Visionary, explosive and revolutionaryNiki de Saint Phalle (1930–2002) turned 20th-century art upside down. Her works, marked by explosions of color and gesture, challenged prejudices, broke silences, and opened paths for women's freedom to be celebrated without asking permission. With this force, the exhibition arrives in Brazil. Niki de Saint Phalle. Dreams of Freedom, at the Fiat House of Culture, in Belo Horizonte.
Unprecedented in the country, the exhibition brings together 67 works by the French-American artist, almost all of which have never been seen here, including sculptures, assemblages and the iconic Nanas (deliberately exaggerated female figures), mostly from the collection of the Museum of Modern and Contemporary Art of Nice (MAMAC), as well as a rare work from the Pinacoteca of São Paulo, which leaves the museum for the first time since 1997, when it was acquired.
Shortly before her death in 2001, Saint Phalle donated an extraordinary collection of works to MAMAC, carefully selected by her. According to the curators of the exhibition in Brazil, Hélène Guenin and Olivier Bergesi, "the collection reflects not only her essential place in the history of art over the last six decades, but also her convictions, her fury, her battles, and the way she positioned herself in her time."
From a network of international partnerships — between the City of Nice, MAMAC, the Niki Charitable Art Foundation and the 24 Ore Cultura group, from Milan — the idea for Dreams of freedom, joining forces and highlighting the transformative power of an artist who never settled down.
Em Niki de Saint Phalle. Dreams of Freedom, the public is invited to explore different moments in the artist's life and work, from her earliest artistic experiments to her large-scale sculptures, passing through phases marked by pain, experimentation, healing, celebration, and social engagement. The exhibition combines historical works, audiovisual recordings, and settings that reflect the artist's vibrant visual language. The exhibition runs until November 2nd and is part of the France-Brazil 2025 Season.
Stealing the fire
Niki de Saint Phalle refused to be a mere spectator of life—she preferred to explode, detonate, and shoot at it. A feminist when it was still dangerous, she dared to occupy male-dominated spaces and embodied a lush imaginary, populated by giant goddesses, colorful monsters, and creatures that mocked bourgeois morality. Her fury became form, and the relentless battle against the conventions of patriarchy revolutionized the art world.
"I understood very early on that men held the power, and I wanted that power. Yes, I would steal their fire. I would not accept the limits my mother tried to impose on my life just because I was a woman. I would break through those limits to reach the world of men, which seemed adventurous, mysterious, and exciting to me. I decided that I would become a heroine myself," Saint Phalle wrote in a letter to collector Pontus Hultèn in October 1991.
For a long time, Niki de Saint Phalle was misunderstood and even reduced to caricatures of herself: the exuberant Nanas, the fiery declarations, the assumed taste for ornament. Some male critics dismissed her work as "too feminine" and dismissed her discourse on matriarchy. At the same time, some feminist art historians also saw a trap in her creations—the suspicion that, by depicting ample, colorful bodies, she might be reinforcing stereotypes she sought to combat.
Currently, his work is undergoing a necessary reinterpretation in various parts of the world. "Today, his production is finally being reconsidered in all its richness and complexity; recognized for its unique and undeniable contribution to the history of forms and gestures; and reevaluated in light of his profound engagement and sensitivity to the conflicts and causes of his time," the curators state.
A heroine's path
In 1953, Saint Phalle began making collages with twigs and pebbles after being hospitalized for mental health problems caused by post-war sexist stereotypes. The family had returned to France, fleeing the repressive climate of the United States.
Later, she began painting imaginary worlds, a blend of fantasies and anxieties—and before she knew it, artistic practice would be her own cure. “In the end, my nervous depression turned out to be a good thing, because my time in the clinic made me a painter,” she declared in her book. Harry and Me, 1950-1960: The Family Years.
In the following years, he would create assemblages, a type of collage in which he combined small toys with discarded materials and household utensils. Later, he began incorporating more aggressive and dangerous objects, such as blades, scissors, toy guns, and sharp objects. These were the first signs of an artistic expression marked by rebellion.
Painter, sculptor, filmmaker, she transformed trauma into ammunition and, with .22 caliber rifle bullets, fired at her own canvases to see another expression of rebellious art born. Thus, still in 1961, the Shots (shot paintings), which completely revolutionized the art world. Shots that reflected a world torn apart by violence in the context of the Cold War. Complex works full of meaning that expressed the artist's fury against patriarchy and its institutions.
"I've never experienced such intense creativity as I did with Tiros. It was thrilling to see those works become real before my eyes; my feelings of aggression found a form of sublimation," the artist declared.
From 1963 onwards, the Nanas — deliberately exaggerated female figures, transforming the irony of stereotypes into sculpture. Among brides, witches, devouring mothers, and women in labor, Saint Phalle ironically exposed the roles society insisted on imposing on women.
For her, the Nanas represent women in power. “We have the Black Power, then why not the Nana Power"Communism and capitalism have failed. I think the time has come for a new matriarchal society," he told the Houston Post.
In the late 1970s, Saint Phalle began designing what, twenty years later, would become the Tarot Garden, a pharaonic public project located in Tuscany, Italy.
An immersive experience where life, death, joy, and fear coexist. A dialogue with popular art that seeks to leave museums and democratize access for all.
Throughout her career, Saint Phalle fought for libertarian causes and a more just world, promoting respect and inclusion for all forms of life. Particularly between the 1980s and 2000s, she used her art as a tool for social transformation.
During the AIDS epidemic, she fought the stigmatization of people living with HIV, using different media in her work, such as writing and illustrating two books aimed at young people. For her, it was about championing love and solidarity for those affected by the disease.
During this difficult and painful period, new sculptures featuring male figures emerged, previously absent from his work. Phallic obelisks, like totems, multicolored and ornate, defied the fear and rejection that the disease imposed.
Always promoting an egalitarian vision and attentive to the world's feelings, she also denounced the hunting of wild animals and created a series of works that warned about climate change — and its consequent loss of biodiversity.
In 1993, Saint Phalle, now in her 60s, moved from New York to La Jolla, California, for health reasons. "I can no longer breathe in France, or in New York, or in Switzerland, or in Italy, or in Spain, or anywhere else. To breathe or not to breathe, that became the question," she said.
The West Coast was indeed a breath of fresh air for her life and her artistic production, where she rediscovered customs from her own country and began to document inspirations, dreams and concerns in her Californian Diary, writing, drawing and silkscreening illustrated portraits, which became a precious visual record of his work and thoughts.
Niki de Saint Phalle once said she wanted to become a heroine — and indeed, she did. His powerful and imaginative output continues to inspire new generations, not only for its bold aesthetic, but for its ability to transform suffering into beauty, denunciation into hope, and exclusion into power. His works are a hymn to freedom, joy, and diversity, and for this reason, they remain so relevant today.
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After attracting almost 1 million visitors with the exhibition “Dos Brasis – arte e pensamento negro” – considered one of the largest exhibitions dedicated exclusively to national black production -, the Cultural Center Sesc Quitandinha, in Petrópolis, will open, this Saturday (24/5), a new exhibition project that promises great repercussion. It is “Indigenous Insurgencies: Art, Memory and Resistance“, which will bring together works and performances by indigenous artists from villages across the country.
The exhibition will open in stages—or in "bonfires," the terminology used by the project's curators. It is designed by anthropologist and Indigenous activist Sandra Benites and Marcelo Campos, chief curator of the Rio Art Museum (MAR), with assistance from Rodrigo Duarte, a visual artist and socio-environmental activist. The term bonfires (TATA YPY, the origin of fire, in Guarani) refers to the ancestral cultural practices of gathering around a fire. For the exhibition, the word refers to the meetings and discussions that open each stage of the exhibition.
