There are practically no human sciences before the XNUMXth century. That is to say that sociology, anthropology, political science, psychology and even history, as sciences, are at most two hundred years old. There were precursors, but essentially what we know of human beings today is recent work. The advances in these areas have been remarkable.
It turns out that when you study the individual or society, you are involved in the study. We can be more objective when dealing with physics or chemistry, but in the case of the human being our interests or desires are involved. And that brings at least one positive result: those who study the human being, in most cases, want to improve the life of our species. There will be disagreements about what is best for us, but the will to improve will be strong. Whoever used the human sciences for racism ended up in the garbage of history.
This has led many human scientists to become militants without losing scientific rigor. Anthropologists, for example, defend the rights of indigenous peoples, blacks and minorities in general. And so it goes.
The problem is that, for some time now, this activism has led some to deny the scientific spirit itself. Look at Freud: his main battle was against morality, if you will, against moralism. He revealed the strength of sexual impulses that, for his time, were something forbidden, not talked about. (Agatha Christie, in her early novels, goes so far as to say that a girl at the beginning of the XNUMXth century would lose her reputation if they saw her coming out of a… bathroom).
It so happens that today, to speak scientifically about certain subjects, in various media, provokes a strange reaction: it is as if the mere mention of something immoral represents the defense of that immorality. I take directly from a statement by a signatory of the manifesto in defense of the flirt (not the harassment!) signed by one hundred French women, and which stated that a woman can come during a rape. She said she can cum, not that she does. However, what she said was understood as a defense of rape. (Don't confuse her with someone who said she wanted to have been raped. They are two very different statements). What she said was unfortunate, but when one goes to seriously study sexuality, what one discovers may not please good customs, neither the ancient ones of oppression and repression, nor the modern ones, of equality and respect for the other (and for other).
And here we have the abyss between militancy and science. Scientific knowledge cannot have barriers. He deals with the horror eventually. But without knowing the worst, you don't know the human being. There is no science without the willingness to suspend moral judgment in order to know. Even if our goal is to fight horror – in this case, sexual abuse – we need to understand it.
And here we have the abyss between militancy and science. Scientific knowledge cannot have barriers.
As it is precisely with regard to sex (I use this word on purpose, and not gender, because I want to emphasize the side of desire, of libido) that there is still a huge number of abuses and prejudices, what I want to emphasize is simple: knowing the causes or reasons of a process does not mean praising them. It doesn't mean taking their side.
I've seen many people criticizing those who sought to see, in our electoral system, what favors corruption. They rejected the very idea that corruption had causes; for them, it stemmed only from personal dishonesty. Therefore, paradoxically, they repudiated any reform that would make the system more honest, claiming that the person is honest or not, as if circumstances played no role. (If there is a system in which it is frankly harmful to respect the rules of the game, they will tend to be flouted. Imagine yourself in a traffic jam on the road, with drivers overtaking on the side of the road. to illegality.). Well, knowing the causes – of minor illegalities, of sexual abuse and problems, of corruption and violence – often requires dealing with what I will call, for simplicity, gradations of Evil. For without knowing it, there is no scientific advance.
Nobody asks this question when researching the causes of a disease. If a doctor discovers what causes the flu, or cancer, will anyone accuse him of defending the disease in question? But that's what many do when investigating what causes disapproved human conduct.
And that is why the law, the best law itself, the defense of “good” causes, is intruding into areas that are not its own. It applies a series of norms, correct, fair, of good, but that sometimes even deny the possibility of studying observed phenomena. Which ends up being a shot in the foot. If we don't know what's on the mind of the worst criminal, how can we tackle the causes of crime?
Details
The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: Accounts of Another History,” one of the central events of the France-Brazil Season 2025. Curated by Nadine Hounkpatin.
Details
The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: accounts of another history”, one of the central events of France-Brazil 2025 Season.
Curated by Nadine Hounkpatin e Jamile Coelhothe exhibition brings together 20 black female artists From the African diaspora and the African continent, who appropriate the visual arts as a field for elaborating memory and symbolically reconstructing the world. Their productions establish a decolonial thought, in which art acts as a form of listening, rewriting, and re-existence.
