State: Rio de Janeiro

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Exhibition | of the Brazils
From May 3nd to October 27st
Tuesdays to Sundays and holidays, from 10am to 17pm

To mark 20 years of Carlos Scliar Museum House, the exhibition opened “The Artivists: Carlos Scliar and Cildo Meireles”, which unites, for the first time, the work of these two important artists. “Scliar was fundamental in my life”, says Cildo Meireles about his friend who died in 2001. Curated by Cristina Ventura, coordinator of the museum house, around thirty works will be presented, some of which are new, covering a period that goes from 1940s until 2021. Participatory works, inspired by the works of the two artists, complete the exhibition. The exhibition, which will have free entry until the end of August, is presented by the Federal Government, Ministry of Culture, Government of the State of Rio de Janeiro, Secretariat of State for Culture and Creative Economy of Rio de Janeiro through the Paulo Gustavo Law .

“The idea is to provoke in the viewer an invitation to reflection, instigated by the current issues addressed by the artists in their works. Topics such as: state crimes, environment, war, monetary value, among others. Our purpose is for people to think about their role in today’s world”, says curator Cristina Ventura.

The works of Cildo Meireles and Carlos Scliar will be exhibited together, as a large installation, without following a chronological order. There are paintings, drawings, collages, studies, engravings, objects and videos. By Cildo, there will be the notes “Zero Dólar” (1984) and “Zero Cruzeiro” (1978), the sound installation “Rio Oir” (2011), the video “15 seconds” (2021), in honor of Marielle Franco, among other works. By Scliar, the drawings “Warsaw Ghetto Uprising” (1957) and SOS (1989) stand out, as well as drawings and studies, some unpublished, that deal with themes such as Afro-Brazilian culture and the Holocaust. “I'm a great admirer of Scliar's drawings, I think he was one of the most talented designers in Brazil, truly sensitive”, says Cildo Meireles.

In the exhibition, there will also be the matrix of the cover of Revista Horizonte, made by Scliar in 1952, which reads: “Sign Apelo Paz”. “The Second World War had a big impact on him, Scliar was a soldier and served as an artillery corporal. In the post-war period, he actively participated in movements, such as the Peace Congress held in the former Czechoslovakia, the message conveyed in the work is fundamental”, says the curator. A tactile reproduction of this matrix will be part of the exhibition so that visitors can handle it. Also on display will be an unpublished text by the artist from the 1980s, narrated by singer and composer Marina Lima. In the document, Scliar expresses his indignation and fatigue in the face of our historical construction. The artist grew up seeing works by Scliar, collected by her father, according to Marina, “an affectionate image that I will never forget”. The recording was made especially for the exhibition.

With different trajectories, Carlos Scliar and Cildo Meireles met in 1966. “From our first meeting, where I showed my drawings, he became interested in showing these works to some collectors and from then on he practically financed me. He was always a very generous person, not only in my case, but also with other young artists who were starting out. He was a person with intrinsic enthusiasm, he was always encouraging, always supporting”, says Cildo Meireles. The two were close friends throughout their lives and, at different times, dealt with similar issues in their work, such as during the military dictatorship. Other issues also converge in the production of the two: the iconic work “Zero Dólar”, by Cildo Meireles, features the image of Uncle Sam, a character who appears flying over the Amazon with black wings, as if he were a vulture, in the work SOS, by Carlos Scliar.

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Exhibition | The Artivists: Carlos Scliar and Cildo Meireles
From June 29th to June 01st, 2025
Tuesday to Friday from 14:30 pm to 18 pm. Saturdays from 15:30pm to 19pm

The exposure “Eternal Egypt: Immortality in the Viscountess de Cavalcanti and Eva Klabin Collections” brings the unprecedented union of collections of Eva Klabin and Viscountess of Cavalcanti, two collectors who gathered artifacts from ancient Egypt in their collections. The exhibition will present 100 pieces from different dynasties, dating from 3000 BC to the XNUMXst century AD. Curated by Helena Severo and Douglas Fasolato, the new exhibition at Eva Klabin House Museum It will be open to free visitors from Wednesday to Sunday, from 14pm to 18pm, starting this Saturday (6).

The joint exhibition features artifacts and objects that reflect the Egyptian belief in life after death. In the Viscountess's collection, a polychrome stele from Per-a-Iset stands out, making offerings to the god Ra-Osiris; fragments of a male coffin face; shabtis figures (funeral servants); and a significant set of funerary amulets. Eva Klabin's collection features as highlights a gilded wooden bier face with eyes inlaid with ivory and ebony from the 18th Dynasty, a stone funerary stele that belonged to Thutmose, represented presenting himself to Osiris, as well as votive objects that highlight the important role of animals in Egyptian religion, such as a bier for a cat mummy. Eva Klabin's Egyptian collection, currently the largest on display in Rio de Janeiro and one of the largest in Brazil, is part of the permanent collection of the Casa Museu, while that of the Viscountess of Cavalcanti belongs to the collection of the Mariano Procópio Museum, in Juiz de Fora (MG).

Despite being separated for fifty years, the Viscountess of Cavalcanti (1853-1946) and Eva Klabin (1903-1991) had in common an interest in artifacts from Ancient Egypt, developing their collections through international trips, residences in different countries and visits to artists' ateliers, renowned antique dealers and auction houses. The union of their collections in this exhibition allows a reflection on the role of women in Brazilian collecting and offers a look at the motivations, practices and intentions involved in the act of collecting.

The continuous fascination with Ancient Egypt transcends time and continues to influence society, in the most diverse sectors. In contemporary art, this fascination materializes in the works of artists that complete the “Eternal Egypt” exhibition, dialoguing with the historical collections of Eva and the Viscountess. The exhibition is an initiative of Casa Museu Eva Klabin, sponsored by Klabin SA, produced by AREA27 and organized by the Ministry of Culture. Support from Atlantis and Everaldo Molduras.

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Exhibition | Eternal Egypt: Immortality in the Viscountess de Cavalcanti and Eva Klabin Collections
From July 06th to September 15th
Wednesday to Sunday, 14pm to 18pm

The journey of Brazilian Olympic athletes towards the Paris 2024 Olympics – marked by the historic predominance of women in the delegation – was recorded by photographer Gustavo Malheiros. The result can be seen in the black and white photo exhibition “Olympians”, which opens to the public on July 20th, at National Historical Museum. The book of the same name will also be launched on the occasion, by Arte Ensaio Editora.

Known for his long career dedicated to authorial art books, in addition to his work in the field of fashion and advertising, this project began in November 2023. The vast majority of photos, however, were taken this year, even in May 2024. “We hit the road and ventured across the country, documenting the lives of athletes from various sports. Our mission was to capture not just the physical ability, but also the commitment and passion that drives them. We witnessed his pursuit of excellence and his dream of winning an Olympic medal,” says Gustavo Malheiros.

“Olímpicos” presents around 35 black and white images selected from the book, as well as a projection room with other recordings. These photographs reveal an intimate and poetic view of the athletes' daily lives, highlighting the cultural strength of their personal journeys towards Paris. With a special focus on female athletes, who will be predominant in the Brazilian delegation (something that has never happened before), the exhibition celebrates the grace, resilience and determination of these extraordinary women. Among the athletes and modalities portrayed are: Alice Gomes (Trampoline); Bia Ferreira (Boxing); Bárbara Seixas and Carol Solberg (Beach Volleyball); Gabriela Roncatto (Swimming); Gabriel Medina (Surfing); Giulia Penalber (Luta Livre); Guilherme Costa (Swimming); Guilherme Schmidt (Judo); Ingrid Oliveira (Sto Ornamental); Isaac Souza (Salto Ornamental); Isabela Abreu (Pentlato Moderno); Jade Barbosa (Artistic Gymnastics); Lucas Verthein (Remo); Maria Clara Pacheco (Taekwondo); Pepe Gonçalves (Canoeing); Rayssa Leal (Skateboard); Tota Magalhães (Road Cycling); Ygor Coelho (Badminton). And on

Rhythmic Gymnastics Brazil: Bárbara Galvão, Débora Barbosa, Gabriella Castilho, Giovanna Silva, Maria Eduarda Arakaki, Maria Fernanda Moraes, Mariana Gonçalves, Nicole Duarte, Sofia Pereira. Team Rugby Brasil: Aline Furtado, Bianca Silva, Chalia Costa, Luiza Campos, Mariana Da Silva, Marina Costa.

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Exhibition | Olympic
From July 20th to September 19th
Wednesday to Sunday, from 10 am to 17 pm

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Exhibition | Brazilian news
From July 31th to November 1th
Tuesday to Saturday, from 10:18 to XNUMX:XNUMX

A Danielian Gallery is pleased to present, from August 8st, 2024, at 18 h, “Woman Occupation”, a set of solo exhibitions by artists Nadia Taquary - “Tides”;Sônia Menna Barreto - "Fables"; Nelly Gutmacher - "Dreams"; Niura Bellavinha - "Essences”; is “Harmonies”, a special room dedicated to the work of the artist and dealer Marcia Barrozo do Amaral, who died a year ago (1943-2023).   

 The curators Marcus de Lontra Costa, Viviane Matesco e Rafael Fortes Peixoto continue the idea started in 2022, with the exhibition “Woman”, which brought together works by 35 female artists from different generations, research and poetics, based on historical research and selection of works.  

 The curatorial trio highlights that “Woman Occupation” does not start “from a premise or a thematic link, but its main objective is to demonstrate the importance of these women’s trajectory for the Brazilian cultural environment, as well as the strength and poetry of their expressions”. “Without categorizations or classifications, “Woman Occupation” reaffirms “spaces and achievements, showing that art represents the essential feminine power to create and above all, transform”, they say. Marcus de Lontra Costa, Viviane Matesco e Rafael Fortes Peixoto further point out that “the titles that differentiate each display insinuations so that visitors can get to know and create sensitive relationships with the works on display”.  

 Marcus of Otter Coast says that in this second edition of“Mulherio”, he and the other curators chose “to create five solo shows of women who synthesize female action in Brazilian contemporary art: religion, sexualities, art histories, abstractions and concreteness, which make up this creative mosaic brought together in the same physical space open to the Rio public”. Viviane Matesco notes that “women are diverse, but with one position in common: the struggle to live in a world dominated by machismo”. Rafael Fortes Peixotoadds that the objective “is not to bring together artists around an idea, but rather to reaffirm the occupation of this space on the cultural agenda and agenda, both in public institutions and in private spaces, such as Danielian Gallery”. He adds that in 2025 the aim is to celebrate 40 years of actions by Guerrilla Girls, who affirmed for the first time to the world the questioning of the female presence in the arts. Our idea with these solo exhibitions is that each artist’s production can be deepened in this environment of diversity and freedom.” 

The title of "Occupation" is inspired by the newspaper “Woman”, which circulated between 1981 and 1988, and played an important role within the Brazilian feminist movement, and emerged as a result of studies on the female condition in Brazil, with the participation of women as Lisette Lagnado, Inês Castilho, Lélia Gonzalez, Adélia Borges, Maria Rita Kehl, Ruth Cardoso, Carmen da Silva and Heloisa Teixeira (former Buarque de Hollanda) in its 40 editions. 

 A 14cm x 10cm publication accompanies the exhibition, on pink paper, with the curators' texts about each of the exhibitions. 

