In view of the discussions on modernism and the 1922 Modern Art Week, an issue that remains outside the debate concerns the use that painters of modernism made of the photographic image. Jealous of a supposed purity, both of the photographic and pictorial medium, our scholars, insofar as they do not find any artist who has exercised the function of “real” photographer, leave aside precisely the use that many have made of the photographic image. .
This lack of interest leaves significant questions in limbo to understand the consumption of the photographic image by the modernists, which was obviously not limited to photos taken as souvenirs of trips and/or events.
In this column I already had the opportunity to write about the use that Tarsila do Amaral made from photographic images for the realization of some of his main paintings. Of course, more studies on the subject would be welcome, and while they don't emerge, I share with you some considerations about the use that Lasar Segall made of the photographic image.
There is no doubt that the observations that follow are added to studies already carried out on the painter's relationship with photography, but I am sure that, even if short, the comments that follow can encourage scholars to let themselves be seduced by such an interesting subject and that So much is needed to, in fact, broaden the debate on the art of modernism.
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Masks is an oil and sand on canvas made in 1938 by Lasar Segall, measuring 80 x 90 cm. In its composition, a triangular area stands out that goes from the upper vertex of the triangle to its center. Both the end of the vertex and the rest of the geometric figure are outside the composition. What structures the geometric figure is the light that emanates from a lamp that casts light and shadow on the various objects that are in the foreground of the painting. There is in the image a balance between earthy tones, black and white, a solemn stability and a tone of mystery that permeates the entire work.
Masks should not be defined as the record of a space and time in which Segall was inserted and had decided to immortalize. It acts as an allegory, a field of rhetoric that associates painting with the tradition of ut pictura poetry (just as painting is poetry). Even in the midst of modernism, for many, painting remained a kind of silent poetry. Producing an allegory in the late 1930s might still make some sense, at least for Segall.
Strictly speaking, “allegory”, in poetry or painting, represents abstract concepts using figurative forms: representing b to signify a. Thus, Segall would have produced Masks with the intention of transmitting a concept or idea that was outside the painting, and the images that appear there, and the treatment given by the artist when putting them together, give us, observers, only a clue of what he wants to communicate. And this is due to the fact that the relationship between the images represented there and the concept he wants to convey to us is not direct.
Noting Masks slowly, it is possible to notice similarities with Guernica, by Pablo Picasso, painted in 1937, as a protest against the bombing of the small Basque town of Guernica by German planes, in support of General Franco, during that country's Civil War.
There is also a triangular shape in the work that seems to throw light on the right side of the painting, structured in gradations between black and white. However, if in Masks what prevails is the solemnity and mystery of the scene, in Guernica there is something like a stridency in the demarcated and contrasting forms – which increases the drama of the composition.
The tragic feature of Guernica seems to have been achieved by some strategies used by Picasso which, although they belong to the scope of painting, have a kind of urgency much closer to photography: white and black and their gradations and, above all, the act of bombing killing people and animals. .
There is in it the concept of “fruitful moment”, theorized in the 18th century by the German philosopher Gotthold Ephrain Lessing, in which the author expressed that, when conceiving a composition based on a historical fact, it was necessary for the artist to find in this narrative, the “fruitful moment”, that is, a single scene that synthesized the entire subject discussed there. This is because, for Lessing, painting was the art of space, not time, like poetry.
In the 20th century, the concept of “fruitful moment”, would gain a survival in the context of photography with the formulation of the concept of “decisive moment”, coined by French photographer Henri Cartier-Bresson.[1].
Guernica is closer to the concept of the “decisive moment”", by Cartier-Bresson, than by Lessing's “fruitful moment”, both for the sensation of “blatant” that emanates from it and for the emphasis given to the various gradations between black and white. Masks, in turn, does not seem to be tributary to any of them. On the contrary: even if it can lead us to some kind of destruction, there is no “fruitful” or “decisive” moment. What is represented there is a kind of still life, a moment after any action, the end.
From a purely sensorial point of view, what we perceive when we observe a still life is the record of the assemblage of various objects in a given place. And it will depend on the point of view chosen for the recording (as well as the objects that compose it, the lighting and the pictorial treatment given to the scene), the ability of still life to transcend the condition of mere recording of a situation. The symbolic potential of this genre of painting, therefore, even if confined to description, tends to transcend it, if the artist manages to print indices that elevate the scene beyond the circumstantial, the ephemeral.
Returning to Guernica, despite its so “photographic” characteristics, it can, as Masks, be understood as an allegory. In it, the light – reinforced in its symbolic aspects by the three items – the glare that goes to the right, the lamp and the lamp/eye – acts as the story itself condemning that barbaric act of man against his fellow man.
Concluding this quick comparison, I think it is possible to say that, both Guernica as Masks, are two allegories produced in the late 1930s. Guernica has a clear objective – to be an allegory of history condemning barbarism –, Masks, as it does not use the same strategies, it is less permeable to such a direct interpretation. Its designs are mysterious, its signifiers seem to pulsate more freely, referring to several possible meanings.
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In 1938, Segall declared his displeasure with Guernica. Having returned from Europe[2], the painter gives an interview to the Diary of São Paulo in which he informs about his impressions of that work:
I saw Picasso's celebrated painting - Bombardment of Guernica. It didn't impress me as I expected. Furthermore, I have the impression that the artist's intention has failed. Precisely because he had an ideological intention, so to speak. The painting in question is intended to be a message against the bombing of an open city. But it's unclear, the intention is very subjective, it's unclear. I much prefer to feel the clear drama of a Van Gogh. His emotional testimonials are clear and perceptible. I remain, as always, faithful to the concept that I have imposed on myself: art should have no intentions other than art itself. It should not place itself at the service of ideas, nor be worked on by various convictions. Let the antagonisms take advantage of it, come on… But art, it must be pure, independent and free from any strange influences.[3]
This statement, coming from an artist who, as early as 1938, had painted works with a strong denunciatory appeal, such as Emigrants III (1936) and Pogrom (1937) and who, between 1939 and 1940, would paint Emigrant Ship.
A hypothesis to understand Segall's position may lie in the fact that Picasso, for the realization of the work, chose to use the “decisive moment”, so dear to photography in the last century – an option that differed from Segall's predilections. What for Picasso might have meant a shock strategy to bring out the viewer's indignation at the slaughter sounded to Segall like a negative example of a kind of painting in the service of something that was outside of it. Picasso, from this point of view, would not have succeeded in turning the bombing of the Basque city into a pictorial subject.
Evoking “pure painting”, in Segall's case, did not mean being a supporter of a non-figurative painting or just focusing on the discussion of questions inherent to pictorial language, but knowing how to translate all kinds of subjects into the pictorial field.
If we observe Pogrom, for example, we will see that Segall works the composition as if it were a still life, not opting to capture any massacre scene. On the contrary: the artist prefers to configure the scene full of corpses, victims of barbarism, with a meticulous pictorial treatment, with a kind of resolution that involves the figures in a kind of dome that protects them. Already in Emigrant Ship, he paints the human figures in a state of rest and silence, contrasting with the violent beams that cut the scene and with the sea full of waves.
It is in this sense that I consider Masks, an artist's response to Guernica.
Back in Brazil, Segall seems to have been motivated to show Picasso what a painting that sought to reflect on the barbarism that was then beginning to take over Europe should look like. AND Masks, despite using certain strategies perceived in Picasso’s work – the lamp and the light beam – as if to “correct” these tactics, seeking a solemnity that only tenuously refers to barbarism, respecting the bases of pictorial language[4].
In addition to watching her on-site visit[5], the painter must certainly have made use of photographic reproductions of Guernica to process your “correction”. It would be important to research the artist's archives to try to find images of Guernica's work that may have served as instruments for the elaboration of Masks.
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Segall's entire work (and not just her) is proof that allegory was not removed from modern art, as some wished.[6]. During his career, he made use of this rhetorical resource to produce paintings with themes of strong emotional appeal, without, however, giving up the focus on the properly pictorial elements, so that they could help him to translate the themes that concerned him.
In this sense emigrant ship should be understood as yet another example of the artist's ability to transfer issues dear to all human society to the realm of painting, even when pressed by circumstantial and urgent facts.
Celso Lafer, a scholar of Segall's work, at one point in his text on emigrant ship, points to the importance of the photographs found in the painter's archive. Lafer states the following: “The photographs are important because the snapshots captured in them are points of support for his memory, instigators of aesthetic solutions that integrate the composition of the work. emigrant ship.[7]
It is remarkable how this, which is one of Segall's most important paintings, seems to be conceived from photographic supports, starting with its general configuration, based on a typical composition of photography and cinema: the vision in diving from the deck of the vessel: from the top of the mast, as if through a photographic camera, the artist recorded the travelers below.
Seen from above, the figures on deck, apathetic and melancholy, seem out of this world, situated beyond circumstances, as part of a monstrous still life. And this impression seems to be reinforced both by this “photographic” point of view of the composition and by the emphasis that Segall gives to the opposition between the uneven horizon and the triangular prow of the ship, with the grid formed by the beams that run through it. The vessel's triangle, reinforced by the beams, creates a kind of dome for the emigrants, protecting them from the uncertainties of the sea, transforming them into silent indices of the misfortunes of human society.
As Lafer pointed out, the photographic images found in the artist's archive seem to have served as “support for his memory” during the conception of the monumental work. They helped him to trace the strengths of the composition, ensuring its balance and the solemn dimension of the whole.
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Another of Segall's best paintings is from 1929: an allegory entitled end and beginning On a sober background, painted in low tones from rectangular areas closed in on themselves – an enlarged grid reinforcing the two-dimensional character of the painting – Segall superimposed two figures: the head of an old man with a beard, eyes closed, and a baby. holding the head of a toy horse. The two images are juxtaposed and, although materially they are paintings, they function as collages. The old man's head was based on a drawing that the artist produced in 1927. The child's figure was based on a photograph of one of his children, which also received a drawing version, dated 1926.
interesting how end and beginning, despite the synthetic forms and imbued with a “classical” modernist circumspection, is part of a long tradition within Western art of paintings that intend to circumscribe the various stages of human life in a single composition.
Most of these works have the irrevocable character of life towards death and are usually composed of at least three figures, representing childhood, adulthood and old age. In case of end and beginning, Segall further closes the narrative, focusing only on two images. On the other hand, note that the title does not indicate a linear chain. Instead of proposing the observation of childhood towards old age, he preferred the opposite.
This option, based on the identities of the figures portrayed there (the father and the son, or the grandfather and the grandson) supposes, unlike other paintings of the type, a positive vision of life, emphasizing the fresh start, investing, not in finitude, but in the perpetuation of humanity.
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Concluding these considerations, I call attention to another painting that emerged from yet another translation of a photographic image: Boy with hobby horse, oil on canvas, 1928, depicting one of the painter's sons. Although he did not earn in the artist's career the same professional status of the other works commented here, it seems to function as a compendium on how Segall translated into painting a simple snapshot produced in non-ideal conditions and in a somewhat amateurish way.
It is not known whether the author of the photo is Segall himself, his wife, or someone else close to the painter. But what really matters is that the child is sitting on a kind of swing decorated with the figure of a horse whose head only shows the region of the ears and the knee of the left front leg is missing. The child, with the left leg well bent, holds what would be the horse's bridle with the arms flexed at chest height. She, with her head lowered by the incidence of sun on her face, which prevents the visualization of her expression. In the background of the scene, pieces of indistinct constructions. It should also be noted that the image as a whole tends to appear flat, due to the strong incidence of light on the photographed objects.
The translation of this photograph into painting seems to have begun with Segall structuring the plane with a grid, tending to the orthogonal, joining figure and ground. It promotes a kind of zoom in on the figures of the child and the toy in the foreground, bringing them closer to the observer, which ends up bringing not only the figures closer, since the background also approaches the observer, reinforcing the two-dimensional character. of the painting.
The figures of the child and the toy, in turn, gain a new configuration, as they are adapted to the structure that now receives them. The child starts to have the leg and arms less flexed, in an attitude of rest, while his head is suspended so that he can be admired. It is remarkable how the artist integrates the figure of the child with the areas that indicate the background of the painting by the juxtaposition of white areas, lands, oranges, etc. which, in turn, dialogue with the soft yellow and orange tones of the child's figure. The toy, on the other hand, is treated not in chromatic conjunction with the other figures, but in opposition. With shades of gray that oppose most other areas of the painting, it pretty much loses all decor. The horse's left eye, absent in the photograph, appears in this new configuration, at the same time that it loses the indication of the legs, practically absent in the painting.
As for the imbalance that the horse's color could cause in the composition in warmer tones, Segall resolves it by juxtaposing three gray areas at the top of the painting to the left of the child's figure, and a small area to the right, in the upper half of the canvas, with a strong gray, almost black.
This work, painted the year before end and beginning shares with her the same tendency towards stability, typical of this “classical” phase within the synthetic realism that will characterize the entire work of the painter.
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The study of the relationship between Segall's painting and photography is yet to be deepened. Certainly the artist did not use this “memory support” only in the works discussed here. Other paintings must have been based on photographs produced by the artist himself or someone close to him, or obtained through the most diverse publications.
The same occurs with other modernist painters who used photography not as a means of expression, but as a tool for the production of their works. A use that, unfortunately, does not seem to mobilize art scholars of that period. I believe that only with research on the presence of the photographic image in Brazilian painting in the first half of the last century, will we arrive at a more exact dimension of the role it played in that environment.
[1] – This is how Cartier-Bresson places himself on the act of photographing: “In photography there is a new type of plasticity, a product of the instantaneous lines woven by the movement of the object. The photographer works in unison with the movement, as if this were the natural unfolding of form, how life reveals itself.
However, within the movement there is an instant in which all the moving elements are in equilibrium. Photography must intervene at this moment, making the balance immobile”. CARTIER-BRESSON, Henri. The Decisive Moment. CARTIER-BRESSON, Henri. 1a edition ed. Gottingen: Steidl Dap, 2015.
[2] – Segall participated in Paris at the International Congress of Independent Artists, as a representative of the Ministry of Education of Brazil.
[3] – “The representative of Brazil at the International Congress of Independent Artists has returned from Paris”. Diary of São Paulo. Sao Paulo, 20.4.1938.
[4] – On the subject, see: “Realistic Segall: some considerations on the artist's painting”. Text produced for the catalog of the “Segall realistic” exhibition, on display between 2008 and 2009 in São Paulo, Rio de Janeiro and Curitiba. Republished in: CHIARELLI, Tadeu. A modernism that came later. São Paulo: Alameda, 2012, p.87 et seq.
[5] – A survey is needed to know where the work was being displayed when Segall was in Paris.
[6] – In the introduction to his important essay, “The allegorical impulse: toward a theory of postmodernism”, the critic Craig Owens makes pertinent comments about the negative view that many artists and theorists linked to modernity had about allegory. In WALLIS, Brian. Art after modernism: rethinking representation. New York: The New Museum of Contemporary Art, 1984. P. 203 et seq.
[7] – LAFER, Celso. "Emigrant Ship: “a very thoughtful picture. IN D'HORTA, Vera (and others – curators). Lasar Segall. ship of emigrants (cat.). São Paulo: Lasar Segall Museum/Official Press, 2008, p. 39.
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: Accounts of Another History,” one of the central events of the France-Brazil Season 2025. Curated by Nadine Hounkpatin.
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: accounts of another history”, one of the central events of France-Brazil 2025 Season.
Curated by Nadine Hounkpatin e Jamile Coelhothe exhibition brings together 20 black female artists From the African diaspora and the African continent, who appropriate the visual arts as a field for elaborating memory and symbolically reconstructing the world. Their productions establish a decolonial thought, in which art acts as a form of listening, rewriting, and re-existence.
Participants: Amélia Sampaio, Barbara Asei Dantoni, Barbara Portailler, Beya Gille Gacha, Charlotte Yonga, Dalila Dalléas Bouzar, Enam Gbewonyo, Fabiana Ex-Souza, Gosette Lubondo, Josèfa Ntjam, Luana Vitra, Luisa Magaly, Luma Nascimento, Madalena dos Santos Reinbolt, Maria Lídia dos Santos Magliani, Myriam Mihindou, Na Chainkua Reindorf, Selly Raby Kane, Tuli Mekondjo and YêdaMaria.
