contemplation.

Gabriela Gotoda – curator

Service
Exhibition While it becomes
From February 28th to April 13th
Monday to Friday, from 10am to 19pm; Saturday, from 10am to 15pm

A CAIXA Cultural São Paulo presents the exhibition Collective Loneliness, an unprecedented solo performance by Julio Bittencourt which proposes a visual reflection on the contradictions of contemporary society and the modes of existence in an increasingly populated, accelerated, and regulated world. Curated by Guilherme Wisnik and with exhibition design by Daniela Thomas, the show brings together eight photographic series created between 2016 and 2023, the result of extensive observational work in major urban centers such as São Paulo, New York, Tokyo, Mumbai, Beijing, and Jakarta.

The exhibition's title engages with the thought of philosopher Hannah Arendt, for whom modern society, structured around work, tends to suppress the possibility of action and reduce the individual to the condition of a functional agent. “Bittencourt's images observe human groups immersed in productive routines, incessant flows of information, and spaces that impose physical and symbolic containment. Confinement emerges as a recurring theme, even when the control mechanisms are not explicitly presented,” says Wisnik.

In his photographs, Julio Bittencourt seeks to record not extraordinary events, but states of suspension. For the artist, these are anonymous bodies, captured in situations of waiting, repetition, or adaptation to environments that condition them. From employees isolated in offices to workers housed in capsule hotels, deprivation ceases to be an exception and becomes a structural part of urban daily life. "There is, in this gesture, a political dimension that is not based on direct denunciation, but on the insistence on making visible what usually goes unnoticed," says the curator.

The series are structured as chapters of an open narrative, marked by tension and resonance. Moving between documentary and conceptual photography, Julio Bittencourt explores photography as a critical language, free from journalistic commitment to immediate facts, but attentive to the poetic possibilities of the gaze.

Collective Solitude – Júlio Bittencourt is an exhibition presented by CAIXA Cultural, produced by Phi Projetos and Cinnamon, and sponsored by CAIXA and the Government of Brazil.

Service
Exhibition Collective Loneliness
From March 03rd to July 12th
Tuesday to Sunday, from 9pm to 18pm

O CCBB BH gets the exposure "Marlene Barros: Weaving the Feminine featuring works in sculpture, crochet, and embroidery by the artist from Maranhão. Marlene BarrosThe exhibition, curated by Betânia Pinheiro, proposes a reflection on the female body, the historical devaluation of women, and the invisibility of their work in the field of art. It transforms the intimate act of sewing into a public narrative of resistance, belonging, and reinvention, turning needle and thread into instruments of denunciation, memory, and symbolic elaboration.  

The exhibition features installations such as “I Have Your Face,” with 49 women's faces that exchange stitched-together eyes and mouths, exploring the tension between identity and otherness; “Black Box,” which constructs an expanded self-portrait from photographs, textile interventions, and writings; “I Sew Because It's Torn,” which presents a jacket whose reverse side reveals embroidered organs that symbolize feelings and trigger the idea of ​​repair; “Between Us,” which delves into crocheted objects to problematize tasks that are naturalized within the domestic sphere; and “Whoever Gave Birth, Let Them Take Care of Them,” which questions the almost exclusive attribution of childcare to women. The exhibition layout, coordinated by Fábio Nunes, with executive production by Júlia Martins, proposes a non-chronological trajectory, allowing the public to construct their own experience between matter, gesture, and memory.  

With over four decades of experience, Marlene Barros has established herself as a leading figure in the Maranhão art scene, connecting production, training, and cultural networks through the Marlene Barros Atelier and the ZBM Collective Cultural Center. The exhibition originates from research developed during her Master's degree in Contemporary Art at the University of Aveiro, where she proposed symbolically stitching together a ruined house on the Santiago campus in Portugal, in a gesture of mending fissures of time. The house, transformed into a metaphor for the body, allowed her to expand her reflection to the feminine universe in its social, political, and affective dimensions, understanding weaving as a metaphor for bonds, memory, and the flow of life. 

Service
Exhibition Marlene Barros: Weaving the Feminine
From March 04 to June 01
Wednesday to Monday, from 10:22 to XNUMX:XNUMX

The exposure Rafael Pereira: The Zombie Head inaugurates the 2026 programming of Station Gallery, reaffirming the poetic force and growing complexity of the work of the 39-year-old artist from São Paulo. Throughout his career, Rafael has traveled to various states in Brazil, lived for 14 decisive years in Teófilo Otoni (MG), and currently resides in Caraguatatuba, on the north coast of São Paulo.

Since Lapidar Imagens, his first solo exhibition at the gallery in 2023, the artist has gone through a cycle of maturation that has broadened his visual vocabulary by revisiting structuring aspects of his trajectory—from his training as a gemstone cutter to his experiences traveling throughout the country. This journey now unfolds in an exhibition that articulates memory, identity, and subjectivity.

“Since Rafael joined Estação in 2023, we have closely followed his consistent maturation process. He is an artist who has grown in confidence, repertoire, and awareness of his own work. Between 'Lapidar Imagens' and this new solo exhibition, his work has gained depth. The exhibition reflects a real leap in his trajectory. When an artist like him finds an institutional space that supports him, he conquers the world. In his case, our support was fundamental in allowing him to feel freer to take risks, deepen processes, and expand his language,” argues Vilma Eid, founding partner of Galeria Estação.

Produced between 2024 and 2025, the new paintings incorporate a multicolored universe of portraits, landscapes, and symbolic elements that, according to the artist, emerge from a deep listening to himself, in a conscious process of slowing down: “Today I feel that my work happens in a different time. Before, I had a lot of urgency, a need to produce all the time, almost as if I needed to prove something. Now I understand that these processes must be slower, that painting needs time to mature, just like me,” he explains.

Comprising two exhibition sections, the show brings together 22 paintings on the 2nd floor of the Galeria Estação—20 portraits and two still lifes—and presents, on the mezzanine, the Nbimda series, consisting of 16 paintings of heads of varying sizes. Each work represents a deity (nkisi) worshipped in the Bantu-based Angolan Candomblé. In discussing this collection, art historian Renato Menezes, author of the critical text in the exhibition catalog, highlights the symbolic centrality of the head as a link between the body, ancestry, and the divine:

“What appeared to Europeans solely as physiognomy, that is, as an emanation of personality, reveals itself, in Pereira's painting, as a link with the divine: the head, orí for the Yoruba and mutuê for the Bantu. It is in the head where the vital force of the individual resides; there lies their connection with the nkisi, the ancestral energy and individual destiny that each subject brings with them at birth. The theme of the ancestral head organizes the Nbimda series,” Menezes points out.

By exalting and reinterpreting the Afro-diasporic ancestry that constitutes a major part of Brazilian society and cultural formation, Rafael also makes explicit his intention to add greater complexity to discussions about race, moving away from reductionist readings in favor of constructing a Black subjectivity.

“I don’t want my work to be read solely from a racial perspective. I don’t want a smiling Black body to be seen as an event, while a smiling white body is just an image. What interests me is constructing a Black subjectivity that is complex, intimate, and contradictory. I don’t want to deny the racial issue. I want to go beyond it. I want my work to be seen as image and experience, and for Blackness to be there in a profound way, not as a label,” the artist provokes.

According to Menezes, this recent production, marked by the intuitive force of the pictorial gesture, further expands the possible interpretations of Raphael's work, already hinted at in the modernist interpretation of the works present in Lapidar Imagens.

“At first glance, his work seems to result directly from the absorption of these codes of traditional portraiture in order to imagine futures, reconstruct histories, and invent identities, overcoming the way in which Black life has been evaluated. On the other hand, the artist creates physiognomies from his imagination, as in an exercise of settling accounts with history and accessing a dimension of memory neutralized by trauma: intuition is an ancestral technology. Thus, he makes the living presence of people traversed by silent feelings, thoughts, and desires re-exist through his colors,” observes Menezes in the catalog.

The exhibition also highlights the expansion of techniques experimented with during Pereira's formative period, such as the use of oil pastel sticks on paper, revealing investigative processes in a work in transformation. Part of the works were produced in March 2025, during his artistic residency in Goiânia (GO), at the Sertão Negro Atelier and School of Arts, a project conceived by visual artist and educator Dalton Paula and film professor and researcher Ceiça Ferreira. Located in a quilombo (a settlement of escaped slaves) in the neighborhood known as Setor Shangri-lá, the space articulates Afro-Brazilian cultural traditions and contemporary art practices, with activities in ceramics, printmaking, capoeira angola, agroecology, and a film club.

“The residency at Sertão Negro was decisive for Rafael, not only technically, but also as an experience of exchange with other artists and an opening of the world. He returned more confident, more aware of his own voice—and this is strongly evident in this exhibition, which shows a broader Rafael with different works brought together in two distinct sections. They are almost two exhibitions that complement each other and help to better understand the artist. Opening the 2026 program with Rafael was a very conscious decision. He has a strong audience, his work circulates very well, and this is the perfect moment for us to hold his second solo show,” concludes Vilma Eid.

Service
Exhibition The Zombie Head
From March 5rd to April 11th
Monday to Friday, 11am to 19pm; Saturdays, 11am to 15pm; closed on Sundays.

O MASP — São Paulo Museum of Art Assis Chateaubriand displays Claudia Alarcón & Silät: living by weavingThe exhibition brings together 25 works that encompass the artistic production of Claudia Alarcón (La Puntaña, Argentina, 1989) & Silät, a collective formed by more than one hundred weavers from the Wichí people. Curated by Adriano Pedrosa, artistic director, MASP, and Laura Cosendey, assistant curator, MASP, the exhibition marks the debut of the artist and the group in a Brazilian museum.

The works are produced with chaguar fibers, a bromeliad with resilient fibers native to the semi-arid climate of the Gran Chaco, the largest biome in Latin America after the Amazon, which occupies the northern and northeastern regions of Argentina, extending into Paraguay. The preparation of the chaguar and the technique of interlacing the fibers by hand, without the use of a loom, come from the making of yica bags, a central object in Wichi culture. Traditionally, the yica has a square shape, with geometric patterns that represent the flora and fauna of its territory, alluding to themes such as armadillo ears, owl eyes, and turtle shells. Although this is the starting point of Alarcón & Silät's work, their pieces transcend this traditional repertoire. Starting from workshops that proposed thinking about new formats for yica bags, the Silät collective was organized in 2023, and began producing fabrics within an artistic context.

Historically, the textiles produced by the Wichí had earthy, reddish, and grayish-blue tones, but the artists began adding more intense colors with aniline dyes in the yarn preparation process, achieving exuberant shades of orange and fuchsia, for example. Another important innovation in Alarcón & Silät's work lies in the fabric production process itself: while traditionally women always wove individually, the members of Silät developed methods so that several members could work simultaneously on the same piece or continue the work of another weaver.

The mythology of the Wichí people also shapes the works of Alarcón & Silät. In Kates tsinhay — Mujeres estrellas [Star Women], 2023, Claudia Alarcón evokes the myth of the star women. The belief narrates that women were stars in the sky and descended to Earth every night on chaguar threads that they themselves had woven. They came to feed, stealing the fish that the men caught. When the men discovered this, they cut these threads, and the women remained on Earth. This work and others inspired by this symbolic narrative blend ancestral geometries with figurative elements to delineate stars, moons, celestial bodies, and starry skies.

“I recover legends and stories from our people, I feel there is much work to be revived. I think about how to recover this, because it is something that perhaps cannot be said orally, we cannot shout it. But the fabric also speaks. There are those who can understand or feel it in the fabric. I realized that, although we weave in silence, everything is said in the fabric,” comments Alarcón.

The Wichí people call their territory tayhi and consider it a fundamental part of their identity, possessing a spiritual and symbolic dimension. In Spanish, the name for the region is monte (mountain). However, although the name evokes mountains, the local terrain is mostly flat. Daily life, the wind, day, dusk, night, constellations, and many other elements of life on the mountain are present in the colors, organic and geometric forms of Alarcón & Silät's works. The weavers' sensitive gaze towards natural cycles portrays, in the abstraction Kyelhkyup — El otoño [Autumn], 2023, from the MASP collection, the changes in tones, textures, and light during the passage of the seasons on the mountain.

Weaving together, combined with the implemented innovations, made it possible to create textile compositions that bring a multiplicity of voices and colors, articulating traditional patterns with a contemporary visual and poetic repertoire. "The fabrics have become banners of struggle, standards that carry messages, stories, and give voice to the women of the community," says Laura Cosendey.

Both the individuality of the artists and the dimension of the collective are demonstrated in the installation Hilulis ta llhaiematwek — Un coro de yicas [A Chorus of Yicas] (2024-25), which brings together more than one hundred bags, each produced by a member of the group. The personal choices of color and pattern are highlighted when the works are displayed side by side, while the joint presentation reinforces the political character of the collective's articulation, which made it possible to criticize issues such as the devaluation of ancestral knowledge and the precariousness of the weavers' work.