Participants: Amélia Sampaio, Barbara Asei Dantoni, Barbara Portailler, Beya Gille Gacha, Charlotte Yonga, Dalila Dalléas Bouzar, Enam Gbewonyo, Fabiana Ex-Souza, Gosette Lubondo, Josèfa Ntjam, Luana Vitra, Luisa Magaly, Luma Nascimento, Madalena dos Santos Reinbolt, Maria Lídia dos Santos Magliani, Myriam Mihindou, Na Chainkua Reindorf, Selly Raby Kane, Tuli Mekondjo and YêdaMaria.
After touring Bordeaux, Abidjan, Yaoundé, and Antananarivo, the exhibition arrives in Salvador—a city where African heritage manifests itself as an aesthetic and artistic foundation—to establish a new chapter in the project. At MUNCAB, these artists construct a territory of enunciation and reparation, in which image, body, and gesture become instruments for reconfiguring historical narratives and affirming Black subjectivities.
The exhibition is a project of the Ministry of Culture, Petrobras, and the French Embassy in Brazil, in partnership with MUNCAB, and managed by Amafro.
Service
Exhibition Memory: accounts of another history
November 04th to March 1st, 2026
Tuesday to Sunday, from 10:00 AM to 4:30 PM, Saturday from 10:00 AM to 5:00 PM
Period
Local News
National Museum of Afro-Brazilian Culture: MUNCAB
Rua das Vassouras, 25 - Historic Center, Salvador - BA
Details
The Pinacoteca's final exhibition of 2025, "Carnival Work," is a group show featuring works by 70 artists from different generations and backgrounds, including Alberto Pitta, Bajado, Bárbara Wagner, and Ilu Obá.
Details
The Pinacoteca's last exhibition of 2025, “Carnival Work”, is a collective exhibition with works by 70 artists from different generations and backgrounds, such as Alberto Pitta, Bajado, Barbara Wagner, Ilu Obá de Min, Heitor dos Prazeres, Juarez Paraíso, Lita Cerqueira, Maria Apparecida Urbano, Rafa Bqueer and Rosa Magalhães.
The exhibition at the Pina Contemporânea building displays 200 works including props, decoration projects and historical documentation in photography and video, as well as commissions for new projects by the artists. adonai, Ana Lira e Ray Vianna.
Divided into four themes – Fantasy fabric, Jobs, The ability to e City, “Carnival Work” presents the country's largest popular festival as a production chain that involves the work of many hands even before the festival takes place, while alluding to the precariousness and invisibility of these professionals.
THEMATIC CENTERS
The core Fantasy fabric refers to two characteristic elements of Carnival: the act of dressing up and the power of imagination. Projects and sketches are part of the central part of the Grand Gallery, such as studies of J. Cunha for the Salvador carnival and Joana Lira for the street decorations in Recife.
Discussions about the party's working conditions are presented in the core Jobs, in which works are presented that bring to light the representation of workers.
The relationship between carnival and urban or rural space appears in the core City through representations of blocks, cordons, afoxés and other forms of processions. The center brings together works such as photographs taken by Diego Nigro in the Galo da Madrugada carnival block (2025).
Finally, the core The ability to celebrates the meetings of sugarcane workers in Pernambuco transforming themselves into kings and queens of maracatu, as well as black women and marginalized peripheral groups becoming, for a few days, the figures of command during the festival in Bahia: Ebony Goddesses, Reis Momos, Carnival Queens.
Service
Exhibition Carnival Work
From November 8, 2025 to April 12, 2026
Wednesday to Monday, from 10:18 to XNUMX:XNUMX
Period
Local News
Contemporary Art Gallery
Av. Tiradentes, 273, Luz, São Paulo - SP
Details
Mendes Wood DM is pleased to present the exhibition "Birth of Antonio Obá," which occupies the entire gallery space in Barra Funda with previously unseen and emblematic works.
Details
A DM Mendes Wood We are pleased to present the exhibition. Birth & Standardization de Antonio Oba, which occupies the entire gallery space in Barra Funda with new and emblematic works. The works, developed using distinct techniques such as painting, drawing, installation, and film, continue the artist's investigation into the construction of national identity, and its contradictions and influences, through icons and symbols present in Brazilian culture.
The exhibition's title stems from the idea of birth as a marker of a moment, of a new existence on Earth. This miraculous event also carries the counterpart of fortune and luck, which accompanies us from conception. For Obá, “Being subject to this is not about a choice. Being subject to this is about an irreverence towards the inevitable. So, what we can do is demarcate these various fortunes through rite, celebration, symbol, and language.”