After touring Bordeaux, Abidjan, Yaoundé, and Antananarivo, the exhibition arrives in Salvador—a city where African heritage manifests itself as an aesthetic and artistic foundation—to establish a new chapter in the project. At MUNCAB, these artists construct a territory of enunciation and reparation, in which image, body, and gesture become instruments for reconfiguring historical narratives and affirming Black subjectivities.
The exhibition is a project of the Ministry of Culture, Petrobras, and the French Embassy in Brazil, in partnership with MUNCAB, and managed by Amafro.
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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
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Local News
National Museum of Afro-Brazilian Culture: MUNCAB
Rua das Vassouras, 25 - Historic Center, Salvador - BA
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The Pinacoteca's final exhibition of 2025, "Carnival Work," is a group show featuring works by 70 artists from different generations and backgrounds, including Alberto Pitta, Bajado, Bárbara Wagner, and Ilu Obá.
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The Pinacoteca's last exhibition of 2025, “Carnival Work”, is a collective exhibition with works by 70 artists from different generations and backgrounds, such as Alberto Pitta, Bajado, Barbara Wagner, Ilu Obá de Min, Heitor dos Prazeres, Juarez Paraíso, Lita Cerqueira, Maria Apparecida Urbano, Rafa Bqueer and Rosa Magalhães.
The exhibition at the Pina Contemporânea building displays 200 works including props, decoration projects and historical documentation in photography and video, as well as commissions for new projects by the artists. adonai, Ana Lira e Ray Vianna.
Divided into four themes – Fantasy fabric, Jobs, The ability to e City, “Carnival Work” presents the country's largest popular festival as a production chain that involves the work of many hands even before the festival takes place, while alluding to the precariousness and invisibility of these professionals.
THEMATIC CENTERS
The core Fantasy fabric refers to two characteristic elements of Carnival: the act of dressing up and the power of imagination. Projects and sketches are part of the central part of the Grand Gallery, such as studies of J. Cunha for the Salvador carnival and Joana Lira for the street decorations in Recife.
Discussions about the party's working conditions are presented in the core Jobs, in which works are presented that bring to light the representation of workers.
The relationship between carnival and urban or rural space appears in the core City through representations of blocks, cordons, afoxés and other forms of processions. The center brings together works such as photographs taken by Diego Nigro in the Galo da Madrugada carnival block (2025).
Finally, the core The ability to celebrates the meetings of sugarcane workers in Pernambuco transforming themselves into kings and queens of maracatu, as well as black women and marginalized peripheral groups becoming, for a few days, the figures of command during the festival in Bahia: Ebony Goddesses, Reis Momos, Carnival Queens.
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Exhibition Carnival Work
From November 8, 2025 to April 12, 2026
Wednesday to Monday, from 10:18 to XNUMX:XNUMX
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Contemporary Art Gallery
Av. Tiradentes, 273, Luz, São Paulo - SP
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Mendes Wood DM is pleased to present the exhibition "Birth of Antonio Obá," which occupies the entire gallery space in Barra Funda with previously unseen and emblematic works.
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A DM Mendes Wood We are pleased to present the exhibition. Birth & Standardization de Antonio Oba, which occupies the entire gallery space in Barra Funda with new and emblematic works. The works, developed using distinct techniques such as painting, drawing, installation, and film, continue the artist's investigation into the construction of national identity, and its contradictions and influences, through icons and symbols present in Brazilian culture.
The exhibition's title stems from the idea of birth as a marker of a moment, of a new existence on Earth. This miraculous event also carries the counterpart of fortune and luck, which accompanies us from conception. For Obá, “Being subject to this is not about a choice. Being subject to this is about an irreverence towards the inevitable. So, what we can do is demarcate these various fortunes through rite, celebration, symbol, and language.”
Each work that makes up the exhibition contributes to this attempt to situate the idea of luck, fortune, sometimes as a prayer, sometimes as a ritual that celebrates it.
An unprecedented installation, located in an enclosed space at the back of the gallery, directly refers to the idea of play and luck. In it, columns of cowrie shells spill over gilded bronze sieves, carrying ceramic eggs painted red. The cowrie shells represent elements of an attempt to read luck, destiny, and fate, and symbolize the currency of exchange, which also transforms into an offering. In their arrangement within the space, the cowrie shells form ascending columns, like a territory of spiritual elevation and re-signification of life in the face of its potentially fatalistic aspects.
At the entrance to the exhibition space, a path of swords representing Saint George and Iansã leads to a new installation: an altar with two tree trunks symbolizing the pillory. The trunks are entirely studded with nails—in one, the nails point outwards; in the other, inwards—symbolizing protection and punishment and the difficulty of harmonizing tensions. Between the pillories, cables suspend a bronze head with a plumb bob at the tip. This installation is an offering to the lord of the path, therefore, it has a connection with Exu.
the installation Ka'a porá (2024), presented for the first time in the traveling exhibition Finca-Pé: Stories of the Land At the CCBB in Rio de Janeiro, Belo Horizonte, and Brasília, it occupies a prominent place in the exhibition. Sculptures of feet, representing both the human foot and that of a tree, emphasize the connection with the ground. The configuration of the work resembles a small garden, with trunks arranged in a seemingly random way, each suggesting a different direction within a labyrinth. The title of the installation derives from the Tupi term. ka'a porá, which refers to an individual who settles and anchors themselves to the land. The expression also alludes to the mythical figure of Caipora, protector of the forests in Brazilian indigenous mythology. Another symbolic element of the installation revisits the concept of pruning, understood here as an act of violence that breaks with life and nature.
Paintings of varying sizes and techniques compose the visual narrative of the exhibition. A set of 22 small-format paintings presents Obá's interpretation of the Tarot. In these works, the artist uses a mixture of techniques along with gold leaf, giving a unique magical and fantastical tone to the oracle cards. In addition to these, the exhibition includes new large-scale paintings, as well as a work painted directly onto one of the walls of the exhibition space. In these pieces, figures and symbols that make up Brazilian identity suggest new interpretations. The exhibition also includes previously unseen drawings made with charcoal, India ink, pencil, and tempera on canvas.
The film Charmed (2024) presents a performance by the artist that proposes reflections on symbolic systems — especially religious ones. The performative action evokes a ritualistic perspective, centered on the figure of the pilgrim, who, in his gesture, synthesizes elements of belief, culture and tradition associated with the imagery of the pilgrim.
With this collection of works, which spans different media and symbolisms, the exhibition reaffirms the power of Antonio Obá's production in constructing a poetics that investigates identity, territory, and spirituality.
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Exhibition Birth
From November 8th March 14, 2026
Tuesday to Friday, from 11 am to 19 pm, Saturday from 10 am to 17 pm
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DM Mendes Wood
Rua Barra Funda, 216, São Paulo – SP
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In the exhibition Tania Candiani: Subterrânea, at Vermelho, Tania Candiani, through embroidery, drawings, videos, sound work and installation, transforms the subterranean networks of roots into a cartography.
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at the exhibition Tania Candiani: Underground, the Red, Tania CandianiThrough embroidery, drawings, videos, sound art, and installation, she transforms the subterranean networks of roots into a tactile cartography of entanglements, in which matter becomes a sign of the energies that permeate the soil.
The works in this solo exhibition map these living webs where natural, non-human, and sonic systems converge, revealing the invisible vibrations and resonances that traverse the subterranean realm.
Each embroidery in the Roots Systems series is constructed around a horizon line, a boundary between what we see and what remains hidden, where structures expand across the ground forming networks that transcend the scale of the visible plant. The machine embroidery carries the sound and vibration of these constantly moving networks.
The same series unfolds in two sets of drawings, one in spray paint and the other in India ink. In the first, roots of different individuals of the same species are engraved on cotton paper. They are diptychs in which each individual occupies a frame, but both seem on the verge of touching, expanding from a common center. The breath of the spray suggests diffusion and indefiniteness, creation and dissolution. The encounter between the individuals becomes a zone of passage and creation, an intermediate space where something communicates, transforms, or is born. Candiani speaks of these drawings as expressions of a cellular, entangled communication, approaching nebulae, like cosmic synapses.
The ink drawings are based on shallow roots, which are root systems that spread close to the soil surface, rather than developing in depth. These roots expand horizontally in search of water and nutrients in arid environments and shallow soils; they are networks that seek sustenance in scarcity.
Different fields of knowledge, such as biology, philosophy, and the arts, bring architecture closer to the superficial roots of neural networks. Structurally, these roots expand in multiple directions, forming interconnected networks similar to the synapses of the cognitive mesh.
Just as neurons exchange electrical impulses, roots communicate through chemical and bioelectrical signals with each other, and with fungi and bacteria in the soil. This subterranean network acts as an "ecological brain," perceiving and adapting the plant organism to its environment. Both the neural network and the superficial root system constitute rhizomatic life forms, based on entanglement: lateral expansions that construct meaning and continuity through connection.
Subterranean communication is also the central theme of the works Subterra: Roots, a circular video and a multi-channel soundscape that expand the perception of this living network. The video, circular like a hatch, presents a continuous flow of roots, fungi, and microorganisms in motion, in a gradual dive through the layers of soil. The soundscape, composed of low-frequency subsonic vibrations, creates an immersive atmosphere that evokes the inaudible hum of moving subterranean networks, like a resonance field where different materials communicate.
Also included in Subterra: Roots is a large double rhizotron, built specifically for the exhibition, in which corn plants grow. The device—a box with large glass windows where the plants develop—is used in scientific research to observe root growth and allows for continuous monitoring of what normally remains hidden in the soil.
In this work, the root system ceases to be merely a representation and presents itself as a living body in transformation. By integrating the plant growth process into the exhibition experience, Candiani brings science and sensitivity closer together, incorporating the time of subterranean movement that runs throughout the show. With the exhibition's long duration, the rhizotron will transform the landscape of the installation with each visit to Subterrânea.
The exhibition will be on display until December 19, 2025, and between January 12 and February 13, 2026.
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Exhibition | Tania Candiani: Underground
From November 13 to February 13, 2026
Monday to Friday from 10:19 to 11:17, Saturday from XNUMX:XNUMX to XNUMX:XNUMX
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Galeria Vermelho
Rua Minas Gerais, 350, São Paulo - SP
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A platform that transforms art into a living experience for children, young people, and families. Caixa Cultural Salvador hosts the interactive exhibition "Nowhere is Right There," with free admission.
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A platform that transforms art into a living experience for children, young people, and families. Caixa Cultural Salvador receives the interactive exhibition “Nowhere is Right Around the Corner", with free admission during the summer in the capital of Bahia. The exhibition is part of..." PLAY Festival It brings together works that can be observed up close, explored with the body, investigated with curiosity, and used as a starting point to imagine new ways of living and inhabiting the city.
Aimed at children and young people, PLAY proposes a playful encounter with contemporary art through activities that stimulate discovery, sensitivity, and creativity. Children and people of all ages are invited to walk through the space and interact with works installed on the floor, walls, and in the space, creating paths that stimulate observation from different angles: from above, up close, from the side, walking, or even crouching down to discover details.
The exhibition is free to visit and was designed so that families can experience art together, creating emotional connections while discovering new ways of looking at the world. The Caixa Cultural Salvador is open Tuesday to Sunday, from 9:00 AM to 5:30 PM.
The exhibition features works by Vik Muniz, Marepe, Milena Ferreira, Mano Penalva, Laís Machado, and Maxim Malhado, with new works created especially for this edition alongside emblematic pieces from their careers. The dialogue between different generations and artistic languages broadens the perspective on urban daily life and its ways of seeing the world.
The exhibition brings together 18 works, four of which are new, inviting the public to explore a sensory and symbolic territory where each work proposes a new way of inhabiting space and thinking about the city. Vik Muniz, recognized worldwide for transforming ordinary materials into extraordinary images, recreates familiar images using unusual materials, provoking shifts between reality and representation. Marepe, in turn, draws from the daily life of the interior of Bahia to create poetic artifacts that blend humor, affection, and social critique. Meanwhile, Mano Penalva constructs visual narratives from material culture and popular commerce, reorganizing objects and symbols of urban life into new compositions.
Milena Ferreira delves into engravings and ruins as places of memory, creating installations and sculptures that evoke time and belonging, as spaces for memory and reconstruction of the community. Laís Machado, a transdisciplinary artist whose practice spans body and performance, proposes immersive experiences of presence and collective listening, inviting the public to participate in poetic pacts of memory and intimacy. Maxim Malhado brings the symbolic power of his sculptures and objects made of wood, straw, and thread—materials that carry traces of use and life, transforming simplicity into symbolic power.
As a platform that connects art and education through experimentation and reflection, Play aims to expand its reach beyond the exhibition space, with a cross-disciplinary program that connects different areas of the city. Workshops, educational activities, and public events build upon the experiences inaugurated by the exhibition, broadening the scope of its proposals and encounters.
With over two decades of experience in the fields of art and culture, Tathiana Lopes, in this curatorial project, delves deeper into research on the "educating city," exploring contemporary art, urban spaces, and collective practices.
“I invited artists from different generations and with distinct experiences of the city of Salvador. Their works, some emblematic and others created especially for this edition, invite direct and playful interaction with the public. They are installations with different textures, materials, and everyday objects that propose that people of all ages circulate, interact, and play in the exhibition space. And, as co-authors of this experience, they feel provoked by the questions that these works raise—the tensions between public and private space, reality and illusion, presence and absence—to reflect on and imagine other ways of thinking about and occupying the city,” says the curator.
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collective exhibition Nowhere is Right Around the Corner
From November 14th to February 08th
Tuesday to Sunday, from 9:00 AM to 5:30 PM
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CAIXA Cultural Salvador
Carlos Gomes Street, 57 - Downtown, Salvador - BA
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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.
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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.
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Exhibition | Photography AGNÈS VARDA Cinema
From November 29th to April 12th, 2026
Tuesday to Sunday and holidays from 10am to 20pm (closed on Mondays)
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IMS - Moreira Salles Institute
Avenida Paulista, 2424 São Paulo - SP
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The international exhibition Joaquín Torres García – 150 Years, a first in the country, celebrates the career of one of the pillars of modern art in Latin America, with approximately 500 items, including...
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The international exhibition Joaquín Torres García – 150 yearsThis exhibition, a first in the country, celebrates the career of one of the pillars of modern art in Latin America, with approximately 500 items, including works of art and documents such as paintings, unpublished manuscripts, maquettes, drawings, and the famous wooden toys produced by the Uruguayan artist's family.
This is the first time that such a large and diverse collection of the artist's work has been presented in Brazil, with pieces that will leave the Uruguayan museum's storage for the first time, revealing little-known aspects of the artist's production to the public.
Curated by Saul of Tarsus in collaboration with Torres García MuseumThe exhibition deepens the understanding of "constructive universalism" and presents Torres García as a thinker of global reach. The pedagogy of Taller Torres García, The exhibition also explains the idea that Latin American artists should develop their own art without depending on European and North American influences. The proposal was to encourage each artist to seek their roots, symbols, and local references, creating a more authentic production connected to the culture of the continent—something that directly relates to the selection present in the exhibition.
Institutions such as the Museo Torres García (Uruguay), the Museu d'Art Contemporani de Barcelona (Barcelona Museum of Contemporary Art), the Institut Valencià d'Art Modern [Valencia Institute of Modern Art], the Museo de la Solidaridad Salvador Allende (Chile), as well as Brazilian collections such as MASP and the Pinacoteca de São Paulo, contribute with essential loans.
This project is supported by the Federal Law for Cultural Incentive – Lei Rouanet and sponsored by BB Asset.
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Exhibition Joaquín Torres García – 150 years
From December 10th to March 09th, 2026
Open every day from 9am to 20pm, except Tuesdays.
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"A Olho Nu," the largest retrospective of the prestigious Brazilian artist Vik Muniz, arrives at the Museum of Contemporary Art of Bahia (MAC_Bahia). Featuring over 200 works distributed across 37 series, A
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With the Naked Eye, the largest retrospective exhibition ever held by the prestigious Brazilian artist Vik Muniz arrives at Museum of Contemporary Art of Bahia (MAC_Bahia).
Over 200 works distributed in 37 series"Naked Eye" brings together fundamental works from different phases of Vik Muniz's career, internationally recognized for his ability to transform everyday materials into images of strong visual and symbolic impact. Chocolate, sugar, dust, garbage, magazine fragments, and wire are some of the elements that make up his artistic vocabulary and bring his production closer to both pop art and everyday life. The public will be able to follow his work from his first sculptural experiments to works that mark the consolidation of photography as the central axis of his creation.
