Martins&Montero: Site in construction

Ribeirão Preto, Brazil, 1982

Lives and works between Poços de Caldas (Brazil) and Amsterdam

Adriano Amaral's work involves an examination of the nature of things in the world; the materiality and substance of what is around us as well as its value and transforming power over time. His practice starts from an intuitive and plural approach, and results in complex immersive installations that are always sensitive to the context in which they are inserted.

After completing his Masters at the Royal College of Art London in 2014, Adriano did a two-year artist residency at De Atelier in Amsterdam and then received the Mondrian Fonds Work Contribution Proven Talent in 2017.

His recent institutional exhibitions include solo projects at Kunstinstituut Melly (Rotterdam, Netherlands), Vleeshal Zusterstraat (Middelburg, Netherlands) and Bielefelder Kunstverein (Bielefeld, Germany). Group exhibitions include projects at Mudam (Luxembourg), Sixty Eight Art Institute (Copenhagen), Moscow Museum of Modern Art and Beelden Aan Zee (The Hague, Netherlands).

São Paulo, Brazil, 1979
Lives and works in São Paulo, Brazil.

Ana Mazzei combines organic and figurative forms with a precise geometric sensibility, in works that often result in a nod to the constructive legacy of Brazil’s late modernist movements, especially of the Concretist and Neo-Concretist avant-gardes. Mazzei’s colorful wood sculptures – which may be displayed individually or in groups – deal with fiction in an open-ended format, frequently referencing figures and passages from theater, literature, mythology and her own personal universe, never quite giving away any reference in an obvious way. Even when using radically different references, the artist’s works tell stories that are etched into an intimate territory that Mazzei builds, seemingly to find meaning in contemporary life and its vertiginous experience.

She has participated in solo and group exhibitions including the 32nd São Paulo International Biennial, Americas Society, New York; MARCO, Monterrey; Glasgow International; 14th Cuenca Biennial, Ecuador; NMNM, Monaco; CAC, France; Fundacion Saludarte, Miami; Dubai, UAE; Parque Lage, Rio de Janeiro; 37th Panorama da Arte Brasileira, MAM São Paulo; Museu de Arte de São Paulo, MASP; CCSP; Pivô; Sesc Pompeia, São Paulo. She has been selected as a resident artist at Cité Internationale des Arts, Paris; GASWORKS, London; CAC, Noisy-Le-Ses; Sculpture Studios, Glasgow.

Albany, USA, 1942

Lives and works in Rio de Janeiro, Brazil

A pioneer in the field of performance, film and video installation, Lundberg has engaged in aesthetic investigations that predate and presage those of his more notable contemporaries including Gary Hill, Bill Viola, and Tony Oursler. For over forty years, Lundberg has integrated the formalist qualities of painting, performance art, and film to speak to the human condition.

São Paulo, 1971
Lives and works in São Paulo.

His research involves abstract drawing, sound art, experimental design, and photography. He participated in group exhibitions in Brazil and abroad such as Tropical Punk, at the Whitechapel Gallery in London, and DOBRA, at Ferme du Buisson, in Paris. Among the individual ones, Calor e Conforto held at Sé, in 2018, and Pistinha Abstrata de Música Problema in Bogotá, 2016, stands out. Among the residences that participated, Homesession in Barcelona stands out in 2020. In 2022 realized the solo exhibition Coral Voral, at Sé, curated by Germano Dushá. Published a series of artist books that can be found in spaces such as Printed Matter, in New York, Tijuana, in São Paulo, and Motto, in Berlin. His performances also take place in a broader field. He organized and participated in independent exhibitions using expository methods "do it yourself" that anticipated, at the end of the nineties, the multiplicity of means and vehicles for the circulation of art, inside and outside the market. He worked as a curator of experimental music events and art collectives such as Supercolina, at Galeria Logo, and Conversão, at Sé.

Stroud, UK, 1981
Lives and works in London.