Each work that makes up the exhibition contributes to this attempt to situate the idea of luck, fortune, sometimes as a prayer, sometimes as a ritual that celebrates it.
An unprecedented installation, located in an enclosed space at the back of the gallery, directly refers to the idea of play and luck. In it, columns of cowrie shells spill over gilded bronze sieves, carrying ceramic eggs painted red. The cowrie shells represent elements of an attempt to read luck, destiny, and fate, and symbolize the currency of exchange, which also transforms into an offering. In their arrangement within the space, the cowrie shells form ascending columns, like a territory of spiritual elevation and re-signification of life in the face of its potentially fatalistic aspects.
At the entrance to the exhibition space, a path of swords representing Saint George and Iansã leads to a new installation: an altar with two tree trunks symbolizing the pillory. The trunks are entirely studded with nails—in one, the nails point outwards; in the other, inwards—symbolizing protection and punishment and the difficulty of harmonizing tensions. Between the pillories, cables suspend a bronze head with a plumb bob at the tip. This installation is an offering to the lord of the path, therefore, it has a connection with Exu.
the installation Ka'a porá (2024), presented for the first time in the traveling exhibition Finca-Pé: Stories of the Land At the CCBB in Rio de Janeiro, Belo Horizonte, and Brasília, it occupies a prominent place in the exhibition. Sculptures of feet, representing both the human foot and that of a tree, emphasize the connection with the ground. The configuration of the work resembles a small garden, with trunks arranged in a seemingly random way, each suggesting a different direction within a labyrinth. The title of the installation derives from the Tupi term. ka'a porá, which refers to an individual who settles and anchors themselves to the land. The expression also alludes to the mythical figure of Caipora, protector of the forests in Brazilian indigenous mythology. Another symbolic element of the installation revisits the concept of pruning, understood here as an act of violence that breaks with life and nature.
Paintings of varying sizes and techniques compose the visual narrative of the exhibition. A set of 22 small-format paintings presents Obá's interpretation of the Tarot. In these works, the artist uses a mixture of techniques along with gold leaf, giving a unique magical and fantastical tone to the oracle cards. In addition to these, the exhibition includes new large-scale paintings, as well as a work painted directly onto one of the walls of the exhibition space. In these pieces, figures and symbols that make up Brazilian identity suggest new interpretations. The exhibition also includes previously unseen drawings made with charcoal, India ink, pencil, and tempera on canvas.
The film Charmed (2024) presents a performance by the artist that proposes reflections on symbolic systems — especially religious ones. The performative action evokes a ritualistic perspective, centered on the figure of the pilgrim, who, in his gesture, synthesizes elements of belief, culture and tradition associated with the imagery of the pilgrim.
With this collection of works, which spans different media and symbolisms, the exhibition reaffirms the power of Antonio Obá's production in constructing a poetics that investigates identity, territory, and spirituality.
Service
Exhibition Birth
From November 8th March 14, 2026
Tuesday to Friday, from 11 am to 19 pm, Saturday from 10 am to 17 pm
Period
Local News
DM Mendes Wood
Rua Barra Funda, 216, São Paulo – SP
Details
DAN Gallery presents the exhibition "Brazil of the Modernists," curated by Maria Alice Milliet. It brings together approximately 50 emblematic works by fundamental figures such as Tarsila do Amaral,
Details
A DAN Gallery presents the exhibition Brazil during the Modernist period, curated by Maria Alice MillietGathering around 50 works emblematic of fundamental names such as Tarsila do Amaral, Di Cavalcanti, Cícero Dias, Victor Brecheret, Cândido Portinari, Guignard, Alfredo Volpi, Anita Malfatti Among others, the collective exhibition traces an overview of modern art in the country and highlights the role of the movement that, starting in the 1920s, redefined the national artistic language and added updated visions of the Brazilian popular imagination to the collective imagination.
The Brazil of the Modernists takes as its starting point the transformations that marked the emergence of artistic modernity in Brazil, a movement that consolidated itself in the confrontation between cultural conservatism and the impulse for renewal of a country in transition. The Modern Art Week of 1922 is revisited here as a symbolic landmark of this clash: booed by the public, it exposed the resistance to new languages and the rupture with traditional standards, inaugurating a production focused on aesthetic updating and the construction of a Brazilian artistic identity.