Among the highlights, the exhibition features four pieces never before seen at MAC_Bahia, which were not part of the Recife leg: Cheese, Skates, Golden Nest, and Souvenir No. 18. The show also presents works never before exhibited in Brazil, such as Oklahoma, Boy 2, and Neurons 2, previously seen only in the United States.
The retrospective occupies the MAC_Bahia and expands to two other spaces in the city: the artist's studio in Santo Antônio Além do Carmo, which will host meetings and special visits, and the Galeria Lugar Comum, in the São Joaquim Fair, where a new installation inspired by the work Nail Fetish will be exhibited. This is the first time Vik Muniz has presented a work at this location, reinforcing the dialogue between his production and popular territories of Salvador.
Exhibition "Naked Eye," by Vik Muniz, at the Museum of Contemporary Art. Photo: Vik Muniz
Considered fundamental to understanding the artist's transition from object to photography, the Relicário series (1989–2025) greets visitors right at the entrance of MAC_Bahia. Not exhibited since 2014, it presents three-dimensional sculptures that help to understand Muniz's conceptual shift, when the artist realized he could construct scenes designed exclusively to be photographed, a movement that redefined his international career.
For curator Daniel Rangel, who is also the director of MAC_Bahia, the arrival of A Olho Nu has special significance. "This is the first major retrospective dedicated to the work of Vik Muniz, with a selection designed to create a dialogue between his works and the culture of the region," he states.
The arrival of the retrospective in Salvador also strengthens the partnership between IPAC and the Banco do Brasil Cultural Center (CCBB), responsible for organizing the exhibition and in an advanced stage of establishing its unit in the Palácio da Aclamação, a historic building managed by the Institute. Even before officially opening its doors in Bahia, CCBB Salvador has already been promoting cultural activities in the capital, including the presentation of the largest exhibition dedicated to the artist.
To host "A Olho Nu" (Naked Eye), IPAC and MAC_Bahia are mobilizing a complete structure that includes maintenance, security, cleaning, museum lighting, and operational logistics, in addition to the work of the mediation team and educational activities aimed at schools, universities, cultural groups, and visitors in general. The expectation is that the museum will receive approximately 400 people per day during the exhibition period, consolidating MAC_Bahia as one of the main venues for the circulation of contemporary art in the Northeast. It is no coincidence that the Museum is listed among the best institutions of 2025 by Revista Continente.
With free admission and ongoing educational programming, "A Olho Nu" is expected to significantly impact Salvador's cultural calendar in the coming months. The exhibition offers the public the opportunity to immerse themselves in the work of one of Brazil's most celebrated contemporary artists and to experience different stages of his creative process, reaffirming MAC_Bahia as a benchmark in promoting major national and international exhibitions.
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Exhibition | With the Naked Eye
From December 13th to March 29th
Tuesday to Sunday, from 10pm to 20pm
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MAC Bahia
Rua da Graça, 284, Graça – Salvador, BA
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The MuBE — Brazilian Museum of Sculpture and Ecology — celebrates its 30th anniversary with the exhibition “The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of…”
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O MuBE — Brazilian Museum of Sculpture and Ecology — celebrates its 30th anniversary with the exhibition “The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of Life on the Planet".
Curated by Guilherme Wisnik e Fernando TulioThe exhibition pays homage to the legacy of Paulo Mendes da Rocha (Pritzker 2006) and the iconic architecture of MuBE, a project born from the struggle of civil society for the preservation of space.
In tune with the COP30The museum is updating its founding theme of Sculpture and Ecology. The exhibition places Paulo Mendes' ideas, which viewed politics in urbanism, in direct debate with climate challenges and the urgency of rethinking the future of cities.
Entry to MuBE is free and open to the public during museum opening hours. For your convenience, we suggest booking your visit in advance through Sympla. For group visits or guided tours, whether indoors or outdoors, even if organized by third parties unrelated to the museum, booking via email at educativo@mube.art.br is mandatory.
To visit the museum while ensuring your safety, the safety of other visitors, staff, collaborators, and the artworks, it is necessary to respect all the visitation rules described below to access the building, garden, current exhibitions, restaurant, and other areas of the Museum.
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Exhibition The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of Life on the Planet
From December 13th to March 13th
Tuesday to Sunday, from 11pm to 17pm
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Brazilian Museum of Sculpture and Ecology - MuBE
Rua Alemão, 221 - Jardim Europa, São Paulo - SP
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The Banco do Brasil Cultural Center in Belo Horizonte (CCBB BH) presents Festa no Céu – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã, a new installation by the indigenous artist, curator, and activist Daiara Tukano.
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O Banco do Brasil Cultural Center Belo Horizonte (CCBB BH) presents Party in Heaven – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã, a new installation by the indigenous artist, curator and activist Daiara TukanoThe artwork occupies the courtyard of the cultural center with an arch composed of more than 100 birds, mostly macaws, created as a tribute to ancestral wisdom, the preservation of the forest, and the role of birds as intermediaries between spiritual dimensions.
The work is structured like a large mobile, in which the birds appear in four distinct positions, suggesting continuous movement. Made of translucent material and ornamented with hori designs in various shades, the pieces project colors into the space both under sunlight and at night, when they receive special lighting. More than a sculptural ensemble, the installation aims to function as a portal to the indigenous worldview.
In the creation narratives of the Yepá Mahsã Tukano people, before the multiplication of humanity, the Amõ Numiã, the first women, gave birth to the birds, which emerged singing, flying, and spreading colors throughout the world. Enchanted by this birth, men and animals began to sing in the forest, each in their own language, and to have visions, colorful visions that originated their paintings and drawings. Thus arose the diversity of peoples and perceptions that made human expansion possible. Since then, the birds have been a feast in the sky, carrying messages and dreams in their songs and flights.
“'Party in the Sky' is a large mobile of acrylic birds, macaws and other small birds flying with their wings open, drawn with Hori, which are our Ye'pá Mahsã people's graphic designs. It is a work that tells the story of the creation of birds, the emergence of colors, designs, art, languages, beauty, memory and dreams. These are graphic designs that we use on our pots, our baskets and our body paintings, and that are part of our culture. The birds are transparent and have iridescent, rainbow-like reflections, projecting their illuminated shadows onto the ground. They are transparent, just as our dreams, our thoughts and our feelings are transparent,” explains Daiara Tukano.
By bringing this Amazonian symbol to a central city space like the CCBB BH, the artist reinforces the urgency of caring for the forest, understood by many peoples as a living organism whose imbalance manifests profound spiritual crises.
With artistic direction and curation by Juliana Flores and architecture by Camila Schmidt, the installation is part of the CCBB BH's end-of-year activities, strengthening the museum's relationship with the public that circulates daily through the Circuito Liberdade.
According to the cultural center's general manager, Gislane Tanaka, “Festa no Céu (Party in the Sky) was born in dialogue with the traditional end-of-year lighting of Praça da Liberdade (Liberty Square), and reveals the diversity of visions that indigenous peoples hold as wisdom, opening space for a sensitive encounter with their worldviews. In this journey between light, art, and ancestry, CCBB BH reaffirms its commitment to bringing people ever closer to culture.”
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Exhibition | Party in Heaven – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã
From November 28th to February 28th
Wednesday to Monday, from 10:22 to XNUMX:XNUMX
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Banco do Brasil Cultural Center Belo Horizonte (CCBB BH)
Praça da Liberdade, 450 - Funcionários, Belo Horizonte - MG
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The scent of wet earth, birdsong, sounds of the forest, and images of the Amazon rainforest and its inhabitants arrive in Rio de Janeiro to offer a journey through the largest...
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The scent of wet earth, birdsong, sounds of the forest, and images of the Amazon rainforest and its inhabitants arrive in Rio de Janeiro to offer a journey through the world's largest tropical rainforest in the exhibition “Presences in the Amazon: a visual diary by Bob Wolfenson“, in the lounge of Museum of Tomorrowin Rio de Janeiro. The photographic and multisensory exhibition proposes a sensitive experience of the forest from the photographer's artistic perspective. Bob Wolfenson, who is celebrating 55 years in the business. Organized by OKThe exhibition is open to the public from January 15th to February 10th.
The exhibition presents impressions of the forest captured by the photographer during the filming of the web series "Amazon: Together We Make a Difference," which he co-directed with singer Gaby Amarantos in 2024. The audiovisual production, created by Vale, transformed into a campaign showcasing the culture, economy, biomes, and people of the Amazon rainforest, culminating in the premiere of the exhibition of Bob Wolfenson's visual diary.
“For four decades, Vale has been present in the Amazon as one of the main agents of sustainable development and the preservation, appreciation, and dissemination of Amazonian culture. We carry out a series of initiatives that promote the bioeconomy, protect the standing forest, and contribute to research and knowledge production in areas such as biodiversity, genomics, and climate change. In this sense, holding this exhibition at the Museum of Tomorrow takes on a special purpose, proposing new ways of seeing and understanding the region in all its diversity, provoking reflection and new ways for us to act together for the present and the future,” says Grazielle Parenti, Executive Vice President of Sustainability at Vale.
Organized into three themes – The Forest, Presences, and Magic Light – the photos reveal the Amazon from within, its stories and its communities, in a narrative where the forest and the people blend and coexist in harmony.
“Photographing the Amazon was a profound and transformative experience. Being in the presence of such powerful nature and, at the same time, encountering people who work to keep it standing brought a new meaning to my perspective. Taking these images to the Museum of Tomorrow, with sponsorship from Vale, is very significant: it's a way to broaden this dialogue and show that preserving the forest is also preserving stories, cultures, and futures,” comments Bob Wolfenson.
“The Museum of Tomorrow believes in the power of art to communicate what science demonstrates today and, in doing so, facilitate the reconnection of humanity with the ocean,” says Fabio Scarano, curator of the Museum of Tomorrow.
The spaces are characterized by rustic and natural materials and by lighting that changes throughout the journey, alluding to the cycle of the day. The experience gains depth with the presence of sensory elements that transport guests into the heart of the Amazon, such as a light aroma of fresh earth after the rain. Visitors can also hear original sounds of the forest, the result of a study by the Vale Technological Institute (ITV), which gathered more than 16 minutes of life in the Carajás Forest and revealed curiosities about Amazonian biodiversity through the sounds it emits. In addition, a pause and contemplation area features phrases, excerpts from speeches, and travel notes by Bob Wolfenson, creating a poetic installation that translates the artist's creative process. The production is by Tantas Projetos Culturais and TM1 Brand Experience, curated by Cecilia Bedê.
The exhibition will feature a free educational program that connects the photographs to the memories, aromas, sounds, and symbols of the Amazon. In addition to a photographic walk with Bob Wolfenson in Praça Mauá, there will be activities for all audiences, showcasing the Amazonian DNA through workshops on stamp making, a carimbó dance class, painting miriti toys, and sensory experiences such as the traditional scented bath. The complete program is available on the Museum of Tomorrow's website.
With special attention to accessibility and inclusion, the exhibition features resources such as tactile artworks, sound and olfactory devices, guided tours, audio description, sign language interpretation, and adapted activities.
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Exhibition Presences in the Amazon: a visual diary by Bob Wolfenson
From January 15th to February 10th
Every day except Wednesday, from 10:00 AM to 6:00 PM (last entry at 5:00 PM)
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Museum of Tomorrow
Mauá Square, 1 - Downtown, Rio de Janeiro - RJ
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Antonio Malta Campos's practice revolves around pictorial techniques that float in paints on canvases, papers, and assemblages. His brushstroke, sometimes incisive, other times gliding, also moves towards the subtle and...
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The practice of Antonio Malta Campos Malta employs pictorial techniques that float in paints on canvases, papers, and assemblages. His brushstroke, sometimes incisive, other times gliding, also moves towards the subtle and graceful, in a recognizable stroke that transitions between figuration and abstraction. For Malta, painting begins in a small notebook, in watercolor sketches that will become canvases filled with color and form. His research follows the path that Matisse described as "construction through color," a plastic investigation of place, the creation and occupation of the sensible. His abstraction is suggestive, insinuating through different strokes and formats that there is a place of creation in the visual discomfort of geometric precisions and the distinctions between the abstract and the figurative. It is in this place that Malta dwells and is inhabited.
His poetic universe is an expansion of the pictorial operation, achieving an exquisite mastery of chromatic profusion. His compositions reveal gradations that are sometimes subtle, sometimes hyperbolic, floating in blues, neons, and earthy tones, creating a fictional universe from the contours, lines, and textures of the painting.
His poetic multiplicity becomes even more evident when we look at other works that show expressionist influence in color and drawing; these are paintings that he himself called "nervous paintings." This designation underscores the more tense, dynamic, and emotionally impactful nature of these works, where color and brushstroke act as vehicles for a more raw and immediate expressiveness, revealing the complexity and scope of the artist's artistic investigation.
Malta invites our gaze to interpret the landscape from other perspectives, reverberating from the material, in which more opalescent and ethereal nuances are noticeable. The most recent materiality is suggestive, different from other phases such as the heads and characters, in which the figuration was more poignant due to the saturated colors and expressionistic strokes.
In the exhibition “Opalescentin the gallery Simons of AssisiIn this exhibition, which brings together recent and previously unseen works by Antonio Malta Campos, we encounter a curatorial selection of his production that emerges from colors, lines, geometric forms, and abstract constructions. This production outlines paths in which the painting presents more open, cheerful color palettes, sometimes in pastel and soft tones, suggesting a lightness and a more serene atmosphere. These works explore color in its capacity to construct spaces and forms with softness. In the layered chromatic superimposition, there is a certain pearly luminescence, derived from opal, a gem that reflects multifaceted colors, emanating a milky and iridescent appearance in bluish, reddish, and orange finishes that change according to the angle of the light – Malta's technique is opalescent.
The semiotician Roland Barthes once summarized that "the contemporary is the untimely," that is, that which affects the present time to make it think about itself. Malta projects in his painting a profoundly untimely chromatic articulation: his composition operates under a provocative perspective. By establishing a temporality that escapes the immediate, his colors and gestures challenge the spirit of the age, opening up cracks for other ways of seeing and inhabiting the present.
Malta's pictorial work is a chromatic articulation in a two-dimensional field, demonstrating the skillful gesture of reinvention in the studio experience, the investigative process of color stacking, and the formal research that evokes new prisms of meaning from an already recognized and strengthened poetics. In the exhibition, we witness the synthesis of his poetics, a plastic essay that bursts into the exhibition space and reveals unique vectors of meaning.
Luana Rosiello and Mariane Beline
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Exhibition Opalescent
From January 15th to February 07th
Monday to Friday, from 10 am to 19 pm, Saturdays, from 11 am to 17 pm
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Simões de Assis - Balneário Camboriú
3rd Avenue, corner of 3.150, room 04, downtown, Balneário Camboriú - SC
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The MIS, an institution of the São Paulo State Secretariat of Culture, Economy and Creative Industries, inaugurates the last exhibition of the Nova Fotografia 2025 call for proposals with the series “Bororé”, by
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O My, institution of Secretariat of Culture, Economy and Creative Industry of the State of São Paulo, inaugurates the final exhibition of the Nova Fotografia 2025 call for proposals with the series “Bororé", by the photographer Kaio QuintoThe Museum's annual project selects, through an open call for submissions, six new photographers for a solo exhibition at the Museum. The selection is made by the Programming Department, with supervision and coordination by the MIS's general curatorial team. Original photographic series are selected, from professionals who stand out for their technical and aesthetic originality. After the exhibition period, the chosen series become part of the MIS collection.
Kaio Quinta's work portrays Bororé Island, located in the far south of São Paulo, a place that holds much richness and history for the city. Little known by most of São Paulo's population, this neighborhood serves as a counterpoint to the bustling metropolis. Today, the island offers infrastructure for leisure, sports, and culture. The name Bororé comes from the Tupi language, meaning "closed thicket" or "dense forest." The area was inhabited by the Guarulhos and Guaianás tribes.
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Exhibition Bororé
From December 16rd to February 01st
Tuesdays to Fridays, from 10 am to 19 pm, Saturdays, from 10 am to 20 pm, Sundays and holidays, from 10 am to 18 pm.