Celia Hempton’s work explores concepts of voyeurism in the postdigital age. In her paintings, performances and installations, she investigates the blurred lines of comfort and consent; desire and subjugation; visibility and opacity, seeking to deconstruct the ways in which we engage with humans in a rapidly evolving age of hyper-mediation. Formally, Hempton’s paintings, which range in scale from intimate to life-size, acknowledge the tropes of history painting and the often subjugated female body. Hempton’s richly layered paintings directly play with and confront this historical dynamism, producing tactile celebrations of the body, alongside multiple perspectives on how the bodily gaze is constructed.

In 2023, Celia Hempton presented her first solo show at Galeria Jaqueline Martins (São Paulo). Hempton’s work was recently included in British Art Show 9, touring exhibition organized by Hayward Gallery across the UK in 2021 and 2022. A monograph published by Phillida Reid, with accompanying text by Amia Srinivasan, came out in 2022. Her work has been included in many institutional shows, including ICA Boston, Whitechapel Galleries and Serpentine London, as well as solo presentations at Performance Space NYC, Gwangju Biennale, Art Night commission with ICA London, amongst others. It is held in the collections of The Museo de Arte Moderno de Medellín, Colombia, The British Council and the Government Art Collection, UK.

Mount Lebanon, 1981

Lives and works between Beirut and Paris

In his work invisibility is charged with intimate, geographical and historical layers, finding poetic lines that extend beyond the realm of existing speculations and realities. Being born in the middle of the Lebanese war, his art is not engaged in an explicit political and historical reflection, but is more accurately haunted by the said political and historical reflection. H. Boutros was a resident at The Pavillon, Palais de Tokyo, Paris, France and was a researcher at Jan van Eyck Academie, Maastricht, The Netherlands. His first extensive institutional exhibition in Europe, The Sun Is My Only Ally was on view at SMAK Museum (Ghent, Belgium) during the first semester of 2020.

His work has been shown internationally: The 12th International Istanbul Biennial, Istanbul, Turkey / Palais de Tokyo, Paris, France / Punta della Dogana, Venice, Italy / Centre Pompidou - Metz, France / S.M.A.K. Museum, Gent, Belgium / Home Works 8, Ashkal Alwan, Beirut / CCS Bard College, New York, USA / 3rd Bahia Biennial, Salvador, Brazil / 1st Yinchuan Biennale, Yinchuan, China / MAM-BA Museum of Modern Art, Salvador, Brazil / CCA, Warsaw, Poland / More Konzeption Conception Now, Morsbroich Museum, Leverkusen, Germany / La ou Commence le jour, LAM - Lilles, France / Maraya Art Center, Sharjah, UAE / Marres, Maastricht, The Netherlands / Frieze, London, UK / FIAC, Paris, France / LISTE 19, Basel, Switzerland / Barjeel Art Foundation, Sharjah, UAE / Beirut Art Center, Beirut, Lebanon /  Musée d’Art de Nantes, France /  La Criée Centre for Contemporary Art, France.

His permanent installation ‘Sueur d’etoile’, that he realised with the French etoile dancer Marie-Agnes Gillot, inaugurated in June 2016 and remains on view at Palais de Tokyo, Paris, France. Boutros’ works are in the collections of S.M.A.K. Museum, Gent / CNAP, Paris, France / Barjeel Art Foundation, Sharjah, UAE.

Brasília, 1982
Lives and works in Goiânia.

