Vila Velha welcomes the bold "MON without Walls" in a unique exhibition.

André Taniki Yanomami Taniki was born around 1945 in the village of Okorasipëki, at the headwaters of the Lobo d'Almada River, in the Yanomami Indigenous Territory, in Roraima. Besides being an artist, Taniki is a shaman, a mediator between the human world and the spiritual world in indigenous and traditional cultures, capable of communicating with spirits, healing, and balancing visible and invisible forces through rituals, chants, and trances. Between 1976 and 1985, Taniki developed a series of drawings in dialogue with an artist, an anthropologist, and missionaries. This exhibition is the first entirely dedicated to his work and brings together 121 drawings created in two periods: during exchanges with the Swiss-Brazilian photographer Claudia Andujar, in 1976–77, and during meetings with the French anthropologist Bruce Albert, in 1978, in the villages where the artist-shaman lived.

In his 1976–77 drawings, Taniki created scenes from the Yanomami worldview and funerary rituals that took place in his community. These drawings, displayed on this wall, were made in colors already used by the Yanomami in body painting and basketry, such as black, purple, and red. The following year, in dialogue with Albert, Taniki produced the drawings displayed on the opposite wall, recording his visions during shamanic trances in multicolored and vibrant compositions, with abstract and geometric forms. They demonstrate how Taniki was stimulated spiritually and visually by the power of... yãkoanaPox is a psychoactive powder derived from the bark of an Amazonian tree. Similar to ayahuasca, it is inhaled by shamans and feeds the spirits.

In the Yanomami worldview, the notion of image (utupëIt is not only visible understanding, but also the inner essence that constitutes the vital core of all things. The title of the exhibition, Being an image (Në utupë, In Yanomami, this refers to the spiritual movement that Taniki makes, in shamanic rituals, of ceasing to be merely human and being able to exist in the form of an image, just like the spirits. To this day, Taniki exercises his shamanic responsibilities in his community, mediating relationships between ancestral spirits and non-shaman Yanomami. Similarly, although he no longer draws, his works continue to attest to his mediating power, making the invisible (the spirit-images) visible (the drawing-images).

Curatorship: Adriano Pedrosa, artistic director, and Mateus Nunes, assistant curator, MASP

Service
Exhibition André Taniki Yanomami: being an image
From December 05th to April 05th
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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Soul of the Street Gallery, located at one of the most emblematic addresses in the capital of São Paulo, Beco do Batman, opens the exhibition “Between Ideas and Backyards"Of Enrique Tadeu Alves Ribeiro, Better known as RocketThis exhibition features dozens of previously unseen paintings created from the artist's perception of his emotional memories and daily experiences.

The works emerge as vivid and recurring images, seeking to translate feelings and experiences present in each scene depicted. From bars to bustling streets on game day in the favela, passing through children's bathing in the backyard, as portrayed in the work 'Captains' in which "children alone become captains of the games," explains the artist, each work reveals fragments of a collective memory marked by simplicity, coexistence, and the identity of the territory.

Service
Exhibition Between Ideas and Backyards
From February 22th to March 19nd
Every day from 10 am to 18 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

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.

André Taniki Yanomami Taniki was born around 1945 in the village of Okorasipëki, at the headwaters of the Lobo d'Almada River, in the Yanomami Indigenous Territory, in Roraima. Besides being an artist, Taniki is a shaman, a mediator between the human world and the spiritual world in indigenous and traditional cultures, capable of communicating with spirits, healing, and balancing visible and invisible forces through rituals, chants, and trances. Between 1976 and 1985, Taniki developed a series of drawings in dialogue with an artist, an anthropologist, and missionaries. This exhibition is the first entirely dedicated to his work and brings together 121 drawings created in two periods: during exchanges with the Swiss-Brazilian photographer Claudia Andujar, in 1976–77, and during meetings with the French anthropologist Bruce Albert, in 1978, in the villages where the artist-shaman lived.

In his 1976–77 drawings, Taniki created scenes from the Yanomami worldview and funerary rituals that took place in his community. These drawings, displayed on this wall, were made in colors already used by the Yanomami in body painting and basketry, such as black, purple, and red. The following year, in dialogue with Albert, Taniki produced the drawings displayed on the opposite wall, recording his visions during shamanic trances in multicolored and vibrant compositions, with abstract and geometric forms. They demonstrate how Taniki was stimulated spiritually and visually by the power of... yãkoanaPox is a psychoactive powder derived from the bark of an Amazonian tree. Similar to ayahuasca, it is inhaled by shamans and feeds the spirits.

In the Yanomami worldview, the notion of image (utupëIt is not only visible understanding, but also the inner essence that constitutes the vital core of all things. The title of the exhibition, Being an image (Në utupë, In Yanomami, this refers to the spiritual movement that Taniki makes, in shamanic rituals, of ceasing to be merely human and being able to exist in the form of an image, just like the spirits. To this day, Taniki exercises his shamanic responsibilities in his community, mediating relationships between ancestral spirits and non-shaman Yanomami. Similarly, although he no longer draws, his works continue to attest to his mediating power, making the invisible (the spirit-images) visible (the drawing-images).

Curatorship: Adriano Pedrosa, artistic director, and Mateus Nunes, assistant curator, MASP

Service
Exhibition André Taniki Yanomami: being an image
From December 05th to April 05th
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

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

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.