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Museum of Image and Sound - MIS
Av. Europe, 158, Jd. Europe Sao Paulo - SP
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The Zipper Gallery in São Paulo is hosting the 17th edition of the Salon of Artists Without Galleries, promoted by the Mapa das Artes portal. The exhibition features works by eleven artists, ten of whom are part of the same group.
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A Zipper Gallery, in São Paulo, receives the 17th edition of the Salon of Artists Without Galleries, promoted by the Mapa das Artes portal. The exhibition features works by eleven artists, ten of whom were selected, plus one who was awarded the prize. Incentive Award Outside the MainstreamThis year it was 371 subscriptions, which represents a 22% increase in the number of entries received for the 2025 exhibition.
In this edition, the following were selected: Bernardo Liu (RJ), Dani Shirozono (MG/SP), Demir (DF), Isabela Vatavuk (SP), Mariana Riera (RS), Paulo Valeriano (DF), Rafael Santacosta (SP), Romildo Rocha (MA), Shay Marias (RJ/SP) and Timóteo Lopes (BA).
The Salon also awarded, this year, the "Outside the Axis" Incentive Prize, worth R$ 1.000,00, to an artist not selected and residing outside the Rio-São Paulo axis. The winner was Pedro Kubitschek (MG). The selection jury was composed of the producer and independent curator Alef Bazilio; the artist, curator and university professor Diogo Santos Bessa; and the journalist, critic and independent curator Mario Gioia. At the end of the exhibition, three of the selected artists will be awarded prizes of R$ 3, R$ 2 and R$ 1.
The Salon of Artists Without Galleries aims to energize and stimulate the art scene right at the beginning of the year. For 17 years, the event has evaluated, exhibited, documented, and promoted the work of visual artists who do not have verbal or formal contracts (representation) with any art gallery in the city of São Paulo. The Salon opens the art calendar in São Paulo and is a gateway for these artists into the competitive commercial art circuit in the country.
The Salon of Artists Without Galleries is conceived and organized by Celso Fioravante, with assistance from Lucas Malkut and graphic design by Cláudia Gil (Estúdio Ponto).
Artists selected for the 17th edition (in order of registration)
Timóteo Lopes – BA: @timoteolopes_
Mariana Riera – RS: @marianariera82
Romildo Rocha – MA: @rocha.abencoado
Isabela Vatavuk – SP: @isabelavatavuk
Rafael Santacosta – SP: @santacosta.art
Paulo Valeriano – DF: @paulovalerianopaulovaleriano
Shay Marias – RJ/SP: @shaymarias
Dani Shirozono – MG/SP: @danishirozono
Demir – DF: @demirartesplastica
Bernardo Liu – RJ: @bernardoliu
Pedro Kubitschek – MG (Outside the Mainstream Incentive Award): @pedrodinizkubitschek
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collective exhibition 17th Salon of Artists without Galleries
From January 17th to February 28th
Monday to Friday, from 10 am to 19 pm, Saturdays, from 11 am to 17 pm
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Zipper Gallery
R. United States, 1494 Jardim America 01427-001 São Paulo - SP
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In her practice, the Franco-Brazilian artist Julia Kater investigates the relationship between landscape, color, and surface. She works across photography and collage, focusing on the construction of...
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In her practice, the Franco-Brazilian artist Julia hangover This work investigates the relationship between landscape, color, and surface. It moves between photography and collage, focusing on the construction of the image through cutting and juxtaposition. In photography, Kater starts from the understanding that every image is, by definition, a fragment – a framing that cuts and isolates a part of the scene. In her work, the image is not merely a record of a moment, but rather the result of a displacement – something that is undone and recomposed by the same gesture. The images, often close together, do not seek to document, but to construct a new field of meaning. In the collages, the gesture of cutting takes shape. Fragments of photographs are manually cut, superimposed, and organized into layers that create visual passages marked by subtle color transitions. These accumulations evoke variations in light, atmospheres, and the very passage of time through chromatic gradations.
In the individual Double, Julia hangover The exhibition presents recent works developed from research conducted during her artistic residency in Paris. “My research focuses on landscape and how color participates in the construction of the image – sometimes as an element added to the photograph, sometimes as something that emerges from the surface itself. In the collages, the landscape is constructed through cutouts, juxtapositions, and gradations of color. In the works on fabric, color acts from the surface itself, through manual dyeing, passing through the printed photograph. These procedures deepen my investigation into the relationship between landscape, color, and surface,” explains the artist.
Featured are two works that will be exhibited in the show: one in fabric that is part of the new series and a previously unseen diptych. Stone Body (Centauro), 2025, pigment digital print on silk hand-dyed with plant-based inks and, Untitled, 2025, collage with mineral pigment print on Hahnemühle 210g matt paper, diptych measuring 167 x 144 cm each.
The artist comments: “I continue with the collages made from cut-out photographs printed on cotton paper and now I also work with silk as a medium. The process involves manually dyeing the fabric with natural plants, such as indigo, followed by printing the photographic image. This procedure interests me because of its proximity to the analog photographic process, especially the notion of bathing, immersion time, and color fixation on the surface.” All the works were produced especially for the exhibition, which runs until March 07, 2026.
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Exhibition Julia Kater: Double
From January 22th to March 07th
Monday to Friday, 10am to 19pm; Saturday, from 10am to 15pm
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Simons of Assisi
Al. Lorena, 2050 A, Jardins - São Paulo - SP
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Galatea is pleased to present Guilherme Gallé: Between Painting and Painting, the first solo exhibition of the São Paulo-born artist Guilherme Gallé (1994, São Paulo), at the gallery's location in [location].
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A Galatea is pleased to present Guilherme Gallé: between painting and painting, first solo exhibition by the São Paulo artist Guilherme Gallé (1994, São Paulo), at the gallery unit on the street Father John ManuelThe exhibition brings together more than 20 unpublished paintings, carried out in 2025, and includes critical text by the curator and art critic. Thaddeus Chiarelli and with introductory text by art critic Rodrigo Naves.
The exhibition presents a body of work in which Gallé reveals a continuous process of refinement: one painting triggers the next, in a movement where color, form, and space reorganize themselves, responding to one another. Situated on the threshold between abstraction and figurative suggestion, his compositions, always untitled, invite slow contemplation, allowing the gaze to oscillate between attention to detail and to the whole.
Always starting from a "place" or pretext of reality, such as landscapes or still lifes, but without resorting to the Renaissance vanishing point, Gallé deliberately maintains a flat pictorial surface. The tonal colors, built up in layers, structure the plane with a thick matter, marked by incisions, erasures, and pentimentos, which give clues to the painting process while simultaneously propelling it forward.
Among the exhibitions in which Guilherme has participated throughout his career, the following stand out: Joaquín Torres García – 150 years (Group exhibition, Centro Cultural Banco do Brasil – CCBB, São Paulo / Brasília / Belo Horizonte, 2025–2026); Point of Mutation (Group exhibition, Almeida & Dale, São Paulo, 2025); The Silence of Tradition: Contemporary Paintings (Group exhibition, Centro Cultural Maria Antonia, São Paulo, 2025); To Speak of Love (Group exhibition, Noviciado Nossa Senhora das Graças Irmãs Salesianas, São Paulo, 2024); 18th Territory of Art of Araraquara (2021); Invisible Art (Group exhibition, Oficina Cultural Oswald de Andrade, São Paulo, 2019); and Luiz Sacilotto, the Gesture of Reason (Group exhibition, Centro Cultural do Alumínio, São Paulo, 2018).
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Exhibition Guilherme Gallé: Between Painting and Painting
From January 22th to March 07th
Monday to Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 17 pm
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Local News
Galatea Father John Manuel
R. Padre João Manuel, 808, Jardins – São Paulo - SP
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Artist Luiza Sigulem inaugurates her second solo exhibition, "Manual for traveling the shortest distance from one point to another," with the opening scheduled for January 24, 2026, at Ateliê397, in [location missing].
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The artist Luiza Sigulem inaugurates his second solo exhibition, A guide to traveling the shortest distance from one point to another., with its opening scheduled for January 24, 2026, in Workshop 397, in São Paulo. Bringing together a unique collection of works, the exhibition, curated by Juliana Caffé, explores the relationship between body, architecture and time, proposing displacement as an operation of adjustment and critical reflection.
The project takes instability as a condition that reorganizes the relationship between body and architecture, producing a time that does not coincide with the logic of efficiency. In tune with Crip theory (a term reappropriated from cripple, which names practices that displace the "standard body") and the concept of crip time—a temporality that embraces pauses, variable rhythms, and non-alignment with the productivist clock—Sigulem's work affirms difference not as an exception, but as a method.
“Throughout my process, the lack of accessibility manifested itself in the time needed to deal with small and large obstacles and in the attention required for minimal adjustments that accumulated almost imperceptibly,” the artist states. “This experience shifted the idea of efficiency and brought my production closer to a notion of expanded time, in which the rhythm of the body does not coincide with the normative expectation of capitalist reproduction. It is in this mismatch that my work is constructed.”
The project, which for the first time incorporates video performances, interventions, and a sculpture in dialogue with photography, marks a moment of expansion in the artist's trajectory and places accessibility at the center of the aesthetic and poetic construction. It also highlights the invisibility of a significant portion of the population: according to data from the 2022 PNAD Contínua (IBGE), Brazil has approximately 18,6 million people with disabilities, of which approximately 3,4 million have physical disabilities in their lower limbs, a group that faces daily the architectural barriers discussed in the exhibition.
Architecture and poetics: an expository inversion
The project stems from an unavoidable fact of the São Paulo context: the structural difficulty of finding exhibition spaces capable of accommodating the artist's research in a way that is coherent with her issues. Faced with the lack of viable alternatives and institutional deadlines, the exhibition embraced this limitation as part of the project, transforming it into a field of reflection.
“The choice of Ateliê397 as the exhibition venue responds to this context. As an independent space, it offers a conceptual openness and a real field for negotiation in the construction of this project,” comments curator Juliana Caffé. “Located on Travessa Dona Paula, in an area marked by important cultural facilities that are also limited in terms of accessibility, the space is incorporated by the exhibition as an active element, ceasing to operate as a neutral support and integrating architecture, circulation, and surroundings into the proposed field of discussion.”
Given the architectural limitations of the Atelier, Sigulem does not treat the lack of accessibility as an obstacle to be corrected, but as a condition to be critically addressed. The exhibition design operates a deliberate inversion: instead of adapting the space to a normative standard, it is the public that is led to recalibrate their bodies in the face of reduced passageways and displaced scales.
In this sense, the exhibition presents an installation, developed by the artist in collaboration with the architectural duo Francisco Rivas and Rodrigo Messina, which brings together accessibility and permanence devices conceived as a constitutive part of the work. The intervention reorganizes the reception area: the door and frame were moved to allow for full opening (180°); benches and stools were distributed to accommodate rest; and cushions on the outdoor benches extend the experience to the surroundings.
The radical nature of the proposal is reflected in the institutional occupation: the side of the staircase, which leads to a second floor inaccessible to people with disabilities, was converted into a small library of Crip theory. “During the exhibition, Ateliê397 agreed to render the upper floor inoperable, suspending its use as a projection room to make the architectural limitation explicit instead of concealing it. And, as an external development, the project includes the production and donation of custom-made mobile ramps for neighboring cultural spaces in the village, prompting the circuit to collectively consider its accessibility conditions,” Caffé points out.
The project aligns with contemporary debates that seek visibility without capture, where the work operates through sensation, rhythm, and bodily micro-events that are not reduced to an "explanatory" image or easily consumable content. It is an approach that recognizes access as aesthetics and disability as a diagnosis of space and norms. In this way, curatorship and exhibition design become an active part of the work. Texts in Braille, audio description, and photo-tactile guides accompany the exhibition, whose operation and mediation incorporate the hiring of people with disabilities, respecting different circulation times.
Furthermore, all the devices in the exhibition were made with simple and low-cost materials, affirming the possibility of creating welcoming spaces even in architectural designs that do not fully comply with legal regulations.
Body in negotiation: video, sculpture and photography
In previous works, Sigulem invited the viewer to adjust to certain scales, as in the series Jeito de Corpo (2024). In this solo exhibition, the artist places her own body at the center of the experience. Different works explore this shift in perspective, sometimes proposing situations in which the public is led to reorient their spatial perception, and sometimes accompanying the artist in gestures of continuous negotiation with space.
The videos are based on reinterpretations of historical performances, created from the artist's body and traversed by issues of gender and power. The actions do not seek fidelity to the original gesture, but operate as a situated translation, in which each movement bears the mark of a necessary adjustment. The camera follows the process without correcting the deviation, allowing the flaw and the effort to remain visible.
This is the case with the previously unreleased series Ramps (2025), a set of twenty photographs derived from the video-performance Painting (Retouching) (based on Francis Alÿs). In the video, the artist marks points on the streets of São Paulo with yellow paint where access ramps should exist, highlighting the lack of accessibility in the urban landscape. The photographs isolate these gestures and traces, transforming the performative action into images that record the friction between body, city, and infrastructure.
By adopting the height of a wheelchair user's field of vision as a reference point, the exhibition shifts the normative scale of the exhibition space and introduces a regime of perception in which the body does not adjust to the architecture, but rather the architecture becomes an index of its limitations.
A sculpture punctuates the space, testing the boundaries between function and failure and questioning structures designed to guide movement. In an installation, a video dedicated to the image of falling articulates its repetition as a physical and symbolic experience. Together, the works suggest that every trajectory is traversed by detours, pauses, and negotiations, and that the shortest distance between two points rarely presents itself as a straight line.
The exhibition "Manual for Traveling the Shortest Distance from One Point to Another" is part of the "Jeito de Corpo" project, funded by the PNAB CULTURE FUNDING CALL NO. 25/2024, from the Secretariat of Culture, Economy and Creative Industries, State of São Paulo.
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Exhibition | A guide to traveling the shortest distance from one point to another
From January 24th to February 28th
Wednesday to Saturday, from 14pm to 18pm
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Workshop 397
Travessa Dona Paula, 119A – Higienópolis, São Paulo - SP
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The Museum of Modern Art of Rio de Janeiro (MAM Rio) will host, in January 2026, the first Brazilian edition of Voile/Toile – Toile/Voile (Candle/Canvas – Canvas/Candle), a seminal project by
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O Museum of Modern Art of Rio de Janeiro (MAM Rio) will host the first Brazilian edition in January 2026. Voile/Toile – Toile/Voile (Sail/Canvas – Candle/Candle), a seminal project by the artist Daniel Buren (1938, Boulogne-Billancourt), carried out in partnership with Nara Roesler GalleryInitiated in 1975, the work transforms boat sails into art supports, shifting the viewer's gaze and activating the surrounding space through movement, color, and form. Over five decades, the project has been presented in cities such as Geneva, Lucerne, Miami, and Minneapolis, always in direct dialogue with the local landscape and context.
Originally conceived in Berlin in 1975, Voile/Toile – Toile/Voile highlights the use of vertical stripes, which Daniel Buren defines as his "visual tool." The work's title itself makes explicit the shift proposed by the artist in articulating two central fields of 20th-century modernism—abstract painting and the readymade—transforming boat sails into paintings and expanding the work's scope beyond the exhibition space.
“This is a work done outdoors and relies on external and unpredictable factors, such as weather, wind, visibility, and the positioning of sails and boats, so that, even though it has been performed dozens of times, it is never identical, just like a play or a dramatic act,” said Daniel Buren, in a conversation with Pavel Pyś, curator of the Walker Art Center in Minneapolis, published by the museum in 2018.
On January 24th, the event begins with a regatta-performance in Guanabara Bay. Eleven Optimist class sailboats will depart from Marina da Glória and sail to Flamengo Beach, equipped with sails incorporating the white and colored vertical stripes created by Buren. In motion, the sails transform into living artistic interventions, activating the maritime space and the Rio de Janeiro landscape as a constitutive part of the artwork. The public will be able to watch the event from the shore, and the entire performance will be recorded.
After the regatta concludes, the sails will be moved to the foyer of the MAM Rio (Museum of Modern Art of Rio de Janeiro), where they will become part of the exhibition derived from the regatta, on display from January 28th to April 12th, 2026. Installed in self-supporting structures, the eleven sails – 2,68 m high (2,98 m with the base) – will be arranged in the space according to the order of arrival of the regatta, following the protocol established by Buren since the first editions of the project. This procedure preserves the direct link between the performance and the exhibition, and highlights the transformation of the sails from utilitarian objects into artistic objects. The exhibition design is by architect Sol Camacho.