In the exhibition, the works are presented in frames or on vertical wooden structures, which allude to the way these fabrics are produced and, occasionally, displayed in the community where the weavers live. The set N'äyhay wet layikis — Caminos y cicatrizes [Paths and Scars] is one of the works exhibited in this exhibition format proposed by MASP. The textile composition was conceived by the collective in 2025 for July 9th, the day on which Argentina's independence is celebrated. The artistic creation was woven by the women to denounce the violent repression committed over time by the Argentine State against indigenous populations.

Claudia Alarcón & Silät: Living Weaving is part of MASP's annual program dedicated to Latin American Histories. The year's agenda also includes exhibitions by La Chola Poblete, Sandra Gamarra Heshiki, Santiago Yahuarcani, Colectivo Acciones de Arte, Damián Ortega, Sol Calero, Carolina Caycedo, Pablo Delano, Rosa Elena Curruchich, Manuel Herreros and Mateo Manaure, Jesús Soto, and an international group exhibition.

Service
Exhibition | Claudia Alarcón & Silät: living by weaving
From March 06th to August 02nd
Free admission on Tuesdays from 10 am to 20 pm (entry until 19 pm); Wednesdays and Thursdays from 10 am to 18 pm (entry until 17 pm); Fridays from 10 am to 21 pm (free entry from 18 pm to 20:30 pm); Saturdays and Sundays from 10 am to 18 pm (entry until 17 pm); closed on Mondays.

Online booking is mandatory via the link masp.org.br/ingressos

To mark the beginning of celebrations for its first decade of activity in the Brazilian and international contemporary art market, the Janaina Torres Gallery presents the solo exhibition Deborah Paiva (1950–2022): An Anthology, curated by Thaddeus ChiarelliThe exhibition is scheduled to open on March 7, an 14 am - 18 pm, and remains on display until April 30, in Sao Paulo.

The exhibition brings together a unique collection of works spanning different periods in the career of Deborah Paiva (Campo Grande, 1950), an artist whose production has been consolidated through a rigorous investigation of painting as a language and field of reflection. Born in Mato Grosso do Sul and now based in São Paulo, this artist has built a body of work with a strong sense of freedom, remaining faithful to experimentation and outside the trends and fads of the art world.

His early works emerged in three dimensions, most of them large-scale and almost installation-like in nature. Over time, his research gradually shifted towards pictorial language, moving through strongly material investigations – with procedures similar to Arte Povera, using elements such as sand, straw, encaustic, and different densities of paint – and later focusing on the refinement of painting, with smaller formats and less material, more silent and introspective works.

This shift, however, is not solely a reflection of a biographical or psychological movement, but rather a stance taken regarding the very condition of painting at the end of the 20th and beginning of the 21st centuries. Although Deborah Paiva's work frequently operates within the territory of hybridity between abstraction and figuration, rejecting the traditional dichotomy between these fields – which we see reflected in her canvases, with figure and background contaminating and dissolving each other, reaffirming her commitment to pictorial investigation as the primary condition of her work – Deborah insisted on returning to painting at a historical moment in which this language saw its... statement to be progressively questioned and displaced by more spectacular expressions.

Throughout her career, the artist did not limit herself to a fixed style, nor to a closed aesthetic program, and definitely did not opt ​​for combativeness as was the trend at that time. The artist's painting can be narrative or formal, planar or material, figurative or non-figurative, always assuming itself as an open field of possibilities. Another point that draws attention in her work is that the artist rejected the linear notion of the evolution of her poetics, avoiding the rigorous dating of her works, understanding the time of painting as the time of the making itself: the rhythm of the gesture and the duration of the work.

Much of her iconography, which gave her works their signature style from 2010 onwards, integrates abstraction with human figures—mostly female—presented from behind, in profile, or with their faces covered, as well as interiors and landscapes. These images, however, refuse to be reduced to the representation of the subject's existential solitude, and end up operating as a metaphor for the solitude of painting itself as an artistic language at the time, turned in on itself and relatively detached from the broader contemporary debate.

In this sense, as noted by the exhibition curator, Thaddeus Chiarelli, in your critical text accompanying the exhibition, the production of Deborah Paiva This approaches what Walter Benjamin defined as the "cult value" of a work of art. In consolidating her language and signature style, the artist privileged the intimate character of painting, deliberately distancing herself from monumentality and the logic of spectacle. Her work asserts itself in a silent presence, which demands attentive and decelerated enjoyment from the observer, in opposition to the logic of exhibition value that has come to dominate contemporary art since the advent of technical reproducibility.

As Chiarelli also points out, Paiva's work is structurally related to artists such as Iberê Camargo, Jasper Johns, Henri Matisse and Marie LaurencinThis dialogue does not occur through quotation or postmodern appropriation, but through profound affinities related to questions of pictorial language, especially regarding the blurring of boundaries between abstraction and figuration and the physicality of painting.

A critical review by Tadeu Chiarelli

To put together this exhibition, Thaddeus Chiarelli The text also proposes a critical review of his own previous interpretation of Deborah Paiva's work. In a text written in 1997, the curator had interpreted her production as a direct result of the supposed "liberation" of painting that occurred in the 1980s. Today, he recognizes this interpretation as mistaken, revising the notion that there had been a "return to painting" during that period. Tadeu acknowledges the fallacy of this premise – understood at that time by him and many in the art world – when he states that painting never disappeared, but lost prominence to other artistic modalities. Upon recognizing the limitations of this premise, Chiarelli acknowledges that this view prevented an understanding of the true complexity of Deborah Paiva's paintings. From then on, for the critic and curator, Deborah's work is understood not as the effect of a newly acquired freedom, but as a response to the isolation of contemporary painting, which, after losing its centrality in the artistic debate, turned inward as a form of survival as a language. Ultimately, for the curator:

Service
Exhibition Deborah Paiva (1950-2022): An Anthology
From March 7rd to April 30th
Tuesday to Friday, from 10 am to 18 pm and Saturdays, from 10 am to 16 pm.

The work of Gelli Sisters It is organized around the insistence of daily practice. A time made of repetition and daily presence, in which the process is not a means to an end, but the very matter of the work. Over five years of joint practice, Alice e Gabi They developed a methodology based on experimentation, patience, and embracing chance. It is within this extended timeframe that wax, a material generally associated with transience and disposal, gains centrality in their research, capable of retaining layers and incursions.

The new set of works presented at Seva House This marks a turning point in the artists' trajectory. While previously the wax appeared in solid, smooth slabs, guided by greater control and geometric rigor, now the work is constructed through the organic superimposition of layers, by pouring or submersion, forming an almost pictorial stratigraphy that embraces the unexpected. Like the rings of a tree trunk, these layers bear witness to the time invested in the making of the work. They also reveal the accidents of the journey, sometimes embraced and incorporated, sometimes covered and postponed. Upon reaching a satisfactory limit of layers, they initiate a reverse movement. The artists thin away the layers, open fissures, reveal lower strata, colors, and textures previously hidden. Time dilates backward and forward.

These works find a space of resonance in Casa Seva. Located within a modernist village designed by Flávio de Carvalho, the house also seems to live this expanded time, accumulating layers of use, meaning, and memory. Art and sustainability are inseparably the pillars of Casa Seva. It is at this intersection that the work of the Gelli Sisters is situated, in affinity with a program that articulates artistic practice and environmental responsibility.

Sustainability here is not limited to the choice of materials—such as vegetable wax, recycled plastic, or the constant possibility of melting and reuse—but manifests itself above all as the sustainability of relationships. This is a fundamental concern when working in duos, but the artists extend it to the relationship between the works, with the space that houses them, with the world around them, and, generously, with the public. In this way, many of the works exhibited here invite touch, interaction, and lingering as an exercise in presence.

The performance installation that gives the exhibition its name makes this particularly evident. Located at the back of the space, the work is activated by the artists through the melting of wax which, as it drips, builds a kind of stalactite. In nature, this structure is able to patiently await a drop of water that causes it to grow 1 cm every 100 years, reminding us once again of a time that exceeds us.

It takes time, but there will be time. It functions as a mantra and an invitation. If for the artists, the phrase reaffirms patience and confidence in the creation of their works, for the public it is a call to slow down and remain, in a time that is built layer by layer.

Catalina Bergues – Curator

Service
Exhibition It takes time, but there will be time.
From March 07rd to April 18th
Tuesday to Friday 11am to 18pm, Saturday 11am to 15pm

From the contemporary world that harbors the creativity and mastery of Nuno Ramos in line with the interest in producing works that give new meaning to materials of Marcos Amaro, the exhibition is born The Power of Dialogue: Nuno Ramos and Marcos Amaro, at the FAMA Museum, in Itu, São Paulo. Possessing a bold aesthetic and unmistakable styles, the artists engage in a dialogue in this exhibition with works that permeate their stories, revealed in the Almeida Jr. Room, in Sector 5.

This is a dialogue between creations from different periods of Nuno's work and others that are part of the construction of Amaro's trajectory, "a trajectory that crosses and echoes his in many aspects," in Marcos' words. Nuno Ramos is a visual artist, composer, playwright, writer, and essayist, and for over 30 years he has worked with the superimposition of materials, ranging from Vaseline to beeswax, to pigments, oil paint, fabrics, plastics, and metals. "What touches me most is the painting, the organization of the materials, and the way they present themselves to the world," reveals Amaro. "Nuno is, for me, one of the great contemporary artists. Although I belong to a generation after his—as often happens—it was precisely his work that opened paths and possibilities for expanding language for my generation and for my own artistic practice," adds Marcos.

Based on this admiration, the exhibition features dozens of works by both artists. In fact, some of Nuno's works are part of Amaro's personal collection; Amaro, in addition to being a businessman and founder of the FAMA Museum, is also a collector. As a visual artist, Marcos Amaro is known for a unique style that blends industrial aesthetics with touches of affection, revealing his deep interest in materials and imbuing them with new meanings and narratives.

“The Power of Dialogue: Nuno Ramos and Marcos Amaro” presents large-scale, three-dimensional works that stand out for their spatiality and volume. Beyond the complexity of their execution and the plasticity that surrounds them, the works that make up the exhibition connect directly with the generous scale of the Museum's galleries and will be on display until November 1, 2027.

Service
Exhibition It takes time, but there will be time.
From March 14th to November 01st
Wednesdays, and from Friday to Sunday, from 11 am to 17 pm.

O IMS Paulista The exhibition will showcase a collection of photobooks that highlight the importance of women in the development of the field of photography. The show, "What They Saw: Historical Photobooks by Women, 1843-1999," brings together 106 books from the Photography Library's collection, including recently acquired titles from 10x10 Photobooks, an organization founded in 2012 by Russet Lederman and Olga Yatskevich. Based in New York, 10x10 Photobooks is dedicated to the research and sharing of photobooks, promoting exhibitions, publishing books on the subject, and encouraging their appreciation and understanding.

Russet and Olga, who curated the exhibition, comment on the project: “Although studies on the history of photobooks began only 37 years ago, they have been written mostly by men and have focused on publications authored by men. As a non-profit organization whose mission is to share photobooks globally and encourage their appreciation and understanding, the 10×10 team frequently discusses how the history of the photobook has been – and continues to be – written from a biased perspective, and that a 'new' history needs to emerge.”

On opening day, there will be a public conversation at the IMS Photography Library at 18:30 pm, with Russet participating. Admission is free, with tickets available 60 minutes prior.

“The exhibition reinforces the role of the IMS as a center of reference for the study of photobooks and for the circulation of internationally relevant projects. By bringing to the Brazilian public works that span more than a century and a half of production, 'What They Saw' amplifies the debate about the contribution of women to the history of photography and creates new research opportunities,” says Miguel Del Castillo, coordinator of the Photography Library at the Instituto Moreira Salles.

All the books on display can be handled by visitors to the exhibition, which is divided into ten sections – these function as chronological markers, but mainly highlight the historical, socio-political and gender achievement moment in which these women produced their works: “1843-1919: Pioneers”; “1920-1935: The New Woman”; “1936-1945: Raising Their Voices”; “1946-1955: From Ashes to Family”; “1956-1964: Books as Bombs”; “1965-1969: Nostalgia, Pop and Revolution”; “1970-1975: Sisterhood in Bloom”; “1976-1979: Sexual Politics”; “1980-1989: A Global Awakening”; and “1990-1999: In Search of a Photodemocracy”.

“Pioneers,” for example, includes the work of the Englishwoman Anna Atkins, who, in 1843, self-published Photographs of British Algae: Cyanotype Impressions, originally handwritten and illustrated with 307 cyanotypes of various British algae. In the exhibition, she is present in a contemporary edition of the publication. Also in this section is the oldest example on display, Dream Children (1901), by the American Elizabeth B. Brownell (1860-1909), in which prose and poetry texts by 28 authors are illustrated with carefully composed scenes in the style of tableaux vivant, popular in photography of the late 19th and early 20th centuries.

In the following sections, works such as African Journey (1945), by anthropologist Eslanda Cardozo Goode Robeson (1895-1965), appear. Part of the "Raising Their Voices" segment, the publication is one of the first books about Africa produced by a Black American researcher – and a success at the time of its release, due to the growing interest of African Americans in African politics and culture during the 1940s, when Pan-Africanists advocated an unbreakable link between the African diaspora and the continent.