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Exhibition | Mulherio Occupation
From August 08th to October 05th
Monday to Friday from 11:19 to 11:17, Saturday from XNUMX:XNUMX to XNUMX:XNUMX

The exposure “Radical ideas about love”, from Rio Panmela Castro, happens in the Museum of Art of Rio (MAR). With more than 20 years of experience, the artist will present an exhibition with participatory works, using as its guiding thread the idea of ​​psychology that talks about the need to belong as a vital impulse of human beings. Curated by Daniela Labra and curatorial assistance by Maybel Sulamita, 17 works will be presented, 10 of which are new, including performances, photographs, paintings, sculptures and videos, which explore issues such as affectivity, loneliness, visibility, empowerment, self-care and memories.

“This solo show by Panmela Castro allows the public to discover many facets of her interdisciplinary language. Her work navigates different media and supports in a unique way, bringing together aesthetic, affective and activist issues in a work that is fundamentally performative and processual. The exhibition at MAR features new works and versions of existing ones, forming a playful, thought-provoking and transformative environment”, says curator Daniela Labra.

The exhibition will be built through performances, actions and public participation, which will take place throughout the exhibition period. “All works in some way need the other to exist or be completed, it is an exhibition that begins under construction”, highlights Panmela Castro. The exhibition will open with three blank canvases from the “Vigil at the Museum” series, which will be painted when the museum is closed to the public. In the form of vigils inside MAR at night, the artist will meet with people to portray them. A set of 50 photographs with records from the “Vigília” series will also be part of the exhibition.

The exhibition also features new works in which the public is invited to participate. In the work “Chá das Cinco”, for example, the public is invited to have tea and share advice with other visitors to the exhibition through notes left under the saucer. In “Siamese Dress”, two people will be able to wear, at the same time, a large pink dress made of filo. In addition, the public will be invited to bring lipsticks for the “Lipstick Collection” work and objects to leave in a cocoon, which will be transformed into sculptures by the artist. These objects, which can bring good or bad memories, will be given new meanings and immortalized by art.

Inspired by traditional arcade games, the work “Fight at the Museum” will be a game for the public, in which the fighters are the artists Allan Weber, Anarkia Boladona, Elian Almeida, Priscila Rooxo, Vivian Caccuri and Rafa Bqueer. The scenes portrayed are the Rio Art Museum, the Rio de Janeiro Museum of Modern Art and the Parque Lage School of Visual Arts. The artist proposes the game as a fighting game between artists, where the winner exhibits their work in the museum.

Completing the new works will be the video “Stories”, a collection of short videos published on the artist's Instagram (@panmelacastro), which invite the public to be part of different situations in her life and her artistic process.

In addition to the new works, iconic works by the artist will also be part of the exhibition, such as “Fortune Cookie” (2021), which features traditional Japanese cookies with feminist messages created by the artist; “Feminist Bible” (2021), in which the public will be able to write ideas that guide the emancipation and fight for rights of cis and trans women, and “Consagrada” (2021), a photoperformance in which the artist appears with her chest ripped open with this scarification, criticizing the way the art market chooses its characters.

“It is not surprising that Panmela is now respected internationally, both for the inventiveness of her art and her stance on issues such as gender-based violence of various types. This theme has for years encouraged her to create artistic actions, paintings, objects and also develop pedagogical and political work through her organization that uses the arts to promote rights, especially the fight against domestic violence, the NAMI Network”, says the curator Daniela Labra.

Completing the exhibition are four performances that the artist will perform throughout the exhibition period. On August 17th, “Cult Against Scams” ​​(2020) will be held, a ritual where self-esteem and vital energy are used to ward off malevolent individuals from each participant’s life. On September 28th, it will be the turn of “Honor to Merit” (2023), held at the I Bienal das Amazônias, which addresses the lack of recognition of women and proposes a ceremony where medals are awarded to the female public, as a way to value their talents and actions worthy of highlighting. “It’s a historical reparation”, says Panmela Castro. On October 5th, it will be the turn of the unprecedented performance “Revanche” (2019), in which the artist confronts the impositions of the compulsory feminine, inviting the public to enjoy the moment of a reckoning with the 4 meter tall bear that will be on display. On October 12th, “Ruptura” (2015) will be performed, in which the artist gets rid of a kind of “caricature of femininity”, opening space for broader discussions about gender and otherness. All performance works will be recorded and their videos will be shown at the exhibition.

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Exhibition | OPEN3 | TOMIE OHTAKE AND CHU MING SILVEIRA
From August 09th to November 24th
From Tuesday to Sunday, from 11am to 18pm (last entry at 17pm)

Forts D'Aloia & Gabriel presents Wild landscape, the new exhibition of Leda Catunda at Carpintaria, which marks the artist's return to Rio de Janeiro a decade after her last solo exhibition in the city, at the Museum of Modern Art. The works presented show a baroque inflection in his research, where the accumulation of textile elements and imagery citations that characterize his work is intensified by a multiplication of procedures and ornaments and by the proliferation of tongue shapes, protrusions, upholstered bellies and fabric flaps. all colors. Reflecting on the flow of visual and digital stimuli, Catunda focuses on our incessant exposure to the icons, signs and emblems of mass culture.

Adding a range of landscape references to this typically contemporary dimension, the artist paves the way for a paradoxical junction of nature and artifice, de-hierarchizing pretensions of taste and high and low registers in an omnivorous and voracious process. In these hybrids of painting and object, historical motifs such as the Catholic saint in Saint Thomas (2024) coexist with logos and graphics ready made of a job like Wild Landscape II (2024). In Cinema (2024), t-shirt prints with film images cult, as Lolita ou Back to the future they form the surface of a padded volume, in a compilation of references brought together by the artist that intertwines the affective side of memory with the objects and products of the cultural industry.

The production of curved, serpentine, wrinkled, curled, folded, accumulated, antithetical and labyrinthine forms reaches maximum volume in Wild Landscape II, mentioned above, and Caprichosa (2024), where this entire visual cornucopia is arranged in a tableau of fragmentary scenes. In these works the maximalist and cumulative tendency of this body of work is emphatically condensed.

Since his last solo show at ICA Milano, in 2023 in Italy, Catunda's emphasis on draping, trim, sewing and printing have made human clothing, silhouette and physiognomy material for plastic and conceptual composition, mainly in works as Seven skirts (2024)

“The excess of images in everything that surrounds us generates a strong illusion of speed. Whether in the virtual sphere, on the internet, or in reality on the restless surfaces that cover cities, in the streets, buildings or even on people's clothes, this poignant visuality seems to provoke the sensation of a shortening of time. This way we become anxious about the future, about a future that surprises us even without us being able to choose or choose. In this new reality nothing happens, everything flows. And, in this way, life follows the crazy flow of sudden events. Adaptation implies another type of reasoning, a modification of the associative system to rediscover the ability to read this new reality and ensure space for new ideas and new destinations.” – Leda Catunda

The exhibition is accompanied by a critical essay by Carlos Eduardo Riccioppo, Professor of the Department of Arts at Universidade Estadual Paulista – Unesp.

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Exhibition | Wild landscape
From August 10th to October 5th
Tuesday to Friday, from 10am to 19pm, and Saturday, from 10am to 18pm

Pinakotheke Cultural, in Rio de Janeiro, opens the exhibition to the public “Gonçalo Ivo – Zeitgeist” with 79 paintings created by the artist in the last five years, from the series “Le jeu des perles de verre” (“Glass bead games”), “Cosmogonies”, “Cardboards”e “L'inventaire des pierres solitaires” (“Inventory of Lonely Stones”). The curation is Luiz Chrysostomo de Oliveira Filho, president of the Council of Rio Art Museum, a friend of the artist, and who has followed his work for over thirty years. Almost all of the works are new, and only five of them were in the exhibition of the same name held at Paço Imperial, in April 2022, which had 26 works selected by the same curator. Luiz Chrysostomo de Oliveira Filho highlights that Gonçalo Ivo “is considered one of the greatest contemporary colorists in the country”.

The artist was born in Rio de Janeiro, on August 15, 1958, and works between his studios in the Teresópolis mountains, in Rio de Janeiro, in Paris and in Madrid. the term Zeitgeist means "spirit of time“, and was initially used by the German philosopher and writer Johann Gottfried von Herder (1744-1803). The film will be shown “Gonçalo Ivo – a biography of color” (2024, 28′), directed by Katia Maciel, with photography by Daniel Venosa, made especially for the exhibition.

The exhibition will be accompanied by book “Gonçalo Ivo – Zeitgeist” (Pinakotheke Editions), bilingual (Port/English), with 328 pages, in 21 x 27cm format. The organization is Luiz Chrysostomo de Oliveira Filho, apresentation of Max Perlingeiro, and texts from Tomás Paredes, Nicholas Fox Weber, executive director of the Josef & Anni Albers Foundation, Lêdo Ivo (1924-2012) and Nelida Pinon (1934-2022) – who made his last visit to the artist’s studio in Teresópolis in May 2022 –, and a unpublished visual poem de Luciano Figueiredo, created especially for the publication. The book also contains a detailed chronology of the artist, and the longest interview granted by him, given the Luiz Chrysostomo, “started in January 2022, while Gonçalo it was in his studio-residences in Madrid and Paris”, and finished “on a sunny morning, in early autumn 2023, at the Isamu Noguchi Museum, in New York”.

Luiz Chrysostomo de Oliveira Filho states that the exhibition and the book reflect “the artist’s concerns over the last five years, coming from a sequence of intense experiences, discoveries and affections”. "He expresses a deep desire to share a long-lasting trajectory of art, marked by courageous and fragmented perceptions of our contemporary times. Dealing with the non-linearity that life imposes on us and the surprises resulting from it, as the poet so rightly said Gullar, reveals that persistence is a different characteristic of human construction. Insisting, reviewing or returning are not contradictions, but actions that allow us to exist and reveal another possible side”, he says. The curator emphasizes that his work series “they talk about time as a central theme, they seek to account for a changing present, they unblock an internal voice that was sometimes muted”. Other aspects of the artist highlighted by Luiz Chrysostomo are “the ease with which navigate and swallow manifestations of Romanesque to Spanish Baroque, African cultures ancestral to European modernism“, and that if “confused with the technical mastery with which he manipulates pigments, temperings and oils”.

Max Perlingeiro, director of Cultural Pinakotheke, highlights that the public will surprise with the exhibition. "In addition to work the colors like no one else, he is in constant mutation, as can be seen in these three new series that appeared in 2018″. He says that the idea of ​​the book and the exhibition appeared upon seeing the painting “Cosmogony – Melancholy, for Giacomo Leopardi and Francisco de Goya” (2021), when setting up the exhibition at Imperial Palace, accompanied by Luiz Chrysostomo: “I was sure that I would enter this magical universe of producing your new book. And what a book!”

CHILDREN'S PROGRAMMING
Our  Saturdays DAYS TO GO August 31st and September 14th, at 11am, there will be workshops for children, coordinated by the educational team at the Cultural Pinakotheke, from the exhibition of Gonçalo Ivo. On the first Saturday, the activity will be “Fantastic Collages: Turn Cardboard into Art“, inspired by the “Cardboard” series. In September 14, the workshop “Galaxies of Art: Magical Paintings of Cosmogonies” will propose to the public children to make paintings, starting from the works from the “Cosmogonia” series. Entry is free, and classification is free.