“Since the 1960s, Buren has developed a critical reflection on space and institutions, being one of the pioneers of situ art and conceptual art. Although Voile/Toile – Toile/Voile has circulated in several countries over the last 50 years, this is the first time the work has been presented in Brazil. The proximity of MAM Rio to Guanabara Bay, its history of experimentation, and its architecture integrated into the surroundings make the museum a particularly privileged space for the artist's work,” comments Yole Mendonça, executive director of MAM Rio.
By extending an experience begun at sea into the museum, Voile/Toile – Toile/Voile establishes a continuity between the action in Guanabara Bay and its presentation in the exhibition space of MAM Rio, integrating landscape, architecture, and journey into a single artistic experience.
“The way Buren explores the relationship between art and specific spaces, especially public spaces, is fundamental to understanding the history of contemporary art. And this piece, Voile/Toile – Toile/Voile, which begins in Guanabara Bay and extends into the museum's interior spaces, is a perfect example of this practice,” comments Pablo Lafuente, artistic director of MAM Rio.
Continuing the project, Nara Roesler Books will publish an edition dedicated to Daniel Buren's presence in Brazil, bringing together critical essays and documents from the realization of Voile/Toile – Toile/Voile in Rio de Janeiro in 2026.
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Exhibition | Voile/Toile – Toile/Voile (Candle/Canvas – Canvas/Candle)
From January 28th to April 12th
Wednesdays, Thursdays, Fridays, Saturdays, Sundays and holidays, from 10am to 18pm
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Galatea and Nara Roesler are delighted to collaborate for the first time on the exhibition "Barracas e fachadas do nordeste" (Stalls and Facades of the Northeast), curated by Tomás Toledo, founding partner of Galatea, and Alana.
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Galatea e Nara Roesler They are delighted to be collaborating for the first time in organizing the exhibition. Stalls and facades of the Northeast,
Curated by Thomas Toledo, founding partner of Galatea and Alana SilveiraAccording to the director of Galatea Salvador, the group exhibition proposes a dialogue between the galleries' programs by exploring the affinities between the artists Montez Magno (1934, Pernambuco), Mari Ra (1996, São Paulo), Zé di Cabeça (1974, Bahia), Fabio Miguez (1962, São Paulo), and Adenor Gondim (1950, Bahia). The show proposes a broader view of the vernacular architectures that characterize the Northeast: urban facades, ornamental parapets, market and festival stalls, and ephemeral structures that shape the social and cultural landscape of the region.
In this collection, Fabio Miguez investigates the facades of Salvador as a mosaic of architectural variations, while Zé di Cabeça transforms records of the parapets of Salvador's suburban railway buildings into paintings. Mari Ra recognizes affinities between the geometries she found in Recife and Olinda and those present in the East Zone of São Paulo, revealing links built by Northeastern migration. Montez Magno and Adenor Gondim converge in highlighting the vernacular forms of the Northeast, Magno through the geometric abstraction present in the series Barracas do Nordeste (1972-1993) and Fachadas do Nordeste (1996-1997), and Gondim through the photographic record of the stalls that marked the popular festivals of Salvador.
The partnership between the galleries coincides with Galatea's 2nd anniversary in Salvador and reinforces its intention to make its headquarters in the Bahian capital a point of convergence for exchanges and collaborations between artists, cultural agents, collectors, galleries, and the general public.
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Exhibition | Stalls and facades of the Northeast
From January 30th to May 30th
Tuesday – Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 15 pm
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Galatea Salvador Gallery
R. Chile, 22 - Centro, Salvador - BA
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The Pinacoteca of São Bernardo do Campo presents, between January 31st and March 28th, 2026, a solo exhibition of the artist Daniel Melim (São Bernardo do Campo, SP – 1979). Curated by...
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A picture gallery de Are Bernard do Countryside presents, between the days January 31 and March 28, 2026, a solo exhibition by the artist Daniel Melim (Are Bernard do Countryside, SP – 1979). Curated by the researcher and specialist in public art. Baixo Ribeiro and produced by Paradoxa Cultural, the exhibition Urban Reflections: the art of Daniel Melim It brings together a collection of 12 works – including eight previously unseen pieces.
The exhibition presents a true introspective look at Daniel Melim's work – a dive into his creative process from inside his studio. Alongside works that have marked his career, the public will find previously unseen pieces that point to new directions in his production. Among the highlights are a large-format painting – 2,5m x 12m – and a collective mural that will be produced throughout the exhibition.
Featuring works in different formats and dimensions – paintings on canvas, reliefs, installations, notebooks, elements from the artist's studio – the exhibition addresses the role of urban art in the construction of collective identities, the symbolic occupation of public spaces, and the challenge of bringing these languages into the institutional context without losing their character of dialogue with the community.
The selection proposed by Baixo Ribeiro's curatorial team connects past and present, but mainly highlights how Melim transforms everyday visual references into works that generate critical reflection, making it possible to create bridges between public and institutional spaces.
The expography of Urban Reflections: the art of Daniel Melim"It was conceived as an expanded studio, with the aim of bringing the public closer to Melim's creative process. Within the exhibition space, there will be a collaborative mural where visitors can experiment with techniques such as..." stencil and street art. This initiative is part of the exhibition's educational proposal and transforms the visitor into a co-author, strengthening the relationship between the public and the artwork.
"I've always been interested in the relationship between art and urban space. The stencil "It was my first language and continues to be the starting point for creating visual narratives that engage with everyday life. This exhibition is about that dialogue: city, artwork, and audience," explains Daniel Melim.
Visual artist and educator, recognized as one of the leading names in Brazilian urban art, Daniel Melim began his artistic career in the late 1990s with graffiti and stencil in the streets of ABC Paulista. He develops original research on the stencil as an expressive medium, reclaiming its historical importance in the formation of street art. in Brazil and expanding its pictorial potential beyond public spaces. His work is characterized by a dialogue between artwork, architecture, and the city, frequently installed in areas undergoing urban transformation.
"This solo exhibition is a way for me to reconnect with the place where it all began." Are Bernard do Countryside It was my first art school – not just through college, but through the streets, the walls, the strikes I witnessed as a child. That experience shaped my worldview. Bringing this work back, in the space of picture gallery"It's like opening my studio to the city that has welcomed me so warmly and helped me grow," she says.
Os stencils, the graphic imagery of advertising, critiques of consumer society and urban daily life are The hallmarks of Melim's work: flat colors, layering, and balanced compositions. are Some of the characteristics that appear both in Daniel Melim's historical works and in new works that the artist is producing for his solo exhibition. Urban Reflections: the art of Daniel Melim"This is an invitation for visitors to immerse themselves in and get closer to the artist's creative process. The exhibition runs until March 28, 2026."
The exhibition “Urban Reflections: the art of Daniel Melim” is held with the support of the Aldir Blanc National Policy for the Promotion of Culture (PNAB); and the Cultural Action Program – ProAC, of the Secretariat of Culture, Economy and Creative Industries of the State Government of [State Name]. Are Paulo; from the Ministry of Culture and the Federal Government.
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Exhibition Urban Reflections: the art of Daniel Melim
From January 31st to March 28th
Tuesday, from 9 am to 20 pm; Wednesday to Friday, from 9 am to 17 pm; Saturday, from 10 am to 16 pm
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São Bernardo do Campo art gallery
Kara Street, No. 105 - Jardim do Mar - São Bernardo do Campo - SP
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: Accounts of Another History,” one of the central events of the France-Brazil Season 2025. Curated by Nadine Hounkpatin.
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The National Museum of Afro-Brazilian Culture (MUNCAB) inaugurates the exhibition “Memory: accounts of another history”, one of the central events of France-Brazil 2025 Season.
Curated by Nadine Hounkpatin e Jamile Coelhothe exhibition brings together 20 black female artists From the African diaspora and the African continent, who appropriate the visual arts as a field for elaborating memory and symbolically reconstructing the world. Their productions establish a decolonial thought, in which art acts as a form of listening, rewriting, and re-existence.
Participants: Amélia Sampaio, Barbara Asei Dantoni, Barbara Portailler, Beya Gille Gacha, Charlotte Yonga, Dalila Dalléas Bouzar, Enam Gbewonyo, Fabiana Ex-Souza, Gosette Lubondo, Josèfa Ntjam, Luana Vitra, Luisa Magaly, Luma Nascimento, Madalena dos Santos Reinbolt, Maria Lídia dos Santos Magliani, Myriam Mihindou, Na Chainkua Reindorf, Selly Raby Kane, Tuli Mekondjo and YêdaMaria.
After touring Bordeaux, Abidjan, Yaoundé, and Antananarivo, the exhibition arrives in Salvador—a city where African heritage manifests itself as an aesthetic and artistic foundation—to establish a new chapter in the project. At MUNCAB, these artists construct a territory of enunciation and reparation, in which image, body, and gesture become instruments for reconfiguring historical narratives and affirming Black subjectivities.
The exhibition is a project of the Ministry of Culture, Petrobras, and the French Embassy in Brazil, in partnership with MUNCAB, and managed by Amafro.
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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
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National Museum of Afro-Brazilian Culture: MUNCAB
Rua das Vassouras, 25 - Historic Center, Salvador - BA
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The Pinacoteca's final exhibition of 2025, "Carnival Work," is a group show featuring works by 70 artists from different generations and backgrounds, including Alberto Pitta, Bajado, Bárbara Wagner, and Ilu Obá.
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The Pinacoteca's last exhibition of 2025, “Carnival Work”, is a collective exhibition with works by 70 artists from different generations and backgrounds, such as Alberto Pitta, Bajado, Barbara Wagner, Ilu Obá de Min, Heitor dos Prazeres, Juarez Paraíso, Lita Cerqueira, Maria Apparecida Urbano, Rafa Bqueer and Rosa Magalhães.
The exhibition at the Pina Contemporânea building displays 200 works including props, decoration projects and historical documentation in photography and video, as well as commissions for new projects by the artists. adonai, Ana Lira e Ray Vianna.
Divided into four themes – Fantasy fabric, Jobs, The ability to e City, “Carnival Work” presents the country's largest popular festival as a production chain that involves the work of many hands even before the festival takes place, while alluding to the precariousness and invisibility of these professionals.
THEMATIC CENTERS
The core Fantasy fabric refers to two characteristic elements of Carnival: the act of dressing up and the power of imagination. Projects and sketches are part of the central part of the Grand Gallery, such as studies of J. Cunha for the Salvador carnival and Joana Lira for the street decorations in Recife.
Discussions about the party's working conditions are presented in the core Jobs, in which works are presented that bring to light the representation of workers.
The relationship between carnival and urban or rural space appears in the core City through representations of blocks, cordons, afoxés and other forms of processions. The center brings together works such as photographs taken by Diego Nigro in the Galo da Madrugada carnival block (2025).
Finally, the core The ability to celebrates the meetings of sugarcane workers in Pernambuco transforming themselves into kings and queens of maracatu, as well as black women and marginalized peripheral groups becoming, for a few days, the figures of command during the festival in Bahia: Ebony Goddesses, Reis Momos, Carnival Queens.
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Exhibition Carnival Work
From November 8, 2025 to April 12, 2026
Wednesday to Monday, from 10:18 to XNUMX:XNUMX
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Contemporary Art Gallery
Av. Tiradentes, 273, Luz, São Paulo - SP
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Mendes Wood DM is pleased to present the exhibition "Birth of Antonio Obá," which occupies the entire gallery space in Barra Funda with previously unseen and emblematic works.
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A DM Mendes Wood We are pleased to present the exhibition. Birth & Standardization de Antonio Oba, which occupies the entire gallery space in Barra Funda with new and emblematic works. The works, developed using distinct techniques such as painting, drawing, installation, and film, continue the artist's investigation into the construction of national identity, and its contradictions and influences, through icons and symbols present in Brazilian culture.
The exhibition's title stems from the idea of birth as a marker of a moment, of a new existence on Earth. This miraculous event also carries the counterpart of fortune and luck, which accompanies us from conception. For Obá, “Being subject to this is not about a choice. Being subject to this is about an irreverence towards the inevitable. So, what we can do is demarcate these various fortunes through rite, celebration, symbol, and language.”
Each work that makes up the exhibition contributes to this attempt to situate the idea of luck, fortune, sometimes as a prayer, sometimes as a ritual that celebrates it.
An unprecedented installation, located in an enclosed space at the back of the gallery, directly refers to the idea of play and luck. In it, columns of cowrie shells spill over gilded bronze sieves, carrying ceramic eggs painted red. The cowrie shells represent elements of an attempt to read luck, destiny, and fate, and symbolize the currency of exchange, which also transforms into an offering. In their arrangement within the space, the cowrie shells form ascending columns, like a territory of spiritual elevation and re-signification of life in the face of its potentially fatalistic aspects.
At the entrance to the exhibition space, a path of swords representing Saint George and Iansã leads to a new installation: an altar with two tree trunks symbolizing the pillory. The trunks are entirely studded with nails—in one, the nails point outwards; in the other, inwards—symbolizing protection and punishment and the difficulty of harmonizing tensions. Between the pillories, cables suspend a bronze head with a plumb bob at the tip. This installation is an offering to the lord of the path, therefore, it has a connection with Exu.
the installation Ka'a porá (2024), presented for the first time in the traveling exhibition Finca-Pé: Stories of the Land At the CCBB in Rio de Janeiro, Belo Horizonte, and Brasília, it occupies a prominent place in the exhibition. Sculptures of feet, representing both the human foot and that of a tree, emphasize the connection with the ground. The configuration of the work resembles a small garden, with trunks arranged in a seemingly random way, each suggesting a different direction within a labyrinth. The title of the installation derives from the Tupi term. ka'a porá, which refers to an individual who settles and anchors themselves to the land. The expression also alludes to the mythical figure of Caipora, protector of the forests in Brazilian indigenous mythology. Another symbolic element of the installation revisits the concept of pruning, understood here as an act of violence that breaks with life and nature.
Paintings of varying sizes and techniques compose the visual narrative of the exhibition. A set of 22 small-format paintings presents Obá's interpretation of the Tarot. In these works, the artist uses a mixture of techniques along with gold leaf, giving a unique magical and fantastical tone to the oracle cards. In addition to these, the exhibition includes new large-scale paintings, as well as a work painted directly onto one of the walls of the exhibition space. In these pieces, figures and symbols that make up Brazilian identity suggest new interpretations. The exhibition also includes previously unseen drawings made with charcoal, India ink, pencil, and tempera on canvas.
The film Charmed (2024) presents a performance by the artist that proposes reflections on symbolic systems — especially religious ones. The performative action evokes a ritualistic perspective, centered on the figure of the pilgrim, who, in his gesture, synthesizes elements of belief, culture and tradition associated with the imagery of the pilgrim.
With this collection of works, which spans different media and symbolisms, the exhibition reaffirms the power of Antonio Obá's production in constructing a poetics that investigates identity, territory, and spirituality.
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Exhibition Birth
From November 8th March 14, 2026
Tuesday to Friday, from 11 am to 19 pm, Saturday from 10 am to 17 pm
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DM Mendes Wood
Rua Barra Funda, 216, São Paulo – SP
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In the exhibition Tania Candiani: Subterrânea, at Vermelho, Tania Candiani, through embroidery, drawings, videos, sound work and installation, transforms the subterranean networks of roots into a cartography.
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at the exhibition Tania Candiani: Underground, the Red, Tania CandianiThrough embroidery, drawings, videos, sound art, and installation, she transforms the subterranean networks of roots into a tactile cartography of entanglements, in which matter becomes a sign of the energies that permeate the soil.
The works in this solo exhibition map these living webs where natural, non-human, and sonic systems converge, revealing the invisible vibrations and resonances that traverse the subterranean realm.
Each embroidery in the Roots Systems series is constructed around a horizon line, a boundary between what we see and what remains hidden, where structures expand across the ground forming networks that transcend the scale of the visible plant. The machine embroidery carries the sound and vibration of these constantly moving networks.