In the section “Sisterhood in Bloom,” the photobook Les Tortures volontaires [Voluntary Tortures] (1974), by the French artist Annette Messager (1943), stands out. It is a collection of images cut from magazines and advertisements showing women undergoing various cosmetic procedures or beauty routines, highlighting how women's bodies are a site of violence.

Among the numerous highlights, the public will also be able to see Passion (1989), by Cameroonian photographer Angèle Etoundi Essamba (1962), in the segment “A Global Awakening”. Essamba subverts the stereotypical representations of Black female bodies produced by Western photographers with powerful portraits that highlight pride, strength, and awareness. The selection also includes Hiromix (1998), by Japanese photographer Hiromix (1976), a deeply personal portrait of Japanese youth culture in the 1990s, with photographs starring, for the most part, the author herself, who seeks to capture the youthful beauty, exuberance, and uninhibited pleasures of a young woman's urban experience. Hiromix is ​​in the section “In Search of a Photodemocracy”, which closes the exhibition.

Three Brazilian women were already in the curators' original selection: Claudia Andujar (1931) with Amazônia (1979), a book that documents the period she spent with the Yanomami, photographing their cultural ceremonies, shamanic rites, and traditions; Maureen Bisilliat (1931) is represented by the book A João Guimarães Rosa (1969), in which she photographs the backlands of Minas Gerais inspired by the novel Grande Sertão: Veredas; and Gretta Sarfaty (1947), who broke patterns in the 1970s by satirizing her own image, with Autophotos (1978), bringing together three photographic series by the pioneer of body art and feminism in Brazil.

“But, since we are in Brazil, we thought it would be interesting to slightly expand the number of Brazilian women photographers included in the selection,” says Miguel Del Castillo. “I made a suggestion based on the IMS collection, of important books published during that period.” That's how four more volumes were incorporated into the Brazilian version of the exhibition: Dor (1998), by Vilma Slomp (1952); Quem você pensa que ela é? (1995), by Claudia Jaguaribe (1955); Pinturas e platibandas (1987), by Anna Mariani (1935-2022); and Entre (1974), by Stefania Bril (1922-1992).

The IMS is hosting an exhibition that has already had versions in various formats shown at prestigious institutions around the world, such as the Getty Research Institute in Los Angeles (2025), the Museo Reina Sofía in Madrid (2024), the Rijksmuseum in Amsterdam (2022), and the New York Public Library (2022). The exhibition catalog (originally titled What They Saw: Historical Photobooks by Women, 1843–1999), authored by the two curators, received the PhotoBook Award for best catalog of the year in 2021, an award given during the Paris Photo fair, and will be available for consultation at the exhibition and for sale at the Livraria da Travessa bookstore in IMS Paulista.

On display until August 2nd, the exhibition invites the public to reflect on the processes of constructing history and the possibilities of constantly rewriting it, as the curators point out: “What they saw sought to include a diverse group of publications illustrated with photographs taken by women. For the history of the photobook to become more inclusive, it is necessary for all people (men, women, non-binary, white, black, Asian, African, Latino, Indigenous, Western, Eastern, etc.) to contribute. We see this reading room on the role of women in the production, dissemination, and authorship of photobooks as a necessary step to unwrite the current history of the photobook and rewrite a history of the photobook that is more equitable and inclusive.”

Service
Exhibition What they saw: historical photobooks of women, 1843-1999
From March 17th to August 02nd
Tuesday to Sunday and holidays (except Mondays), from 10 am to 20 pm.

A Simons of Assisi inaugurates, in São Paulo, the exhibition “Wind Body”, solo by the artist Thalita Hamaoui, with critical text signed by the Brazilian sociologist, professor and researcher Ana Paula Cavalcanti SimioniThe exhibition features eleven previously unseen paintings, created in oil paint and oil pastel on canvas and linen, in varying dimensions. Highlights include “Corpo de Vento” (2026), a large-format painting that extends over five meters; and “Acontecimento Memorável” (2026).

With a career that began in textile printing, where she deepened her studies of color and form, Hamaoui has dedicated herself entirely to painting since 2013. Her paintings construct landscapes of a fantastical nature, in which organic forms expand across luminous surfaces and figure and background blend. Botanical elements, such as foliage, flowers, and fruits, appear in overlays that combine saturated colors and softer tones. These arrangements do not seek realism, but are organized in rhythms that bring together plant matter and fictional constructions, suggesting a way of inhabiting that is close to the dreamlike.

In “Corpo de Vento” (Body of Wind), the artist presents works developed from a deeper exploration of the use of oil and oil pastels, expanding the scale of the works and experimenting with different formats, including paintings composed of two or three articulated canvases and organically shaped supports, as in “Vento Correnteza” (Wind Current) (2026). Produced simultaneously, the paintings were conceived in dialogue with each other, establishing chromatic and formal continuities in the exhibition space.

Regarding the artist's work, Ana Paula Cavalcanti Simioni comments: “Thalita's painting presents itself as suggestive, without imposing a preconceived meaning. It is an invitation to enchantment, to the pleasure of optically savoring each canvas slowly, with delight. It is on large canvases that Thalita says she feels most comfortable, as she can explore the gestural character of her practice with greater freedom and fluidity.”

All the works were produced especially for the exhibition, which remains on display until May 09, 2026. Thalita Hamaoui also participates in “A World Far Away, Nearby and Invisible”, a group show with works selected by the Jorge M. Pérez Collection, which takes place until August of this year at El Espacio 23 in Miami, USA.

Service
Exhibition | Wind Body
From March 19th to May 09st
Monday to Friday, 10am to 19pm; Saturday, from 10am to 15pm

A Reverso Studio Gallery opens the exhibition “Each hour casts its shadow.”, artist's individual Roger Medeiros, curated by Catalina BerguesWhile not intended as a retrospective, the exhibition brings together works spanning more than two decades, including previously unseen pieces, revealing how Medeiros explores artistic languages ​​and investigates photography not as mere documentation, but as a plastic material capable of generating new images and meanings.

With around thirty worksThe exhibition brings together series produced throughout the artist's career, creating new dialogues between works created at different times and highlighting Medeiros' current production.

The exhibition seeks, above all, to reveal the continuity present in Medeiros' work throughout the years. On display are works ranging from the artist's earliest photographs,
Photographic collages and works that, while still using photography as their core, are marked by the deconstruction of photographic language through the use of only enlarged color.

Regarding the artist's work, Catalina Bergues comments: “Looking at Medeiros's production over the last 30 years, it's possible to see how aspects of his current work were already present back then, and that's precisely what this new exhibition does: it blends and reorganizes the series, creating connections based on elements and colors that reappear throughout his career. Rogério began by using photography to frame the outside. Now, in his current series, he uses the exterior image to look inward.”
The artist's trajectory helps to understand this shift from photography as a mere record to photography as material for a new type of visual construction.

As he himself says, "I've always been a photographer." But it was only in 2003 that he began producing his own work. Since then, nature has become his main source of visual and aesthetic stimuli. In the search for the visual essence of scenes, Medeiros began to develop an abstract language applied to photography, a characteristic commonly associated with his work. "My references, which were previously classical photographers and painters, became the abstract expressionists of the post-war period, mainly those of the New York School," he shared.

After the publication of his book, "Rhythm and Gesture," the development of Medeiros' work led him to add manual gesture to the process, and he began producing collages that deconstruct captured landscapes through free recombination. The result is unique and imaginary images created from real records, in an approach that questions the sign of photography and the very term "photographer."

“The search for new elements to work with in collages led me to photograph the sky and its rich palette of colors. I became interested in visual simplification, after all I was dealing with the manifestation and recording of pure and unique light, according to the time, latitude and weather conditions. Relating this to time and its implications for each individual was a natural sequence. From there arose reflections on the influence of time and experiences on matters of the psyche and feelings,” explains Medeiros.

In constructing his poetics, the artist uses cotton, rice, and pearlescent papers for printing with mineral pigments, as well as cardboard, plates, glue, acid-free adhesive tapes, and paper pulp to model surfaces.
This visual investigation of light and color from the sky also guides the spatial organization of the exhibition.

“Each hour casts its shadow” is presented chromatically, with the intention of progressing from dawn to dusk and night. It begins with white, moves through light blue, continues to oranges and violets until dark blue and, finally, black. The first room of the exhibition welcomes the visitor with a white work. “Besides being a work from this current phase of Rogério's production, it represents the great synthesis that the artist's work has reached, creating a white that, only by paying close attention, one perceives as not being homogeneous,” concludes the exhibition curator.

By bringing together different series, materials, and time periods, the exhibition highlights an ongoing investigation into light, time, and photography's ability to reinvent its own forms.

Service
Exhibition Every hour casts its shadow.
From March 21rd to April 25th
Wednesday to Saturday, from 11 am to 19 pm; Monday, Tuesday and Sunday by prior appointment via Instagram [@galeriaestudioreverso]

Service
Exhibition The Courage to Stay
From March 26th to May 23th
Tuesday to Friday, 11am to 18pm, Saturday, 11am to 15pm

O Moreira Salles Paulista Institute (IMS Paulista) presents the exhibition Zumví Afro Photographic Archive, first retrospective of Lazarus Roberto at the institution. The exhibition brings together approximately 400 images from the collection created in Salvador in the 1990s, which today totals approximately 50 photographs and documents dedicated to recording the life and struggles of the Black population from their own perspective. Curated by Hélio Menezes, the exhibition occupies two floors of the IMS and highlights the political and historical character of Zumví, consolidating the presence of the artist, represented by NND|Azeco, in one of the main cultural spaces in the country.

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Exhibition | Zumví Afro Photographic Archive
From March 28th to August 23rd
Tuesday to Sunday and holidays from 10am to 20pm

A DAN Gallery opens the exhibition Masks, Ivald Granato – Who are you?, curated by Maria Alice MillietThis unprecedented exhibition brings together a collection of paintings created by Granato in the late 1990s and places them in dialogue with African masks preserved in the collections of Christian-Jack Heymès and family MastrobuonoThe opening takes place in São Paulo and connects to the agenda of the 22nd edition of SP-Arte.

The exhibition starts from a central point for understanding Ivald Granato's career. For decades, his public presence, his performance art, and his irreverent energy have played a decisive role in the reception of his work. This aspect is unavoidable, but it does not define it entirely.

Granato was also a painter of great technical mastery, an exceptional draftsman, and a profound connoisseur of art history. He moved between languages ​​and repertoires with rare intimacy, not to repeat styles, but to challenge them based on a very unique visual intelligence. Maria Alice Milliet recalls that, upon reaching maturity, after more than three decades of exhibitions, awards, and recognition, Granato already occupied a prominent place in the Brazilian art scene. A talented draftsman and painter, he had traversed the “isms” and Pop Art in close harmony with his time.

This exhibition helps to bring this point back into focus, situating it as part of a consistent investigation in which painting, memory, theatricality, and identity intertwine. In the late 1990s, Granato temporarily distanced himself from the more immediate confrontation with contemporaneity and turned his gaze to deeper dimensions of his own formation. It is from this movement that the series linked to masks was born. According to the curator, this passage corresponds to an inflection point in his career, when the artist sought values ​​linked to the past, to ancestry, and to Brazilian cultural memory. In 1998, Granato created a series of paintings on paper called The Mask. Subsequently, he developed larger works gathered under the title Who are you – The Mask. For the artist, these masks were visual annotations of faces that populated his imagination.

In addressing this production, Maria Alice Milliet shifts the usual interpretation that tends to associate this type of repertoire solely with the European tradition of modernism. In Granato's case, it is linked to the search for cultural roots and the desire for identity affirmation. The curator recovers her mixed-race origins, with Black and Indigenous ancestry, and inscribes this series within a field of belonging, symbolic recognition, and reverence, marked by an approach that arises from within. This aspect is crucial for understanding the exhibition. African ancestry appears as a structural force in Brazilian culture and as a key to reinterpreting an important part of her work.

Milliet observes that, after an initial foray into figures closer to a popular and carnivalesque universe, Granato returns to tribal masks. In the series whose question organizes the exhibition's title, we see a succession of strange faces emerging from dark backgrounds, in compositions that condense graphic intensity, chromatic energy, and a strong symbolic charge. Representation has a particular weight in this collection. It is a figure of passage, a condensation of gesture, an invention of persona, and a ritual presence. Ten years after his death, Masks, Ivald Granato – Who are you? helps us understand the artist's complexity more clearly.

Service
Exhibition | Masks, Ivald Granato – Who are you?
From March 28 to June 25
Monday, Tuesday, Wednesday, Thursday, Friday from 10:00 AM to 7:00 PM, Saturdays from 10:00 AM to 1:00 PM

A Park Culture House presents the exhibition “Calendar, "In Felipe Rezende, as part of their First Exhibition CycleThe exhibition, installed in Project 280X1020, is curated by Claudio Cretti, artistic director of the House, and text by Guilherme Teixeira.