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Exhibitions | Gonçalo Ivo – Zeitgeist
From August 19th to September 28th
Monday to Friday, from 10am to 18pm, and Saturdays from 10am to 16pm

The exposure "ARL Life and Work“, by Brazilian photographer and painter Antônio Roseno de Lima (1926-1998), goes on display at the Centro Cultural Banco do Brasil Rio de Janeiro on September 04, 2024. With free visits, this is an opportunity for the public to get to know the artist's production outsiders, Born in Alexandria, RN, who migrated to São Paulo and found art as a way to express himself. Semi-literate and living on the outskirts of Campinas, ARL, how he decided to sign his works, affirming his identity as a citizen, was discovered at the end of the 1980s by the plastic artist and PhD professor at the UNICAMP Institute of Arts, Geraldo Porto, who signs the curated the exhibition. The exhibition brings together more than 90 works, the vast majority of them paintings, the main medium used by the artist. Three 3D reproductions are also available to the public, facilitating accessibility for people with visual impairments. The exhibition, which has already been shown at CCBBs SP, BH and DF, will be at CCBB Rio until October 3th, ending its season.

The painter took inspiration from his own reality to create works that are a reflection of the purest and most enchanting Art Brut, French term, created by Jean Dubuffet, to designate art produced free from the influence of official styles and impositions of the art market, which often uses unprecedented and unlikely materials and techniques. His central themes were self-portraits, jaguars, cows, roosters, drunks, women and presidents. Despite the precarious conditions in which he lived in the Três Marias favela, in Campinas (where he lived from 1962 until his death in June 1998), Roseno expressed his dreams and everyday observations through his paintings, often using improvised materials found in the trash. : pieces of cans, cardboard, wood and synthetic enamel remains.

When he found a design that he liked, he cut it into cans of various sizes to use as a model, in addition to using other materials he found along the way, such as wool, more available in cold weather. His shack was his canvas, where vibrant colors and figures outlined in black came to life, revealing a unique visual poetry. In the works, the artist's diverse aspirations are represented, but one of them is repeated throughout his art: “I wanted to be a little bird to see the whole world!"

In bold colors, he wrote on the boards: “This design was founded in 1961“, referring to the beginning of his career in drawing, painting and photography, with a “spanish teacher“, in São Paulo. Even though he was semi-literate, words were always part of his poetic expression, like hermetic signs, displayed respecting the anteriority of the figures and showing a lack of knowledge of grammatical rules. Friends and children from the favela helped him with reading and taking notes in a notebook, which were photocopied to be pasted on the back of the pictures. The notes, full of information in the most diverse letters, informed about the materials, creation process, execution, conservation of the painting and concluded: “Whoever gets this drawing will keep it with care. You can wash. You just can't scratch it. It's for children and grandchildren. Having zeal, lasts half a century. "

Impressed by the uniqueness of Roseno's work, curator Geraldo Porto says that the first time he saw his paintings was in a collective exhibition of primitivist artists at the Centro de Convivência Cultural de Campinas, in 1988. “At that moment, I was sure I was in front of a rare artist“. He adds that the painter already stood out among the others. After gaining notoriety, he became “called by journalists the 'pop painter of the favela', – making reference to Pop Art, an American movement from the sixties – because his paintings mixed images, photographs, advertisements and words as in commercial posters“, explains Porto, adding that Antônio Roseno was unaware not only of this, but of any other artistic movement, but wanted to see his work in outdoors of the city.

As a way of refuting reports at the time, which showed him as a slum dweller, illiterate and sick, he began to write on his boards in bold letters: “I am a very intelligent man“, in order to get rid of these negative images. ARL lived with Soledade, his great companion in life, and despite his wife's devotion, the artist insisted on repeating in his work: “I never had love in my life“, regardless of the almost four decades of relationship that the two maintained.

In 1991 Geraldo curated ARL's first solo exhibition, at the contemporary art gallery Casa Triângulo, by Ricardo Trevisan, in São Paulo. Soon after, a German television broadcast a story about Roseno, broadcast in Europe during Documenta in Kassel, one of the largest and most important exhibitions of contemporary art and international modern art that takes place every five years in the city of Kassel, Germany. The Brazilian newspaper Folha de São Paulo recommended its exhibition as one of the best of the season. His works today appear in world-renowned publications. Roseno passed away in 1998, when a good part of his works were already in art collections in Brazil and abroad. Unfortunately, another large part was discarded by the city hall truck, called by the family to clean the house.
Just like Arthur Bispo do Rosário, ARL is part of these “virgin artists" or "outsiders“, authors of this “unusual art“. For Geraldo Porto, Antônio Roseno “He is an outsider artist, due to the originality of his creative process. His creativity knew no boundaries between photographing, painting or writing. Illiterate, he wrote; photographer, he painted; painter, he weaved. He painted so he wouldn’t get sick.” He portrayed everyday life, simple things that made him happy. “I asked him why he painted so many cows: 'Because I really like milk', he replied.".

Pieces of the soul and life

With the aim of unveiling the different layers of Antônio Roseno de Lima's work, the exhibition that will occupy the second floor of CCBB Rio, is divided into six sections, presenting a complete overview of the artist's various facets. In the first of them, “The Drunk“, we glimpse ARL’s roots in his art, in which flat colors stand out and there are no halftones or chiaroscuro effects, and the use of words proliferates. Started in 1975, this series features faces with eyes blurred by drink, a work that projected him as an artist on the international market, becoming his trademark. In "City Clippings“, we delve into the artist’s aspirations and fantasies, where we see him printed on banknotes (out of circulation); the beautiful, colorful house with electric lights; the modern building and the factory where he longed to work.

In the section “Presidents" historical facts and notable figures such as Afonso Pena, Nilo Peçanha, Getúlio Vargas, Mário de Andrade and Santos Dumont, his greatest idol (the one who probably inspired his desire to be a bird), appear. Already in “The photographer“, we have reflections of his great passion, the craft he learned to practice at the age of 35, in São Paulo, capital, and tried to keep alive in the interior (Indaiatuba), even after closing his studio due to lack of resources. “Fruits, Flowers and Animals” bring compositions of roosters, frogs, horses, cats, capybaras and jaguars or even paintings with almost “picassians” of cows. “Women and Saints” completes the tour of the creative soul of Roseno, an admirer who liked to portray women, and who continued to pay homage to them in the form of mermaids or the image of Our Lady of Aparecida.

In addition, the exhibition will also feature two installations. In "Photo Santo Antônio“, images are projected onto loop, forming a video with different photographs taken by Roseno, most of them in black and white and others with his hand-colored interventions. In fact, most of his photographs are now in the Memory Center of the State University of Campinas – UNICAMP. In "ARL Animated“, around 20 works were reimagined here by Nélio Costa. The images, created from the dismemberment and transformation of elements from the original works, respect the integrity of Antônio's work. Each selected work received personalized treatment, resulting in a unique experience for viewers, who will be able to appreciate the artistic production from a new perspective.

As part of its social inclusion program, aiming to guarantee access to a greater number of visitors, the exhibition features QR Codes on the identification cards of all its paintings, enabling audio description of each of them. Another accessibility initiative is the tactile reading of three screens that are reproduced in MDF, with different textures: “Drunk with a Cigarette I” (1986), which features one of the most emblematic representations of Roseno's career, a man with three rows of ears, eyebrows, eyes, noses and mouths, each with a cigarette between his lips, “The Rooster is the Husband of the Hen I” and "Pineapple" (both undated), which are also among the artist's most recurring themes.

From the “ARL Vida e Obra” exhibition, the public will be able to get to know who Antônio was, one of five brothers, born in 1926, in the city of Alexandria (RN), who at the age of 22 decided to leave the countryside to live in the city, helping his godmother to produce and sell sweets. At the age of 30, he left his marriage to Cosma, with whom he had five children, to seek a better life in São Paulo. There he dedicated himself to photography, before settling in the Três Marias favela, in 1962, where he produced most of his work.

Despite claiming that he never found love, he lived next to Soledade, a community leader, to whom he dedicated all the greatest care. A friend with whom he fought and made up, his company in joy, but especially in moments of poor health. Due to difficulties and public ignorance during his lifetime, Roseno's work, which summarizes his story, gained international recognition, with his works being exhibited in renowned museums around the world. A legacy that inspires and moves us to this day.

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Exhibitions | ARL Life and Work
From September 04nd to October 28th
Wednesday to Monday, from 9 am to 20 pm

The exposure Vanishing point, an installation project of Antonio Bokel, will be inaugurated in Lake Gallery. Curated by Isabel Portella, the exhibition celebrates the 20-year career of the Rio de Janeiro-born visual artist and presents a work in express dialogue with the Museu da República – formerly Palácio do Catete – a monument of historical relevance in the South Zone of Rio de Janeiro.

Driven by the invitation to create a symbolic intersection between art, architecture, history and landscape, Bokel immersed himself in the institution's archives and dedicated himself to researching the place that, at the end of the 19th century, housed the Presidency of the Republic and was the scene of intense political articulations.

Among facts and many curiosities, he discovered that there was a controversial anchorage there known as Ponte do Flamengo, built next to Avenida Beira Mar (and demolished in the 1960s, with the construction of Aterro), where a vessel for the exclusive use of the acting president docked. It was possibly an escape route.

When visiting the Galeria do Lago exhibition area, Antonio noticed that one of the windows overlooking the 120 square meter garden that connects the palace to Praia do Flamengo, frames a monumental corridor of imperial palm trees. This perspective that leads to the old dock was the poetic trigger for the artist's first installation project, which was based on a constructivist logic.

“The vertical arrangement of the symmetrically aligned palm trees, leading to the museum’s exit towards Aterro, prompted me to reproduce the same parallelism within the exhibition space. I created ten totems in corten steel (180 cm x 30 cm), a material that reacts to time, installed side by side. At the end of the room, a large mirror reflects the totems, duplicating them and giving the illusion of continuity of the vanishing point,” he describes.

In the smaller room, two aluminum bars are placed on the floor, deconstructing the architecture and establishing a geometric composition that establishes the path that leads the viewer to the installation of the totems. Between them, a black painting, measuring 200 cm x 120 cm, materializes the perspective and reinforces the synthetic expression of constructivism. A palm leaf sculpted in bronze rests on the canvas.

“He is a contemporary artist dialoguing with the history of the Catete Palace, which spans over 160 years. Bokel managed to create this relationship with the space, converting the architectural design into geometric shapes. He explores depth, including the perspective of the visitor who, through the mirror, becomes another layer of the work,” says Isabel. “It is an architectural, landscape and historical dialogue.” The curator also emphasizes that characteristic aspects of Antonio’s production, such as the diversity of materials and supports, and the relationship with the city, are present.

When asked about the passage of time in his work over the course of his two decades of artistic career, Bokel states that in the last ten years there has been a clear transformation in his work, guided by geometry and sculptural thinking:

“Since 2014, my work has been undergoing a progressive process of eliminating noise, keeping only what is essential. Geometry was the starting point for this phase in which sculpture gained prominence. Although these are timeless forms, I am interested in investigating how this geometric logic connects with contemporaneity,” reveals the artist.

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Exhibition | Vanishing point
From September 12th to November 12th
Tuesday to Friday, from 10am to 12pm and from 13pm to 17pm, Saturdays, Sundays and holidays, from 11am to 18pm

Marcela Canterbury bring to the Gentle Carioca the reassembly of the installation of paintings presented at the exhibition The South American Dream, in 2023, the artist’s first solo exhibition in the United States. In this work, Cantuária brings together narratives of activists and environmentalists from South America who remained faithful to their dreams through resistance and fighting for their countries and lands, including figures such as Chico Mendes, Dorothy Stang, Maria do Espírito Santo da Silva, Túpac Amaru, among others. While her research highlights the injustices experienced by these historical figures, the paintings point to the beauty of the struggle told in these stories of ideals and battles, sharing with viewers the richness of South America’s natural resources that many want to protect.