The same series unfolds in two sets of drawings, one in spray paint and the other in India ink. In the first, roots of different individuals of the same species are engraved on cotton paper. They are diptychs in which each individual occupies a frame, but both seem on the verge of touching, expanding from a common center. The breath of the spray suggests diffusion and indefiniteness, creation and dissolution. The encounter between the individuals becomes a zone of passage and creation, an intermediate space where something communicates, transforms, or is born. Candiani speaks of these drawings as expressions of a cellular, entangled communication, approaching nebulae, like cosmic synapses.
The ink drawings are based on shallow roots, which are root systems that spread close to the soil surface, rather than developing in depth. These roots expand horizontally in search of water and nutrients in arid environments and shallow soils; they are networks that seek sustenance in scarcity.
Different fields of knowledge, such as biology, philosophy, and the arts, bring architecture closer to the superficial roots of neural networks. Structurally, these roots expand in multiple directions, forming interconnected networks similar to the synapses of the cognitive mesh.
Just as neurons exchange electrical impulses, roots communicate through chemical and bioelectrical signals with each other, and with fungi and bacteria in the soil. This subterranean network acts as an "ecological brain," perceiving and adapting the plant organism to its environment. Both the neural network and the superficial root system constitute rhizomatic life forms, based on entanglement: lateral expansions that construct meaning and continuity through connection.
Subterranean communication is also the central theme of the works Subterra: Roots, a circular video and a multi-channel soundscape that expand the perception of this living network. The video, circular like a hatch, presents a continuous flow of roots, fungi, and microorganisms in motion, in a gradual dive through the layers of soil. The soundscape, composed of low-frequency subsonic vibrations, creates an immersive atmosphere that evokes the inaudible hum of moving subterranean networks, like a resonance field where different materials communicate.
Also included in Subterra: Roots is a large double rhizotron, built specifically for the exhibition, in which corn plants grow. The device—a box with large glass windows where the plants develop—is used in scientific research to observe root growth and allows for continuous monitoring of what normally remains hidden in the soil.
In this work, the root system ceases to be merely a representation and presents itself as a living body in transformation. By integrating the plant growth process into the exhibition experience, Candiani brings science and sensitivity closer together, incorporating the time of subterranean movement that runs throughout the show. With the exhibition's long duration, the rhizotron will transform the landscape of the installation with each visit to Subterrânea.
The exhibition will be on display until December 19, 2025, and between January 12 and February 13, 2026.
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Exhibition | Tania Candiani: Underground
From November 13 to February 13, 2026
Monday to Friday from 10:19 to 11:17, Saturday from XNUMX:XNUMX to XNUMX:XNUMX
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Galeria Vermelho
Rua Minas Gerais, 350, São Paulo - SP
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A platform that transforms art into a living experience for children, young people, and families. Caixa Cultural Salvador hosts the interactive exhibition "Nowhere is Right There," with free admission.
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A platform that transforms art into a living experience for children, young people, and families. Caixa Cultural Salvador receives the interactive exhibition “Nowhere is Right Around the Corner", with free admission during the summer in the capital of Bahia. The exhibition is part of..." PLAY Festival It brings together works that can be observed up close, explored with the body, investigated with curiosity, and used as a starting point to imagine new ways of living and inhabiting the city.
Aimed at children and young people, PLAY proposes a playful encounter with contemporary art through activities that stimulate discovery, sensitivity, and creativity. Children and people of all ages are invited to walk through the space and interact with works installed on the floor, walls, and in the space, creating paths that stimulate observation from different angles: from above, up close, from the side, walking, or even crouching down to discover details.
The exhibition is free to visit and was designed so that families can experience art together, creating emotional connections while discovering new ways of looking at the world. The Caixa Cultural Salvador is open Tuesday to Sunday, from 9:00 AM to 5:30 PM.
The exhibition features works by Vik Muniz, Marepe, Milena Ferreira, Mano Penalva, Laís Machado, and Maxim Malhado, with new works created especially for this edition alongside emblematic pieces from their careers. The dialogue between different generations and artistic languages broadens the perspective on urban daily life and its ways of seeing the world.
The exhibition brings together 18 works, four of which are new, inviting the public to explore a sensory and symbolic territory where each work proposes a new way of inhabiting space and thinking about the city. Vik Muniz, recognized worldwide for transforming ordinary materials into extraordinary images, recreates familiar images using unusual materials, provoking shifts between reality and representation. Marepe, in turn, draws from the daily life of the interior of Bahia to create poetic artifacts that blend humor, affection, and social critique. Meanwhile, Mano Penalva constructs visual narratives from material culture and popular commerce, reorganizing objects and symbols of urban life into new compositions.
Milena Ferreira delves into engravings and ruins as places of memory, creating installations and sculptures that evoke time and belonging, as spaces for memory and reconstruction of the community. Laís Machado, a transdisciplinary artist whose practice spans body and performance, proposes immersive experiences of presence and collective listening, inviting the public to participate in poetic pacts of memory and intimacy. Maxim Malhado brings the symbolic power of his sculptures and objects made of wood, straw, and thread—materials that carry traces of use and life, transforming simplicity into symbolic power.
As a platform that connects art and education through experimentation and reflection, Play aims to expand its reach beyond the exhibition space, with a cross-disciplinary program that connects different areas of the city. Workshops, educational activities, and public events build upon the experiences inaugurated by the exhibition, broadening the scope of its proposals and encounters.
With over two decades of experience in the fields of art and culture, Tathiana Lopes, in this curatorial project, delves deeper into research on the "educating city," exploring contemporary art, urban spaces, and collective practices.
“I invited artists from different generations and with distinct experiences of the city of Salvador. Their works, some emblematic and others created especially for this edition, invite direct and playful interaction with the public. They are installations with different textures, materials, and everyday objects that propose that people of all ages circulate, interact, and play in the exhibition space. And, as co-authors of this experience, they feel provoked by the questions that these works raise—the tensions between public and private space, reality and illusion, presence and absence—to reflect on and imagine other ways of thinking about and occupying the city,” says the curator.
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collective exhibition Nowhere is Right Around the Corner
From November 14th to February 08th
Tuesday to Sunday, from 9:00 AM to 5:30 PM
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CAIXA Cultural Salvador
Carlos Gomes Street, 57 - Downtown, Salvador - BA
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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.
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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.
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Exhibition | Photography AGNÈS VARDA Cinema
From November 29th to April 12th, 2026
Tuesday to Sunday and holidays from 10am to 20pm (closed on Mondays)
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IMS - Moreira Salles Institute
Avenida Paulista, 2424 São Paulo - SP
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The international exhibition Joaquín Torres García – 150 Years, a first in the country, celebrates the career of one of the pillars of modern art in Latin America, with approximately 500 items, including...
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The international exhibition Joaquín Torres García – 150 yearsThis exhibition, a first in the country, celebrates the career of one of the pillars of modern art in Latin America, with approximately 500 items, including works of art and documents such as paintings, unpublished manuscripts, maquettes, drawings, and the famous wooden toys produced by the Uruguayan artist's family.
This is the first time that such a large and diverse collection of the artist's work has been presented in Brazil, with pieces that will leave the Uruguayan museum's storage for the first time, revealing little-known aspects of the artist's production to the public.
Curated by Saul of Tarsus in collaboration with Torres García MuseumThe exhibition deepens the understanding of "constructive universalism" and presents Torres García as a thinker of global reach. The pedagogy of Taller Torres García, The exhibition also explains the idea that Latin American artists should develop their own art without depending on European and North American influences. The proposal was to encourage each artist to seek their roots, symbols, and local references, creating a more authentic production connected to the culture of the continent—something that directly relates to the selection present in the exhibition.
Institutions such as the Museo Torres García (Uruguay), the Museu d'Art Contemporani de Barcelona (Barcelona Museum of Contemporary Art), the Institut Valencià d'Art Modern [Valencia Institute of Modern Art], the Museo de la Solidaridad Salvador Allende (Chile), as well as Brazilian collections such as MASP and the Pinacoteca de São Paulo, contribute with essential loans.
This project is supported by the Federal Law for Cultural Incentive – Lei Rouanet and sponsored by BB Asset.
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Exhibition Joaquín Torres García – 150 years
From December 10th to March 09th, 2026
Open every day from 9am to 20pm, except Tuesdays.
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"A Olho Nu," the largest retrospective of the prestigious Brazilian artist Vik Muniz, arrives at the Museum of Contemporary Art of Bahia (MAC_Bahia). Featuring over 200 works distributed across 37 series, A
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With the Naked Eye, the largest retrospective exhibition ever held by the prestigious Brazilian artist Vik Muniz arrives at Museum of Contemporary Art of Bahia (MAC_Bahia).
Over 200 works distributed in 37 series"Naked Eye" brings together fundamental works from different phases of Vik Muniz's career, internationally recognized for his ability to transform everyday materials into images of strong visual and symbolic impact. Chocolate, sugar, dust, garbage, magazine fragments, and wire are some of the elements that make up his artistic vocabulary and bring his production closer to both pop art and everyday life. The public will be able to follow his work from his first sculptural experiments to works that mark the consolidation of photography as the central axis of his creation.
Among the highlights, the exhibition features four pieces never before seen at MAC_Bahia, which were not part of the Recife leg: Cheese, Skates, Golden Nest, and Souvenir No. 18. The show also presents works never before exhibited in Brazil, such as Oklahoma, Boy 2, and Neurons 2, previously seen only in the United States.
The retrospective occupies the MAC_Bahia and expands to two other spaces in the city: the artist's studio in Santo Antônio Além do Carmo, which will host meetings and special visits, and the Galeria Lugar Comum, in the São Joaquim Fair, where a new installation inspired by the work Nail Fetish will be exhibited. This is the first time Vik Muniz has presented a work at this location, reinforcing the dialogue between his production and popular territories of Salvador.
Exhibition "Naked Eye," by Vik Muniz, at the Museum of Contemporary Art. Photo: Vik Muniz
Considered fundamental to understanding the artist's transition from object to photography, the Relicário series (1989–2025) greets visitors right at the entrance of MAC_Bahia. Not exhibited since 2014, it presents three-dimensional sculptures that help to understand Muniz's conceptual shift, when the artist realized he could construct scenes designed exclusively to be photographed, a movement that redefined his international career.
For curator Daniel Rangel, who is also the director of MAC_Bahia, the arrival of A Olho Nu has special significance. "This is the first major retrospective dedicated to the work of Vik Muniz, with a selection designed to create a dialogue between his works and the culture of the region," he states.
The arrival of the retrospective in Salvador also strengthens the partnership between IPAC and the Banco do Brasil Cultural Center (CCBB), responsible for organizing the exhibition and in an advanced stage of establishing its unit in the Palácio da Aclamação, a historic building managed by the Institute. Even before officially opening its doors in Bahia, CCBB Salvador has already been promoting cultural activities in the capital, including the presentation of the largest exhibition dedicated to the artist.
To host "A Olho Nu" (Naked Eye), IPAC and MAC_Bahia are mobilizing a complete structure that includes maintenance, security, cleaning, museum lighting, and operational logistics, in addition to the work of the mediation team and educational activities aimed at schools, universities, cultural groups, and visitors in general. The expectation is that the museum will receive approximately 400 people per day during the exhibition period, consolidating MAC_Bahia as one of the main venues for the circulation of contemporary art in the Northeast. It is no coincidence that the Museum is listed among the best institutions of 2025 by Revista Continente.
With free admission and ongoing educational programming, "A Olho Nu" is expected to significantly impact Salvador's cultural calendar in the coming months. The exhibition offers the public the opportunity to immerse themselves in the work of one of Brazil's most celebrated contemporary artists and to experience different stages of his creative process, reaffirming MAC_Bahia as a benchmark in promoting major national and international exhibitions.
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Exhibition | With the Naked Eye
From December 13th to March 29th
Tuesday to Sunday, from 10pm to 20pm
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MAC Bahia
Rua da Graça, 284, Graça – Salvador, BA
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The MuBE — Brazilian Museum of Sculpture and Ecology — celebrates its 30th anniversary with the exhibition “The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of…”
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O MuBE — Brazilian Museum of Sculpture and Ecology — celebrates its 30th anniversary with the exhibition “The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of Life on the Planet".
Curated by Guilherme Wisnik e Fernando TulioThe exhibition pays homage to the legacy of Paulo Mendes da Rocha (Pritzker 2006) and the iconic architecture of MuBE, a project born from the struggle of civil society for the preservation of space.
In tune with the COP30The museum is updating its founding theme of Sculpture and Ecology. The exhibition places Paulo Mendes' ideas, which viewed politics in urbanism, in direct debate with climate challenges and the urgency of rethinking the future of cities.
Entry to MuBE is free and open to the public during museum opening hours. For your convenience, we suggest booking your visit in advance through Sympla. For group visits or guided tours, whether indoors or outdoors, even if organized by third parties unrelated to the museum, booking via email at educativo@mube.art.br is mandatory.
To visit the museum while ensuring your safety, the safety of other visitors, staff, collaborators, and the artworks, it is necessary to respect all the visitation rules described below to access the building, garden, current exhibitions, restaurant, and other areas of the Museum.
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Exhibition The Third Margin of the City: Paulo Mendes da Rocha and the Challenges of Life on the Planet
From December 13th to March 13th
Tuesday to Sunday, from 11pm to 17pm
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Brazilian Museum of Sculpture and Ecology - MuBE
Rua Alemão, 221 - Jardim Europa, São Paulo - SP
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The Banco do Brasil Cultural Center in Belo Horizonte (CCBB BH) presents Festa no Céu – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã, a new installation by the indigenous artist, curator, and activist Daiara Tukano.
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O Banco do Brasil Cultural Center Belo Horizonte (CCBB BH) presents Party in Heaven – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã, a new installation by the indigenous artist, curator and activist Daiara TukanoThe artwork occupies the courtyard of the cultural center with an arch composed of more than 100 birds, mostly macaws, created as a tribute to ancestral wisdom, the preservation of the forest, and the role of birds as intermediaries between spiritual dimensions.
The work is structured like a large mobile, in which the birds appear in four distinct positions, suggesting continuous movement. Made of translucent material and ornamented with hori designs in various shades, the pieces project colors into the space both under sunlight and at night, when they receive special lighting. More than a sculptural ensemble, the installation aims to function as a portal to the indigenous worldview.
In the creation narratives of the Yepá Mahsã Tukano people, before the multiplication of humanity, the Amõ Numiã, the first women, gave birth to the birds, which emerged singing, flying, and spreading colors throughout the world. Enchanted by this birth, men and animals began to sing in the forest, each in their own language, and to have visions, colorful visions that originated their paintings and drawings. Thus arose the diversity of peoples and perceptions that made human expansion possible. Since then, the birds have been a feast in the sky, carrying messages and dreams in their songs and flights.
“'Party in the Sky' is a large mobile of acrylic birds, macaws and other small birds flying with their wings open, drawn with Hori, which are our Ye'pá Mahsã people's graphic designs. It is a work that tells the story of the creation of birds, the emergence of colors, designs, art, languages, beauty, memory and dreams. These are graphic designs that we use on our pots, our baskets and our body paintings, and that are part of our culture. The birds are transparent and have iridescent, rainbow-like reflections, projecting their illuminated shadows onto the ground. They are transparent, just as our dreams, our thoughts and our feelings are transparent,” explains Daiara Tukano.
By bringing this Amazonian symbol to a central city space like the CCBB BH, the artist reinforces the urgency of caring for the forest, understood by many peoples as a living organism whose imbalance manifests profound spiritual crises.
With artistic direction and curation by Juliana Flores and architecture by Camila Schmidt, the installation is part of the CCBB BH's end-of-year activities, strengthening the museum's relationship with the public that circulates daily through the Circuito Liberdade.
According to the cultural center's general manager, Gislane Tanaka, “Festa no Céu (Party in the Sky) was born in dialogue with the traditional end-of-year lighting of Praça da Liberdade (Liberty Square), and reveals the diversity of visions that indigenous peoples hold as wisdom, opening space for a sensitive encounter with their worldviews. In this journey between light, art, and ancestry, CCBB BH reaffirms its commitment to bringing people ever closer to culture.”
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Exhibition | Party in Heaven – Mirĩ'kʉã ʉmʉhsé'pʉ Bahsa'rã
From November 28th to February 28th
Wednesday to Monday, from 10:22 to XNUMX:XNUMX
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Banco do Brasil Cultural Center Belo Horizonte (CCBB BH)
Praça da Liberdade, 450 - Funcionários, Belo Horizonte - MG
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The scent of wet earth, birdsong, sounds of the forest, and images of the Amazon rainforest and its inhabitants arrive in Rio de Janeiro to offer a journey through the largest...