Felipe Rezende (Salvador, 1994) employs techniques such as patchwork to construct an imaginary world about work. The method used to repair truck tarpaulins—marked by the dirt and pollution of the roads—is transferred to a six-meter-long billboard. The work proposes a reflection on the representation of working-class reality and the invention of fictions related to elements of daily work life.

The research stems from direct observation of work contexts frequently located along highways and in makeshift workshops next to gas stations, whose presence is both transient and marked by traces. By incorporating these procedures into the institutional space, the artist also reconfigures the medium.

As Guilherme Teixeira points out: “It’s a movement of appropriation: bringing this structure of public communication, the billboard that normally advertises, sells, promises, into the museum. Here, however, the billboard says nothing. Or it says everything that doesn’t fit into advertising.”

In addition to Rezende's solo exhibition, the 1st Exhibition Cycle includes the group show "Horror, Humor and Absurdity" (Galeria do Parque) and "Badauê," by Andrea Brazil (Gabinete). The cycle navigates the boundary between the real and the imaginary and articulates fabulation as an indispensable instrument for subverting current world configurations. Claudio Cretti states that this cycle seeks, through different languages, "to stretch the limits between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality."

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

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Exhibition Calendar
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

A Park Culture House presents the exhibition “Badauê, "In Andrea Brazil (Cabinet), as part of its First Exhibition Cycle. Curated by Claudio Cretti, artistic director of the House, and text by Ana Avelar, The exhibition brings together works marked by the geometrization and visual reconfiguration of vernacular architecture.

Andrea Brazil's (São Paulo, 1972) journey between Salvador and Itaparica Island, in the Recôncavo Baiano region, underpins her functional visual style. The artist grew up in contact with coastal architecture marked by anonymous interventions – made with tile shards and leftover materials – that configure what she calls "drawing in space".

In this process, facades of houses and establishments, railings, and other urban elements are reorganized as lines, colors, and voids. "It is a collective and vernacular production that condenses history, climate, technique, and aesthetic desire into a single constructive gesture," says Avelar.

Brazil's understanding of the vernacular architecture of her childhood deepened during a trip to the Algarve region of Portugal. There, the Moorish influence, recognizable in the rounded corners and geometric patterns, resonated with what the artist knew of Bahia.

For Avelar, the connection is not accidental: Brazil observes that the Malê blacks, protagonists of the 1835 revolt in Salvador, were mostly of Muslim origin and bearers of a visual tradition that infiltrated the city's material culture. Ornament, in this sense, holds historical layers that the surface of the facades does not explicitly reveal.

One of the series presented is constructed on wooden boards with layers of filler applied in two stages. The grid design—the result of an internalized visual memory—is carved into the surface until the underlying color is revealed. When the work focuses on color, it stands out for its optical vibrancy, transitioning between the stridency of Pop Art and the silence of opaque surfaces.

In addition to Brazil's solo exhibition, the 1st Exhibition Cycle includes the group show "Horror, Humor and Absurdity" (Galeria do Parque) and "Calendar" by Felipe Rezende (Projeto 280X1020). The cycle navigates the boundary between the real and the imaginary and articulates fabulation as an indispensable instrument for subverting current world configurations. Claudio Cretti states that this cycle seeks, through different languages, "to stretch the limits between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality."

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

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Exhibition Badauê
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

A Park Culture House presents the exhibition “Horror, humor, and absurdity.” (Park Gallery), as part of its First Exhibition Cycle. Curated by Jose Augusto RibeiroThe exhibition brings together works by Darks Miranda (Fortaleza, 1985) Flavia Metzler (Rio de Janeiro, 1974) Ivan Cardoso (Rio de Janeiro, 1952) and Yuli Yamagata (São Paulo, 1989) to reflect on a contemporary production marked by imaginative and ambiguous aspects.

Among films, paintings, and sculptures, the works propose experiences of visual saturation and contradiction, in which irregularity and monstrosity operate as strategies to challenge reality. "The idea is to examine how the combination of terror and comedy produces results with a force of insubordination: both in confronting the norms that seem to govern the state of things in the world, and in the elaboration of languages ​​that transcend the boundaries between genres and artistic manifestations," states the curator.

The exhibition features films by Ivan Cardoso — the “master of terror,” a term he coined in the 1970s. The filmmaker brings together contrasting references in frame-by-frame collages that articulate Tropicália, German Expressionist cinema, Hélio Oiticica, Zé do Caixão, Brazilian marginal cinema, comic book plots, sensationalist journalism, concrete poetry, among other elements, without assigning a fixed meaning to the dialogues created.

Darks Miranda incorporates the languages ​​of cinema and collage in “A Dangerous Night on the Island of Vulcan” (2022), edited from excerpts of science fiction films produced between 1950 and 1980, the height of the Cold War. The work articulates her trajectory as an editor in the construction of a “second-hand cinema”.

Flávia Metzler's paintings construct scenes in friction with the history of art, using fragments of images, objects, architecture, and scientific or philosophical concepts. In the montage of images, Metzler appropriates the knowledge of framing and the organization of events in space to generate suspense.

Yuli Yamagata, who recently began producing short videos, incorporates references from horror films, Japanese animation and comics, as well as the logic of ultra-processed foods into her work. This area of ​​interest focuses on low-cost (for factories) and high-risk (for consumers) industrial production formulas based on chemical additives, thus establishing a kind of "transgenic reality."

In addition to the group exhibition, the cycle includes the solo shows “Badauê”, by Andrea Brazil (Gabinete), and “Calendário” by Felipe Rezende (Projeto 280X1020). According to Claudio Cretti, artistic director of the Casa, the program seeks to “stretch the boundaries between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality”.

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

Service
Exhibition Horror, humor, and absurdity
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

Amid the worsening climate crisis, advancing deforestation, and growing disputes over traditional territories, the project Langsdorff: The River Expedition 200 Years Later It raises an unavoidable question: what has become of the Brazil that was explored and documented two centuries ago? By marking the bicentenary of the departure of the historic river journey from the Tietê to the Amazon, the initiative transforms one of the most important scientific voyages of the 19th century into a starting point for reflecting on the environmental—and civilizational—challenges that define the 21st century.

The project debuts on March 31st with the opening of the exhibition Langsdorff: The River Expedition 200 Years Later, at Guita and José Mindlin Brazilian Library of USP (BBM-USP)Organized by the Hercule Florence Institute and Documenta Pantanal, in partnership with BBM-USP, the Moreira Salles Institute (IMS), and the Maria Antônia Center of USP, the initiative runs until June of this year, also including a film festival and the launch of publications on the subject.

Led by Georg Heinrich von Langsdorff and financed by the Russian Empire of Tsar Alexander I, the expedition that departed from Porto Feliz (SP) on June 22, 1826, was one of the most ambitious scientific incursions ever undertaken into the interior of Brazil in the 19th century. More than mapping rivers, collecting and cataloging species, the mission sought to understand a territory still little known to European centers.

The river crossing between 1826 and 1829, from the Tietê River to the Amazon, passing through the provinces of São Paulo, Mato Grosso, and Grão-Pará, included among its members the botanist Ludwig Riedel, the astronomer Néster Rubtsov, the painter Aimé-Adrien Taunay, the draftsman and inventor Hercule Florence, who would settle in Brazil, becoming the main witness of this journey, and Wilhelmine von Langsdorff, Langsdorff's wife and the only woman to travel with the group.

Hercule's diaries, drawings, and records constitute today one of the most important visual and scientific documentations of 19th-century Brazil, fundamental for constructing the country's image abroad and for the historical understanding of its biodiversity.

The exhibition, the central axis of the project, is held at the BBM-USP and is curated by the Hercule Florence Institute. The exhibition is divided between the Multipurpose Room and the BNDES Room, establishing a direct dialogue between past and present. The works presented come from the collections of the IHF itself, the BBM-USP, the Bibliothèque nationale de France (BnF), and also from the Cyrillo Hercules Florence collection, now under the care of the IMS. Bringing together more than one hundred works, the exhibition juxtaposes images, travelogues, publications, and documents from the 19th century with contemporary productions made in the same regions traversed by the expedition.

The Multipurpose Room contains historical records and reproductions of materials from Hercule Florence and other travelers and naturalists of the 19th and 20th centuries. The BNDES Room blends historical works with photographs by names such as Lalo de Almeida, Paula Sampaio, Miguel Chikaoka, and João Pompeu, who investigate themes such as disordered occupation, siltation, deforestation, wildfires, territorial conflicts, and the resistance of traditional communities in the Amazon and Pantanal regions.

More than just updating past landscapes, the recent images create a critical counterpoint that invites the public to realize that the environmental crisis is not an abstract phenomenon, but a concrete and accelerated transformation of the Brazilian landscape.

“The expedition is not presented as a heroic feat, but almost as a memento mori. In just two centuries, a tiny interval in the history of humanity, we have profoundly altered the ecosystems that those travelers encountered,” points out Antonio Florence, great-great-grandson of Hercule Florence and founder of the institute that celebrates his life, the IHF. “The 19th century built the world we live in today, including the model of exploitation that led to the devastation we see. Revisiting this journey is a way to understand how we got here and to question the future we are building.”

For Francis Melvin Lee, curator at the IHF, the iconography of the expedition is not merely a visual and wondrous memory of the nature present there, but a testament to a time when the consequences of human intervention were still circumscribed. “When we revisit these same territories today, what emerges is a landscape traversed by devastation and conflict. The exhibition highlights these two poles so that we can perceive the historical dimension of the transformation that occurred in this very short interval of time.”

In addition to the exhibition at BBM-USP, the project also includes a film series dedicated to Brazilian environmental cinema. Curated by Mônica Guimarães of Documenta Pantanal, the initiative takes place between May and June. Finally, marking exactly 200 years since the beginning of the river expedition, the project will conclude with the launch of publications on June 22nd and 23rd. The works are based on Hercule Florence's original manuscripts and bring together critical texts, visual essays, and recent research that expand the artist's legacy into the 21st century. More details about these programs will be released soon.

Service
Exhibition | Langsdorff: The River Expedition 200 Years Later
From March 31st to June 26th
Monday to Friday, 8:30 am to 20:30 pm; Saturday, 9 am to 13 pm; Sundays and holidays, closed.
Free entry

A Nara Roesler Sao Paulo is pleased to present Party of speeches. Curated by Moacir dos AnjosThis is the first exhibition in a series celebrating Nara Roesler's 50 years as a gallery owner, which will run over the next few months in the institution's three locations: São Paulo, Rio de Janeiro, and New York.

Em Party of Speeches, The curator brings together emblematic works by artists who have marked Nara Roesler's career from 1976 to the present. Presenting works by artists "who come from the same region as Nara, the Northeast, particularly Recife," the curator, also born in the capital of Pernambuco, observes that "this exhibition seeks to reclaim a way of speaking, an inflection in this language, in this repertoire, of artists who, regardless of whether or not they bring visual references from a specific territory, do so in a certain way, an affirmation of belonging." "In Nara's speech, in Nara's voice, there is this accent, as there is in my speech as well, and in the speech of other artists who come from this region."

In addition to works from the gallery's collection, the exhibition features pieces from private collections, such as the extremely rare ceramic panel. Untitled (1976), measuring almost eight meters long by two meters high, by Francisco Brennand (June 11, 1927, Recife – December 19, 2019, Recife), rarely seen by the public. The presence of works by José Cláudio (1932, Ipojuca, Pernambuco – 2023, Recife) is significant because he was the first artist Nara Roesler worked with, before having her own gallery, and in 2022 he had a retrospective exhibition curated by Aracy Amaral at Nara Roesler São Paulo.

A frequent visitor to contemporary art exhibitions long before dedicating himself to the field, Moacir dos Anjos met Nara Roesler back in the 1980s and later curated two exhibitions for the gallery. The first was in 2013. Dogs Without Feathers [Prologue] – in edition #24 of Roesler Hotel, a project created in 2002 to promote dialogue between national and international artistic communities, with curators and artists invited to experiment in the gallery space in São Paulo. In 2016, Moacir dos Anjos was the curator of Drift, a solo exhibition by Cao Guimarães at Nara Roesler New York, and, in the same space, in 2022, the exhibition Hotel Solitude, individual work by Marcelo Silveira.

Regarding this exhibition at the Nara Roesler gallery in São Paulo, Moacir dos Anjos says that "it's like a celebration of voices." "We are gathered here listening to these artists, to their way of being in the world. It's celebrating this fiftieth anniversary of Nara's activity as a gallery owner by summoning these voices, summoning these expressions, summoning these accents that were so important in her formation and are still important today in the fact that this gallery has something that is different from others," he emphasizes.

The curator recalls that 50 years ago the art scene

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Exhibition | Party of speeches
From March 31th to May 9th
Monday to Friday, 10:19 am to 11:15 pm, Saturdays, XNUMX:XNUMX am to XNUMX:XNUMX pm

The artist Flavia Renault celebrates 30 years of career with the solo exhibition “Body House”, currently showing April 1st to 25th No. Pig iron, in São Paulo. Curated by Paula BorghiThe exhibition brings together around 50 works, including previously unseen pieces, that address themes such as life, death, and rebirth through everyday objects and personal memories.