The curatorial journey portrays how the first modernists, in search of training and recognition, turned to the great artistic centers of Europe. It was from this experience that many began to perceive the strength and originality of Brazilian cultural diversity in the construction of their own artistic identities. “Our modernists didn't need to seek in exotic places the popular or ethnic content that so enchanted Europeans. They found in our landscapes and customs the ingredients for the constitution of a visuality of national character,” affirms curator Maria Alice Milliet.
Although influenced by European avant-garde movements, modern art in Brazil remained faithful to figuration. Contact with the "return to order" movement in the interwar period led artists to explore expressionist, cubist, and later surrealist languages, in a process that defined the aesthetic foundations of early Brazilian modernism.
Among the highlights of the exhibition is the Portrait of Judite (1944), by Alfredo Volpi. Painted in the year the artist married Benedita da Conceição, known as Judite, the work depicts his wife nude between curtains, with open arms, as if presenting the paintings that surround her. Volpi, who began his career decorating São Paulo facades, developed his own language, marked by geometrization and the refined use of color. His work symbolizes the transition from figurative painting to a mature, enlightened modernity with a strong Brazilian identity.
“It is undeniable that Tarsila, Di Cavalcanti, Cícero Dias, Rego Monteiro, Brecheret, Portinari, and Guignard constituted an iconographic corpus identified with Brazil. More than that, modernism added to the national imagination updated visions of our sociocultural reality. In other words, when we think of Brazilian women, the sensuality of the dark-haired women painted by Di Cavalcanti comes to mind; the history of the conquest of our territory is realized in Brecheret's Monument to the Bandeiras; our myths are those of Tarsila; our beaches are those of Pancetti; and popular festivals find their best expression in the colorful little flags of Volpi,” adds Maria Alice Milliet regarding the exhibition's theme.
By bringing together fundamental works from the period, the exhibition "Brazil of the Modernists" highlights the historical and cultural relevance of the movement that redefined the course of art in the country. The group show reinforces the role of this generation of artists in building a visual identity and reaffirms the continued relevance of their legacy in shaping what is understood as Brazilianness.
Artists present
Alberto da Veiga Guignard, Alfredo Volpi, Anita Malfatti, Candido Portinari, Cícero Dias, Emiliano Di Cavalcanti, Ernesto De Fiori, Ismael Nery, José Pancetti, Tarsila do Amaral, Vicente do Rego Monteiro, and Victor Brecheret.
Service
Exhibition Brazil during the Modernist period
From November 19th to January 19th
Monday to Friday, from 10 am to 19 pm, Saturdays from 10 am to 13 pm.
Period
Local News
DAN Gallery
United States Street, 1638 01427-002 São Paulo - SP
Details
A central figure in the history of cinema, with films that have marked generations, Agnès Varda (1928–2019) is also the author of an extensive photographic production, having even begun her career as a photographer.
Details
A central figure in the history of cinema, with films that have marked generations. Agnès Varda (1928–2019) is also the author of an extensive photographic production, having even begun her career as a photographer. Over the years, she established herself as a filmmaker, but photography remained present in her trajectory, whether in her films or in the artistic installations she produced in the 21st century. This facet of her work, still less known to the public, is presented in the exhibition Photography AGNÈS VARDA Cinema, which opens on IMS Paulista, with free entry.
The exposure Photography AGNÈS VARDA Cinema The exhibition brings together approximately 200 photographs taken by Varda, primarily between the 1950s and 1960s. The collection includes images captured during her travels, including previously unseen photographs from China in 1957, photos from Cuba in the post-revolutionary context, and from the USA, where the artist documented the Black Panthers. There are also photos taken in Paris, such as those of a play staged by the Griots, the city's first Black theatre company. In dialogue with these photographs, the exhibition presents excerpts from the artist's films, emphasizing how social commitment, an affectionate gaze, and humor characterize her work.
Service
Exhibition | Photography AGNÈS VARDA Cinema
From November 29th to April 12th, 2026
Tuesday to Sunday and holidays from 10am to 20pm (closed on Mondays)
Period
Local News
IMS - Moreira Salles Institute
Avenida Paulista, 2424 São Paulo - SP
Details
The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: Accounts of Another History,” one of the central events of the France-Brazil Season 2025. Curated by Nadine Hounkpatin.
Details
The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: accounts of another history”, one of the central events of France-Brazil 2025 Season.
Curated by Nadine Hounkpatin e Jamile Coelhothe exhibition brings together 20 black female artists From the African diaspora and the African continent, who appropriate the visual arts as a field for elaborating memory and symbolically reconstructing the world. Their productions establish a decolonial thought, in which art acts as a form of listening, rewriting, and re-existence.