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The scent of wet earth, birdsong, sounds of the forest, and images of the Amazon rainforest and its inhabitants arrive in Rio de Janeiro to offer a journey through the world's largest tropical rainforest in the exhibition “Presences in the Amazon: a visual diary by Bob Wolfenson“, in the lounge of Museum of Tomorrowin Rio de Janeiro. The photographic and multisensory exhibition proposes a sensitive experience of the forest from the photographer's artistic perspective. Bob Wolfenson, who is celebrating 55 years in the business. Organized by OKThe exhibition is open to the public from January 15th to February 10th.
The exhibition presents impressions of the forest captured by the photographer during the filming of the web series "Amazon: Together We Make a Difference," which he co-directed with singer Gaby Amarantos in 2024. The audiovisual production, created by Vale, transformed into a campaign showcasing the culture, economy, biomes, and people of the Amazon rainforest, culminating in the premiere of the exhibition of Bob Wolfenson's visual diary.
“For four decades, Vale has been present in the Amazon as one of the main agents of sustainable development and the preservation, appreciation, and dissemination of Amazonian culture. We carry out a series of initiatives that promote the bioeconomy, protect the standing forest, and contribute to research and knowledge production in areas such as biodiversity, genomics, and climate change. In this sense, holding this exhibition at the Museum of Tomorrow takes on a special purpose, proposing new ways of seeing and understanding the region in all its diversity, provoking reflection and new ways for us to act together for the present and the future,” says Grazielle Parenti, Executive Vice President of Sustainability at Vale.
Organized into three themes – The Forest, Presences, and Magic Light – the photos reveal the Amazon from within, its stories and its communities, in a narrative where the forest and the people blend and coexist in harmony.
“Photographing the Amazon was a profound and transformative experience. Being in the presence of such powerful nature and, at the same time, encountering people who work to keep it standing brought a new meaning to my perspective. Taking these images to the Museum of Tomorrow, with sponsorship from Vale, is very significant: it's a way to broaden this dialogue and show that preserving the forest is also preserving stories, cultures, and futures,” comments Bob Wolfenson.
“The Museum of Tomorrow believes in the power of art to communicate what science demonstrates today and, in doing so, facilitate the reconnection of humanity with the ocean,” says Fabio Scarano, curator of the Museum of Tomorrow.
The spaces are characterized by rustic and natural materials and by lighting that changes throughout the journey, alluding to the cycle of the day. The experience gains depth with the presence of sensory elements that transport guests into the heart of the Amazon, such as a light aroma of fresh earth after the rain. Visitors can also hear original sounds of the forest, the result of a study by the Vale Technological Institute (ITV), which gathered more than 16 minutes of life in the Carajás Forest and revealed curiosities about Amazonian biodiversity through the sounds it emits. In addition, a pause and contemplation area features phrases, excerpts from speeches, and travel notes by Bob Wolfenson, creating a poetic installation that translates the artist's creative process. The production is by Tantas Projetos Culturais and TM1 Brand Experience, curated by Cecilia Bedê.
The exhibition will feature a free educational program that connects the photographs to the memories, aromas, sounds, and symbols of the Amazon. In addition to a photographic walk with Bob Wolfenson in Praça Mauá, there will be activities for all audiences, showcasing the Amazonian DNA through workshops on stamp making, a carimbó dance class, painting miriti toys, and sensory experiences such as the traditional scented bath. The complete program is available on the Museum of Tomorrow's website.
With special attention to accessibility and inclusion, the exhibition features resources such as tactile artworks, sound and olfactory devices, guided tours, audio description, sign language interpretation, and adapted activities.
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Exhibition Presences in the Amazon: a visual diary by Bob Wolfenson
From January 15th to February 10th
Every day except Wednesday, from 10:00 AM to 6:00 PM (last entry at 5:00 PM)
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Museum of Tomorrow
Mauá Square, 1 - Downtown, Rio de Janeiro - RJ
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Antonio Malta Campos's practice revolves around pictorial techniques that float in paints on canvases, papers, and assemblages. His brushstroke, sometimes incisive, other times gliding, also moves towards the subtle and...
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The practice of Antonio Malta Campos Malta employs pictorial techniques that float in paints on canvases, papers, and assemblages. His brushstroke, sometimes incisive, other times gliding, also moves towards the subtle and graceful, in a recognizable stroke that transitions between figuration and abstraction. For Malta, painting begins in a small notebook, in watercolor sketches that will become canvases filled with color and form. His research follows the path that Matisse described as "construction through color," a plastic investigation of place, the creation and occupation of the sensible. His abstraction is suggestive, insinuating through different strokes and formats that there is a place of creation in the visual discomfort of geometric precisions and the distinctions between the abstract and the figurative. It is in this place that Malta dwells and is inhabited.
His poetic universe is an expansion of the pictorial operation, achieving an exquisite mastery of chromatic profusion. His compositions reveal gradations that are sometimes subtle, sometimes hyperbolic, floating in blues, neons, and earthy tones, creating a fictional universe from the contours, lines, and textures of the painting.
His poetic multiplicity becomes even more evident when we look at other works that show expressionist influence in color and drawing; these are paintings that he himself called "nervous paintings." This designation underscores the more tense, dynamic, and emotionally impactful nature of these works, where color and brushstroke act as vehicles for a more raw and immediate expressiveness, revealing the complexity and scope of the artist's artistic investigation.
Malta invites our gaze to interpret the landscape from other perspectives, reverberating from the material, in which more opalescent and ethereal nuances are noticeable. The most recent materiality is suggestive, different from other phases such as the heads and characters, in which the figuration was more poignant due to the saturated colors and expressionistic strokes.
In the exhibition “Opalescentin the gallery Simons of AssisiIn this exhibition, which brings together recent and previously unseen works by Antonio Malta Campos, we encounter a curatorial selection of his production that emerges from colors, lines, geometric forms, and abstract constructions. This production outlines paths in which the painting presents more open, cheerful color palettes, sometimes in pastel and soft tones, suggesting a lightness and a more serene atmosphere. These works explore color in its capacity to construct spaces and forms with softness. In the layered chromatic superimposition, there is a certain pearly luminescence, derived from opal, a gem that reflects multifaceted colors, emanating a milky and iridescent appearance in bluish, reddish, and orange finishes that change according to the angle of the light – Malta's technique is opalescent.
The semiotician Roland Barthes once summarized that "the contemporary is the untimely," that is, that which affects the present time to make it think about itself. Malta projects in his painting a profoundly untimely chromatic articulation: his composition operates under a provocative perspective. By establishing a temporality that escapes the immediate, his colors and gestures challenge the spirit of the age, opening up cracks for other ways of seeing and inhabiting the present.
Malta's pictorial work is a chromatic articulation in a two-dimensional field, demonstrating the skillful gesture of reinvention in the studio experience, the investigative process of color stacking, and the formal research that evokes new prisms of meaning from an already recognized and strengthened poetics. In the exhibition, we witness the synthesis of his poetics, a plastic essay that bursts into the exhibition space and reveals unique vectors of meaning.
Luana Rosiello and Mariane Beline
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Exhibition Opalescent
From January 15th to February 07th
Monday to Friday, from 10 am to 19 pm, Saturdays, from 11 am to 17 pm
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Simões de Assis - Balneário Camboriú
3rd Avenue, corner of 3.150, room 04, downtown, Balneário Camboriú - SC
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The MIS, an institution of the São Paulo State Secretariat of Culture, Economy and Creative Industries, inaugurates the last exhibition of the Nova Fotografia 2025 call for proposals with the series “Bororé”, by
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O My, institution of Secretariat of Culture, Economy and Creative Industry of the State of São Paulo, inaugurates the final exhibition of the Nova Fotografia 2025 call for proposals with the series “Bororé", by the photographer Kaio QuintoThe Museum's annual project selects, through an open call for submissions, six new photographers for a solo exhibition at the Museum. The selection is made by the Programming Department, with supervision and coordination by the MIS's general curatorial team. Original photographic series are selected, from professionals who stand out for their technical and aesthetic originality. After the exhibition period, the chosen series become part of the MIS collection.
Kaio Quinta's work portrays Bororé Island, located in the far south of São Paulo, a place that holds much richness and history for the city. Little known by most of São Paulo's population, this neighborhood serves as a counterpoint to the bustling metropolis. Today, the island offers infrastructure for leisure, sports, and culture. The name Bororé comes from the Tupi language, meaning "closed thicket" or "dense forest." The area was inhabited by the Guarulhos and Guaianás tribes.
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Exhibition Bororé
From December 16rd to February 01st
Tuesdays to Fridays, from 10 am to 19 pm, Saturdays, from 10 am to 20 pm, Sundays and holidays, from 10 am to 18 pm.
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Museum of Image and Sound - MIS
Av. Europe, 158, Jd. Europe Sao Paulo - SP
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The Zipper Gallery in São Paulo is hosting the 17th edition of the Salon of Artists Without Galleries, promoted by the Mapa das Artes portal. The exhibition features works by eleven artists, ten of whom are part of the same group.
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A Zipper Gallery, in São Paulo, receives the 17th edition of the Salon of Artists Without Galleries, promoted by the Mapa das Artes portal. The exhibition features works by eleven artists, ten of whom were selected, plus one who was awarded the prize. Incentive Award Outside the MainstreamThis year it was 371 subscriptions, which represents a 22% increase in the number of entries received for the 2025 exhibition.
In this edition, the following were selected: Bernardo Liu (RJ), Dani Shirozono (MG/SP), Demir (DF), Isabela Vatavuk (SP), Mariana Riera (RS), Paulo Valeriano (DF), Rafael Santacosta (SP), Romildo Rocha (MA), Shay Marias (RJ/SP) and Timóteo Lopes (BA).
The Salon also awarded, this year, the "Outside the Axis" Incentive Prize, worth R$ 1.000,00, to an artist not selected and residing outside the Rio-São Paulo axis. The winner was Pedro Kubitschek (MG). The selection jury was composed of the producer and independent curator Alef Bazilio; the artist, curator and university professor Diogo Santos Bessa; and the journalist, critic and independent curator Mario Gioia. At the end of the exhibition, three of the selected artists will be awarded prizes of R$ 3, R$ 2 and R$ 1.
The Salon of Artists Without Galleries aims to energize and stimulate the art scene right at the beginning of the year. For 17 years, the event has evaluated, exhibited, documented, and promoted the work of visual artists who do not have verbal or formal contracts (representation) with any art gallery in the city of São Paulo. The Salon opens the art calendar in São Paulo and is a gateway for these artists into the competitive commercial art circuit in the country.
The Salon of Artists Without Galleries is conceived and organized by Celso Fioravante, with assistance from Lucas Malkut and graphic design by Cláudia Gil (Estúdio Ponto).
Artists selected for the 17th edition (in order of registration)
Timóteo Lopes – BA: @timoteolopes_
Mariana Riera – RS: @marianariera82
Romildo Rocha – MA: @rocha.abencoado
Isabela Vatavuk – SP: @isabelavatavuk
Rafael Santacosta – SP: @santacosta.art
Paulo Valeriano – DF: @paulovalerianopaulovaleriano
Shay Marias – RJ/SP: @shaymarias
Dani Shirozono – MG/SP: @danishirozono
Demir – DF: @demirartesplastica
Bernardo Liu – RJ: @bernardoliu
Pedro Kubitschek – MG (Outside the Mainstream Incentive Award): @pedrodinizkubitschek
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collective exhibition 17th Salon of Artists without Galleries
From January 17th to February 28th
Monday to Friday, from 10 am to 19 pm, Saturdays, from 11 am to 17 pm
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Zipper Gallery
R. United States, 1494 Jardim America 01427-001 São Paulo - SP
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In her practice, the Franco-Brazilian artist Julia Kater investigates the relationship between landscape, color, and surface. She works across photography and collage, focusing on the construction of...
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In her practice, the Franco-Brazilian artist Julia hangover This work investigates the relationship between landscape, color, and surface. It moves between photography and collage, focusing on the construction of the image through cutting and juxtaposition. In photography, Kater starts from the understanding that every image is, by definition, a fragment – a framing that cuts and isolates a part of the scene. In her work, the image is not merely a record of a moment, but rather the result of a displacement – something that is undone and recomposed by the same gesture. The images, often close together, do not seek to document, but to construct a new field of meaning. In the collages, the gesture of cutting takes shape. Fragments of photographs are manually cut, superimposed, and organized into layers that create visual passages marked by subtle color transitions. These accumulations evoke variations in light, atmospheres, and the very passage of time through chromatic gradations.
In the individual Double, Julia hangover The exhibition presents recent works developed from research conducted during her artistic residency in Paris. “My research focuses on landscape and how color participates in the construction of the image – sometimes as an element added to the photograph, sometimes as something that emerges from the surface itself. In the collages, the landscape is constructed through cutouts, juxtapositions, and gradations of color. In the works on fabric, color acts from the surface itself, through manual dyeing, passing through the printed photograph. These procedures deepen my investigation into the relationship between landscape, color, and surface,” explains the artist.
Featured are two works that will be exhibited in the show: one in fabric that is part of the new series and a previously unseen diptych. Stone Body (Centauro), 2025, pigment digital print on silk hand-dyed with plant-based inks and, Untitled, 2025, collage with mineral pigment print on Hahnemühle 210g matt paper, diptych measuring 167 x 144 cm each.
The artist comments: “I continue with the collages made from cut-out photographs printed on cotton paper and now I also work with silk as a medium. The process involves manually dyeing the fabric with natural plants, such as indigo, followed by printing the photographic image. This procedure interests me because of its proximity to the analog photographic process, especially the notion of bathing, immersion time, and color fixation on the surface.” All the works were produced especially for the exhibition, which runs until March 07, 2026.
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Exhibition Julia Kater: Double
From January 22th to March 07th
Monday to Friday, 10am to 19pm; Saturday, from 10am to 15pm
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Simons of Assisi
Al. Lorena, 2050 A, Jardins - São Paulo - SP
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Galatea is pleased to present Guilherme Gallé: Between Painting and Painting, the first solo exhibition of the São Paulo-born artist Guilherme Gallé (1994, São Paulo), at the gallery's location in [location].
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A Galatea is pleased to present Guilherme Gallé: between painting and painting, first solo exhibition by the São Paulo artist Guilherme Gallé (1994, São Paulo), at the gallery unit on the street Father John ManuelThe exhibition brings together more than 20 unpublished paintings, carried out in 2025, and includes critical text by the curator and art critic. Thaddeus Chiarelli and with introductory text by art critic Rodrigo Naves.
The exhibition presents a body of work in which Gallé reveals a continuous process of refinement: one painting triggers the next, in a movement where color, form, and space reorganize themselves, responding to one another. Situated on the threshold between abstraction and figurative suggestion, his compositions, always untitled, invite slow contemplation, allowing the gaze to oscillate between attention to detail and to the whole.
Always starting from a "place" or pretext of reality, such as landscapes or still lifes, but without resorting to the Renaissance vanishing point, Gallé deliberately maintains a flat pictorial surface. The tonal colors, built up in layers, structure the plane with a thick matter, marked by incisions, erasures, and pentimentos, which give clues to the painting process while simultaneously propelling it forward.
Among the exhibitions in which Guilherme has participated throughout his career, the following stand out: Joaquín Torres García – 150 years (Group exhibition, Centro Cultural Banco do Brasil – CCBB, São Paulo / Brasília / Belo Horizonte, 2025–2026); Point of Mutation (Group exhibition, Almeida & Dale, São Paulo, 2025); The Silence of Tradition: Contemporary Paintings (Group exhibition, Centro Cultural Maria Antonia, São Paulo, 2025); To Speak of Love (Group exhibition, Noviciado Nossa Senhora das Graças Irmãs Salesianas, São Paulo, 2024); 18th Territory of Art of Araraquara (2021); Invisible Art (Group exhibition, Oficina Cultural Oswald de Andrade, São Paulo, 2019); and Luiz Sacilotto, the Gesture of Reason (Group exhibition, Centro Cultural do Alumínio, São Paulo, 2018).