Influenced by the Minas Gerais Baroque style and her family history, the artist's work is characterized by its strong symbolic and spiritual nature. In her pieces, remnants and collected objects are rearranged in overlays that revisit personal, family, and fictional memories. Renault She moves between drawing, painting, sewing and embroidery, incorporating documents, old books, furniture, photographs and other elements from her personal collection.

Among the highlights is the installation “Glass Slipper“(1999), reassembled with approximately 3,000 glass cups for the exhibition. Glass, present since the artist's childhood – she is the daughter of a glassmaker – appears as one of the central elements of the show, as it brings together transparency, alchemy, and elements of the home itself. The work also dialogues with her biographical history, since her great-grandparents brought the culture of glass to the family when they founded a glass factory in São Paulo at the beginning of the 20th century. “The installation is a tribute to this ancestry, presenting glass as an element shaped by breath and fire,” explains curator Paula Borghi.

Renault It also featuresColumn” (2026), an unprecedented work composed of glass cups stacked from floor to ceiling. “Erected with the intention of connecting two planes, the installation acts as a bridge between heaven (spiritual) and earth (physical), in order to bring spiritual essences to earthly reality and to carry earthly power to the cosmos,” comments Borghi.

On opening day (April 1st), the public will be able to experience an edible painting: a sponge cake filled with dulce de leche, conceived as a way to experience the artwork through the body, through digestion. “The digestive process is the most difficult for human beings. It’s like a war – many forces act to separate what is essential from what is disposable. Art should be experienced in this way, intrinsically,” says the artist.

"Home Body:" Flavia Renault 30 years of productionThis exhibition brings together drawings, collages, photographs, video, embroidery, and installations, inviting visitors to reflect on body, memory, and spirituality through the materiality of objects. It is an artistic production that liberates the art object from its formalist character and dissolves the boundaries between art and life.

Regarding the artist's work, Paula Borghi comments: "It's almost inevitable to look at the work of Flavia Renault ...and not to perceive the energy of the elements, the function of things in the world, and the physical and energetic exchanges that one has with materials. Here, all physical experience is bodily, and all artistic experience is spiritual.”

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Exhibition | Body Home
From April 1st to April 25th
Thursday to Saturday, from 14 pm to 19 pm

A Carmo Johnson Projects invites you to the opening of the solo exhibition “Soul Earth"by the artist" Belony Ferreira, curated by Paula Ramos.

In Belony Ferreira's work, the earth ceases to be merely matter and asserts itself as a language. Using clays and natural pigments collected from the soil, the artist constructs works that bear the marks of time and history. By evoking the Earth as a poetic force, Belony establishes a sensitive dialogue with issues that permeate the memory of the countryside, social engagement, and environmental urgencies.

Born in Santo Antônio da Patrulha (RS), in 1935, Belony began her artistic career at the age of 53, after a life dedicated to agriculture. It is precisely from this profound experience with the land that the core of her work emerges. More than matter, the land becomes language: a means of expression laden with memory, time, and belonging.

Using clays and natural pigments collected from the soil, Belony creates works that preserve the marks of the territory and transform everyday gestures into poetic power. Her practice articulates sensitive experience and political awareness, evoking issues related to life in the countryside, social engagement, and environmental urgencies.

In this exhibition, the artist affirms the earth as a living and narrative body — a space where memory and matter intertwine, revealing a work of silent strength and profound resonance.

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Exhibition | Soul Earth
From April 07th to May 07th
Tuesday to Friday, 11am to 17pm, Saturdays by appointment.

Curated by Ayrson Heraclitus e Rodrigo Moura, the exposure Mestre Didi – invention and ancestry in Afro-Brazilian art. No. Itaú Cultural, It encompasses the entire journey of the priest-artist, highlighting his importance both for broadening the horizons of the art world and for the evolution of the fight against racism.

Throughout his career, the man from Bahia Master Didi (1917-2013) traversed and expanded the domains of arts and religiosity. Didi's many artistic and craft skills earned him the title of master, just as his vocation and religious activity placed him in prominent positions within religious services. And it is this journey that Itaú Cultural (IC) will showcase from April 8 to July 5, 2026.

In addition to Didi's creations in the field of visual arts, the solo exhibition addresses his textual/literary production and his participation in the development of relevant organizations and events, in Brazil and other countries, focused on research and promotion of African and Afro-diasporic cultures. The exhibition space also explores the connections between Didi and other creators, such as his contemporary. Abdias Birth – project exhibition theme Itaú Cultural Occupation in 2016.

On April 7th, at 19 PM, the opening will take place. Mestre Didi – invention and ancestry in Afro-Brazilian artTo celebrate this moment, the Ilê Asipá terreiro presents Oro Ojés, a traditional ceremony held at all festivities in the space founded by Didi himself, in Salvador.

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Exhibition | Mestre Didi – invention and ancestry in Afro-Brazilian art
From April 8th to July 5th
Tuesday to Saturday, from 11am to 20pm, Sundays and holidays, from 11am to 19pm
Floors 1, -1 and -2

O Brazilian Antique Dealers' Circle, a non-profit association that brings together professionals focused on arts, antiques and related activities, promotes III Exhibition of art, antiques and jewelryThe fair, in its third edition, offers free admission to the public from April 8th to 11th and takes place at the Renaissance Hotel in São Paulo. Fine arts, high-quality antiques such as furniture, sculptures, paintings, religious art, and jewelry are among the items that will be displayed by 15 exhibitors during the event.

To Luiz Octavio Louro GomesThe founder and president of the Brazilian Antique Dealers Circle, which began in 2002 as the Jardins Antique Dealers Circle and later became the São Paulo Antique Dealers Circle, says that promoting the third edition of the art fair is, beyond a challenge, a very special moment. “Our expectations are extremely positive. We want to show the public who appreciate art, antiques, and jewelry that we are capable of offering the best of national and international production, encompassing pieces from the 17th to the 21st centuries.” The first edition took place in 2004 at the Euroart space, and the second in 2006, at the same location, bringing together 20 exhibitors.

Among the highlights of this edition is a soup tureen from the Brazilian Imperial House and the English Royal House. Made of English silver from the Georgian period, the tureen dates from 1842/43 and bears the marks of the silversmith William K. Reid, a contemporary of Paul Storr, under whose influence he produced exceptional pieces. The lid is adorned with a handle over a floral garden and features a coat of arms on the bowl with rich, predominantly vegetal decoration. It is a central piece of a tableware set received in 1843 from the English Royal Family on the occasion of the marriage of Dom Pedro II and Teresa Cristina and is from the Collection of the Brazilian Imperial Family, formerly the Collection of Dom Pedro Gastão de Orleans e Bragança.

The oil on canvas depicting the young Dom Pedro II upon reaching his majority is another rare and historically significant item on display at the fair. The work, "Pedro II in his Majority," is signed by Claude Joseph Barandier (Chambéry, 1807 – Brazil, 1877) and depicts Pedro II in uniform, sporting the Order of the Golden Fleece and the Three Orders insignia, holding a pointed hat in his right hand and a studded sword in his left. In the background is a scene of Rio de Janeiro, with the portal of the São Cristóvão Palace in the foreground. The work is signed and bears the year 1840, the date of the Emperor's majority.

The carved wooden figurehead, an iconic item by the artist who celebrated the culture of the Brazilian backlands and folk art, belongs to Francisco Biquiba dy Lafuente Guarany (1884-1985), known as Mestre Guarany. Mestre Guarany was a renowned Brazilian sculptor, considered the greatest "figurehead maker" of the São Francisco River, known for his protective wooden figureheads with features such as strong hair and expressive eyes. His work was discovered by the art circuit in the 1950s and is now present in museums. For Luiz, it's an extraordinary piece. "When you acquire an antique item, you also acquire its history," Luiz points out, explaining that the great diversity of items displayed in this edition is one of its distinguishing features and, more than that, "an opportunity for collectors and for those who want to learn more about history or even start a collection."

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Exhibition | III Exhibition of art, antiques and jewelry
April 8th to 11nd
From 14h to 20h

The first institutional exhibition of Paulo Pedro Leal (1894 – 1968), a self-taught Brazilian painter, presents the work of this artist who dedicated himself to the representation of scenes of wars and social conflicts, Umbanda rituals and rural landscapes, and whose life reflects various aspects of modernity in the country.

Sample Paulo Pedro Leal: tragic suburb It brings together more than 50 paintings created between the 1950s and 1960s, in a collection of works that demonstrate Leal's interest in the contradictions that structured the modernization process of Rio de Janeiro.

Paulo Pedro Leal spent years selling his works at Passeio Público, in downtown Rio de Janeiro. The artist identified himself as a "spiritual painter" and lived on the fringes of the institutional art circuit of the 20th century in Brazil, until in 1953 the art dealer and gallery owner Jean Boghici began to sell his works. His artistic production includes historical painting, landscape, still life, scenes of macumba (Afro-Brazilian religious practices), and urban life in Rio de Janeiro, created from observation of the world around him and contact with reproductions in books and periodicals.

The exhibition begins with works that highlight PPL's ​​interest in Western painting genres. Drowning of beggars (1965) Shipwreck (1953) even though the artist learned them outside of institutional circuits. In the gallery, there are works about shipwrecks – a great interest of the artist, who was a stevedore – and naval battles inspired by events of the First World War.

Still lifes and a series of landscapes can also be seen, resulting from observations of the encroachment of the suburbs on the countryside. Works such as... can be seen. Naval battle/bombardment of a port (1966) The Captain's House (1950) and Couple with fruit (no date).

Next, conflict scenarios in Rio de Janeiro are represented in scenes of bar fights and murders, which explore class contrast and racial issues. Featured works include... Modern surgery (1953) Crime at the hotel (1965) – work donated to the museum's collection – and Drowning of the beggars (1965), which makes Leal the only artist to portray the biggest public scandal of state violence before the military dictatorship. In 1963, under the brutal government of Carlos Lacerda, newspapers in Rio de Janeiro published photographs of the Service for the Repression of Begging throwing homeless people into the Guandu River, in an episode that became known as "Operation Beggar Killer".

In the third and final room, there are erotic works, the product of PPL's ​​observation of the city's brothel activities. In addition, representations of secular and religious festivals, syncretic images, and macumba rituals can be seen, showcasing his remarkable descriptive effort to explain all the components of this rite, of which he was a priest, as in the works... candomblé (no date) and Religious allegories (no date).

Service
Exhibition | Paulo Pedro Leal: tragic suburb
From April 11th to November 08th
Wednesday to Monday, from 10am to 18pm (entrance until 17pm)

Through a critical reflection on the system of production, consumption, and circulation of photographs of Black people in 19th-century Brazil, the lecture addresses the colonial and decolonial uses of portraiture in the past and present. To this end, some of the results of the researcher's doctoral thesis are presented. Monica Cardim "Transatlantic Portraits: The African Diaspora in the Photography of Alberto Henschel” (PGHEA-MAC/USP, 2023), with emphasis on the possible relationships of conviviality/inequality between the people involved in the making of portraits in the photographic studio of Alberto Henschel; in the circulation of the images through ethno-anthropological collections in Europe; and in the presence of the images in the collection of one of the portrayed individuals, the priest of the Candomblé religion. Juca Rosa.

The lecture aims to present a discussion on the role of agents (portraitists, subjects, collectors) involved in the production and circulation of photographic portraits of Black people, considering the unequal power relations and the violence implicit in the ethno-anthropological photographic practice of the 19th century. By bringing this reflection to the present day, the researcher associates the photographic studio with spaces of experimentation with the sacred in Afro-diasporic cosmology. In this way, she proposes photographic creation as a means of constructing counter-narratives about stories made invisible, based on the experience of those who have lived through the violence.

Entries can be made from 14h do 26/3 on the website Sesc Research and Training Center or through our app.

Registration is not possible once the activity has started. Registration is personal and non-transferable.

Payment can be made by credit card, debit card, or cash. We accept Visa, Mastercard, Elo, and Hipercard.

Upon completion of the course, you may request your certificate of participation by emailing declaracao.cpf@sescsp.org.br.
The statement will be sent within 30 days.

Cancellations can be made up to 48 hours before the start of the activity, by email: atendimento.cpf@sescsp.org.br

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Lecture | Transatlantic Portraits: The African Diaspora in the Photography of Alberto Henschel
April 23 Day
From 19 PM to 21 PM – free event

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.

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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

O Sesc Sorocaba receives the 4th edition of Cracks – Arts Triennial. titled A prayer along the way, The exhibition showcases the act of walking as a political, spiritual, and knowledge-building gesture, bringing together artistic, educational, and community practices.

Curated by Luciara Ribeiro, Naine Terena, and Khadyg Fares, the Triennial proposes a careful listening to the territory of Sorocaba, traversing its historical, visual, and social layers.

The title A prayer along the way It unites the concept of "path as prayer," popularized by professor and artist Tadeu Kaingang, with the Andean notion of "Thaki," described by sociologist Silvia Rivera Cusicanqui, and the idea of ​​"Afro-Pindoramic confluences," by quilombola thinker Antônio Bispo dos Santos (Nêgo Bispo), guiding a reconnection with cultural, educational, and memory experiences that articulate body, territory, and social life.