"It's at the campfires that sharing and dialogue takes place, fueled by strength and affection. It's a community's meeting place, a place for debate, decision-making, retelling our stories, and awakening memories," the curators explain.
Andrey Guaianá and debate with indigenous leaders
The first bonfire, this Saturday (May 24th), will be marked by the unveiling of Andrey Guaianá Zignnatto's commissioned work at Galeria Brasil, and a conversation between the public, artists, and Indigenous leaders in the Convention Hall. Participating will be Lutana Kokama, Vanda Witoto, Iracema Gãh Té Kaingang, and Alice Kerexu Takua, as well as curator Sandra Benites. The event, which takes place from 5 p.m. to 14 p.m., is free. There will also be a livestream through a link available at www.sescrio.org.br.
Born in Jundiaí, São Paulo, a descendant of the Tupinaky'ia and Gûarini tribes, Andrey is recognized for his works that reference the world of labor. The grandson of a bricklayer, whom he helped as a child, Andrey uses materials such as cement bags, bricks, mortar joints, and fragments and leftovers from urban interventions in his works. His intention is to provoke reflection on the unstable and dynamic relationship that humans establish with their surroundings.
Diversity of peoples
The next bonfire will be on June 7th, featuring the development of commissioned works—those created exclusively for the exhibition. The public will be able to witness the creation process, which will involve installations, paintings, and illustrations. The pieces will be created by artists and collectives from Amazonas, Mato Grosso do Sul, Pará, Pernambuco, Rio Grande do Sul, and Santa Catarina, from the Desana, Baniwa, Anambé, Guarani Nhandeva, Xavante, Guarani, Mbya, and Karapotó peoples.
The project's development continues on July 10th, coinciding with the Sesc Winter Festival, when audiovisual works, including mapping, will be presented and a work by artist Tamikuã Txihi will be unveiled around Lake Quitandinha. The final bonfire is scheduled for August 9th, completing the exhibition, featuring works that evoke art and memory. The exhibition will run until February 2026.
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Exhibition | Indigenous Insurgencies: Art, Memory and Resistance
From May 24th to February 24th
Tuesday to Sunday and holidays, from 10 am to 16:30 pm
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24 May 2025 10:00 - February 24, 2026 16:30(GMT-03:00)
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Cultural Center Sesc Quitandinha
Avenida Joaquim Rolla, 2, Petrópolis, Rio de Janeiro - RJ
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How is an art exhibition constructed? What is the role of a collection curator? In the 69th edition of the Ocupação Itaú Cultural program, we are invited to learn about the history
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How is an art exhibition constructed? What is the role of a collection curator? In the 69th edition of the program Itaú Cultural Occupation, we are invited to learn about the trajectory of one of the most important art researchers in Brazil, the curator, cultural manager, art critic and artist Paulo Herkenhoff.
The exhibition – curated by Leno Veras and the team of Itaú Cultural – presents documents, photographs, books, works of art and several of his notebooks to focus on three fundamental aspects of Paulo's work: collecting, curating exhibitions and editing art publications.
Born in Cachoeiro de Itapemirim, Espírito Santo, our honoree's work is marked by in-depth research into the history of art, culture, and their protagonists; by the weaving of knowledge networks and structuring actions in museums and organizations where he works, always concerned with strengthening the foundations that sustain cultural institutions, ensuring their longevity and permanence. As a manager and critic, he is committed to building collections and critical analyses that truly examine and represent the multiplicity that constitutes the country and the transmission of its inherent knowledge.
As a young man, still in Cachoeiro de Itapemirim, Paulo Herkenhoff grew up immersed in a school created and managed by his family. It was there that he began working in the library at age 10, taught classes at 14, and curated his first exhibition, an exhibition dedicated to the state of Paraíba, at age 6. He attended the Cachoeiro de Itapemirim Art School, founded by Isabel Braga in 1950, and in the 1970s, he studied with artist Ivan Serpa. It was also while studying under Serpa that Paulo began his artistic career. His reception was immediate, earning awards at the PUC-Rio University Salon, the Summer Salon, the New Values exhibition, and the XNUMXth Young Contemporary Art. In that same decade, he participated in the Venice Biennale and the Paris Biennale.
His dream, since his youth, was to work in diplomacy, which led him to pursue a law degree, a career he would set aside years later to dedicate himself to culture and art. He was Chief Curator of the Rio de Janeiro Museum of Modern Art (MAM/RJ), Cultural Director of the Rio de Janeiro Museum of Art (MAR), and also worked at the New York Museum of Modern Art (MoMA), the Rio de Janeiro Museum of Fine Arts (MNBA), and many other organizations in Brazil and abroad. He was responsible for curatorial projects that have become part of Brazilian art history, such as the 24th São Paulo International Biennial, known as the "Biennale of Anthropophagy"; the Brazilian Pavilion at the 47th Venice Biennale (Italy); the Salão Arte Pará, in dozens of editions; Tempo, at MoMA (New York); and the "Vantade Construtiva" (Constructive Will) exhibition at the Fadel Collection, at MAM-RJ; among others. At Itaú Cultural, he curated the exhibitions Investigations: the artist's work (2000), Trajectory of Light in Brazilian Art (2001), Chaos and Effect (2011), Ways of Seeing Brazil: 30 years of Itaú Cultural (2017) and Sandra Cinto: from Ideas in the Head to Eyes in the Sky (2020).
In addition to the exhibition, Ocupação Paulo Herkenhoff has a website and a publication – available on the opening date – that expand and deepen the content covered in the exhibition, with texts by the honoree himself, as well as testimonies from partners and researchers about the legacy of his work for Brazilian art.
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Exhibition | Paulo Herkenhoff Occupation
From August 30th to November 23th, 2025
Tuesday to Saturday, from 11am to 20pm, Sundays and holidays, from 11am to 19pm
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August 30th, 2025 11:00 - November 23th, 2025 20:00(GMT-03:00)
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Itaú Cultural
Avenida Paulista, 149, São Paulo - SP
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The Ministry of Culture, through the Federal Law of Incentive to Culture (Rouanet Law), and the Tomie Ohtake Institute present the exhibition Earth, fire, water and winds – By
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O Ministry of Culture, through the Federal Law of Incentive to Culture (Rouanet Law), and the Tomie Ohtake Institute present the exhibition Earth, fire, water and winds – For a Museum of Wandering with Édouard Glissant. Conceived as a museum in motion and dedicated to the work and thought of the Martinican poet, philosopher and essayist Edouard Glissant (1928–2011), the exhibition is part of the France-Brazil 2025 Season as one of its main highlights.
With its title inspired by the poetry anthology La Terre, le feu, l'eau et les vents (2010), organized by the Martinican writer, the exhibition essays what a "Museum of Wandering" might look like. Wandering is an experience of Relation: it rejects singular affiliations and proposes the museum as an archipelago—a space of ruptures, erasures, and reinventions without forced synthesis. Against rigid genealogies, it proposes a memory in transit, made of provisional alliances, translations, and tremors—an institutional process driven by the encounter between times, territories, and languages. Although Glissant left fragments of his vision for a 21st-century museum, he never realized it.
The exhibition imagines what this Museum of Wandering could look like, with its multiple layers and unexpected connections between works, documents, and landscapes. The two key ideas behind the exhibition's organization are the word of the landscape and the landscape of the word, conceived from Glissant's concept of "parole du paysage." For the poet, the landscape is not merely an external setting, but an active force that shapes memories, gestures, and languages.