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Exhibition | The South American Dream
From September 21nd to October 26th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

Rodrigo Torres presents its new installation, A Safe Place, composed of eight new sculptures, which will occupy the first floor of building 11 of the Rio headquarters. Created based on his interest in leftover construction materials and natural elements found in the Tijuca Forest, the works on display are the result of a long journey of experimentation with various techniques, such as painting and collage, and even ceramics.

The title of the work comes from “the place of memory that speaks of the feeling of protection from childhood, that place to which one can return,” explains the artist. Using ornaments and refinement in the compositions, Torres subverts the genre of contemplative still life, moving the viewer through questions about the perception of reality – as exemplified by the various overlapping layers that appear to be covered in cardboard, but are, in fact, pieces made of clay.

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Exhibition | A Safe Place
From September 21nd to October 26th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

Prominent artist in the contemporary art scene in Rio de Janeiro, Miguel Afa presents his first solo show at Gentle Carioca, bringing together a set of 10 new paintings, as well as a site-specific installation that will occupy the area of ​​the gallery known as the pool. The text introducing the exhibition is written by rapper and composer Emicida.

The result of the artist’s recent production, the exhibition brings together reflections on territory and memory. Born in Complexo do Alemão, Afa transposes his view of the transformations of this place and the bodies that inhabit it into his paintings. The figurative images, plucked from memory through childhood memories, are integrated into the various layers of meaning arranged in the pictorial field of the works. Memories such as “the earth leaving the backyard to make way for concrete, the fruit trees being cut down, the racialized bodies being read as marginalized,” as the artist says, are also connected to experiences of fraternal coexistence. The title of the exhibition is a reference to the feeling of “care and affective order” arising from this place of memory, which the artist imbued himself with to produce the works in the exhibition.

A very present element in the artist's research into territory, the kite appears in many of his works, acting as a guiding thread in this new exhibition. The representation of this childhood object of desire is sometimes as a geometric element, sometimes as a playful resource, or simply as a toy in his compositions. One of the main paintings in the exhibition, inspired by A Portrait of the Artist by British artist David Hockney, shows a pool of kites with the Serra da Misericórdia from the early 20th century as the backdrop – a group of green mountains surrounding the Penha Church, where the Complexo do Alemão was later established. As an expanded field of this painting, a site-specific installation will group hundreds of kites in the gallery's pool space, expanding the artist's dreamlike imagery beyond the painting.

The meticulous study of color and the choice of a palette that is not very saturated bring significance and meaning to the poetic, visual and thematic repertoire of Miguel Afa’s work. These characteristics are reminiscent of other references in the history of art, such as some works by the Italian Giorgio Morandi and the French Edouard Villard, considered by Afa to be those that managed to show the interior through the nuance of color, which reached the “color of the inside of the house”. In the work of the artist from Rio de Janeiro, in addition to being a tool for investigating painting, color proposes a deep racial reflection through the approach to the work. “When seen from afar, the color, almost metaphysical, does not communicate what my painting is conveying, which is configured as an analogy to the racialized body”, explains Afa. “The first look at this body involves the preconceived idea that leads the thought to a marginal place, full of racial and social issues. Only when you get closer to the painting do you realize the complexity of the existence of this body. When I think about the color of my painting, I think of a body proposing a color and inviting the viewer to take one or two steps forward, in order to really understand what they are seeing”, concludes the artist.

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Exhibition | Come Inside
From September 21st to January 25th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

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Exhibition | of the Brazils
From May 3nd to October 27st
Tuesdays to Sundays and holidays, from 10am to 17pm

To mark 20 years of Carlos Scliar Museum House, the exhibition opened “The Artivists: Carlos Scliar and Cildo Meireles”, which unites, for the first time, the work of these two important artists. “Scliar was fundamental in my life”, says Cildo Meireles about his friend who died in 2001. Curated by Cristina Ventura, coordinator of the museum house, around thirty works will be presented, some of which are new, covering a period that goes from 1940s until 2021. Participatory works, inspired by the works of the two artists, complete the exhibition. The exhibition, which will have free entry until the end of August, is presented by the Federal Government, Ministry of Culture, Government of the State of Rio de Janeiro, Secretariat of State for Culture and Creative Economy of Rio de Janeiro through the Paulo Gustavo Law .

“The idea is to provoke in the viewer an invitation to reflection, instigated by the current issues addressed by the artists in their works. Topics such as: state crimes, environment, war, monetary value, among others. Our purpose is for people to think about their role in today’s world”, says curator Cristina Ventura.

The works of Cildo Meireles and Carlos Scliar will be exhibited together, as a large installation, without following a chronological order. There are paintings, drawings, collages, studies, engravings, objects and videos. By Cildo, there will be the notes “Zero Dólar” (1984) and “Zero Cruzeiro” (1978), the sound installation “Rio Oir” (2011), the video “15 seconds” (2021), in honor of Marielle Franco, among other works. By Scliar, the drawings “Warsaw Ghetto Uprising” (1957) and SOS (1989) stand out, as well as drawings and studies, some unpublished, that deal with themes such as Afro-Brazilian culture and the Holocaust. “I'm a great admirer of Scliar's drawings, I think he was one of the most talented designers in Brazil, truly sensitive”, says Cildo Meireles.

In the exhibition, there will also be the matrix of the cover of Revista Horizonte, made by Scliar in 1952, which reads: “Sign Apelo Paz”. “The Second World War had a big impact on him, Scliar was a soldier and served as an artillery corporal. In the post-war period, he actively participated in movements, such as the Peace Congress held in the former Czechoslovakia, the message conveyed in the work is fundamental”, says the curator. A tactile reproduction of this matrix will be part of the exhibition so that visitors can handle it. Also on display will be an unpublished text by the artist from the 1980s, narrated by singer and composer Marina Lima. In the document, Scliar expresses his indignation and fatigue in the face of our historical construction. The artist grew up seeing works by Scliar, collected by her father, according to Marina, “an affectionate image that I will never forget”. The recording was made especially for the exhibition.

With different trajectories, Carlos Scliar and Cildo Meireles met in 1966. “From our first meeting, where I showed my drawings, he became interested in showing these works to some collectors and from then on he practically financed me. He was always a very generous person, not only in my case, but also with other young artists who were starting out. He was a person with intrinsic enthusiasm, he was always encouraging, always supporting”, says Cildo Meireles. The two were close friends throughout their lives and, at different times, dealt with similar issues in their work, such as during the military dictatorship. Other issues also converge in the production of the two: the iconic work “Zero Dólar”, by Cildo Meireles, features the image of Uncle Sam, a character who appears flying over the Amazon with black wings, as if he were a vulture, in the work SOS, by Carlos Scliar.

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Exhibition | The Artivists: Carlos Scliar and Cildo Meireles
From June 29th to June 01st, 2025
Tuesday to Friday from 14:30 pm to 18 pm. Saturdays from 15:30pm to 19pm

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Exhibition | Brazilian news
From July 31th to November 1th
Tuesday to Saturday, from 10:18 to XNUMX:XNUMX

A Danielian Gallery is pleased to present, from August 8st, 2024, at 18 h, “Woman Occupation”, a set of solo exhibitions by artists Nadia Taquary - “Tides”;Sônia Menna Barreto - "Fables"; Nelly Gutmacher - "Dreams"; Niura Bellavinha - "Essences”; is “Harmonies”, a special room dedicated to the work of the artist and dealer Marcia Barrozo do Amaral, who died a year ago (1943-2023).   

 The curators Marcus de Lontra Costa, Viviane Matesco e Rafael Fortes Peixoto continue the idea started in 2022, with the exhibition “Woman”, which brought together works by 35 female artists from different generations, research and poetics, based on historical research and selection of works.  

 The curatorial trio highlights that “Woman Occupation” does not start “from a premise or a thematic link, but its main objective is to demonstrate the importance of these women’s trajectory for the Brazilian cultural environment, as well as the strength and poetry of their expressions”. “Without categorizations or classifications, “Woman Occupation” reaffirms “spaces and achievements, showing that art represents the essential feminine power to create and above all, transform”, they say. Marcus de Lontra Costa, Viviane Matesco e Rafael Fortes Peixoto further point out that “the titles that differentiate each display insinuations so that visitors can get to know and create sensitive relationships with the works on display”.  

 Marcus of Otter Coast says that in this second edition of“Mulherio”, he and the other curators chose “to create five solo shows of women who synthesize female action in Brazilian contemporary art: religion, sexualities, art histories, abstractions and concreteness, which make up this creative mosaic brought together in the same physical space open to the Rio public”. Viviane Matesco notes that “women are diverse, but with one position in common: the struggle to live in a world dominated by machismo”. Rafael Fortes Peixotoadds that the objective “is not to bring together artists around an idea, but rather to reaffirm the occupation of this space on the cultural agenda and agenda, both in public institutions and in private spaces, such as Danielian Gallery”. He adds that in 2025 the aim is to celebrate 40 years of actions by Guerrilla Girls, who affirmed for the first time to the world the questioning of the female presence in the arts. Our idea with these solo exhibitions is that each artist’s production can be deepened in this environment of diversity and freedom.” 

The title of "Occupation" is inspired by the newspaper “Woman”, which circulated between 1981 and 1988, and played an important role within the Brazilian feminist movement, and emerged as a result of studies on the female condition in Brazil, with the participation of women as Lisette Lagnado, Inês Castilho, Lélia Gonzalez, Adélia Borges, Maria Rita Kehl, Ruth Cardoso, Carmen da Silva and Heloisa Teixeira (former Buarque de Hollanda) in its 40 editions. 

 A 14cm x 10cm publication accompanies the exhibition, on pink paper, with the curators' texts about each of the exhibitions. 

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Exhibition | Mulherio Occupation
From August 08th to October 05th
Monday to Friday from 11:19 to 11:17, Saturday from XNUMX:XNUMX to XNUMX:XNUMX

The exposure “Radical ideas about love”, from Rio Panmela Castro, happens in the Museum of Art of Rio (MAR). With more than 20 years of experience, the artist will present an exhibition with participatory works, using as its guiding thread the idea of ​​psychology that talks about the need to belong as a vital impulse of human beings. Curated by Daniela Labra and curatorial assistance by Maybel Sulamita, 17 works will be presented, 10 of which are new, including performances, photographs, paintings, sculptures and videos, which explore issues such as affectivity, loneliness, visibility, empowerment, self-care and memories.

“This solo show by Panmela Castro allows the public to discover many facets of her interdisciplinary language. Her work navigates different media and supports in a unique way, bringing together aesthetic, affective and activist issues in a work that is fundamentally performative and processual. The exhibition at MAR features new works and versions of existing ones, forming a playful, thought-provoking and transformative environment”, says curator Daniela Labra.

The exhibition will be built through performances, actions and public participation, which will take place throughout the exhibition period. “All works in some way need the other to exist or be completed, it is an exhibition that begins under construction”, highlights Panmela Castro. The exhibition will open with three blank canvases from the “Vigil at the Museum” series, which will be painted when the museum is closed to the public. In the form of vigils inside MAR at night, the artist will meet with people to portray them. A set of 50 photographs with records from the “Vigília” series will also be part of the exhibition.