In total, there are 188 works (of which 26 were commissioned) developed from Black, Indigenous, marginalized, and dissident experiences, occupying both the building and spaces in the city, such as the João de Camargo Chapel, the Clube 28 de Setembro, the Pelourinho Monument, and the Monument to the Black Mother.

As in previous editions, Frestas establishes itself as an initiative that decentralizes the contemporary art circuit, recognizing Sorocaba and the interior of São Paulo as a territory of confluence between artistic and community relations.

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Exhibition | a prayer along the way
From February 27th to August 16th
Tuesdays to Fridays, 9:00 AM to 9:30 PM. Saturdays, 10:00 AM to 8:00 PM. Sundays and holidays, 10:00 AM to 6:30 PM. Except April 3rd.

A CAIXA Cultural São Paulo presents the exhibition Collective Loneliness, an unprecedented solo performance by Julio Bittencourt which proposes a visual reflection on the contradictions of contemporary society and the modes of existence in an increasingly populated, accelerated, and regulated world. Curated by Guilherme Wisnik and with exhibition design by Daniela Thomas, the show brings together eight photographic series created between 2016 and 2023, the result of extensive observational work in major urban centers such as São Paulo, New York, Tokyo, Mumbai, Beijing, and Jakarta.

The exhibition's title engages with the thought of philosopher Hannah Arendt, for whom modern society, structured around work, tends to suppress the possibility of action and reduce the individual to the condition of a functional agent. “Bittencourt's images observe human groups immersed in productive routines, incessant flows of information, and spaces that impose physical and symbolic containment. Confinement emerges as a recurring theme, even when the control mechanisms are not explicitly presented,” says Wisnik.

In his photographs, Julio Bittencourt seeks to record not extraordinary events, but states of suspension. For the artist, these are anonymous bodies, captured in situations of waiting, repetition, or adaptation to environments that condition them. From employees isolated in offices to workers housed in capsule hotels, deprivation ceases to be an exception and becomes a structural part of urban daily life. "There is, in this gesture, a political dimension that is not based on direct denunciation, but on the insistence on making visible what usually goes unnoticed," says the curator.

The series are structured as chapters of an open narrative, marked by tension and resonance. Moving between documentary and conceptual photography, Julio Bittencourt explores photography as a critical language, free from journalistic commitment to immediate facts, but attentive to the poetic possibilities of the gaze.

Collective Solitude – Júlio Bittencourt is an exhibition presented by CAIXA Cultural, produced by Phi Projetos and Cinnamon, and sponsored by CAIXA and the Government of Brazil.

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Exhibition Collective Loneliness
From March 03rd to July 12th
Tuesday to Sunday, from 9pm to 18pm

O CCBB BH gets the exposure "Marlene Barros: Weaving the Feminine featuring works in sculpture, crochet, and embroidery by the artist from Maranhão. Marlene BarrosThe exhibition, curated by Betânia Pinheiro, proposes a reflection on the female body, the historical devaluation of women, and the invisibility of their work in the field of art. It transforms the intimate act of sewing into a public narrative of resistance, belonging, and reinvention, turning needle and thread into instruments of denunciation, memory, and symbolic elaboration.  

The exhibition features installations such as “I Have Your Face,” with 49 women's faces that exchange stitched-together eyes and mouths, exploring the tension between identity and otherness; “Black Box,” which constructs an expanded self-portrait from photographs, textile interventions, and writings; “I Sew Because It's Torn,” which presents a jacket whose reverse side reveals embroidered organs that symbolize feelings and trigger the idea of ​​repair; “Between Us,” which delves into crocheted objects to problematize tasks that are naturalized within the domestic sphere; and “Whoever Gave Birth, Let Them Take Care of Them,” which questions the almost exclusive attribution of childcare to women. The exhibition layout, coordinated by Fábio Nunes, with executive production by Júlia Martins, proposes a non-chronological trajectory, allowing the public to construct their own experience between matter, gesture, and memory.  

With over four decades of experience, Marlene Barros has established herself as a leading figure in the Maranhão art scene, connecting production, training, and cultural networks through the Marlene Barros Atelier and the ZBM Collective Cultural Center. The exhibition originates from research developed during her Master's degree in Contemporary Art at the University of Aveiro, where she proposed symbolically stitching together a ruined house on the Santiago campus in Portugal, in a gesture of mending fissures of time. The house, transformed into a metaphor for the body, allowed her to expand her reflection to the feminine universe in its social, political, and affective dimensions, understanding weaving as a metaphor for bonds, memory, and the flow of life. 

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Exhibition Marlene Barros: Weaving the Feminine
From March 04 to June 01
Wednesday to Monday, from 10:22 to XNUMX:XNUMX

O MASP — São Paulo Museum of Art Assis Chateaubriand displays Claudia Alarcón & Silät: living by weavingThe exhibition brings together 25 works that encompass the artistic production of Claudia Alarcón (La Puntaña, Argentina, 1989) & Silät, a collective formed by more than one hundred weavers from the Wichí people. Curated by Adriano Pedrosa, artistic director, MASP, and Laura Cosendey, assistant curator, MASP, the exhibition marks the debut of the artist and the group in a Brazilian museum.

The works are produced with chaguar fibers, a bromeliad with resilient fibers native to the semi-arid climate of the Gran Chaco, the largest biome in Latin America after the Amazon, which occupies the northern and northeastern regions of Argentina, extending into Paraguay. The preparation of the chaguar and the technique of interlacing the fibers by hand, without the use of a loom, come from the making of yica bags, a central object in Wichi culture. Traditionally, the yica has a square shape, with geometric patterns that represent the flora and fauna of its territory, alluding to themes such as armadillo ears, owl eyes, and turtle shells. Although this is the starting point of Alarcón & Silät's work, their pieces transcend this traditional repertoire. Starting from workshops that proposed thinking about new formats for yica bags, the Silät collective was organized in 2023, and began producing fabrics within an artistic context.

Historically, the textiles produced by the Wichí had earthy, reddish, and grayish-blue tones, but the artists began adding more intense colors with aniline dyes in the yarn preparation process, achieving exuberant shades of orange and fuchsia, for example. Another important innovation in Alarcón & Silät's work lies in the fabric production process itself: while traditionally women always wove individually, the members of Silät developed methods so that several members could work simultaneously on the same piece or continue the work of another weaver.

The mythology of the Wichí people also shapes the works of Alarcón & Silät. In Kates tsinhay — Mujeres estrellas [Star Women], 2023, Claudia Alarcón evokes the myth of the star women. The belief narrates that women were stars in the sky and descended to Earth every night on chaguar threads that they themselves had woven. They came to feed, stealing the fish that the men caught. When the men discovered this, they cut these threads, and the women remained on Earth. This work and others inspired by this symbolic narrative blend ancestral geometries with figurative elements to delineate stars, moons, celestial bodies, and starry skies.

“I recover legends and stories from our people, I feel there is much work to be revived. I think about how to recover this, because it is something that perhaps cannot be said orally, we cannot shout it. But the fabric also speaks. There are those who can understand or feel it in the fabric. I realized that, although we weave in silence, everything is said in the fabric,” comments Alarcón.

The Wichí people call their territory tayhi and consider it a fundamental part of their identity, possessing a spiritual and symbolic dimension. In Spanish, the name for the region is monte (mountain). However, although the name evokes mountains, the local terrain is mostly flat. Daily life, the wind, day, dusk, night, constellations, and many other elements of life on the mountain are present in the colors, organic and geometric forms of Alarcón & Silät's works. The weavers' sensitive gaze towards natural cycles portrays, in the abstraction Kyelhkyup — El otoño [Autumn], 2023, from the MASP collection, the changes in tones, textures, and light during the passage of the seasons on the mountain.

Weaving together, combined with the implemented innovations, made it possible to create textile compositions that bring a multiplicity of voices and colors, articulating traditional patterns with a contemporary visual and poetic repertoire. "The fabrics have become banners of struggle, standards that carry messages, stories, and give voice to the women of the community," says Laura Cosendey.

Both the individuality of the artists and the dimension of the collective are demonstrated in the installation Hilulis ta llhaiematwek — Un coro de yicas [A Chorus of Yicas] (2024-25), which brings together more than one hundred bags, each produced by a member of the group. The personal choices of color and pattern are highlighted when the works are displayed side by side, while the joint presentation reinforces the political character of the collective's articulation, which made it possible to criticize issues such as the devaluation of ancestral knowledge and the precariousness of the weavers' work.

In the exhibition, the works are presented in frames or on vertical wooden structures, which allude to the way these fabrics are produced and, occasionally, displayed in the community where the weavers live. The set N'äyhay wet layikis — Caminos y cicatrizes [Paths and Scars] is one of the works exhibited in this exhibition format proposed by MASP. The textile composition was conceived by the collective in 2025 for July 9th, the day on which Argentina's independence is celebrated. The artistic creation was woven by the women to denounce the violent repression committed over time by the Argentine State against indigenous populations.

Claudia Alarcón & Silät: Living Weaving is part of MASP's annual program dedicated to Latin American Histories. The year's agenda also includes exhibitions by La Chola Poblete, Sandra Gamarra Heshiki, Santiago Yahuarcani, Colectivo Acciones de Arte, Damián Ortega, Sol Calero, Carolina Caycedo, Pablo Delano, Rosa Elena Curruchich, Manuel Herreros and Mateo Manaure, Jesús Soto, and an international group exhibition.

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Exhibition | Claudia Alarcón & Silät: living by weaving
From March 06th to August 02nd
Free admission on Tuesdays from 10 am to 20 pm (entry until 19 pm); Wednesdays and Thursdays from 10 am to 18 pm (entry until 17 pm); Fridays from 10 am to 21 pm (free entry from 18 pm to 20:30 pm); Saturdays and Sundays from 10 am to 18 pm (entry until 17 pm); closed on Mondays.

Online booking is mandatory via the link masp.org.br/ingressos

From the contemporary world that harbors the creativity and mastery of Nuno Ramos in line with the interest in producing works that give new meaning to materials of Marcos Amaro, the exhibition is born The Power of Dialogue: Nuno Ramos and Marcos Amaro, at the FAMA Museum, in Itu, São Paulo. Possessing a bold aesthetic and unmistakable styles, the artists engage in a dialogue in this exhibition with works that permeate their stories, revealed in the Almeida Jr. Room, in Sector 5.

This is a dialogue between creations from different periods of Nuno's work and others that are part of the construction of Amaro's trajectory, "a trajectory that crosses and echoes his in many aspects," in Marcos' words. Nuno Ramos is a visual artist, composer, playwright, writer, and essayist, and for over 30 years he has worked with the superimposition of materials, ranging from Vaseline to beeswax, to pigments, oil paint, fabrics, plastics, and metals. "What touches me most is the painting, the organization of the materials, and the way they present themselves to the world," reveals Amaro. "Nuno is, for me, one of the great contemporary artists. Although I belong to a generation after his—as often happens—it was precisely his work that opened paths and possibilities for expanding language for my generation and for my own artistic practice," adds Marcos.

Based on this admiration, the exhibition features dozens of works by both artists. In fact, some of Nuno's works are part of Amaro's personal collection; Amaro, in addition to being a businessman and founder of the FAMA Museum, is also a collector. As a visual artist, Marcos Amaro is known for a unique style that blends industrial aesthetics with touches of affection, revealing his deep interest in materials and imbuing them with new meanings and narratives.

“The Power of Dialogue: Nuno Ramos and Marcos Amaro” presents large-scale, three-dimensional works that stand out for their spatiality and volume. Beyond the complexity of their execution and the plasticity that surrounds them, the works that make up the exhibition connect directly with the generous scale of the Museum's galleries and will be on display until November 1, 2027.

Service
Exhibition It takes time, but there will be time.
From March 14th to November 01st
Wednesdays, and from Friday to Sunday, from 11 am to 17 pm.

O IMS Paulista The exhibition will showcase a collection of photobooks that highlight the importance of women in the development of the field of photography. The show, "What They Saw: Historical Photobooks by Women, 1843-1999," brings together 106 books from the Photography Library's collection, including recently acquired titles from 10x10 Photobooks, an organization founded in 2012 by Russet Lederman and Olga Yatskevich. Based in New York, 10x10 Photobooks is dedicated to the research and sharing of photobooks, promoting exhibitions, publishing books on the subject, and encouraging their appreciation and understanding.

Russet and Olga, who curated the exhibition, comment on the project: “Although studies on the history of photobooks began only 37 years ago, they have been written mostly by men and have focused on publications authored by men. As a non-profit organization whose mission is to share photobooks globally and encourage their appreciation and understanding, the 10×10 team frequently discusses how the history of the photobook has been – and continues to be – written from a biased perspective, and that a 'new' history needs to emerge.”

On opening day, there will be a public conversation at the IMS Photography Library at 18:30 pm, with Russet participating. Admission is free, with tickets available 60 minutes prior.