Furthermore, other ideas are present in the author's phrases, manuscripts and interviews, such as Everyone, creolization, archipelago, tremor, opacity, word of the landscape e here thereThis is a series of interconnected issues with profound relevance in the contemporary world, which once again finds itself permeated by discourses and measures of intolerance towards diversity and incapable of creating channels for listening to the natural elements and landscapes threatened with destruction.
It is against this backdrop that part of the personal collection assembled by Glissant and currently preserved at the Mémorial ACTe in Guadeloupe is presented for the first time in Brazil. The collection includes paintings, sculptures, and engravings by artists with whom the thinker lived and wrote, such as Wifredo Lam, Robert Mattea, Agustin Cardenas, Antonio Segui, Enrique Zañartu, José Gamarra, Victor Brauner and Victor Anicet, among others. They are artists of growing international recognition, who have lived through diaspora and immigration, and who have produced works in transit between languages, languages, landscapes, and multiple histories.
The collection of works includes documents, notebooks, videos, and fragments of texts and interviews by Glissant, also previously unpublished. The exhibition also features excerpts from the extensive interview given in 2008 to Patrick Chamoiseau, Martinican writer and intellectual partner of Glissant, which resulted in the monumental ABC-book.
This extensive and rich collection is presented in dialogue with works by more than 30 contemporary artists from the Americas, the Caribbean, Africa, Europe, and Asia, inviting the public to experience, in a sensorial way, the intertwining of landscape, language, and memory.
The exhibition is part of the Tomie Ohtake Institute's long-term research into the production of memory, and follows on from recent initiatives such as the exhibition Rehearsals for the Museum of Origins (2023) and the seminar Essays for the Museum of Origins – Politics of Memory (2024), which brought together representatives from museums, archives and communities in an intense debate on preservation and citizenship.
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Exhibition | Earth, fire, water and winds – For a Museum of Wandering with Édouard Glissant
From September 03nd to January 25th
Tuesday to Sunday, 11am to 19pm – last entry at 18pm
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September 3th, 2025 11:00 - 25 January 2026 19:00(GMT-03:00)
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Tomie Ohtake Institute
Av. Brigadeiro Faria Lima, 201, Pinheiros, São Paulo – SP
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Over the years, Ailton Krenak has established himself as one of the leading voices for the indigenous cause in Brazil and abroad. His career has fueled a collective movement to rethink
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Ailton krenak Over the years, he established himself as one of the leading voices for the Indigenous cause in Brazil and abroad. His career fueled a collective movement to rethink the world, bringing issues such as humanity, nature, spirituality, and the future to the forefront of debate.
A historic milestone occurred in 1987, when he painted his face with genipap during a speech at the Constituent Assembly, a gesture that became a symbol of resistance, a reminder that indigenous peoples exist, resist, and have much to say.
A Ailton Krenak Occupation, held by Itaú Cultural (IC), celebrates this journey. Born in 1953, in the Vale do Rio Doce (MG), he is the author of fundamental works that have become references in times of crisis, such as Ideas for postponing the end of the world, life is not useful e Ancestral future. In addition to literary production, Ailton was responsible for important initiatives, such as the creation of Indian Program, from Indigenous Newspaper and the Indigenous Culture Center (NCI), which expanded and strengthened the voice of indigenous peoples.
The exhibition occupies the ground floor of the IC and presents testimonies, manuscripts, and records of a life dedicated to exploring paths outside the logic of consumption and destruction. The project also includes a printed publication (available Online) it is a website with exclusive content (itaucultural.org.br/ocupacao).
In addition to the tribute dimension, this Occupation – a word that in the Krenak language translates as Men am-ním – is an invitation to slow down, conceive of other horizons and decolonize our perspective.
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Exhibition | Ailton Krenak Occupation
From September 04th to November 23th
Tuesday to Saturday, from 11am to 20pm, Sundays and holidays, from 11am to 19pm
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September 4th, 2025 11:00 - November 23th, 2025 20:00(GMT-03:00)
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Itaú Cultural
Avenida Paulista, 149, São Paulo - SP
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Sesc Casa Verde unveils the monumental murals by artist Giulia Bianchi, created especially for the Comedoria space as part of the "Hand, Earth, Fire" project. The four works,
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O Sesc Green House inaugurates the artist's monumental murals Giulia Bianchi, created especially for the Comedoria space within the project “Hand, Earth, Fire"The four works, each measuring 5 x 12 meters, total 240 m² of PVA acrylic paint—the equivalent of the facade of a 16-story building. The grandiose murals depict iconic foods of Brazilian culture: meat, garlic, fish, and bananas.
Entitled Dance, Amber, Threshold e EARTH, the paintings fit into the concept of food developed by Sesc, which understands food as a living expression of identities, territories, and ways of life. More than figurative representations, the murals explore the sensory and synesthetic aspects of painting, evoking flavors, aromas, and textures that transcend the image. The proposal connects art and food in dialogue with current issues such as sustainability, biodiversity, and the preservation of traditional knowledge.
Bianchi's research, marked by contact with agricultural communities in the Ribeira Valley and international experiences, is reflected in oceanic compositions that seem to expand beyond the walls, blurring the lines between the visible and the intangible. The works remain on public display at Sesc Casa Verde until December 19, reinforcing the space's role as a meeting point for culture, food, and community.
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Exhibition | Hand, Earth, Fire
From September 20nd to December 19th
Tuesday to Friday, 10am to 18:30pm; Saturdays, Sundays and holidays, 10am to 17:30pm
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September 20th, 2025 10:00 - December 19, 2025 18:30(GMT-03:00)
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Sesc Green House
327, Casa Verde Avenue, Sao Paulo - SP
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Entitled Mil Graus, the 38th Panorama of Brazilian Art critically elaborates the country's current reality under the notion of limit heat — a temperature at which everything melts, disintegrates and
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Entitled XNUMXº [A thousand degrees], 38th Panorama of Brazilian Art critically elaborates the current reality of the country under the notion of limit heat — a temperature at which everything melts, disintegrates and transforms. The project seeks to outline a multidimensional horizon of contemporary Brazilian artistic production, establishing points of contact and contrast between various research projects and practices that, in common, share a high energy intensity. By bringing together artists and other agents who address ecological, historical, sociopolitical, technological and spiritual issues, the exhibition also serves as an activator of memory and public debate. As a whole, the works circumvent the limits of language and its pre-established meanings, revealing universal signs through gestures and regional accents. The idea of a temperature opposite to absolute zero — that is, an absolute heat — points to the interests of thisPanoramathrough radical experiences, extreme conditions — climatic or metaphysical —, and transitory states — of matter and soul — that place us before transmutation as an inevitable destiny.
A série Panorama of Brazilian Art, started in 1969, is a milestone in the history of exhibitions. The first Panorama of Brazilian Art coincides with the installation of the Museum of Modern Art of São Paulo (MAM) at its headquarters, on the Ibirapuera Park marquee. With the start of the marquee renovation in 2024, MAM temporarily left its headquarters and is expected to return in early 2025. The calendar and all of MAM's activities were maintained thanks to the support and hospitality of partner institutions that have historical ties to the museum, such as the Fundação Bienal de São Paulo, which welcomed part of its team, and the Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), which, in addition to providing space for collaborators, hosts the 38th Panorama of Brazilian Art.