The exhibition also features new works in which the public is invited to participate. In the work “Chá das Cinco”, for example, the public is invited to have tea and share advice with other visitors to the exhibition through notes left under the saucer. In “Siamese Dress”, two people will be able to wear, at the same time, a large pink dress made of filo. In addition, the public will be invited to bring lipsticks for the “Lipstick Collection” work and objects to leave in a cocoon, which will be transformed into sculptures by the artist. These objects, which can bring good or bad memories, will be given new meanings and immortalized by art.

Inspired by traditional arcade games, the work “Fight at the Museum” will be a game for the public, in which the fighters are the artists Allan Weber, Anarkia Boladona, Elian Almeida, Priscila Rooxo, Vivian Caccuri and Rafa Bqueer. The scenes portrayed are the Rio Art Museum, the Rio de Janeiro Museum of Modern Art and the Parque Lage School of Visual Arts. The artist proposes the game as a fighting game between artists, where the winner exhibits their work in the museum.

Completing the new works will be the video “Stories”, a collection of short videos published on the artist's Instagram (@panmelacastro), which invite the public to be part of different situations in her life and her artistic process.

In addition to the new works, iconic works by the artist will also be part of the exhibition, such as “Fortune Cookie” (2021), which features traditional Japanese cookies with feminist messages created by the artist; “Feminist Bible” (2021), in which the public will be able to write ideas that guide the emancipation and fight for rights of cis and trans women, and “Consagrada” (2021), a photoperformance in which the artist appears with her chest ripped open with this scarification, criticizing the way the art market chooses its characters.

“It is not surprising that Panmela is now respected internationally, both for the inventiveness of her art and her stance on issues such as gender-based violence of various types. This theme has for years encouraged her to create artistic actions, paintings, objects and also develop pedagogical and political work through her organization that uses the arts to promote rights, especially the fight against domestic violence, the NAMI Network”, says the curator Daniela Labra.

Completing the exhibition are four performances that the artist will perform throughout the exhibition period. On August 17th, “Cult Against Scams” ​​(2020) will be held, a ritual where self-esteem and vital energy are used to ward off malevolent individuals from each participant’s life. On September 28th, it will be the turn of “Honor to Merit” (2023), held at the I Bienal das Amazônias, which addresses the lack of recognition of women and proposes a ceremony where medals are awarded to the female public, as a way to value their talents and actions worthy of highlighting. “It’s a historical reparation”, says Panmela Castro. On October 5th, it will be the turn of the unprecedented performance “Revanche” (2019), in which the artist confronts the impositions of the compulsory feminine, inviting the public to enjoy the moment of a reckoning with the 4 meter tall bear that will be on display. On October 12th, “Ruptura” (2015) will be performed, in which the artist gets rid of a kind of “caricature of femininity”, opening space for broader discussions about gender and otherness. All performance works will be recorded and their videos will be shown at the exhibition.

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Exhibition | OPEN3 | TOMIE OHTAKE AND CHU MING SILVEIRA
From August 09th to November 24th
From Tuesday to Sunday, from 11am to 18pm (last entry at 17pm)

Forts D'Aloia & Gabriel presents Wild landscape, the new exhibition of Leda Catunda at Carpintaria, which marks the artist's return to Rio de Janeiro a decade after her last solo exhibition in the city, at the Museum of Modern Art. The works presented show a baroque inflection in his research, where the accumulation of textile elements and imagery citations that characterize his work is intensified by a multiplication of procedures and ornaments and by the proliferation of tongue shapes, protrusions, upholstered bellies and fabric flaps. all colors. Reflecting on the flow of visual and digital stimuli, Catunda focuses on our incessant exposure to the icons, signs and emblems of mass culture.

Adding a range of landscape references to this typically contemporary dimension, the artist paves the way for a paradoxical junction of nature and artifice, de-hierarchizing pretensions of taste and high and low registers in an omnivorous and voracious process. In these hybrids of painting and object, historical motifs such as the Catholic saint in Saint Thomas (2024) coexist with logos and graphics ready made of a job like Wild Landscape II (2024). In Cinema (2024), t-shirt prints with film images cult, as Lolita ou Back to the future they form the surface of a padded volume, in a compilation of references brought together by the artist that intertwines the affective side of memory with the objects and products of the cultural industry.

The production of curved, serpentine, wrinkled, curled, folded, accumulated, antithetical and labyrinthine forms reaches maximum volume in Wild Landscape II, mentioned above, and Caprichosa (2024), where this entire visual cornucopia is arranged in a tableau of fragmentary scenes. In these works the maximalist and cumulative tendency of this body of work is emphatically condensed.

Since his last solo show at ICA Milano, in 2023 in Italy, Catunda's emphasis on draping, trim, sewing and printing have made human clothing, silhouette and physiognomy material for plastic and conceptual composition, mainly in works as Seven skirts (2024)

“The excess of images in everything that surrounds us generates a strong illusion of speed. Whether in the virtual sphere, on the internet, or in reality on the restless surfaces that cover cities, in the streets, buildings or even on people's clothes, this poignant visuality seems to provoke the sensation of a shortening of time. This way we become anxious about the future, about a future that surprises us even without us being able to choose or choose. In this new reality nothing happens, everything flows. And, in this way, life follows the crazy flow of sudden events. Adaptation implies another type of reasoning, a modification of the associative system to rediscover the ability to read this new reality and ensure space for new ideas and new destinations.” – Leda Catunda

The exhibition is accompanied by a critical essay by Carlos Eduardo Riccioppo, Professor of the Department of Arts at Universidade Estadual Paulista – Unesp.

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Exhibition | Wild landscape
From August 10th to October 5th
Tuesday to Friday, from 10am to 19pm, and Saturday, from 10am to 18pm

The exposure "ARL Life and Work“, by Brazilian photographer and painter Antônio Roseno de Lima (1926-1998), goes on display at the Centro Cultural Banco do Brasil Rio de Janeiro on September 04, 2024. With free visits, this is an opportunity for the public to get to know the artist's production outsiders, Born in Alexandria, RN, who migrated to São Paulo and found art as a way to express himself. Semi-literate and living on the outskirts of Campinas, ARL, how he decided to sign his works, affirming his identity as a citizen, was discovered at the end of the 1980s by the plastic artist and PhD professor at the UNICAMP Institute of Arts, Geraldo Porto, who signs the curated the exhibition. The exhibition brings together more than 90 works, the vast majority of them paintings, the main medium used by the artist. Three 3D reproductions are also available to the public, facilitating accessibility for people with visual impairments. The exhibition, which has already been shown at CCBBs SP, BH and DF, will be at CCBB Rio until October 3th, ending its season.

The painter took inspiration from his own reality to create works that are a reflection of the purest and most enchanting Art Brut, French term, created by Jean Dubuffet, to designate art produced free from the influence of official styles and impositions of the art market, which often uses unprecedented and unlikely materials and techniques. His central themes were self-portraits, jaguars, cows, roosters, drunks, women and presidents. Despite the precarious conditions in which he lived in the Três Marias favela, in Campinas (where he lived from 1962 until his death in June 1998), Roseno expressed his dreams and everyday observations through his paintings, often using improvised materials found in the trash. : pieces of cans, cardboard, wood and synthetic enamel remains.

When he found a design that he liked, he cut it into cans of various sizes to use as a model, in addition to using other materials he found along the way, such as wool, more available in cold weather. His shack was his canvas, where vibrant colors and figures outlined in black came to life, revealing a unique visual poetry. In the works, the artist's diverse aspirations are represented, but one of them is repeated throughout his art: “I wanted to be a little bird to see the whole world!"

In bold colors, he wrote on the boards: “This design was founded in 1961“, referring to the beginning of his career in drawing, painting and photography, with a “spanish teacher“, in São Paulo. Even though he was semi-literate, words were always part of his poetic expression, like hermetic signs, displayed respecting the anteriority of the figures and showing a lack of knowledge of grammatical rules. Friends and children from the favela helped him with reading and taking notes in a notebook, which were photocopied to be pasted on the back of the pictures. The notes, full of information in the most diverse letters, informed about the materials, creation process, execution, conservation of the painting and concluded: “Whoever gets this drawing will keep it with care. You can wash. You just can't scratch it. It's for children and grandchildren. Having zeal, lasts half a century. "

Impressed by the uniqueness of Roseno's work, curator Geraldo Porto says that the first time he saw his paintings was in a collective exhibition of primitivist artists at the Centro de Convivência Cultural de Campinas, in 1988. “At that moment, I was sure I was in front of a rare artist“. He adds that the painter already stood out among the others. After gaining notoriety, he became “called by journalists the 'pop painter of the favela', – making reference to Pop Art, an American movement from the sixties – because his paintings mixed images, photographs, advertisements and words as in commercial posters“, explains Porto, adding that Antônio Roseno was unaware not only of this, but of any other artistic movement, but wanted to see his work in outdoors of the city.

As a way of refuting reports at the time, which showed him as a slum dweller, illiterate and sick, he began to write on his boards in bold letters: “I am a very intelligent man“, in order to get rid of these negative images. ARL lived with Soledade, his great companion in life, and despite his wife's devotion, the artist insisted on repeating in his work: “I never had love in my life“, regardless of the almost four decades of relationship that the two maintained.

In 1991 Geraldo curated ARL's first solo exhibition, at the contemporary art gallery Casa Triângulo, by Ricardo Trevisan, in São Paulo. Soon after, a German television broadcast a story about Roseno, broadcast in Europe during Documenta in Kassel, one of the largest and most important exhibitions of contemporary art and international modern art that takes place every five years in the city of Kassel, Germany. The Brazilian newspaper Folha de São Paulo recommended its exhibition as one of the best of the season. His works today appear in world-renowned publications. Roseno passed away in 1998, when a good part of his works were already in art collections in Brazil and abroad. Unfortunately, another large part was discarded by the city hall truck, called by the family to clean the house.
Just like Arthur Bispo do Rosário, ARL is part of these “virgin artists" or "outsiders“, authors of this “unusual art“. For Geraldo Porto, Antônio Roseno “He is an outsider artist, due to the originality of his creative process. His creativity knew no boundaries between photographing, painting or writing. Illiterate, he wrote; photographer, he painted; painter, he weaved. He painted so he wouldn’t get sick.” He portrayed everyday life, simple things that made him happy. “I asked him why he painted so many cows: 'Because I really like milk', he replied.".

Pieces of the soul and life

With the aim of unveiling the different layers of Antônio Roseno de Lima's work, the exhibition that will occupy the second floor of CCBB Rio, is divided into six sections, presenting a complete overview of the artist's various facets. In the first of them, “The Drunk“, we glimpse ARL’s roots in his art, in which flat colors stand out and there are no halftones or chiaroscuro effects, and the use of words proliferates. Started in 1975, this series features faces with eyes blurred by drink, a work that projected him as an artist on the international market, becoming his trademark. In "City Clippings“, we delve into the artist’s aspirations and fantasies, where we see him printed on banknotes (out of circulation); the beautiful, colorful house with electric lights; the modern building and the factory where he longed to work.

In the section “Presidents" historical facts and notable figures such as Afonso Pena, Nilo Peçanha, Getúlio Vargas, Mário de Andrade and Santos Dumont, his greatest idol (the one who probably inspired his desire to be a bird), appear. Already in “The photographer“, we have reflections of his great passion, the craft he learned to practice at the age of 35, in São Paulo, capital, and tried to keep alive in the interior (Indaiatuba), even after closing his studio due to lack of resources. “Fruits, Flowers and Animals” bring compositions of roosters, frogs, horses, cats, capybaras and jaguars or even paintings with almost “picassians” of cows. “Women and Saints” completes the tour of the creative soul of Roseno, an admirer who liked to portray women, and who continued to pay homage to them in the form of mermaids or the image of Our Lady of Aparecida.