“The exhibition reinforces the role of the IMS as a center of reference for the study of photobooks and for the circulation of internationally relevant projects. By bringing to the Brazilian public works that span more than a century and a half of production, 'What They Saw' amplifies the debate about the contribution of women to the history of photography and creates new research opportunities,” says Miguel Del Castillo, coordinator of the Photography Library at the Instituto Moreira Salles.

All the books on display can be handled by visitors to the exhibition, which is divided into ten sections – these function as chronological markers, but mainly highlight the historical, socio-political and gender achievement moment in which these women produced their works: “1843-1919: Pioneers”; “1920-1935: The New Woman”; “1936-1945: Raising Their Voices”; “1946-1955: From Ashes to Family”; “1956-1964: Books as Bombs”; “1965-1969: Nostalgia, Pop and Revolution”; “1970-1975: Sisterhood in Bloom”; “1976-1979: Sexual Politics”; “1980-1989: A Global Awakening”; and “1990-1999: In Search of a Photodemocracy”.

“Pioneers,” for example, includes the work of the Englishwoman Anna Atkins, who, in 1843, self-published Photographs of British Algae: Cyanotype Impressions, originally handwritten and illustrated with 307 cyanotypes of various British algae. In the exhibition, she is present in a contemporary edition of the publication. Also in this section is the oldest example on display, Dream Children (1901), by the American Elizabeth B. Brownell (1860-1909), in which prose and poetry texts by 28 authors are illustrated with carefully composed scenes in the style of tableaux vivant, popular in photography of the late 19th and early 20th centuries.

In the following sections, works such as African Journey (1945), by anthropologist Eslanda Cardozo Goode Robeson (1895-1965), appear. Part of the "Raising Their Voices" segment, the publication is one of the first books about Africa produced by a Black American researcher – and a success at the time of its release, due to the growing interest of African Americans in African politics and culture during the 1940s, when Pan-Africanists advocated an unbreakable link between the African diaspora and the continent.

In the section “Sisterhood in Bloom,” the photobook Les Tortures volontaires [Voluntary Tortures] (1974), by the French artist Annette Messager (1943), stands out. It is a collection of images cut from magazines and advertisements showing women undergoing various cosmetic procedures or beauty routines, highlighting how women's bodies are a site of violence.

Among the numerous highlights, the public will also be able to see Passion (1989), by Cameroonian photographer Angèle Etoundi Essamba (1962), in the segment “A Global Awakening”. Essamba subverts the stereotypical representations of Black female bodies produced by Western photographers with powerful portraits that highlight pride, strength, and awareness. The selection also includes Hiromix (1998), by Japanese photographer Hiromix (1976), a deeply personal portrait of Japanese youth culture in the 1990s, with photographs starring, for the most part, the author herself, who seeks to capture the youthful beauty, exuberance, and uninhibited pleasures of a young woman's urban experience. Hiromix is ​​in the section “In Search of a Photodemocracy”, which closes the exhibition.

Three Brazilian women were already in the curators' original selection: Claudia Andujar (1931) with Amazônia (1979), a book that documents the period she spent with the Yanomami, photographing their cultural ceremonies, shamanic rites, and traditions; Maureen Bisilliat (1931) is represented by the book A João Guimarães Rosa (1969), in which she photographs the backlands of Minas Gerais inspired by the novel Grande Sertão: Veredas; and Gretta Sarfaty (1947), who broke patterns in the 1970s by satirizing her own image, with Autophotos (1978), bringing together three photographic series by the pioneer of body art and feminism in Brazil.

“But, since we are in Brazil, we thought it would be interesting to slightly expand the number of Brazilian women photographers included in the selection,” says Miguel Del Castillo. “I made a suggestion based on the IMS collection, of important books published during that period.” That's how four more volumes were incorporated into the Brazilian version of the exhibition: Dor (1998), by Vilma Slomp (1952); Quem você pensa que ela é? (1995), by Claudia Jaguaribe (1955); Pinturas e platibandas (1987), by Anna Mariani (1935-2022); and Entre (1974), by Stefania Bril (1922-1992).

The IMS is hosting an exhibition that has already had versions in various formats shown at prestigious institutions around the world, such as the Getty Research Institute in Los Angeles (2025), the Museo Reina Sofía in Madrid (2024), the Rijksmuseum in Amsterdam (2022), and the New York Public Library (2022). The exhibition catalog (originally titled What They Saw: Historical Photobooks by Women, 1843–1999), authored by the two curators, received the PhotoBook Award for best catalog of the year in 2021, an award given during the Paris Photo fair, and will be available for consultation at the exhibition and for sale at the Livraria da Travessa bookstore in IMS Paulista.

On display until August 2nd, the exhibition invites the public to reflect on the processes of constructing history and the possibilities of constantly rewriting it, as the curators point out: “What they saw sought to include a diverse group of publications illustrated with photographs taken by women. For the history of the photobook to become more inclusive, it is necessary for all people (men, women, non-binary, white, black, Asian, African, Latino, Indigenous, Western, Eastern, etc.) to contribute. We see this reading room on the role of women in the production, dissemination, and authorship of photobooks as a necessary step to unwrite the current history of the photobook and rewrite a history of the photobook that is more equitable and inclusive.”

Service
Exhibition What they saw: historical photobooks of women, 1843-1999
From March 17th to August 02nd
Tuesday to Sunday and holidays (except Mondays), from 10 am to 20 pm.

A Simons of Assisi inaugurates, in São Paulo, the exhibition “Wind Body”, solo by the artist Thalita Hamaoui, with critical text signed by the Brazilian sociologist, professor and researcher Ana Paula Cavalcanti SimioniThe exhibition features eleven previously unseen paintings, created in oil paint and oil pastel on canvas and linen, in varying dimensions. Highlights include “Corpo de Vento” (2026), a large-format painting that extends over five meters; and “Acontecimento Memorável” (2026).

With a career that began in textile printing, where she deepened her studies of color and form, Hamaoui has dedicated herself entirely to painting since 2013. Her paintings construct landscapes of a fantastical nature, in which organic forms expand across luminous surfaces and figure and background blend. Botanical elements, such as foliage, flowers, and fruits, appear in overlays that combine saturated colors and softer tones. These arrangements do not seek realism, but are organized in rhythms that bring together plant matter and fictional constructions, suggesting a way of inhabiting that is close to the dreamlike.

In “Corpo de Vento” (Body of Wind), the artist presents works developed from a deeper exploration of the use of oil and oil pastels, expanding the scale of the works and experimenting with different formats, including paintings composed of two or three articulated canvases and organically shaped supports, as in “Vento Correnteza” (Wind Current) (2026). Produced simultaneously, the paintings were conceived in dialogue with each other, establishing chromatic and formal continuities in the exhibition space.

Regarding the artist's work, Ana Paula Cavalcanti Simioni comments: “Thalita's painting presents itself as suggestive, without imposing a preconceived meaning. It is an invitation to enchantment, to the pleasure of optically savoring each canvas slowly, with delight. It is on large canvases that Thalita says she feels most comfortable, as she can explore the gestural character of her practice with greater freedom and fluidity.”

All the works were produced especially for the exhibition, which remains on display until May 09, 2026. Thalita Hamaoui also participates in “A World Far Away, Nearby and Invisible”, a group show with works selected by the Jorge M. Pérez Collection, which takes place until August of this year at El Espacio 23 in Miami, USA.

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Exhibition | Wind Body
From March 19th to May 09st
Monday to Friday, 10am to 19pm; Saturday, from 10am to 15pm

Service
Exhibition The Courage to Stay
From March 26th to May 23th
Tuesday to Friday, 11am to 18pm, Saturday, 11am to 15pm

O Moreira Salles Paulista Institute (IMS Paulista) presents the exhibition Zumví Afro Photographic Archive, first retrospective of Lazarus Roberto at the institution. The exhibition brings together approximately 400 images from the collection created in Salvador in the 1990s, which today totals approximately 50 photographs and documents dedicated to recording the life and struggles of the Black population from their own perspective. Curated by Hélio Menezes, the exhibition occupies two floors of the IMS and highlights the political and historical character of Zumví, consolidating the presence of the artist, represented by NND|Azeco, in one of the main cultural spaces in the country.

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Exhibition | Zumví Afro Photographic Archive
From March 28th to August 23rd
Tuesday to Sunday and holidays from 10am to 20pm

A DAN Gallery opens the exhibition Masks, Ivald Granato – Who are you?, curated by Maria Alice MillietThis unprecedented exhibition brings together a collection of paintings created by Granato in the late 1990s and places them in dialogue with African masks preserved in the collections of Christian-Jack Heymès and family MastrobuonoThe opening takes place in São Paulo and connects to the agenda of the 22nd edition of SP-Arte.

The exhibition starts from a central point for understanding Ivald Granato's career. For decades, his public presence, his performance art, and his irreverent energy have played a decisive role in the reception of his work. This aspect is unavoidable, but it does not define it entirely.

Granato was also a painter of great technical mastery, an exceptional draftsman, and a profound connoisseur of art history. He moved between languages ​​and repertoires with rare intimacy, not to repeat styles, but to challenge them based on a very unique visual intelligence. Maria Alice Milliet recalls that, upon reaching maturity, after more than three decades of exhibitions, awards, and recognition, Granato already occupied a prominent place in the Brazilian art scene. A talented draftsman and painter, he had traversed the “isms” and Pop Art in close harmony with his time.

This exhibition helps to bring this point back into focus, situating it as part of a consistent investigation in which painting, memory, theatricality, and identity intertwine. In the late 1990s, Granato temporarily distanced himself from the more immediate confrontation with contemporaneity and turned his gaze to deeper dimensions of his own formation. It is from this movement that the series linked to masks was born. According to the curator, this passage corresponds to an inflection point in his career, when the artist sought values ​​linked to the past, to ancestry, and to Brazilian cultural memory. In 1998, Granato created a series of paintings on paper called The Mask. Subsequently, he developed larger works gathered under the title Who are you – The Mask. For the artist, these masks were visual annotations of faces that populated his imagination.

In addressing this production, Maria Alice Milliet shifts the usual interpretation that tends to associate this type of repertoire solely with the European tradition of modernism. In Granato's case, it is linked to the search for cultural roots and the desire for identity affirmation. The curator recovers her mixed-race origins, with Black and Indigenous ancestry, and inscribes this series within a field of belonging, symbolic recognition, and reverence, marked by an approach that arises from within. This aspect is crucial for understanding the exhibition. African ancestry appears as a structural force in Brazilian culture and as a key to reinterpreting an important part of her work.

Milliet observes that, after an initial foray into figures closer to a popular and carnivalesque universe, Granato returns to tribal masks. In the series whose question organizes the exhibition's title, we see a succession of strange faces emerging from dark backgrounds, in compositions that condense graphic intensity, chromatic energy, and a strong symbolic charge. Representation has a particular weight in this collection. It is a figure of passage, a condensation of gesture, an invention of persona, and a ritual presence. Ten years after his death, Masks, Ivald Granato – Who are you? helps us understand the artist's complexity more clearly.

Service
Exhibition | Masks, Ivald Granato – Who are you?
From March 28 to June 25
Monday, Tuesday, Wednesday, Thursday, Friday from 10:00 AM to 7:00 PM, Saturdays from 10:00 AM to 1:00 PM

A Park Culture House presents the exhibition “Calendar, "In Felipe Rezende, as part of their First Exhibition CycleThe exhibition, installed in Project 280X1020, is curated by Claudio Cretti, artistic director of the House, and text by Guilherme Teixeira.

Felipe Rezende (Salvador, 1994) employs techniques such as patchwork to construct an imaginary world about work. The method used to repair truck tarpaulins—marked by the dirt and pollution of the roads—is transferred to a six-meter-long billboard. The work proposes a reflection on the representation of working-class reality and the invention of fictions related to elements of daily work life.

The research stems from direct observation of work contexts frequently located along highways and in makeshift workshops next to gas stations, whose presence is both transient and marked by traces. By incorporating these procedures into the institutional space, the artist also reconfigures the medium.

As Guilherme Teixeira points out: “It’s a movement of appropriation: bringing this structure of public communication, the billboard that normally advertises, sells, promises, into the museum. Here, however, the billboard says nothing. Or it says everything that doesn’t fit into advertising.”

In addition to Rezende's solo exhibition, the 1st Exhibition Cycle includes the group show "Horror, Humor and Absurdity" (Galeria do Parque) and "Badauê," by Andrea Brazil (Gabinete). The cycle navigates the boundary between the real and the imaginary and articulates fabulation as an indispensable instrument for subverting current world configurations. Claudio Cretti states that this cycle seeks, through different languages, "to stretch the limits between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality."

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

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Exhibition Calendar
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

A Park Culture House presents the exhibition “Badauê, "In Andrea Brazil (Cabinet), as part of its First Exhibition Cycle. Curated by Claudio Cretti, artistic director of the House, and text by Ana Avelar, The exhibition brings together works marked by the geometrization and visual reconfiguration of vernacular architecture.

Andrea Brazil's (São Paulo, 1972) journey between Salvador and Itaparica Island, in the Recôncavo Baiano region, underpins her functional visual style. The artist grew up in contact with coastal architecture marked by anonymous interventions – made with tile shards and leftover materials – that configure what she calls "drawing in space".