Developed by the curators Germano Dushá, Thiago de Paula Souza e Ariana Nuala, the project of the 38th Panorama of Brazilian Art: A thousand degrees is part of a colloquial expression that has multiple meanings, but always with the sense of high intensity. The exhibition points to conditions marked by heat, melting and drastic changes in any existing matter. In this edition, the contemporary world is observed from extreme conditions, both in the sense of historical and sociopolitical issues, as well as in relation to ecological and technological discussions.
MAM has established partnerships with institutions in the cultural hub of Ibirapuera Park. Carrying out the 38th Panorama of Brazilian Art at MAC USP, in addition to a historic rapprochement between the two institutions, it is a moment of integration and combined efforts for the benefit of art and its audiences. MAM thanks MAC USP for its receptiveness.
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Exhibition | XNUMXº [A thousand degrees]
From October 5nd to January 26th, 2026
Tuesday to Friday, from 9:30 am to 21:30 pm, Saturday and Sunday, from 10 am to 18 pm
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October 5th, 2025 09:30 - 26 January 2026 21:30(GMT-03:00)
Local News
Museum of Modern Art of São Paulo (MAM SP)
Av. Pedro Álvares Cabral, s/nº, Vila Mariana, São Paulo – SP
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Portraying the marvelous city through the strength of northeastern art, the Chácara do Céu Museum – located in the Santa Teresa neighborhood, Rio de Janeiro – opens its doors to
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Portraying the marvelous city through the strength of northeastern art, the Chácara do Céu Museum – located in the Santa Teresa neighborhood, Rio de Janeiro – opens its doors to the unprecedented exhibition 'Cyrus' River: The City in Woodcuts'.
With free entry, the program celebrates the trajectory of the visual artist Ciro Fernandes and his passion for Rio de Janeiro, through 76 original works that range from the ancient technique of woodcuts to other styles, such as paintings, engravings, lithographs and India ink.
Designed for everyone—art lovers, tourists, and locals seeking an enriching cultural experience—the exhibition features works that engage with the region's popular narratives and reveal the versatility of wood engraver, painter, illustrator, writer, and luthier Ciro Fernandes, using a variety of visual languages.
The opening, which will take place from 12 pm to 16:30 pm on October 18, will feature a special reception for journalists, friends, admirers and well-known figures from the art scene, including a cocktail party and exclusive interviews with Ciro Fernandes.
Also during the opening ceremony, guests will enjoy a unique performance of Brazilian music, bringing the sounds of Rio de Janeiro into dialogue with the exhibition's visual experience. Guitarist and composer Jean Charnaux will perform a special performance featuring stunning views of Rio de Janeiro.
Distributed across different thematic sections, the exhibition begins with 'Ciro's Rio: A Love Affair,' which portrays the artist's arrival in Rio de Janeiro and his passion for the city, with works that capture the urban cycle and daily life of Rio residents. The next section, 'Lapa and Its Mysteries,' reveals the neighborhood's bohemian and cultural atmosphere, highlighting iconic figures such as Madame Satã and immortalizing the diversity and essence of its streets.
The exhibition continues to connect the public with its northeastern roots through the sections 'The Cordelista Tradition Arrives in the Marvelous City', which narrates how the artist revived woodcuts in the capital's urban cordels; and 'The Exuberant Nature of Ciro' (Immersive Room), which transports visitors into a glass room with the artist's works in the form of 'lambe-lambes' and stickers, allowing the works to interact with the panoramic view of Rio de Janeiro.
Integrating different formats, the exhibition is not limited to woodcuts, but also includes acrylic paintings on canvas; engravings and lithographs; illustrations; Indian ink art; as well as covers of cordéis, LPs, newspaper articles and books by great writers illustrated by the artist.
Attendees will also be able to gain inspiration and immerse themselves in Ciro Fernandes' creative landscape through the display of his work tools, such as the press, carving materials, and the wooden dies used for the works. These tools helped dictate the varying dimensions of the works, with the smallest measuring 28 x 32 cm and the largest measuring 90 x 220 cm.
Within the exhibition, visitors will be able to contemplate works such as Cardeal (Woodcut – Year 2022 – 96 x 33 cm); Massacre da Candelária (Acrylic paint on canvas – Year 1990 – 80 x 120 cm); São Jorge Ogum (Woodcut – Year – 65 x 160 cm); Além de Amanhecer (Woodcut – Year 2022 – 28 x 38 cm), Lapa (Woodcut – Year 1979 – 65 x 96 cm), and Madame Satã (Woodcut – Year 1979 – 64 x 47 cm).
As a way to democratize access to culture, the exhibition will feature four workshops for children from public schools in the Santa Teresa region. Using recycled material prints (Tetrapack), the workshops offer playful and cultural activities for children, exploring Rio de Janeiro's natural beauty and exploring the city's birdlife, reflecting Ciro Fernandes' inspiration.
Accessibility and inclusion in the national exhibition 'O Rio de Ciro'
Expanding access to art, the exhibition will feature tools that make the works more accessible to visitors. The existing matrices have tactile parts that allow for touch; the space is filled with Braille plaques for wall texts, audio descriptions, and extended captions for the main works. The event will also offer guided tours with specialized instructors on specific days.
The exhibition is curated by Mariana Lannes, director of cultural production and creator of artistic projects, with national experience in music, visual arts, popular culture and social impact; and Alessandro Zoe, founder of the artistic management firm CRIVO, with over 8 years of experience leading cultural productions in theater, music and visual arts.
Ciro Fernandes, at the ripe old age of 83, is one of the greatest names in the Brazilian art scene, considered a living legacy of woodcut art in the country. With a career marked by his expressive lines, originality, and commitment to preserving Northeastern traditions, Ciro continues to inspire new generations to expand the boundaries of folk art.
The project is covered by the Pró-Carioca notice, a program to promote Rio de Janeiro culture, from the City of Rio de Janeiro, through the Municipal Department of Culture.
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Exhibition | In the Dark Corner of Lázaro Beach
From October 18th to January 30th
Daily, from 10am to 16:30pm, except Tuesdays
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October 18th, 2025 10:00 - 30 January 2026 16:30(GMT-03:00)
Local News
Chácara do Céu Museum
Murtinho Nobre Street, 93 - Santa Teresa, Rio de Janeiro - RJ
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The Kovak & Vieira Gallery, located in Jardins, São Paulo, opens the solo exhibitions “Instantes Suspensos”, by Alexandre Skaff, and
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A Kovak & Vieira Gallery, located in Jardins, São Paulo, opens solo exhibitions “Suspended Moments”, Alexandre Skaff, and "Path", Rafael Calazans, known as Highraff. Curated by Luiza Testa, both remain open to the public, with free entry, until November 22th, 2025.
Although distinct in technique and language, the two exhibitions come together poetically by addressing perceptions, memories, and feelings that span the time and experience of each artist—creating meeting points between past, present, and subjectivity.
Alexandre Skaff — The poetics of the instant
Em “Suspended Moments”, Alexandre Skaff presents 12 oil paintings on canvas that capture fragments of everyday life and transform the ordinary into poetry. Drawing from his personal archive of photographs, the artist seeks to capture the ephemeral moment—a gesture of resistance to the acceleration of contemporary time.
Trained in architecture, Skaff brings his keen eye for light, composition, and space to painting, creating layers that simultaneously evoke the materiality of life and the delicacy of memory.
As the curator notes Luiza Testa, "Layers of memory overlap, creating a sense of current nostalgia. We are challenged to distinguish what is the past revisited under the mature gaze of life and what resonates with our own history."