Participants: Amélia Sampaio, Barbara Asei Dantoni, Barbara Portailler, Beya Gille Gacha, Charlotte Yonga, Dalila Dalléas Bouzar, Enam Gbewonyo, Fabiana Ex-Souza, Gosette Lubondo, Josèfa Ntjam, Luana Vitra, Luisa Magaly, Luma Nascimento, Madalena dos Santos Reinbolt, Maria Lídia dos Santos Magliani, Myriam Mihindou, Na Chainkua Reindorf, Selly Raby Kane, Tuli Mekondjo and YêdaMaria.
After touring Bordeaux, Abidjan, Yaoundé, and Antananarivo, the exhibition arrives in Salvador—a city where African heritage manifests itself as an aesthetic and artistic foundation—to establish a new chapter in the project. At MUNCAB, these artists construct a territory of enunciation and reparation, in which image, body, and gesture become instruments for reconfiguring historical narratives and affirming Black subjectivities.
The exhibition is a project of the Ministry of Culture, Petrobras, and the French Embassy in Brazil, in partnership with MUNCAB, and managed by Amafro.
Service
Exhibition Memory: accounts of another history
November 04th to March 1st, 2026
Tuesday to Sunday, from 10:00 AM to 4:30 PM, Saturday from 10:00 AM to 5:00 PM
Period
Local News
National Museum of Afro-Brazilian Culture: MUNCAB
Rua das Vassouras, 25 - Historic Center, Salvador - BA
Details
The Pinacoteca's final exhibition of 2025, "Carnival Work," is a group show featuring works by 70 artists from different generations and backgrounds, including Alberto Pitta, Bajado, Bárbara Wagner, and Ilu Obá.
Details
The Pinacoteca's last exhibition of 2025, “Carnival Work”, is a collective exhibition with works by 70 artists from different generations and backgrounds, such as Alberto Pitta, Bajado, Barbara Wagner, Ilu Obá de Min, Heitor dos Prazeres, Juarez Paraíso, Lita Cerqueira, Maria Apparecida Urbano, Rafa Bqueer and Rosa Magalhães.
The exhibition at the Pina Contemporânea building displays 200 works including props, decoration projects and historical documentation in photography and video, as well as commissions for new projects by the artists. adonai, Ana Lira e Ray Vianna.
Divided into four themes – Fantasy fabric, Jobs, The ability to e City, “Carnival Work” presents the country's largest popular festival as a production chain that involves the work of many hands even before the festival takes place, while alluding to the precariousness and invisibility of these professionals.
THEMATIC CENTERS
The core Fantasy fabric refers to two characteristic elements of Carnival: the act of dressing up and the power of imagination. Projects and sketches are part of the central part of the Grand Gallery, such as studies of J. Cunha for the Salvador carnival and Joana Lira for the street decorations in Recife.
Discussions about the party's working conditions are presented in the core Jobs, in which works are presented that bring to light the representation of workers.
The relationship between carnival and urban or rural space appears in the core City through representations of blocks, cordons, afoxés and other forms of processions. The center brings together works such as photographs taken by Diego Nigro in the Galo da Madrugada carnival block (2025).
Finally, the core The ability to celebrates the meetings of sugarcane workers in Pernambuco transforming themselves into kings and queens of maracatu, as well as black women and marginalized peripheral groups becoming, for a few days, the figures of command during the festival in Bahia: Ebony Goddesses, Reis Momos, Carnival Queens.
Service
Exhibition Carnival Work
From November 8, 2025 to April 12, 2026
Wednesday to Monday, from 10:18 to XNUMX:XNUMX
Period
Local News
Contemporary Art Gallery
Av. Tiradentes, 273, Luz, São Paulo - SP
Details
Mendes Wood DM is pleased to present the exhibition "Birth of Antonio Obá," which occupies the entire gallery space in Barra Funda with previously unseen and emblematic works.
Details
A DM Mendes Wood We are pleased to present the exhibition. Birth & Standardization de Antonio Oba, which occupies the entire gallery space in Barra Funda with new and emblematic works. The works, developed using distinct techniques such as painting, drawing, installation, and film, continue the artist's investigation into the construction of national identity, and its contradictions and influences, through icons and symbols present in Brazilian culture.