In this process, facades of houses and establishments, railings, and other urban elements are reorganized as lines, colors, and voids. "It is a collective and vernacular production that condenses history, climate, technique, and aesthetic desire into a single constructive gesture," says Avelar.

Brazil's understanding of the vernacular architecture of her childhood deepened during a trip to the Algarve region of Portugal. There, the Moorish influence, recognizable in the rounded corners and geometric patterns, resonated with what the artist knew of Bahia.

For Avelar, the connection is not accidental: Brazil observes that the Malê blacks, protagonists of the 1835 revolt in Salvador, were mostly of Muslim origin and bearers of a visual tradition that infiltrated the city's material culture. Ornament, in this sense, holds historical layers that the surface of the facades does not explicitly reveal.

One of the series presented is constructed on wooden boards with layers of filler applied in two stages. The grid design—the result of an internalized visual memory—is carved into the surface until the underlying color is revealed. When the work focuses on color, it stands out for its optical vibrancy, transitioning between the stridency of Pop Art and the silence of opaque surfaces.

In addition to Brazil's solo exhibition, the 1st Exhibition Cycle includes the group show "Horror, Humor and Absurdity" (Galeria do Parque) and "Calendar" by Felipe Rezende (Projeto 280X1020). The cycle navigates the boundary between the real and the imaginary and articulates fabulation as an indispensable instrument for subverting current world configurations. Claudio Cretti states that this cycle seeks, through different languages, "to stretch the limits between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality."

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

Service
Exhibition Badauê
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

A Park Culture House presents the exhibition “Horror, humor, and absurdity.” (Park Gallery), as part of its First Exhibition Cycle. Curated by Jose Augusto RibeiroThe exhibition brings together works by Darks Miranda (Fortaleza, 1985) Flavia Metzler (Rio de Janeiro, 1974) Ivan Cardoso (Rio de Janeiro, 1952) and Yuli Yamagata (São Paulo, 1989) to reflect on a contemporary production marked by imaginative and ambiguous aspects.

Among films, paintings, and sculptures, the works propose experiences of visual saturation and contradiction, in which irregularity and monstrosity operate as strategies to challenge reality. "The idea is to examine how the combination of terror and comedy produces results with a force of insubordination: both in confronting the norms that seem to govern the state of things in the world, and in the elaboration of languages ​​that transcend the boundaries between genres and artistic manifestations," states the curator.

The exhibition features films by Ivan Cardoso — the “master of terror,” a term he coined in the 1970s. The filmmaker brings together contrasting references in frame-by-frame collages that articulate Tropicália, German Expressionist cinema, Hélio Oiticica, Zé do Caixão, Brazilian marginal cinema, comic book plots, sensationalist journalism, concrete poetry, among other elements, without assigning a fixed meaning to the dialogues created.

Darks Miranda incorporates the languages ​​of cinema and collage in “A Dangerous Night on the Island of Vulcan” (2022), edited from excerpts of science fiction films produced between 1950 and 1980, the height of the Cold War. The work articulates her trajectory as an editor in the construction of a “second-hand cinema”.

Flávia Metzler's paintings construct scenes in friction with the history of art, using fragments of images, objects, architecture, and scientific or philosophical concepts. In the montage of images, Metzler appropriates the knowledge of framing and the organization of events in space to generate suspense.

Yuli Yamagata, who recently began producing short videos, incorporates references from horror films, Japanese animation and comics, as well as the logic of ultra-processed foods into her work. This area of ​​interest focuses on low-cost (for factories) and high-risk (for consumers) industrial production formulas based on chemical additives, thus establishing a kind of "transgenic reality."

In addition to the group exhibition, the cycle includes the solo shows “Badauê”, by Andrea Brazil (Gabinete), and “Calendário” by Felipe Rezende (Projeto 280X1020). According to Claudio Cretti, artistic director of the Casa, the program seeks to “stretch the boundaries between the conceivable and the inconceivable, highlighting the potential of fiction to critically reflect on reality”.

Finally, the Performances program will open on March 28, 2026, at 17 pm, with performer and dancer Maria Noujaim presenting “Lago”. Through the transposition of mythology into movement, the artist explores the hybridity between animal and human, taking as a starting point the Greek myth of Leda and the Swan.

The OI Exhibition Cycle is curated by Claudio Cretti and is an initiative of the Institute of Contemporary Culture (ICCo) and was made possible with resources from the Rouanet Law, Ministry of Culture, with sponsorship from Banco BV, Laranjinha and Banco Itaú.

Service
Exhibition Horror, humor, and absurdity
From March 28 to June 28
Wednesday to Sunday, from 11 am to 18 pm

Amid the worsening climate crisis, advancing deforestation, and growing disputes over traditional territories, the project Langsdorff: The River Expedition 200 Years Later It raises an unavoidable question: what has become of the Brazil that was explored and documented two centuries ago? By marking the bicentenary of the departure of the historic river journey from the Tietê to the Amazon, the initiative transforms one of the most important scientific voyages of the 19th century into a starting point for reflecting on the environmental—and civilizational—challenges that define the 21st century.

The project debuts on March 31st with the opening of the exhibition Langsdorff: The River Expedition 200 Years Later, at Guita and José Mindlin Brazilian Library of USP (BBM-USP)Organized by the Hercule Florence Institute and Documenta Pantanal, in partnership with BBM-USP, the Moreira Salles Institute (IMS), and the Maria Antônia Center of USP, the initiative runs until June of this year, also including a film festival and the launch of publications on the subject.

Led by Georg Heinrich von Langsdorff and financed by the Russian Empire of Tsar Alexander I, the expedition that departed from Porto Feliz (SP) on June 22, 1826, was one of the most ambitious scientific incursions ever undertaken into the interior of Brazil in the 19th century. More than mapping rivers, collecting and cataloging species, the mission sought to understand a territory still little known to European centers.

The river crossing between 1826 and 1829, from the Tietê River to the Amazon, passing through the provinces of São Paulo, Mato Grosso, and Grão-Pará, included among its members the botanist Ludwig Riedel, the astronomer Néster Rubtsov, the painter Aimé-Adrien Taunay, the draftsman and inventor Hercule Florence, who would settle in Brazil, becoming the main witness of this journey, and Wilhelmine von Langsdorff, Langsdorff's wife and the only woman to travel with the group.

Hercule's diaries, drawings, and records constitute today one of the most important visual and scientific documentations of 19th-century Brazil, fundamental for constructing the country's image abroad and for the historical understanding of its biodiversity.

The exhibition, the central axis of the project, is held at the BBM-USP and is curated by the Hercule Florence Institute. The exhibition is divided between the Multipurpose Room and the BNDES Room, establishing a direct dialogue between past and present. The works presented come from the collections of the IHF itself, the BBM-USP, the Bibliothèque nationale de France (BnF), and also from the Cyrillo Hercules Florence collection, now under the care of the IMS. Bringing together more than one hundred works, the exhibition juxtaposes images, travelogues, publications, and documents from the 19th century with contemporary productions made in the same regions traversed by the expedition.

The Multipurpose Room contains historical records and reproductions of materials from Hercule Florence and other travelers and naturalists of the 19th and 20th centuries. The BNDES Room blends historical works with photographs by names such as Lalo de Almeida, Paula Sampaio, Miguel Chikaoka, and João Pompeu, who investigate themes such as disordered occupation, siltation, deforestation, wildfires, territorial conflicts, and the resistance of traditional communities in the Amazon and Pantanal regions.

More than just updating past landscapes, the recent images create a critical counterpoint that invites the public to realize that the environmental crisis is not an abstract phenomenon, but a concrete and accelerated transformation of the Brazilian landscape.

“The expedition is not presented as a heroic feat, but almost as a memento mori. In just two centuries, a tiny interval in the history of humanity, we have profoundly altered the ecosystems that those travelers encountered,” points out Antonio Florence, great-great-grandson of Hercule Florence and founder of the institute that celebrates his life, the IHF. “The 19th century built the world we live in today, including the model of exploitation that led to the devastation we see. Revisiting this journey is a way to understand how we got here and to question the future we are building.”

For Francis Melvin Lee, curator at the IHF, the iconography of the expedition is not merely a visual and wondrous memory of the nature present there, but a testament to a time when the consequences of human intervention were still circumscribed. “When we revisit these same territories today, what emerges is a landscape traversed by devastation and conflict. The exhibition highlights these two poles so that we can perceive the historical dimension of the transformation that occurred in this very short interval of time.”

In addition to the exhibition at BBM-USP, the project also includes a film series dedicated to Brazilian environmental cinema. Curated by Mônica Guimarães of Documenta Pantanal, the initiative takes place between May and June. Finally, marking exactly 200 years since the beginning of the river expedition, the project will conclude with the launch of publications on June 22nd and 23rd. The works are based on Hercule Florence's original manuscripts and bring together critical texts, visual essays, and recent research that expand the artist's legacy into the 21st century. More details about these programs will be released soon.

Service
Exhibition | Langsdorff: The River Expedition 200 Years Later
From March 31st to June 26th
Monday to Friday, 8:30 am to 20:30 pm; Saturday, 9 am to 13 pm; Sundays and holidays, closed.
Free entry

A Nara Roesler Sao Paulo is pleased to present Party of speeches. Curated by Moacir dos AnjosThis is the first exhibition in a series celebrating Nara Roesler's 50 years as a gallery owner, which will run over the next few months in the institution's three locations: São Paulo, Rio de Janeiro, and New York.

Em Party of Speeches, The curator brings together emblematic works by artists who have marked Nara Roesler's career from 1976 to the present. Presenting works by artists "who come from the same region as Nara, the Northeast, particularly Recife," the curator, also born in the capital of Pernambuco, observes that "this exhibition seeks to reclaim a way of speaking, an inflection in this language, in this repertoire, of artists who, regardless of whether or not they bring visual references from a specific territory, do so in a certain way, an affirmation of belonging." "In Nara's speech, in Nara's voice, there is this accent, as there is in my speech as well, and in the speech of other artists who come from this region."

In addition to works from the gallery's collection, the exhibition features pieces from private collections, such as the extremely rare ceramic panel. Untitled (1976), measuring almost eight meters long by two meters high, by Francisco Brennand (June 11, 1927, Recife – December 19, 2019, Recife), rarely seen by the public. The presence of works by José Cláudio (1932, Ipojuca, Pernambuco – 2023, Recife) is significant because he was the first artist Nara Roesler worked with, before having her own gallery, and in 2022 he had a retrospective exhibition curated by Aracy Amaral at Nara Roesler São Paulo.

A frequent visitor to contemporary art exhibitions long before dedicating himself to the field, Moacir dos Anjos met Nara Roesler back in the 1980s and later curated two exhibitions for the gallery. The first was in 2013. Dogs Without Feathers [Prologue] – in edition #24 of Roesler Hotel, a project created in 2002 to promote dialogue between national and international artistic communities, with curators and artists invited to experiment in the gallery space in São Paulo. In 2016, Moacir dos Anjos was the curator of Drift, a solo exhibition by Cao Guimarães at Nara Roesler New York, and, in the same space, in 2022, the exhibition Hotel Solitude, individual work by Marcelo Silveira.

Regarding this exhibition at the Nara Roesler gallery in São Paulo, Moacir dos Anjos says that "it's like a celebration of voices." "We are gathered here listening to these artists, to their way of being in the world. It's celebrating this fiftieth anniversary of Nara's activity as a gallery owner by summoning these voices, summoning these expressions, summoning these accents that were so important in her formation and are still important today in the fact that this gallery has something that is different from others," he emphasizes.

The curator recalls that 50 years ago the art scene

Service
Exhibition | Party of speeches
From March 31th to May 9th
Monday to Friday, 10:19 am to 11:15 pm, Saturdays, XNUMX:XNUMX am to XNUMX:XNUMX pm

A Carmo Johnson Projects invites you to the opening of the solo exhibition “Soul Earth"by the artist" Belony Ferreira, curated by Paula Ramos.

In Belony Ferreira's work, the earth ceases to be merely matter and asserts itself as a language. Using clays and natural pigments collected from the soil, the artist constructs works that bear the marks of time and history. By evoking the Earth as a poetic force, Belony establishes a sensitive dialogue with issues that permeate the memory of the countryside, social engagement, and environmental urgencies.

Born in Santo Antônio da Patrulha (RS), in 1935, Belony began her artistic career at the age of 53, after a life dedicated to agriculture. It is precisely from this profound experience with the land that the core of her work emerges. More than matter, the land becomes language: a means of expression laden with memory, time, and belonging.

Using clays and natural pigments collected from the soil, Belony creates works that preserve the marks of the territory and transform everyday gestures into poetic power. Her practice articulates sensitive experience and political awareness, evoking issues related to life in the countryside, social engagement, and environmental urgencies.

In this exhibition, the artist affirms the earth as a living and narrative body — a space where memory and matter intertwine, revealing a work of silent strength and profound resonance.

Service
Exhibition | Soul Earth
From April 07th to May 07th
Tuesday to Friday, 11am to 17pm, Saturdays by appointment.