Highraff — From urban to symbolic
Em "Path", Highraff presents 15 unpublished works that mark a turning point in his career. Recognized for his work in the world of street art., the artist brings to the studio an aesthetic that unites graphic design, geometric abstraction, kinetic art and symbology.
Second Luiza Testa, “The path marks a bend in his trajectory: it is the moment when he moves from the streets to the studio; this is accompanied by the consolidation of mathematics and geometry, which take a place previously dominated by intuition.”
The series reflects a spiritual and symbolic search, in which geometric shapes gain new density and meaning — revealing the balance between rationality and emotion that permeates the artist's research.
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Exhibitions | Suspended Moments e Path
From October 22th to November 22th
Monday to Friday from 11:30 am to 7:00 pm and Saturdays from 11:30 am to 4:30 pm, Sundays by appointment only
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October 22th, 2025 11:30 - November 22th, 2025 19:00(GMT-03:00)
Local News
Kovak & Vieira Gallery
150 - Gardens - Sao Paulo - SP
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Negative Desire is a group exhibition at Martins&Montero that investigates queer theory to critique the logics of reproducibility – understood here not only as a biological process of
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Negative desire It's a group exhibition in Martins&Montero, which investigates queer theory to trace a critique of the logics of reproducibility – understood here not only as a biological process of repetition, but as a normative principle that sustains the hegemonic, colonial, established world.
Curated by the artist Jota MombasaThe exhibition proposes an exercise in refusal and invention that casts a "negative ray" on the present – an expression that evokes not only the desire to destroy the world as we know it, but also the desire to interrupt the recurrence of imposed ways of existing. The exhibition brings together artists who cultivate this gesture of undoing in their practices: not as a sterile negation, but as an opening to imagine what would emerge afterward.
The starting point is the work of the artist Hudinilson Jr., an unavoidable figure in Brazilian art who worked with the body, copying, and everyday life as territories for experimentation. His relationship with Xerox and xerography forms a poetics of deviated reproduction that distorts, dismantles, and reenacts his own image.
The curatorial team also connected with Hudinilson Jr. through a visit to his apartment-studio, still imbued with his presence. The exhibition proposes a kind of sensitive reimagining of this intimate space: accumulations, asymmetries, layers of life that overlap with an investigation of the limits of the body and space.
Alongside Hudinilson Jr., the exhibition brings together two artists from different generations, whose works intertwine in the same unease with the world and its compulsory reproduction. Bruna Kury, an artist from Rio de Janeiro, works in collaborations and collectives, such as the Coiote collective. Her work challenges regimes of authorship and power, creating alliances with dissenting bodies. Zines, protest phrases, and tactical gestures compose a repertoire of insurgency that makes reproducibility a field of aesthetic and political dispute. Tetê, an artist from Pará, operates between visual poetry and photography. Her poem-diagrams and publications – both printed and digital – construct affective maps that dismantle the linearity of meaning. Her research traverses language, image, and the desire to rewrite the world from its fracture.
Among these three artists pulsates an antisocial movement, in the deepest sense of the word: that of refusing the pact with a society that excludes, normalizes, and corrects. In the works of all three artists, there is a desire for the world to "fall apart"—or at least, to stop repeating itself as it is. A negative and vital desire: not for the end in itself, but for the end as an opening to something else.
Paradoxically – or precisely because of this – their practices resort to copying, digital media, collage, and photography. The technique of reproducibility, in this context, does not reaffirm itself, but is taken as a fissure, as a space for reconfiguration, resignifying this idea that is as technical as it is political. These works do not deny repetition, but sabotage it from within, reinventing its contours and possibilities.
Jota Mombaça's curatorial approach is conceived as a visual essay on the limits of the present and the possibilities of its dissolution. With a trajectory that intertwines performance, poetry, and critical theory, Mombaça constructs, in this exhibition, a space of friction between the end and the future. It is not merely about imagining the collapse of the world as it has been structured, but about summoning images, gestures, and practices that anticipate what may emerge when the world ends. In this interval between ruin and reinvention, Negative Desire speculates that the world may not continue in the same way—and that this may be a good chance.
Service
Exhibition Negative desire
From October 30th to December 30th
Tuesday to Friday 10am to 19pm, Saturday 11am to 16pm
Period
October 30th, 2025 10:00 - December 30, 2025 19:00(GMT-03:00)
Local News
Martins & Montero
R. Jamaica, 50 - Jardim America, São Paulo - SP
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Fortes D'Aloia & Gabriel presents Slow Flying Luminescence, a new exhibition by Luiz Zerbini in São Paulo. This body of work features images of termite mounds from the Brazilian Cerrado, with larvae in...
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A Forts D'Aloia & Gabriel presents Slow Flying LuminescenceLuiz Zerbini's new exhibition in São Paulo. In this body of work, the image of termite mounds from the Brazilian Cerrado, with larvae in a state of bioluminescence, triggers a new investigation into color, light, and rhythm, based on phenomena from the natural world.
In the exhibition space, a large sculpture installation dialogues with large-scale paintings, creating an environment where traces of human presence coexist with the reproduction and transformation of nature's own image. In this interconnected and hypnotically atmospheric environment, surfaces and volumes become portals to an expanded perception. Pictorial and sculptural properties shift from one work to another, establishing a system of visual exchanges. The termite mound, in turn, appears sometimes in painting, sometimes as a sculptural body with a psychedelic texture.
“Like an affective and botanical inventory of the tropics, the artist once again turns to the landscape—not as an idyllic setting, but as a living, inhabited body, strained by visible and invisible histories. The forest, the fields, the riverbanks, the urban vestiges, and the remnants of what we call civilization are translated into large-scale sculptures and canvases, with geometric patterns and organic gestures,” writes Catarina Duncan in the critical essay accompanying the exhibition.
Together, the paintings and the installation form a web of relationships between narrative and geography, highlighting Zerbini's continuous experimentation across different media. The exhibition shows how environments, whether tropical forests, animal architectures, or coastal margins, are composed of vital layers, balances between opposites, ongoing transformations, a historical, ecological, and plastic entanglement.
Service
Exhibition Slow-Flying Luminescence
November 01th to January 24th, 2026
Tuesday to Friday, from 10 am to 19 pm, Saturday from 10 am to 18 pm
Period
November 1th, 2025 10:00 - 24 January 2026 19:00(GMT-03:00)
Local News
Fortes D'Aloia & Gabriel Shed - SP
71 James Holland Street, Barra Funda, Sao Paulo
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Recognized as one of the most influential designers of her generation, with consistent graphic design projects for prominent contemporary artists such as Giselle Beiguelman, Ana Frango Elétrico, Dora Morelenbaum, Céu,
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Recognized as one of the most influential designers of her generation, with consistent graphic design projects for prominent contemporary artists such as Giselle Beiguelman, Ana Frango Elétrico, Dora Morelenbaum, Céu, Theo Croker, and Gregório Duvivier, among others, Maria Cau Levy brings to the Lapa Lapa, the unprecedented exhibition 1 + 1, developed over ten years between teaching, drawing and artistic practice. The curator is the architect and researcher Gabriela de Matos.
This will be the first time that Maria Cau Levy, a professor at the School of Architecture at Escola da Cidade in São Paulo, brings a solo exhibition to Brazil. In 2024, she held a solo show in Tokyo, Japan. 1 + 1The exhibition, focused on her research into printing and geometric patterns, brings together 13 works that synthesize this journey.
Trained as an architect, Cau explores repetition, movement, the interplay between different scales, and bioart in the two-dimensional field, unfolding the notion of design into the realm of the senses. The artist, who holds a master's degree from FAU-USP and whose research is dedicated to Russian constructivism, brings this intersection of fields of knowledge to the forefront.