The exhibition's title stems from the idea of birth as a marker of a moment, of a new existence on Earth. This miraculous event also carries the counterpart of fortune and luck, which accompanies us from conception. For Obá, “Being subject to this is not about a choice. Being subject to this is about an irreverence towards the inevitable. So, what we can do is demarcate these various fortunes through rite, celebration, symbol, and language.”
Each work that makes up the exhibition contributes to this attempt to situate the idea of luck, fortune, sometimes as a prayer, sometimes as a ritual that celebrates it.
An unprecedented installation, located in an enclosed space at the back of the gallery, directly refers to the idea of play and luck. In it, columns of cowrie shells spill over gilded bronze sieves, carrying ceramic eggs painted red. The cowrie shells represent elements of an attempt to read luck, destiny, and fate, and symbolize the currency of exchange, which also transforms into an offering. In their arrangement within the space, the cowrie shells form ascending columns, like a territory of spiritual elevation and re-signification of life in the face of its potentially fatalistic aspects.
At the entrance to the exhibition space, a path of swords representing Saint George and Iansã leads to a new installation: an altar with two tree trunks symbolizing the pillory. The trunks are entirely studded with nails—in one, the nails point outwards; in the other, inwards—symbolizing protection and punishment and the difficulty of harmonizing tensions. Between the pillories, cables suspend a bronze head with a plumb bob at the tip. This installation is an offering to the lord of the path, therefore, it has a connection with Exu.
the installation Ka'a porá (2024), presented for the first time in the traveling exhibition Finca-Pé: Stories of the Land At the CCBB in Rio de Janeiro, Belo Horizonte, and Brasília, it occupies a prominent place in the exhibition. Sculptures of feet, representing both the human foot and that of a tree, emphasize the connection with the ground. The configuration of the work resembles a small garden, with trunks arranged in a seemingly random way, each suggesting a different direction within a labyrinth. The title of the installation derives from the Tupi term. ka'a porá, which refers to an individual who settles and anchors themselves to the land. The expression also alludes to the mythical figure of Caipora, protector of the forests in Brazilian indigenous mythology. Another symbolic element of the installation revisits the concept of pruning, understood here as an act of violence that breaks with life and nature.
Paintings of varying sizes and techniques compose the visual narrative of the exhibition. A set of 22 small-format paintings presents Obá's interpretation of the Tarot. In these works, the artist uses a mixture of techniques along with gold leaf, giving a unique magical and fantastical tone to the oracle cards. In addition to these, the exhibition includes new large-scale paintings, as well as a work painted directly onto one of the walls of the exhibition space. In these pieces, figures and symbols that make up Brazilian identity suggest new interpretations. The exhibition also includes previously unseen drawings made with charcoal, India ink, pencil, and tempera on canvas.
The film Charmed (2024) presents a performance by the artist that proposes reflections on symbolic systems — especially religious ones. The performative action evokes a ritualistic perspective, centered on the figure of the pilgrim, who, in his gesture, synthesizes elements of belief, culture and tradition associated with the imagery of the pilgrim.
With this collection of works, which spans different media and symbolisms, the exhibition reaffirms the power of Antonio Obá's production in constructing a poetics that investigates identity, territory, and spirituality.
Service
Exhibition Birth
From November 8th March 14, 2026
Tuesday to Friday, from 11 am to 19 pm, Saturday from 10 am to 17 pm
Period
Local News
DM Mendes Wood
Rua Barra Funda, 216, São Paulo – SP
Details
DAN Gallery presents the exhibition "Brazil of the Modernists," curated by Maria Alice Milliet. It brings together approximately 50 emblematic works by fundamental figures such as Tarsila do Amaral,
Details
A DAN Gallery presents the exhibition Brazil during the Modernist period, curated by Maria Alice MillietGathering around 50 works emblematic of fundamental names such as Tarsila do Amaral, Di Cavalcanti, Cícero Dias, Victor Brecheret, Cândido Portinari, Guignard, Alfredo Volpi, Anita Malfatti Among others, the collective exhibition traces an overview of modern art in the country and highlights the role of the movement that, starting in the 1920s, redefined the national artistic language and added updated visions of the Brazilian popular imagination to the collective imagination.
The Brazil of the Modernists takes as its starting point the transformations that marked the emergence of artistic modernity in Brazil, a movement that consolidated itself in the confrontation between cultural conservatism and the impulse for renewal of a country in transition. The Modern Art Week of 1922 is revisited here as a symbolic landmark of this clash: booed by the public, it exposed the resistance to new languages and the rupture with traditional standards, inaugurating a production focused on aesthetic updating and the construction of a Brazilian artistic identity.