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Exhibition Guilherme Gallé: Between Painting and Painting
From January 22th to March 07th
Monday to Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 17 pm
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Local News
Galatea Father John Manuel
R. Padre João Manuel, 808, Jardins – São Paulo - SP
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Artist Luiza Sigulem inaugurates her second solo exhibition, "Manual for traveling the shortest distance from one point to another," with the opening scheduled for January 24, 2026, at Ateliê397, in [location missing].
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The artist Luiza Sigulem inaugurates his second solo exhibition, A guide to traveling the shortest distance from one point to another., with its opening scheduled for January 24, 2026, in Workshop 397, in São Paulo. Bringing together a unique collection of works, the exhibition, curated by Juliana Caffé, explores the relationship between body, architecture and time, proposing displacement as an operation of adjustment and critical reflection.
The project takes instability as a condition that reorganizes the relationship between body and architecture, producing a time that does not coincide with the logic of efficiency. In tune with Crip theory (a term reappropriated from cripple, which names practices that displace the "standard body") and the concept of crip time—a temporality that embraces pauses, variable rhythms, and non-alignment with the productivist clock—Sigulem's work affirms difference not as an exception, but as a method.
“Throughout my process, the lack of accessibility manifested itself in the time needed to deal with small and large obstacles and in the attention required for minimal adjustments that accumulated almost imperceptibly,” the artist states. “This experience shifted the idea of efficiency and brought my production closer to a notion of expanded time, in which the rhythm of the body does not coincide with the normative expectation of capitalist reproduction. It is in this mismatch that my work is constructed.”
The project, which for the first time incorporates video performances, interventions, and a sculpture in dialogue with photography, marks a moment of expansion in the artist's trajectory and places accessibility at the center of the aesthetic and poetic construction. It also highlights the invisibility of a significant portion of the population: according to data from the 2022 PNAD Contínua (IBGE), Brazil has approximately 18,6 million people with disabilities, of which approximately 3,4 million have physical disabilities in their lower limbs, a group that faces daily the architectural barriers discussed in the exhibition.
Architecture and poetics: an expository inversion
The project stems from an unavoidable fact of the São Paulo context: the structural difficulty of finding exhibition spaces capable of accommodating the artist's research in a way that is coherent with her issues. Faced with the lack of viable alternatives and institutional deadlines, the exhibition embraced this limitation as part of the project, transforming it into a field of reflection.
“The choice of Ateliê397 as the exhibition venue responds to this context. As an independent space, it offers a conceptual openness and a real field for negotiation in the construction of this project,” comments curator Juliana Caffé. “Located on Travessa Dona Paula, in an area marked by important cultural facilities that are also limited in terms of accessibility, the space is incorporated by the exhibition as an active element, ceasing to operate as a neutral support and integrating architecture, circulation, and surroundings into the proposed field of discussion.”
Given the architectural limitations of the Atelier, Sigulem does not treat the lack of accessibility as an obstacle to be corrected, but as a condition to be critically addressed. The exhibition design operates a deliberate inversion: instead of adapting the space to a normative standard, it is the public that is led to recalibrate their bodies in the face of reduced passageways and displaced scales.
In this sense, the exhibition presents an installation, developed by the artist in collaboration with the architectural duo Francisco Rivas and Rodrigo Messina, which brings together accessibility and permanence devices conceived as a constitutive part of the work. The intervention reorganizes the reception area: the door and frame were moved to allow for full opening (180°); benches and stools were distributed to accommodate rest; and cushions on the outdoor benches extend the experience to the surroundings.
The radical nature of the proposal is reflected in the institutional occupation: the side of the staircase, which leads to a second floor inaccessible to people with disabilities, was converted into a small library of Crip theory. “During the exhibition, Ateliê397 agreed to render the upper floor inoperable, suspending its use as a projection room to make the architectural limitation explicit instead of concealing it. And, as an external development, the project includes the production and donation of custom-made mobile ramps for neighboring cultural spaces in the village, prompting the circuit to collectively consider its accessibility conditions,” Caffé points out.
The project aligns with contemporary debates that seek visibility without capture, where the work operates through sensation, rhythm, and bodily micro-events that are not reduced to an "explanatory" image or easily consumable content. It is an approach that recognizes access as aesthetics and disability as a diagnosis of space and norms. In this way, curatorship and exhibition design become an active part of the work. Texts in Braille, audio description, and photo-tactile guides accompany the exhibition, whose operation and mediation incorporate the hiring of people with disabilities, respecting different circulation times.
Furthermore, all the devices in the exhibition were made with simple and low-cost materials, affirming the possibility of creating welcoming spaces even in architectural designs that do not fully comply with legal regulations.
Body in negotiation: video, sculpture and photography
In previous works, Sigulem invited the viewer to adjust to certain scales, as in the series Jeito de Corpo (2024). In this solo exhibition, the artist places her own body at the center of the experience. Different works explore this shift in perspective, sometimes proposing situations in which the public is led to reorient their spatial perception, and sometimes accompanying the artist in gestures of continuous negotiation with space.
The videos are based on reinterpretations of historical performances, created from the artist's body and traversed by issues of gender and power. The actions do not seek fidelity to the original gesture, but operate as a situated translation, in which each movement bears the mark of a necessary adjustment. The camera follows the process without correcting the deviation, allowing the flaw and the effort to remain visible.
This is the case with the previously unreleased series Ramps (2025), a set of twenty photographs derived from the video-performance Painting (Retouching) (based on Francis Alÿs). In the video, the artist marks points on the streets of São Paulo with yellow paint where access ramps should exist, highlighting the lack of accessibility in the urban landscape. The photographs isolate these gestures and traces, transforming the performative action into images that record the friction between body, city, and infrastructure.
By adopting the height of a wheelchair user's field of vision as a reference point, the exhibition shifts the normative scale of the exhibition space and introduces a regime of perception in which the body does not adjust to the architecture, but rather the architecture becomes an index of its limitations.
A sculpture punctuates the space, testing the boundaries between function and failure and questioning structures designed to guide movement. In an installation, a video dedicated to the image of falling articulates its repetition as a physical and symbolic experience. Together, the works suggest that every trajectory is traversed by detours, pauses, and negotiations, and that the shortest distance between two points rarely presents itself as a straight line.
The exhibition "Manual for Traveling the Shortest Distance from One Point to Another" is part of the "Jeito de Corpo" project, funded by the PNAB CULTURE FUNDING CALL NO. 25/2024, from the Secretariat of Culture, Economy and Creative Industries, State of São Paulo.
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Exhibition | A guide to traveling the shortest distance from one point to another
From January 24th to February 28th
Wednesday to Saturday, from 14pm to 18pm
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Workshop 397
Travessa Dona Paula, 119A – Higienópolis, São Paulo - SP
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The Museum of Modern Art of Rio de Janeiro (MAM Rio) will host, in January 2026, the first Brazilian edition of Voile/Toile – Toile/Voile (Candle/Canvas – Canvas/Candle), a seminal project by
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O Museum of Modern Art of Rio de Janeiro (MAM Rio) will host the first Brazilian edition in January 2026. Voile/Toile – Toile/Voile (Sail/Canvas – Candle/Candle), a seminal project by the artist Daniel Buren (1938, Boulogne-Billancourt), carried out in partnership with Nara Roesler GalleryInitiated in 1975, the work transforms boat sails into art supports, shifting the viewer's gaze and activating the surrounding space through movement, color, and form. Over five decades, the project has been presented in cities such as Geneva, Lucerne, Miami, and Minneapolis, always in direct dialogue with the local landscape and context.
Originally conceived in Berlin in 1975, Voile/Toile – Toile/Voile highlights the use of vertical stripes, which Daniel Buren defines as his "visual tool." The work's title itself makes explicit the shift proposed by the artist in articulating two central fields of 20th-century modernism—abstract painting and the readymade—transforming boat sails into paintings and expanding the work's scope beyond the exhibition space.
“This is a work done outdoors and relies on external and unpredictable factors, such as weather, wind, visibility, and the positioning of sails and boats, so that, even though it has been performed dozens of times, it is never identical, just like a play or a dramatic act,” said Daniel Buren, in a conversation with Pavel Pyś, curator of the Walker Art Center in Minneapolis, published by the museum in 2018.
On January 24th, the event begins with a regatta-performance in Guanabara Bay. Eleven Optimist class sailboats will depart from Marina da Glória and sail to Flamengo Beach, equipped with sails incorporating the white and colored vertical stripes created by Buren. In motion, the sails transform into living artistic interventions, activating the maritime space and the Rio de Janeiro landscape as a constitutive part of the artwork. The public will be able to watch the event from the shore, and the entire performance will be recorded.
After the regatta concludes, the sails will be moved to the foyer of the MAM Rio (Museum of Modern Art of Rio de Janeiro), where they will become part of the exhibition derived from the regatta, on display from January 28th to April 12th, 2026. Installed in self-supporting structures, the eleven sails – 2,68 m high (2,98 m with the base) – will be arranged in the space according to the order of arrival of the regatta, following the protocol established by Buren since the first editions of the project. This procedure preserves the direct link between the performance and the exhibition, and highlights the transformation of the sails from utilitarian objects into artistic objects. The exhibition design is by architect Sol Camacho.
“Since the 1960s, Buren has developed a critical reflection on space and institutions, being one of the pioneers of situ art and conceptual art. Although Voile/Toile – Toile/Voile has circulated in several countries over the last 50 years, this is the first time the work has been presented in Brazil. The proximity of MAM Rio to Guanabara Bay, its history of experimentation, and its architecture integrated into the surroundings make the museum a particularly privileged space for the artist's work,” comments Yole Mendonça, executive director of MAM Rio.
By extending an experience begun at sea into the museum, Voile/Toile – Toile/Voile establishes a continuity between the action in Guanabara Bay and its presentation in the exhibition space of MAM Rio, integrating landscape, architecture, and journey into a single artistic experience.
“The way Buren explores the relationship between art and specific spaces, especially public spaces, is fundamental to understanding the history of contemporary art. And this piece, Voile/Toile – Toile/Voile, which begins in Guanabara Bay and extends into the museum's interior spaces, is a perfect example of this practice,” comments Pablo Lafuente, artistic director of MAM Rio.
Continuing the project, Nara Roesler Books will publish an edition dedicated to Daniel Buren's presence in Brazil, bringing together critical essays and documents from the realization of Voile/Toile – Toile/Voile in Rio de Janeiro in 2026.
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Exhibition | Voile/Toile – Toile/Voile (Candle/Canvas – Canvas/Candle)
From January 28th to April 12th
Wednesdays, Thursdays, Fridays, Saturdays, Sundays and holidays, from 10am to 18pm
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Galatea and Nara Roesler are delighted to collaborate for the first time on the exhibition "Barracas e fachadas do nordeste" (Stalls and Facades of the Northeast), curated by Tomás Toledo, founding partner of Galatea, and Alana.
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Galatea e Nara Roesler They are delighted to be collaborating for the first time in organizing the exhibition. Stalls and facades of the Northeast,
Curated by Thomas Toledo, founding partner of Galatea and Alana SilveiraAccording to the director of Galatea Salvador, the group exhibition proposes a dialogue between the galleries' programs by exploring the affinities between the artists Montez Magno (1934, Pernambuco), Mari Ra (1996, São Paulo), Zé di Cabeça (1974, Bahia), Fabio Miguez (1962, São Paulo), and Adenor Gondim (1950, Bahia). The show proposes a broader view of the vernacular architectures that characterize the Northeast: urban facades, ornamental parapets, market and festival stalls, and ephemeral structures that shape the social and cultural landscape of the region.
In this collection, Fabio Miguez investigates the facades of Salvador as a mosaic of architectural variations, while Zé di Cabeça transforms records of the parapets of Salvador's suburban railway buildings into paintings. Mari Ra recognizes affinities between the geometries she found in Recife and Olinda and those present in the East Zone of São Paulo, revealing links built by Northeastern migration. Montez Magno and Adenor Gondim converge in highlighting the vernacular forms of the Northeast, Magno through the geometric abstraction present in the series Barracas do Nordeste (1972-1993) and Fachadas do Nordeste (1996-1997), and Gondim through the photographic record of the stalls that marked the popular festivals of Salvador.
The partnership between the galleries coincides with Galatea's 2nd anniversary in Salvador and reinforces its intention to make its headquarters in the Bahian capital a point of convergence for exchanges and collaborations between artists, cultural agents, collectors, galleries, and the general public.
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Exhibition | Stalls and facades of the Northeast
From January 30th to May 30th
Tuesday – Thursday, from 10 am to 19 pm, Friday, from 10 am to 18 pm, Saturday, from 11 am to 15 pm
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Galatea Salvador Gallery
R. Chile, 22 - Centro, Salvador - BA
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The Pinacoteca of São Bernardo do Campo presents, between January 31st and March 28th, 2026, a solo exhibition of the artist Daniel Melim (São Bernardo do Campo, SP – 1979). Curated by...
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A picture gallery de Are Bernard do Countryside presents, between the days January 31 and March 28, 2026, a solo exhibition by the artist Daniel Melim (Are Bernard do Countryside, SP – 1979). Curated by the researcher and specialist in public art. Baixo Ribeiro and produced by Paradoxa Cultural, the exhibition Urban Reflections: the art of Daniel Melim It brings together a collection of 12 works – including eight previously unseen pieces.
The exhibition presents a true introspective look at Daniel Melim's work – a dive into his creative process from inside his studio. Alongside works that have marked his career, the public will find previously unseen pieces that point to new directions in his production. Among the highlights are a large-format painting – 2,5m x 12m – and a collective mural that will be produced throughout the exhibition.
Featuring works in different formats and dimensions – paintings on canvas, reliefs, installations, notebooks, elements from the artist's studio – the exhibition addresses the role of urban art in the construction of collective identities, the symbolic occupation of public spaces, and the challenge of bringing these languages into the institutional context without losing their character of dialogue with the community.
The selection proposed by Baixo Ribeiro's curatorial team connects past and present, but mainly highlights how Melim transforms everyday visual references into works that generate critical reflection, making it possible to create bridges between public and institutional spaces.
The expography of Urban Reflections: the art of Daniel Melim"It was conceived as an expanded studio, with the aim of bringing the public closer to Melim's creative process. Within the exhibition space, there will be a collaborative mural where visitors can experiment with techniques such as..." stencil and street art. This initiative is part of the exhibition's educational proposal and transforms the visitor into a co-author, strengthening the relationship between the public and the artwork.
"I've always been interested in the relationship between art and urban space. The stencil "It was my first language and continues to be the starting point for creating visual narratives that engage with everyday life. This exhibition is about that dialogue: city, artwork, and audience," explains Daniel Melim.
Visual artist and educator, recognized as one of the leading names in Brazilian urban art, Daniel Melim began his artistic career in the late 1990s with graffiti and stencil in the streets of ABC Paulista. He develops original research on the stencil as an expressive medium, reclaiming its historical importance in the formation of street art. in Brazil and expanding its pictorial potential beyond public spaces. His work is characterized by a dialogue between artwork, architecture, and the city, frequently installed in areas undergoing urban transformation.
"This solo exhibition is a way for me to reconnect with the place where it all began." Are Bernard do Countryside It was my first art school – not just through college, but through the streets, the walls, the strikes I witnessed as a child. That experience shaped my worldview. Bringing this work back, in the space of picture gallery"It's like opening my studio to the city that has welcomed me so warmly and helped me grow," she says.
Os stencils, the graphic imagery of advertising, critiques of consumer society and urban daily life are The hallmarks of Melim's work: flat colors, layering, and balanced compositions. are Some of the characteristics that appear both in Daniel Melim's historical works and in new works that the artist is producing for his solo exhibition. Urban Reflections: the art of Daniel Melim"This is an invitation for visitors to immerse themselves in and get closer to the artist's creative process. The exhibition runs until March 28, 2026."
The exhibition “Urban Reflections: the art of Daniel Melim” is held with the support of the Aldir Blanc National Policy for the Promotion of Culture (PNAB); and the Cultural Action Program – ProAC, of the Secretariat of Culture, Economy and Creative Industries of the State Government of [State Name]. Are Paulo; from the Ministry of Culture and the Federal Government.
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Exhibition Urban Reflections: the art of Daniel Melim
From January 31st to March 28th
Tuesday, from 9 am to 20 pm; Wednesday to Friday, from 9 am to 17 pm; Saturday, from 10 am to 16 pm
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Local News
São Bernardo do Campo art gallery
Kara Street, No. 105 - Jardim do Mar - São Bernardo do Campo - SP