“Pattern design is a long-standing passion of mine. I'm impressed by this type of design which, effectively, constitutes a project that is always unfinished: incomplete, because we never fully grasp it. Perhaps because its main characteristic is to transcend the static image, constituting a journey-image that allows us to continuously immerse ourselves in a vast horizon.”, comments the artist.
Em 1 + 1The public will be able to enjoy the series. Papers 1–4 e Abstracts, developed between 2017 and 2024, originally exhibited in the exhibition Circulatory Pattern which took place in Tokyo last year, with text by architect and researcher Ciro Miguel. The exhibition also includes a video art piece developed from images obtained with a high-resolution microscope, revealing the cellular structure of pine wood. The work was created under the supervision of American bio-artist Suzanne Anker. In addition, the public can view the audiovisual recording of a performance conceived in collaboration with artists Kiko Dinucci and Gustavo Infante.
“The expression 'construction on an infinite plane' is, for me, the one that best alludes to pattern design: an authentic project conceived for a potentially endless plane. A construction in its raw state, an embryo of something that may come to be,” Cau adds to the discussion about the works selected for the exhibition.
The exhibition is curated by Gabriela de Matos, an architect and researcher, creative director of Estúdio Superdimensão, which investigates the relationships between architecture, memory, and the African diaspora in Brazilian culture, articulating research, criticism, teaching, and practice. She is also the artistic and executive director of Instituto Cambará, an organization dedicated to promoting Afro-Brazilian architecture, and a doctoral candidate at TU Eindhoven (Netherlands), where she develops studies on theory, criticism, and curatorship in contemporary art and architecture. Gabriela was the curator of the Brazilian Pavilion at the 2023 Venice Architecture Biennale, with the Terra project, which was awarded the unprecedented Golden Lion.
Service
Exhibition 1+1
De 01 the 09 November
Tuesday to Saturday, from 14:19 to XNUMX:XNUMX
Period
November 1th, 2025 14:00 - November 9th, 2025 19:00(GMT-03:00)
Local News
lapa lapa
326 Afonso Sardinha Street. Lapa - SP
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The Galeria Gabinete, located in the Casa do Governador Cultural Park in Vila Velha, is inaugurating the exhibition "Modern Forever – Brazilian Modernist Photography in the Itaú Cultural Collection." After being presented in...
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A Gallery Cabinet, at Governor's House Cultural ParkOn Vila Velha opens the exhibition Modern Forever – Brazilian Modernist Photography in the Itaú Cultural CollectionAfter being presented in Vitória, the exhibition returns to Espírito Santo, now arriving in Vila Velha with a new selection from this collection curated by Iatã Cannabrava, photography curator and researcher. It brings together 43 works by 14 renowned artists, focusing on their participation in the Foto Cine Clube Bandeirante, in particular, and their importance to the modernist movement for Brazilian culture and identity.
Always curated by Cannabrava, Moderna para Sempre has been shown in different cities in Brazil and abroad, with different selections. It began in 2010 at the Rio Grande do Sul Art Museum in Porto Alegre. It then traveled to Belém, Belo Horizonte, Brasília, Curitiba, Fortaleza, Recife, Ribeirão Preto, Rio de Janeiro, Santos, and again Porto Alegre, as well as Vitória, and now Vila Velha. In São Paulo, it was presented at the IC itself in 2014 with the complete set of 115 images by 26 artists. Abroad, it has been shown in Asunción, Paraguay; Mexico City, Mexico; Lima, Peru; Buenos Aires, Argentina; Montevideo, Uruguay; and Santiago, Chile.
The exposure
In this new tour, Moderna para Sempre presents works by modernist photographers Ademar Manarini, Eduardo Enfeldt, Eduardo Salvatore, Gaspar Gasparian, Georges Radó, Geraldo de Barros, German Lorca, Gunter EG Schroeder, João Bizarro da Nave Filho, José Yalenti, Lucilio Correa Leite Júnior, Osmar Peçanha, Paulo Pires, and Rubens Teixeira Scavone. A team of educators from Itaú Cultural will travel to Vila Velha to train local educators on the exhibited works and the artists, enabling them to conduct guided tours with the public.
"Attentive to the transformations occurring in the world, Brazilian modernist photographers devoured influences to create a new photography, which was based on an essentially creative and disruptive interpretation," explains the curator.
“It is an honor for the Governor's House Cultural Park to host the Modern Forever exhibition as the second exhibition of the Gabinete Gallery. By celebrating names such as Geraldo de Barros, German Lorca, and Eduardo Salvatore, the exhibition allows the public to learn about a part of Brazilian history through the eyes of great photographers,” says Mirella Schena, manager and artistic-cultural coordinator of the Governor's House Cultural Park.
Thus, one of the highlights of the exhibition is the work Formas (1950), by Eduardo Salvatore, an important name in the photo club scene, being one of the founders of the Foto Cine Clube Bandeirante, in 1939, in São Paulo. Other important names from the period present in the exhibition are Eduardo Enfeldt, with the photograph Escada Branca (1957), as well as Lucilio Correa Leite Júnior, with Sinfonia Fluorescente (1960), and Sem Título (1966), by the Portuguese João Bizarro da Nave Filho.
Another highlight is the set of 13 photographs by José Yalenti: nine are works from 1950, in addition to Energia (1945), Fonte 9 de Julho (1952), and Exaustor and Arquitetura nº7, both from 1957. Geraldo de Barros, in turn, has his work present in the exhibition with Autorretrato, from the Edition Musée de l'Élysée Lausanne series (Switzerland, 1949), and five other photographs from the Fotoformas series. Also included in the exhibition are six works by German Lorca. Still from the 1950s, are Chuva na Vidraça, from 1952, and Curvas Concêntricas and Curvas Cruzadas, both from 1955, which join Folhagens, from 1960, and Catedral Aparecida and Pernas, from 10 years later.
The exhibition also includes works by photographers Osmar Peçanha and Ademar Manarini. From the former, there are Palmas (1951), Equilíbrio (1960) and Linhas (1993), and from the latter, only one, Sem título (1954), which portrays the author's abstract-geometric style.
Joining them are two photographs by Rubens Teixeira Scavone, both from 1950, one by Gaspar Gasparian from 1954, a work from 1960 by Georges Radó, and two others from 1970 by Gunter EG Schroeder. Completing the selection in Vila Velha are the works Páteo de Manobras (1961), Estrutura-Catedral (1954), Luz da Cerâmica (1963) and Sinfonia Industrial (1975), by Paulo Pires.
Photoclub
Brazilian photo club activity began in São Paulo, at the Foto Cine Clube Bandeirante, in 1939, and spread to other photo clubs in the city. Generally, it was composed of amateur photographers who, free from the obligations of commercial work, were able to experiment and break rules. Among them were artists such as Geraldo de Barros, José Yalenti, and German Lorca.
"In the images, we find searches for forms and volumes, abstractionism and surrealism, in a clear influence from the old European avant-garde movements," says Cannabrava.
The works of these artists began as pictorialists, imitating the patterns of 19th-century painting. With the development and economic growth of the country, they led to the breeding ground of modern Brazilian photography, the so-called Paulista School. "The works seem unified because they have a strong thematic unity, divided into two groups: cities or forms, whether geometric, elaborate, or symmetrical," explains the curator. "From this point on, textures, backlighting, sober framing, lines, solarizations, photomontages, photograms, among other topics, become part of the creative vocabulary," he reinforces.