In addition, the exhibition will also feature two installations. In "Photo Santo Antônio“, images are projected onto loop, forming a video with different photographs taken by Roseno, most of them in black and white and others with his hand-colored interventions. In fact, most of his photographs are now in the Memory Center of the State University of Campinas – UNICAMP. In "ARL Animated“, around 20 works were reimagined here by Nélio Costa. The images, created from the dismemberment and transformation of elements from the original works, respect the integrity of Antônio's work. Each selected work received personalized treatment, resulting in a unique experience for viewers, who will be able to appreciate the artistic production from a new perspective.

As part of its social inclusion program, aiming to guarantee access to a greater number of visitors, the exhibition features QR Codes on the identification cards of all its paintings, enabling audio description of each of them. Another accessibility initiative is the tactile reading of three screens that are reproduced in MDF, with different textures: “Drunk with a Cigarette I” (1986), which features one of the most emblematic representations of Roseno's career, a man with three rows of ears, eyebrows, eyes, noses and mouths, each with a cigarette between his lips, “The Rooster is the Husband of the Hen I” and "Pineapple" (both undated), which are also among the artist's most recurring themes.

From the “ARL Vida e Obra” exhibition, the public will be able to get to know who Antônio was, one of five brothers, born in 1926, in the city of Alexandria (RN), who at the age of 22 decided to leave the countryside to live in the city, helping his godmother to produce and sell sweets. At the age of 30, he left his marriage to Cosma, with whom he had five children, to seek a better life in São Paulo. There he dedicated himself to photography, before settling in the Três Marias favela, in 1962, where he produced most of his work.

Despite claiming that he never found love, he lived next to Soledade, a community leader, to whom he dedicated all the greatest care. A friend with whom he fought and made up, his company in joy, but especially in moments of poor health. Due to difficulties and public ignorance during his lifetime, Roseno's work, which summarizes his story, gained international recognition, with his works being exhibited in renowned museums around the world. A legacy that inspires and moves us to this day.

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Exhibitions | ARL Life and Work
From September 04nd to October 28th
Wednesday to Monday, from 9 am to 20 pm

The exposure Vanishing point, an installation project of Antonio Bokel, will be inaugurated in Lake Gallery. Curated by Isabel Portella, the exhibition celebrates the 20-year career of the Rio de Janeiro-born visual artist and presents a work in express dialogue with the Museu da República – formerly Palácio do Catete – a monument of historical relevance in the South Zone of Rio de Janeiro.

Driven by the invitation to create a symbolic intersection between art, architecture, history and landscape, Bokel immersed himself in the institution's archives and dedicated himself to researching the place that, at the end of the 19th century, housed the Presidency of the Republic and was the scene of intense political articulations.

Among facts and many curiosities, he discovered that there was a controversial anchorage there known as Ponte do Flamengo, built next to Avenida Beira Mar (and demolished in the 1960s, with the construction of Aterro), where a vessel for the exclusive use of the acting president docked. It was possibly an escape route.

When visiting the Galeria do Lago exhibition area, Antonio noticed that one of the windows overlooking the 120 square meter garden that connects the palace to Praia do Flamengo, frames a monumental corridor of imperial palm trees. This perspective that leads to the old dock was the poetic trigger for the artist's first installation project, which was based on a constructivist logic.

“The vertical arrangement of the symmetrically aligned palm trees, leading to the museum’s exit towards Aterro, prompted me to reproduce the same parallelism within the exhibition space. I created ten totems in corten steel (180 cm x 30 cm), a material that reacts to time, installed side by side. At the end of the room, a large mirror reflects the totems, duplicating them and giving the illusion of continuity of the vanishing point,” he describes.

In the smaller room, two aluminum bars are placed on the floor, deconstructing the architecture and establishing a geometric composition that establishes the path that leads the viewer to the installation of the totems. Between them, a black painting, measuring 200 cm x 120 cm, materializes the perspective and reinforces the synthetic expression of constructivism. A palm leaf sculpted in bronze rests on the canvas.

“He is a contemporary artist dialoguing with the history of the Catete Palace, which spans over 160 years. Bokel managed to create this relationship with the space, converting the architectural design into geometric shapes. He explores depth, including the perspective of the visitor who, through the mirror, becomes another layer of the work,” says Isabel. “It is an architectural, landscape and historical dialogue.” The curator also emphasizes that characteristic aspects of Antonio’s production, such as the diversity of materials and supports, and the relationship with the city, are present.

When asked about the passage of time in his work over the course of his two decades of artistic career, Bokel states that in the last ten years there has been a clear transformation in his work, guided by geometry and sculptural thinking:

“Since 2014, my work has been undergoing a progressive process of eliminating noise, keeping only what is essential. Geometry was the starting point for this phase in which sculpture gained prominence. Although these are timeless forms, I am interested in investigating how this geometric logic connects with contemporaneity,” reveals the artist.

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Exhibition | Vanishing point
From September 12th to November 12th
Tuesday to Friday, from 10am to 12pm and from 13pm to 17pm, Saturdays, Sundays and holidays, from 11am to 18pm

Marcela Canterbury bring to the Gentle Carioca the reassembly of the installation of paintings presented at the exhibition The South American Dream, in 2023, the artist’s first solo exhibition in the United States. In this work, Cantuária brings together narratives of activists and environmentalists from South America who remained faithful to their dreams through resistance and fighting for their countries and lands, including figures such as Chico Mendes, Dorothy Stang, Maria do Espírito Santo da Silva, Túpac Amaru, among others. While her research highlights the injustices experienced by these historical figures, the paintings point to the beauty of the struggle told in these stories of ideals and battles, sharing with viewers the richness of South America’s natural resources that many want to protect.

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Exhibition | The South American Dream
From September 21nd to October 26th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

Rodrigo Torres presents its new installation, A Safe Place, composed of eight new sculptures, which will occupy the first floor of building 11 of the Rio headquarters. Created based on his interest in leftover construction materials and natural elements found in the Tijuca Forest, the works on display are the result of a long journey of experimentation with various techniques, such as painting and collage, and even ceramics.

The title of the work comes from “the place of memory that speaks of the feeling of protection from childhood, that place to which one can return,” explains the artist. Using ornaments and refinement in the compositions, Torres subverts the genre of contemplative still life, moving the viewer through questions about the perception of reality – as exemplified by the various overlapping layers that appear to be covered in cardboard, but are, in fact, pieces made of clay.

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Exhibition | A Safe Place
From September 21nd to October 26th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

Prominent artist in the contemporary art scene in Rio de Janeiro, Miguel Afa presents his first solo show at Gentle Carioca, bringing together a set of 10 new paintings, as well as a site-specific installation that will occupy the area of ​​the gallery known as the pool. The text introducing the exhibition is written by rapper and composer Emicida.

The result of the artist’s recent production, the exhibition brings together reflections on territory and memory. Born in Complexo do Alemão, Afa transposes his view of the transformations of this place and the bodies that inhabit it into his paintings. The figurative images, plucked from memory through childhood memories, are integrated into the various layers of meaning arranged in the pictorial field of the works. Memories such as “the earth leaving the backyard to make way for concrete, the fruit trees being cut down, the racialized bodies being read as marginalized,” as the artist says, are also connected to experiences of fraternal coexistence. The title of the exhibition is a reference to the feeling of “care and affective order” arising from this place of memory, which the artist imbued himself with to produce the works in the exhibition.

A very present element in the artist's research into territory, the kite appears in many of his works, acting as a guiding thread in this new exhibition. The representation of this childhood object of desire is sometimes as a geometric element, sometimes as a playful resource, or simply as a toy in his compositions. One of the main paintings in the exhibition, inspired by A Portrait of the Artist by British artist David Hockney, shows a pool of kites with the Serra da Misericórdia from the early 20th century as the backdrop – a group of green mountains surrounding the Penha Church, where the Complexo do Alemão was later established. As an expanded field of this painting, a site-specific installation will group hundreds of kites in the gallery's pool space, expanding the artist's dreamlike imagery beyond the painting.

The meticulous study of color and the choice of a palette that is not very saturated bring significance and meaning to the poetic, visual and thematic repertoire of Miguel Afa’s work. These characteristics are reminiscent of other references in the history of art, such as some works by the Italian Giorgio Morandi and the French Edouard Villard, considered by Afa to be those that managed to show the interior through the nuance of color, which reached the “color of the inside of the house”. In the work of the artist from Rio de Janeiro, in addition to being a tool for investigating painting, color proposes a deep racial reflection through the approach to the work. “When seen from afar, the color, almost metaphysical, does not communicate what my painting is conveying, which is configured as an analogy to the racialized body”, explains Afa. “The first look at this body involves the preconceived idea that leads the thought to a marginal place, full of racial and social issues. Only when you get closer to the painting do you realize the complexity of the existence of this body. When I think about the color of my painting, I think of a body proposing a color and inviting the viewer to take one or two steps forward, in order to really understand what they are seeing”, concludes the artist.

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Exhibition | Come Inside
From September 21st to January 25th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

To mark 20 years of Carlos Scliar Museum House, the exhibition opened “The Artivists: Carlos Scliar and Cildo Meireles”, which unites, for the first time, the work of these two important artists. “Scliar was fundamental in my life”, says Cildo Meireles about his friend who died in 2001. Curated by Cristina Ventura, coordinator of the museum house, around thirty works will be presented, some of which are new, covering a period that goes from 1940s until 2021. Participatory works, inspired by the works of the two artists, complete the exhibition. The exhibition, which will have free entry until the end of August, is presented by the Federal Government, Ministry of Culture, Government of the State of Rio de Janeiro, Secretariat of State for Culture and Creative Economy of Rio de Janeiro through the Paulo Gustavo Law .

“The idea is to provoke in the viewer an invitation to reflection, instigated by the current issues addressed by the artists in their works. Topics such as: state crimes, environment, war, monetary value, among others. Our purpose is for people to think about their role in today’s world”, says curator Cristina Ventura.

The works of Cildo Meireles and Carlos Scliar will be exhibited together, as a large installation, without following a chronological order. There are paintings, drawings, collages, studies, engravings, objects and videos. By Cildo, there will be the notes “Zero Dólar” (1984) and “Zero Cruzeiro” (1978), the sound installation “Rio Oir” (2011), the video “15 seconds” (2021), in honor of Marielle Franco, among other works. By Scliar, the drawings “Warsaw Ghetto Uprising” (1957) and SOS (1989) stand out, as well as drawings and studies, some unpublished, that deal with themes such as Afro-Brazilian culture and the Holocaust. “I'm a great admirer of Scliar's drawings, I think he was one of the most talented designers in Brazil, truly sensitive”, says Cildo Meireles.

In the exhibition, there will also be the matrix of the cover of Revista Horizonte, made by Scliar in 1952, which reads: “Sign Apelo Paz”. “The Second World War had a big impact on him, Scliar was a soldier and served as an artillery corporal. In the post-war period, he actively participated in movements, such as the Peace Congress held in the former Czechoslovakia, the message conveyed in the work is fundamental”, says the curator. A tactile reproduction of this matrix will be part of the exhibition so that visitors can handle it. Also on display will be an unpublished text by the artist from the 1980s, narrated by singer and composer Marina Lima. In the document, Scliar expresses his indignation and fatigue in the face of our historical construction. The artist grew up seeing works by Scliar, collected by her father, according to Marina, “an affectionate image that I will never forget”. The recording was made especially for the exhibition.