The curatorial journey portrays how the first modernists, in search of training and recognition, turned to the great artistic centers of Europe. It was from this experience that many began to perceive the strength and originality of Brazilian cultural diversity in the construction of their own artistic identities. “Our modernists didn't need to seek in exotic places the popular or ethnic content that so enchanted Europeans. They found in our landscapes and customs the ingredients for the constitution of a visuality of national character,” affirms curator Maria Alice Milliet.
Although influenced by European avant-garde movements, modern art in Brazil remained faithful to figuration. Contact with the "return to order" movement in the interwar period led artists to explore expressionist, cubist, and later surrealist languages, in a process that defined the aesthetic foundations of early Brazilian modernism.
Among the highlights of the exhibition is the Portrait of Judite (1944), by Alfredo Volpi. Painted in the year the artist married Benedita da Conceição, known as Judite, the work depicts his wife nude between curtains, with open arms, as if presenting the paintings that surround her. Volpi, who began his career decorating São Paulo facades, developed his own language, marked by geometrization and the refined use of color. His work symbolizes the transition from figurative painting to a mature, enlightened modernity with a strong Brazilian identity.
“It is undeniable that Tarsila, Di Cavalcanti, Cícero Dias, Rego Monteiro, Brecheret, Portinari, and Guignard constituted an iconographic corpus identified with Brazil. More than that, modernism added to the national imagination updated visions of our sociocultural reality. In other words, when we think of Brazilian women, the sensuality of the dark-haired women painted by Di Cavalcanti comes to mind; the history of the conquest of our territory is realized in Brecheret's Monument to the Bandeiras; our myths are those of Tarsila; our beaches are those of Pancetti; and popular festivals find their best expression in the colorful little flags of Volpi,” adds Maria Alice Milliet regarding the exhibition's theme.
By bringing together fundamental works from the period, the exhibition "Brazil of the Modernists" highlights the historical and cultural relevance of the movement that redefined the course of art in the country. The group show reinforces the role of this generation of artists in building a visual identity and reaffirms the continued relevance of their legacy in shaping what is understood as Brazilianness.
Artists present
Alberto da Veiga Guignard, Alfredo Volpi, Anita Malfatti, Candido Portinari, Cícero Dias, Emiliano Di Cavalcanti, Ernesto De Fiori, Ismael Nery, José Pancetti, Tarsila do Amaral, Vicente do Rego Monteiro, and Victor Brecheret.
Service
Exhibition Brazil during the Modernist period
From November 19th to January 19th
Monday to Friday, from 10 am to 19 pm, Saturdays from 10 am to 13 pm.
Period
Local News
DAN Gallery
United States Street, 1638 01427-002 São Paulo - SP
Details
A central figure in the history of cinema, with films that have marked generations, Agnès Varda (1928–2019) is also the author of an extensive photographic production, having even begun her career as a photographer.
Details
A central figure in the history of cinema, with films that have marked generations. Agnès Varda (1928–2019) is also the author of an extensive photographic production, having even begun her career as a photographer. Over the years, she established herself as a filmmaker, but photography remained present in her trajectory, whether in her films or in the artistic installations she produced in the 21st century. This facet of her work, still less known to the public, is presented in the exhibition Photography AGNÈS VARDA Cinema, which opens on IMS Paulista, with free entry.
The exposure Photography AGNÈS VARDA Cinema The exhibition brings together approximately 200 photographs taken by Varda, primarily between the 1950s and 1960s. The collection includes images captured during her travels, including previously unseen photographs from China in 1957, photos from Cuba in the post-revolutionary context, and from the USA, where the artist documented the Black Panthers. There are also photos taken in Paris, such as those of a play staged by the Griots, the city's first Black theatre company. In dialogue with these photographs, the exhibition presents excerpts from the artist's films, emphasizing how social commitment, an affectionate gaze, and humor characterize her work.
Service
Exhibition | Photography AGNÈS VARDA Cinema
From November 29th to April 12th, 2026
Tuesday to Sunday and holidays from 10am to 20pm (closed on Mondays)
Period
Local News
IMS - Moreira Salles Institute
Avenida Paulista, 2424 São Paulo - SP