It is also worth noting that most members of the photo clubs were immigrants of European origin or descendants of refugees from wars in the northern hemisphere, establishing in Brazil a production with a more optimistic and hopeful outlook on the future, distant from the socio-political issues that predominated in the works of the time, and differentiating themselves from the European movement focused on social difficulties.
According to the curator, this group anticipated the current landscape, creating what could be called the first known social networks in the field of photography. Through exhibitions, catalogs, and competitions, they formed an international network that promoted their work in major photography centers worldwide, as well as in Brazil.
Service
Exhibition Modern Forever – Brazilian Modernist Photography in the Itaú Cultural Collection
November 05th to 30th
Tuesday to Saturday, from 08 am to 17 pm (last entry at 16 pm), Sundays and holidays, from 08 am to 15 pm (last entry at 14 pm)
Period
November 5th, 2025 08:00 - November 30th, 2025 17:00(GMT-03:00)
Local News
Governor's House Cultural Park
R. Santa Luzia, s/n - Praia da Costa, Vila Velha - ES
Details
Nara Roesler São Paulo is pleased to present Do Vento, a solo exhibition by French artist Xavier Veilhan, featuring works conceived through his Transatlantic Studio – a project in which
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A Nara Roesler Sao Paulo is pleased to present From the Wind, solo exhibition by the French artist Xavier Veilhan, with works conceived through his Transatlantic Studio – a project in which the artist transfers his studio to a sailboat, offering an alternative to air transport for the transportation of works of art.
Aboard the Outremer 5X catamaran – a wind-powered vessel made with 50% flax fiber – Veilhan, his team, and his artworks will cross the Atlantic Ocean, departing from Concarneau, Brittany, France, and arriving at the port of Santos, Brazil. The artist will develop some of the works during the voyage and complete them in São Paulo, where they will be presented to the public at the Nara Roesler São Paulo exhibition from November 8, 2025, to January 31, 2026. “I want to further develop this initiative of a floating studio and wind-powered transport for some of my upcoming exhibitions. The goal is to create new imaginaries and offer an alternative to the pressures and frenetic pace of the art world: international fairs and exhibitions consume enormous amounts of energy and prioritize speed,” explains the artist. “The sector needs to adapt to ecological challenges, but it has difficulty doing so while maintaining competitiveness. This project is an experiment, an attempt – which has value as a work of art in itself,” he adds. For this expedition, the artist will be accompanied by Roland Jourdain, award-winning sailor and co-founder of Fondation Explore; Denis Juhel, assistant captain; Matthias Colin, oceanographer, who will be on board for research purposes; Antoine Veilhan, the artist's son, specializing in carpentry and nautical joinery; and Carmen Panfiloff, assistant sculptor and joiner.
The Fondation Explore and the Muséum National d'Histoire Naturelle in Paris are partners in this voyage and will use the crossing for scientific research. Plankton samples will be collected along the route and transmitted via satellite to feed scientific databases. On board, a hydrofoil equipped with a hydrophone will record underwater life, in order to understand and preserve it.
The intention is for Veilhan to work as he does in his studio in France. The boat is not just a means of transport, but a moving studio. To produce sculptures on board, the team will bring woodworking equipment from France, designed by Antoine and built to operate without electricity, such as a pedal-operated band saw.
Em From the windXavier Veilhan revisits a central concern in his practice: the relationship between the second and third dimensions. For the artist, every sculpture begins as a line, and it is through its accumulation and succession that volume emerges. This articulation between the graphic and the spatial reflects the passage from image to reality. A linear rhythm unfolds throughout the exhibition: in wall drawings, mobiles, and sculptures, in which layers of assembled plywood suggest both structure and fluidity.
Evoking the constant line of the horizon and the moving coordinates of the nautical charts that gave rise to the exhibition, these forms translate Veilhan's transatlantic crossing into a spatial design where orientation and movement coexist.
The exhibition will also include a video, made during the trip, that intertwines elements of fiction and documentary. As Veilhan notes, the project is “a celebration of all that is alive, a celebration of nature.”
The idea is that the exhibition at Nara Roesler São Paulo will be the first of a new model for the creation and transportation of artworks conceived by the artist, incorporating sustainability and also the creative process in a way that more emphatically reflects his poetics. In this way, the intention is, through future partnerships within and outside of France, to expand this format, bringing new arrangements, materials, and discussions to it.
Service
Exhibition | Of the Wind
From November 8th to December 20th
Monday to Friday, from 10 am to 18 pm, Saturday from 11 am to 15 pm
Period
November 8th, 2025 10:00 - December 20, 2025 18:00(GMT-03:00)
Local News
Nara Roesler Gallery - SP
Avenida Europa, 655, São Paulo - SP
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: Accounts of Another History,” one of the central events of the France-Brazil Season 2025. Curated by Nadine Hounkpatin.
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: accounts of another history”, one of the central events of France-Brazil 2025 Season.
Curated by Nadine Hounkpatin e Jamile Coelhothe exhibition brings together 20 black female artists From the African diaspora and the African continent, who appropriate the visual arts as a field for elaborating memory and symbolically reconstructing the world. Their productions establish a decolonial thought, in which art acts as a form of listening, rewriting, and re-existence.
Participants: Amélia Sampaio, Barbara Asei Dantoni, Barbara Portailler, Beya Gille Gacha, Charlotte Yonga, Dalila Dalléas Bouzar, Enam Gbewonyo, Fabiana Ex-Souza, Gosette Lubondo, Josèfa Ntjam, Luana Vitra, Luisa Magaly, Luma Nascimento, Madalena dos Santos Reinbolt, Maria Lídia dos Santos Magliani, Myriam Mihindou, Na Chainkua Reindorf, Selly Raby Kane, Tuli Mekondjo and YêdaMaria.
After touring Bordeaux, Abidjan, Yaoundé, and Antananarivo, the exhibition arrives in Salvador—a city where African heritage manifests itself as an aesthetic and artistic foundation—to establish a new chapter in the project. At MUNCAB, these artists construct a territory of enunciation and reparation, in which image, body, and gesture become instruments for reconfiguring historical narratives and affirming Black subjectivities.
The exhibition is a project of the Ministry of Culture, Petrobras, and the French Embassy in Brazil, in partnership with MUNCAB, and managed by Amafro.
Service
Exhibition Memory: accounts of another history
November 04th to March 1st, 2026
Tuesday to Sunday, from 10:00 AM to 4:30 PM, Saturday from 10:00 AM to 5:00 PM
Period
November 8th, 2025 10:00 - March 1th, 2026 16:30(GMT-03:00)
Local News
National Museum of Afro-Brazilian Culture: MUNCAB
Rua das Vassouras, 25 - Historic Center, Salvador - BA
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The Pinacoteca's final exhibition of 2025, "Carnival Work," is a group show featuring works by 70 artists from different generations and backgrounds, including Alberto Pitta, Bajado, Bárbara Wagner, and Ilu Obá.
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The Pinacoteca's last exhibition of 2025, “Carnival Work”, is a collective exhibition with works by 70 artists from different generations and backgrounds, such as Alberto Pitta, Bajado, Barbara Wagner, Ilu Obá de Min, Heitor dos Prazeres, Juarez Paraíso, Lita Cerqueira, Maria Apparecida Urbano, Rafa Bqueer and Rosa Magalhães.
The exhibition at the Pina Contemporânea building displays 200 works including props, decoration projects and historical documentation in photography and video, as well as commissions for new projects by the artists. adonai, Ana Lira e Ray Vianna.