With different trajectories, Carlos Scliar and Cildo Meireles met in 1966. “From our first meeting, where I showed my drawings, he became interested in showing these works to some collectors and from then on he practically financed me. He was always a very generous person, not only in my case, but also with other young artists who were starting out. He was a person with intrinsic enthusiasm, he was always encouraging, always supporting”, says Cildo Meireles. The two were close friends throughout their lives and, at different times, dealt with similar issues in their work, such as during the military dictatorship. Other issues also converge in the production of the two: the iconic work “Zero Dólar”, by Cildo Meireles, features the image of Uncle Sam, a character who appears flying over the Amazon with black wings, as if he were a vulture, in the work SOS, by Carlos Scliar.

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Exhibition | The Artivists: Carlos Scliar and Cildo Meireles
From June 29th to June 01st, 2025
Tuesday to Friday from 14:30 pm to 18 pm. Saturdays from 15:30pm to 19pm

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Exhibition | Brazilian news
From July 31th to November 1th
Tuesday to Saturday, from 10:18 to XNUMX:XNUMX

The exposure “Radical ideas about love”, from Rio Panmela Castro, happens in the Museum of Art of Rio (MAR). With more than 20 years of experience, the artist will present an exhibition with participatory works, using as its guiding thread the idea of ​​psychology that talks about the need to belong as a vital impulse of human beings. Curated by Daniela Labra and curatorial assistance by Maybel Sulamita, 17 works will be presented, 10 of which are new, including performances, photographs, paintings, sculptures and videos, which explore issues such as affectivity, loneliness, visibility, empowerment, self-care and memories.

“This solo show by Panmela Castro allows the public to discover many facets of her interdisciplinary language. Her work navigates different media and supports in a unique way, bringing together aesthetic, affective and activist issues in a work that is fundamentally performative and processual. The exhibition at MAR features new works and versions of existing ones, forming a playful, thought-provoking and transformative environment”, says curator Daniela Labra.

The exhibition will be built through performances, actions and public participation, which will take place throughout the exhibition period. “All works in some way need the other to exist or be completed, it is an exhibition that begins under construction”, highlights Panmela Castro. The exhibition will open with three blank canvases from the “Vigil at the Museum” series, which will be painted when the museum is closed to the public. In the form of vigils inside MAR at night, the artist will meet with people to portray them. A set of 50 photographs with records from the “Vigília” series will also be part of the exhibition.

The exhibition also features new works in which the public is invited to participate. In the work “Chá das Cinco”, for example, the public is invited to have tea and share advice with other visitors to the exhibition through notes left under the saucer. In “Siamese Dress”, two people will be able to wear, at the same time, a large pink dress made of filo. In addition, the public will be invited to bring lipsticks for the “Lipstick Collection” work and objects to leave in a cocoon, which will be transformed into sculptures by the artist. These objects, which can bring good or bad memories, will be given new meanings and immortalized by art.

Inspired by traditional arcade games, the work “Fight at the Museum” will be a game for the public, in which the fighters are the artists Allan Weber, Anarkia Boladona, Elian Almeida, Priscila Rooxo, Vivian Caccuri and Rafa Bqueer. The scenes portrayed are the Rio Art Museum, the Rio de Janeiro Museum of Modern Art and the Parque Lage School of Visual Arts. The artist proposes the game as a fighting game between artists, where the winner exhibits their work in the museum.

Completing the new works will be the video “Stories”, a collection of short videos published on the artist's Instagram (@panmelacastro), which invite the public to be part of different situations in her life and her artistic process.

In addition to the new works, iconic works by the artist will also be part of the exhibition, such as “Fortune Cookie” (2021), which features traditional Japanese cookies with feminist messages created by the artist; “Feminist Bible” (2021), in which the public will be able to write ideas that guide the emancipation and fight for rights of cis and trans women, and “Consagrada” (2021), a photoperformance in which the artist appears with her chest ripped open with this scarification, criticizing the way the art market chooses its characters.

“It is not surprising that Panmela is now respected internationally, both for the inventiveness of her art and her stance on issues such as gender-based violence of various types. This theme has for years encouraged her to create artistic actions, paintings, objects and also develop pedagogical and political work through her organization that uses the arts to promote rights, especially the fight against domestic violence, the NAMI Network”, says the curator Daniela Labra.

Completing the exhibition are four performances that the artist will perform throughout the exhibition period. On August 17th, “Cult Against Scams” ​​(2020) will be held, a ritual where self-esteem and vital energy are used to ward off malevolent individuals from each participant’s life. On September 28th, it will be the turn of “Honor to Merit” (2023), held at the I Bienal das Amazônias, which addresses the lack of recognition of women and proposes a ceremony where medals are awarded to the female public, as a way to value their talents and actions worthy of highlighting. “It’s a historical reparation”, says Panmela Castro. On October 5th, it will be the turn of the unprecedented performance “Revanche” (2019), in which the artist confronts the impositions of the compulsory feminine, inviting the public to enjoy the moment of a reckoning with the 4 meter tall bear that will be on display. On October 12th, “Ruptura” (2015) will be performed, in which the artist gets rid of a kind of “caricature of femininity”, opening space for broader discussions about gender and otherness. All performance works will be recorded and their videos will be shown at the exhibition.

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Exhibition | OPEN3 | TOMIE OHTAKE AND CHU MING SILVEIRA
From August 09th to November 24th
From Tuesday to Sunday, from 11am to 18pm (last entry at 17pm)

The exposure Vanishing point, an installation project of Antonio Bokel, will be inaugurated in Lake Gallery. Curated by Isabel Portella, the exhibition celebrates the 20-year career of the Rio de Janeiro-born visual artist and presents a work in express dialogue with the Museu da República – formerly Palácio do Catete – a monument of historical relevance in the South Zone of Rio de Janeiro.

Driven by the invitation to create a symbolic intersection between art, architecture, history and landscape, Bokel immersed himself in the institution's archives and dedicated himself to researching the place that, at the end of the 19th century, housed the Presidency of the Republic and was the scene of intense political articulations.

Among facts and many curiosities, he discovered that there was a controversial anchorage there known as Ponte do Flamengo, built next to Avenida Beira Mar (and demolished in the 1960s, with the construction of Aterro), where a vessel for the exclusive use of the acting president docked. It was possibly an escape route.

When visiting the Galeria do Lago exhibition area, Antonio noticed that one of the windows overlooking the 120 square meter garden that connects the palace to Praia do Flamengo, frames a monumental corridor of imperial palm trees. This perspective that leads to the old dock was the poetic trigger for the artist's first installation project, which was based on a constructivist logic.

“The vertical arrangement of the symmetrically aligned palm trees, leading to the museum’s exit towards Aterro, prompted me to reproduce the same parallelism within the exhibition space. I created ten totems in corten steel (180 cm x 30 cm), a material that reacts to time, installed side by side. At the end of the room, a large mirror reflects the totems, duplicating them and giving the illusion of continuity of the vanishing point,” he describes.

In the smaller room, two aluminum bars are placed on the floor, deconstructing the architecture and establishing a geometric composition that establishes the path that leads the viewer to the installation of the totems. Between them, a black painting, measuring 200 cm x 120 cm, materializes the perspective and reinforces the synthetic expression of constructivism. A palm leaf sculpted in bronze rests on the canvas.

“He is a contemporary artist dialoguing with the history of the Catete Palace, which spans over 160 years. Bokel managed to create this relationship with the space, converting the architectural design into geometric shapes. He explores depth, including the perspective of the visitor who, through the mirror, becomes another layer of the work,” says Isabel. “It is an architectural, landscape and historical dialogue.” The curator also emphasizes that characteristic aspects of Antonio’s production, such as the diversity of materials and supports, and the relationship with the city, are present.

When asked about the passage of time in his work over the course of his two decades of artistic career, Bokel states that in the last ten years there has been a clear transformation in his work, guided by geometry and sculptural thinking:

“Since 2014, my work has been undergoing a progressive process of eliminating noise, keeping only what is essential. Geometry was the starting point for this phase in which sculpture gained prominence. Although these are timeless forms, I am interested in investigating how this geometric logic connects with contemporaneity,” reveals the artist.

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Exhibition | Vanishing point
From September 12th to November 12th
Tuesday to Friday, from 10am to 12pm and from 13pm to 17pm, Saturdays, Sundays and holidays, from 11am to 18pm

Prominent artist in the contemporary art scene in Rio de Janeiro, Miguel Afa presents his first solo show at Gentle Carioca, bringing together a set of 10 new paintings, as well as a site-specific installation that will occupy the area of ​​the gallery known as the pool. The text introducing the exhibition is written by rapper and composer Emicida.

The result of the artist’s recent production, the exhibition brings together reflections on territory and memory. Born in Complexo do Alemão, Afa transposes his view of the transformations of this place and the bodies that inhabit it into his paintings. The figurative images, plucked from memory through childhood memories, are integrated into the various layers of meaning arranged in the pictorial field of the works. Memories such as “the earth leaving the backyard to make way for concrete, the fruit trees being cut down, the racialized bodies being read as marginalized,” as the artist says, are also connected to experiences of fraternal coexistence. The title of the exhibition is a reference to the feeling of “care and affective order” arising from this place of memory, which the artist imbued himself with to produce the works in the exhibition.

A very present element in the artist's research into territory, the kite appears in many of his works, acting as a guiding thread in this new exhibition. The representation of this childhood object of desire is sometimes as a geometric element, sometimes as a playful resource, or simply as a toy in his compositions. One of the main paintings in the exhibition, inspired by A Portrait of the Artist by British artist David Hockney, shows a pool of kites with the Serra da Misericórdia from the early 20th century as the backdrop – a group of green mountains surrounding the Penha Church, where the Complexo do Alemão was later established. As an expanded field of this painting, a site-specific installation will group hundreds of kites in the gallery's pool space, expanding the artist's dreamlike imagery beyond the painting.

The meticulous study of color and the choice of a palette that is not very saturated bring significance and meaning to the poetic, visual and thematic repertoire of Miguel Afa’s work. These characteristics are reminiscent of other references in the history of art, such as some works by the Italian Giorgio Morandi and the French Edouard Villard, considered by Afa to be those that managed to show the interior through the nuance of color, which reached the “color of the inside of the house”. In the work of the artist from Rio de Janeiro, in addition to being a tool for investigating painting, color proposes a deep racial reflection through the approach to the work. “When seen from afar, the color, almost metaphysical, does not communicate what my painting is conveying, which is configured as an analogy to the racialized body”, explains Afa. “The first look at this body involves the preconceived idea that leads the thought to a marginal place, full of racial and social issues. Only when you get closer to the painting do you realize the complexity of the existence of this body. When I think about the color of my painting, I think of a body proposing a color and inviting the viewer to take one or two steps forward, in order to really understand what they are seeing”, concludes the artist.

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Exhibition | Come Inside
From September 21st to January 25th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

To mark 20 years of Carlos Scliar Museum House, the exhibition opened “The Artivists: Carlos Scliar and Cildo Meireles”, which unites, for the first time, the work of these two important artists. “Scliar was fundamental in my life”, says Cildo Meireles about his friend who died in 2001. Curated by Cristina Ventura, coordinator of the museum house, around thirty works will be presented, some of which are new, covering a period that goes from 1940s until 2021. Participatory works, inspired by the works of the two artists, complete the exhibition. The exhibition, which will have free entry until the end of August, is presented by the Federal Government, Ministry of Culture, Government of the State of Rio de Janeiro, Secretariat of State for Culture and Creative Economy of Rio de Janeiro through the Paulo Gustavo Law .