Divided into four themes – Fantasy fabric, Jobs, The ability to e City, “Carnival Work” presents the country's largest popular festival as a production chain that involves the work of many hands even before the festival takes place, while alluding to the precariousness and invisibility of these professionals.
THEMATIC CENTERS
The core Fantasy fabric refers to two characteristic elements of Carnival: the act of dressing up and the power of imagination. Projects and sketches are part of the central part of the Grand Gallery, such as studies of J. Cunha for the Salvador carnival and Joana Lira for the street decorations in Recife.
Discussions about the party's working conditions are presented in the core Jobs, in which works are presented that bring to light the representation of workers.
The relationship between carnival and urban or rural space appears in the core City through representations of blocks, cordons, afoxés and other forms of processions. The center brings together works such as photographs taken by Diego Nigro in the Galo da Madrugada carnival block (2025).
Finally, the core The ability to celebrates the meetings of sugarcane workers in Pernambuco transforming themselves into kings and queens of maracatu, as well as black women and marginalized peripheral groups becoming, for a few days, the figures of command during the festival in Bahia: Ebony Goddesses, Reis Momos, Carnival Queens.
Service
Exhibition Carnival Work
From November 8, 2025 to April 12, 2026
Wednesday to Monday, from 10:18 to XNUMX:XNUMX
Period
November 8th, 2025 10:00 - April 12th 2026 18:00(GMT-03:00)
Local News
Contemporary Art Gallery
Av. Tiradentes, 273, Luz, São Paulo - SP
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Mendes Wood DM is pleased to present the exhibition "Birth of Antonio Obá," which occupies the entire gallery space in Barra Funda with previously unseen and emblematic works.
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A DM Mendes Wood We are pleased to present the exhibition. Birth & Standardization de Antonio Oba, which occupies the entire gallery space in Barra Funda with new and emblematic works. The works, developed using distinct techniques such as painting, drawing, installation, and film, continue the artist's investigation into the construction of national identity, and its contradictions and influences, through icons and symbols present in Brazilian culture.
The exhibition's title stems from the idea of birth as a marker of a moment, of a new existence on Earth. This miraculous event also carries the counterpart of fortune and luck, which accompanies us from conception. For Obá, “Being subject to this is not about a choice. Being subject to this is about an irreverence towards the inevitable. So, what we can do is demarcate these various fortunes through rite, celebration, symbol, and language.”
Each work that makes up the exhibition contributes to this attempt to situate the idea of luck, fortune, sometimes as a prayer, sometimes as a ritual that celebrates it.
An unprecedented installation, located in an enclosed space at the back of the gallery, directly refers to the idea of play and luck. In it, columns of cowrie shells spill over gilded bronze sieves, carrying ceramic eggs painted red. The cowrie shells represent elements of an attempt to read luck, destiny, and fate, and symbolize the currency of exchange, which also transforms into an offering. In their arrangement within the space, the cowrie shells form ascending columns, like a territory of spiritual elevation and re-signification of life in the face of its potentially fatalistic aspects.
At the entrance to the exhibition space, a path of swords representing Saint George and Iansã leads to a new installation: an altar with two tree trunks symbolizing the pillory. The trunks are entirely studded with nails—in one, the nails point outwards; in the other, inwards—symbolizing protection and punishment and the difficulty of harmonizing tensions. Between the pillories, cables suspend a bronze head with a plumb bob at the tip. This installation is an offering to the lord of the path, therefore, it has a connection with Exu.
the installation Ka'a porá (2024), presented for the first time in the traveling exhibition Finca-Pé: Stories of the Land At the CCBB in Rio de Janeiro, Belo Horizonte, and Brasília, it occupies a prominent place in the exhibition. Sculptures of feet, representing both the human foot and that of a tree, emphasize the connection with the ground. The configuration of the work resembles a small garden, with trunks arranged in a seemingly random way, each suggesting a different direction within a labyrinth. The title of the installation derives from the Tupi term. ka'a porá, which refers to an individual who settles and anchors themselves to the land. The expression also alludes to the mythical figure of Caipora, protector of the forests in Brazilian indigenous mythology. Another symbolic element of the installation revisits the concept of pruning, understood here as an act of violence that breaks with life and nature.
Paintings of varying sizes and techniques compose the visual narrative of the exhibition. A set of 22 small-format paintings presents Obá's interpretation of the Tarot. In these works, the artist uses a mixture of techniques along with gold leaf, giving a unique magical and fantastical tone to the oracle cards. In addition to these, the exhibition includes new large-scale paintings, as well as a work painted directly onto one of the walls of the exhibition space. In these pieces, figures and symbols that make up Brazilian identity suggest new interpretations. The exhibition also includes previously unseen drawings made with charcoal, India ink, pencil, and tempera on canvas.
The film Charmed (2024) presents a performance by the artist that proposes reflections on symbolic systems — especially religious ones. The performative action evokes a ritualistic perspective, centered on the figure of the pilgrim, who, in his gesture, synthesizes elements of belief, culture and tradition associated with the imagery of the pilgrim.
With this collection of works, which spans different media and symbolisms, the exhibition reaffirms the power of Antonio Obá's production in constructing a poetics that investigates identity, territory, and spirituality.
Service
Exhibition Birth
From November 8th March 14, 2026
Tuesday to Friday, from 11 am to 19 pm, Saturday from 10 am to 17 pm
Period
November 8th, 2025 11:00 - March 14th, 2026 19:00(GMT-03:00)
Local News
DM Mendes Wood
Rua Barra Funda, 216, São Paulo – SP
Details
Galeria Estação presents the exhibition “I am Silva”, dedicated to the work of José Antônio da Silva, one of the great names
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A Station Gallery presents the exhibition "I am Silva.", dedicated to the work of José Antônio da Silva, one of the great names in 20th-century Brazilian art. The exhibition celebrates the artist's international success and marks the touring of the exhibition. "Painting Brazil"which began at the Musée de Grenoble in France, opening the Brazil-France Cultural Year 2025, and continued at the Iberê Camargo Foundation in Porto Alegre. Now, part of this celebration is coming to... USP Contemporary Art Museum, accompanied by a new selection of works from the Galeria Estação collection and private collectors.
Curated by Paulo PastaThe exhibition revisits Silva's legacy, whose painting remains vibrant and relevant, constantly reinterpreted by new generations. His work transcends the label of "primitive" and reaffirms the artist as a creator of his own language—someone who reinvented Brazilian painting by uniting form and content, reality and imagination, life and art. His trajectory reflects an incessant search for the authentic expression of the landscape, culture, and people of the Brazilian interior.
Silva has always recognized himself as an interpreter of nature and rural life, transforming everyday scenes into poetic and symbolic images. In his painting, the real and the fantastic coexist, revealing a unique perception of landscape transformation and the tensions between progress and tradition. This current reading of his work also resonates with contemporary concerns about the environment and cultural identity.
More than a retrospective, "I am Silva" It is an affirmation of the strength and relevance of his painting. The exhibition invites the public to rediscover an artist who learned from his own experience and who knew how to transform the popular into aesthetic sophistication. Bringing together works rarely seen in São Paulo, the show reaffirms José Antônio da Silva as one of the great visual interpreters of Brazil.
Service
Exhibition I am Silva.
From November 13st to December 23th
Monday to Friday from 11:00 AM to 7:00 PM, Saturday from 11:00 AM to 3:00 PM
Period
November 13th, 2025 11:00 - December 23, 2025 19:00(GMT-03:00)
Local News
Station Gallery
Rua Ferreira de Araújo, 625 - São Paulo - SP