“The idea is to provoke in the viewer an invitation to reflection, instigated by the current issues addressed by the artists in their works. Topics such as: state crimes, environment, war, monetary value, among others. Our purpose is for people to think about their role in today’s world”, says curator Cristina Ventura.

The works of Cildo Meireles and Carlos Scliar will be exhibited together, as a large installation, without following a chronological order. There are paintings, drawings, collages, studies, engravings, objects and videos. By Cildo, there will be the notes “Zero Dólar” (1984) and “Zero Cruzeiro” (1978), the sound installation “Rio Oir” (2011), the video “15 seconds” (2021), in honor of Marielle Franco, among other works. By Scliar, the drawings “Warsaw Ghetto Uprising” (1957) and SOS (1989) stand out, as well as drawings and studies, some unpublished, that deal with themes such as Afro-Brazilian culture and the Holocaust. “I'm a great admirer of Scliar's drawings, I think he was one of the most talented designers in Brazil, truly sensitive”, says Cildo Meireles.

In the exhibition, there will also be the matrix of the cover of Revista Horizonte, made by Scliar in 1952, which reads: “Sign Apelo Paz”. “The Second World War had a big impact on him, Scliar was a soldier and served as an artillery corporal. In the post-war period, he actively participated in movements, such as the Peace Congress held in the former Czechoslovakia, the message conveyed in the work is fundamental”, says the curator. A tactile reproduction of this matrix will be part of the exhibition so that visitors can handle it. Also on display will be an unpublished text by the artist from the 1980s, narrated by singer and composer Marina Lima. In the document, Scliar expresses his indignation and fatigue in the face of our historical construction. The artist grew up seeing works by Scliar, collected by her father, according to Marina, “an affectionate image that I will never forget”. The recording was made especially for the exhibition.

With different trajectories, Carlos Scliar and Cildo Meireles met in 1966. “From our first meeting, where I showed my drawings, he became interested in showing these works to some collectors and from then on he practically financed me. He was always a very generous person, not only in my case, but also with other young artists who were starting out. He was a person with intrinsic enthusiasm, he was always encouraging, always supporting”, says Cildo Meireles. The two were close friends throughout their lives and, at different times, dealt with similar issues in their work, such as during the military dictatorship. Other issues also converge in the production of the two: the iconic work “Zero Dólar”, by Cildo Meireles, features the image of Uncle Sam, a character who appears flying over the Amazon with black wings, as if he were a vulture, in the work SOS, by Carlos Scliar.

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Exhibition | The Artivists: Carlos Scliar and Cildo Meireles
From June 29th to June 01st, 2025
Tuesday to Friday from 14:30 pm to 18 pm. Saturdays from 15:30pm to 19pm

Prominent artist in the contemporary art scene in Rio de Janeiro, Miguel Afa presents his first solo show at Gentle Carioca, bringing together a set of 10 new paintings, as well as a site-specific installation that will occupy the area of ​​the gallery known as the pool. The text introducing the exhibition is written by rapper and composer Emicida.

The result of the artist’s recent production, the exhibition brings together reflections on territory and memory. Born in Complexo do Alemão, Afa transposes his view of the transformations of this place and the bodies that inhabit it into his paintings. The figurative images, plucked from memory through childhood memories, are integrated into the various layers of meaning arranged in the pictorial field of the works. Memories such as “the earth leaving the backyard to make way for concrete, the fruit trees being cut down, the racialized bodies being read as marginalized,” as the artist says, are also connected to experiences of fraternal coexistence. The title of the exhibition is a reference to the feeling of “care and affective order” arising from this place of memory, which the artist imbued himself with to produce the works in the exhibition.

A very present element in the artist's research into territory, the kite appears in many of his works, acting as a guiding thread in this new exhibition. The representation of this childhood object of desire is sometimes as a geometric element, sometimes as a playful resource, or simply as a toy in his compositions. One of the main paintings in the exhibition, inspired by A Portrait of the Artist by British artist David Hockney, shows a pool of kites with the Serra da Misericórdia from the early 20th century as the backdrop – a group of green mountains surrounding the Penha Church, where the Complexo do Alemão was later established. As an expanded field of this painting, a site-specific installation will group hundreds of kites in the gallery's pool space, expanding the artist's dreamlike imagery beyond the painting.

The meticulous study of color and the choice of a palette that is not very saturated bring significance and meaning to the poetic, visual and thematic repertoire of Miguel Afa’s work. These characteristics are reminiscent of other references in the history of art, such as some works by the Italian Giorgio Morandi and the French Edouard Villard, considered by Afa to be those that managed to show the interior through the nuance of color, which reached the “color of the inside of the house”. In the work of the artist from Rio de Janeiro, in addition to being a tool for investigating painting, color proposes a deep racial reflection through the approach to the work. “When seen from afar, the color, almost metaphysical, does not communicate what my painting is conveying, which is configured as an analogy to the racialized body”, explains Afa. “The first look at this body involves the preconceived idea that leads the thought to a marginal place, full of racial and social issues. Only when you get closer to the painting do you realize the complexity of the existence of this body. When I think about the color of my painting, I think of a body proposing a color and inviting the viewer to take one or two steps forward, in order to really understand what they are seeing”, concludes the artist.

Service
Exhibition | Come Inside
From September 21st to January 25th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)

To mark 20 years of Carlos Scliar Museum House, the exhibition opened “The Artivists: Carlos Scliar and Cildo Meireles”, which unites, for the first time, the work of these two important artists. “Scliar was fundamental in my life”, says Cildo Meireles about his friend who died in 2001. Curated by Cristina Ventura, coordinator of the museum house, around thirty works will be presented, some of which are new, covering a period that goes from 1940s until 2021. Participatory works, inspired by the works of the two artists, complete the exhibition. The exhibition, which will have free entry until the end of August, is presented by the Federal Government, Ministry of Culture, Government of the State of Rio de Janeiro, Secretariat of State for Culture and Creative Economy of Rio de Janeiro through the Paulo Gustavo Law .

“The idea is to provoke in the viewer an invitation to reflection, instigated by the current issues addressed by the artists in their works. Topics such as: state crimes, environment, war, monetary value, among others. Our purpose is for people to think about their role in today’s world”, says curator Cristina Ventura.

The works of Cildo Meireles and Carlos Scliar will be exhibited together, as a large installation, without following a chronological order. There are paintings, drawings, collages, studies, engravings, objects and videos. By Cildo, there will be the notes “Zero Dólar” (1984) and “Zero Cruzeiro” (1978), the sound installation “Rio Oir” (2011), the video “15 seconds” (2021), in honor of Marielle Franco, among other works. By Scliar, the drawings “Warsaw Ghetto Uprising” (1957) and SOS (1989) stand out, as well as drawings and studies, some unpublished, that deal with themes such as Afro-Brazilian culture and the Holocaust. “I'm a great admirer of Scliar's drawings, I think he was one of the most talented designers in Brazil, truly sensitive”, says Cildo Meireles.

In the exhibition, there will also be the matrix of the cover of Revista Horizonte, made by Scliar in 1952, which reads: “Sign Apelo Paz”. “The Second World War had a big impact on him, Scliar was a soldier and served as an artillery corporal. In the post-war period, he actively participated in movements, such as the Peace Congress held in the former Czechoslovakia, the message conveyed in the work is fundamental”, says the curator. A tactile reproduction of this matrix will be part of the exhibition so that visitors can handle it. Also on display will be an unpublished text by the artist from the 1980s, narrated by singer and composer Marina Lima. In the document, Scliar expresses his indignation and fatigue in the face of our historical construction. The artist grew up seeing works by Scliar, collected by her father, according to Marina, “an affectionate image that I will never forget”. The recording was made especially for the exhibition.

With different trajectories, Carlos Scliar and Cildo Meireles met in 1966. “From our first meeting, where I showed my drawings, he became interested in showing these works to some collectors and from then on he practically financed me. He was always a very generous person, not only in my case, but also with other young artists who were starting out. He was a person with intrinsic enthusiasm, he was always encouraging, always supporting”, says Cildo Meireles. The two were close friends throughout their lives and, at different times, dealt with similar issues in their work, such as during the military dictatorship. Other issues also converge in the production of the two: the iconic work “Zero Dólar”, by Cildo Meireles, features the image of Uncle Sam, a character who appears flying over the Amazon with black wings, as if he were a vulture, in the work SOS, by Carlos Scliar.

Service
Exhibition | The Artivists: Carlos Scliar and Cildo Meireles
From June 29th to June 01st, 2025
Tuesday to Friday from 14:30 pm to 18 pm. Saturdays from 15:30pm to 19pm

Prominent artist in the contemporary art scene in Rio de Janeiro, Miguel Afa presents his first solo show at Gentle Carioca, bringing together a set of 10 new paintings, as well as a site-specific installation that will occupy the area of ​​the gallery known as the pool. The text introducing the exhibition is written by rapper and composer Emicida.

The result of the artist’s recent production, the exhibition brings together reflections on territory and memory. Born in Complexo do Alemão, Afa transposes his view of the transformations of this place and the bodies that inhabit it into his paintings. The figurative images, plucked from memory through childhood memories, are integrated into the various layers of meaning arranged in the pictorial field of the works. Memories such as “the earth leaving the backyard to make way for concrete, the fruit trees being cut down, the racialized bodies being read as marginalized,” as the artist says, are also connected to experiences of fraternal coexistence. The title of the exhibition is a reference to the feeling of “care and affective order” arising from this place of memory, which the artist imbued himself with to produce the works in the exhibition.

A very present element in the artist's research into territory, the kite appears in many of his works, acting as a guiding thread in this new exhibition. The representation of this childhood object of desire is sometimes as a geometric element, sometimes as a playful resource, or simply as a toy in his compositions. One of the main paintings in the exhibition, inspired by A Portrait of the Artist by British artist David Hockney, shows a pool of kites with the Serra da Misericórdia from the early 20th century as the backdrop – a group of green mountains surrounding the Penha Church, where the Complexo do Alemão was later established. As an expanded field of this painting, a site-specific installation will group hundreds of kites in the gallery's pool space, expanding the artist's dreamlike imagery beyond the painting.

The meticulous study of color and the choice of a palette that is not very saturated bring significance and meaning to the poetic, visual and thematic repertoire of Miguel Afa’s work. These characteristics are reminiscent of other references in the history of art, such as some works by the Italian Giorgio Morandi and the French Edouard Villard, considered by Afa to be those that managed to show the interior through the nuance of color, which reached the “color of the inside of the house”. In the work of the artist from Rio de Janeiro, in addition to being a tool for investigating painting, color proposes a deep racial reflection through the approach to the work. “When seen from afar, the color, almost metaphysical, does not communicate what my painting is conveying, which is configured as an analogy to the racialized body”, explains Afa. “The first look at this body involves the preconceived idea that leads the thought to a marginal place, full of racial and social issues. Only when you get closer to the painting do you realize the complexity of the existence of this body. When I think about the color of my painting, I think of a body proposing a color and inviting the viewer to take one or two steps forward, in order to really understand what they are seeing”, concludes the artist.

Service
Exhibition | Come Inside
From September 21st to January 25th
Tuesday to Friday, from 12pm to 18pm, Saturday, from 12pm to 16pm (with prior appointment, except on opening days)