In his artistic practice, Dalton Paula uses painting, performance, and installations, and through these different languages, ​​he weaves relations between image and power. In his sign repertoire, the central figure is the diasporic Black body, its rites and rituals. Large- and small-scale paintings on different surfaces and supports stand out in his production, as well as his continuing interest in portraits, in which he proposes a form of historical revisionism. The people he portrays are historical figures connected to the African diaspora, many of whom had their image and performance erased from official history. In his installations, Paula develops a line of investigation into the Black Atlantic and its rich symbolic language. Paula holds a B.A. in visual arts from the Federal University of Goiás (UFG) and his work integrates important collections such as that of the Museum of Modern Art (MoMA), New York City; Pinacoteca de São Paulo, and the Museum of Art of São Paulo (MASP). His work was shown at the 32nd Bienal de São Paulo (2016), curated by Jochen Volz, and at the New Museum Triennale (New York, 2018), curated by Gary Carrion-Murayari and Alex Gartenfeld, as well as at other group exhibitions. He presented the solo show Dalton Paula: a kidnapper of souls (2020) at the Alexander and Bonin Gallery, New York City. Dalton Paula inaugurated Sé gallery’s exhibition program with the show e um terremoto sereno e imperceptível arrasou a cidade (2014). He held the solo exhibitions Amansa-Senhor (2015) and Dalton Paula: entre a prosa e a poesia (2019). In 2022, the solo show Dalton Paula: Retratos Brasileiros featured at Museu de Arte de São Paulo 30 portraits by the artist. The same year, he presented the Rota do algodão installation at Pinacoteca de São Paulo's Octagon. In 2023, he was awarded Soros Arts Fellowship, by the Open Society Foundation, for the project Sertão Negro Ateliê Escola de Artes.

Boston, USA, 1987

Lives and works between São Paulo (Brazil) and Amsterdam (Netherlands).

The multiple propositions of Daniel de Paula intend to reflect on the production of space as a reproduction of power dynamics, revealing investigations into the political, social, economic, historical and bureaucratic structures that shape relationships and places. Through a stance that is not confined to the realms of art, his practice is intersected by notions of human and physical geography, showing his interest in understanding the dominant abstract ideological systems, such as capital, property, labor and the production of value, hidden within the physicality that surrounds us.

Through strategies such as extensive negotiations with public and private bodies for the appropriation, displacement and recontextualization of objects, as well as interactions with agents that constitute the exhibition space, his procedures end up emphasizing materiality as a language to be critically interpreted. This materiality becomes a key to interpreting the world and the violent socio-political vectors that give meaning to our lives.

Recent solo exhibitions include infreaestrurura, instituição, indivíduo, at Galeria Jaqueline Martins, São Paulo, Brazil (2023), inalienable, imprescriptible and unseizable, LABOR Gallery, Ciudade do México, Mexico (2023); Repose, The Arts Club of Chicago, USA (2022), veridical shadows, or the unfoldings of a deceptive physicality, Jaqueline Martins Gallery, Brussels, Belgium (2021); and materiality becomes nothing but a mere representation of a structure of dominance, Lumen Travo Gallery, Amsterdam, Netherlands (2020); the control of things over subjects is the control of subjects over themselves, Francesca Minini Gallery, Milan, Italy (2019); insurmountable structure, Kunsthal Gent, Belgium (2019); the conductive form of dominant flows, Jaqueline Martins Gallery, São Paulo, Brazil (2017); testimony, Leme Gallery, São Paulo, Brazil (2015) and objects of mobility, actions of permanence, White Cube Gallery, São Paulo, Brazil (2014).

His works have also been included in recent institutional exhibitions such as On the threshold of 1:1, Luleå Biennial, Sweden (2024) manifesto of fragility, 16th Lyon Biennial, France (2022) Fear of Property, The Renaissance Society, Chicago, USA (2022), Faz escuro mas eu canto, 34th São Paulo Biennial, Brazil (2021), Brasile. Il coltello nella carne, Padiglione d'Arte Contemporanea, Milan, Italy (2018), Matriz do Tempo Real, MAC, São Paulo, Brazil (2018); Avenida Paulista, MASP, São Paulo, Brazil (2017); Metrópole: Experiência Paulistana, Estação Pinacoteca, São Paulo, Brazil (2017); ARTE PARA TODOS! Liberation and Consumption, Figueiredo Ferraz Institute, Ribeirão Preto, Brazil (2016), Us between the Extremes, Tomie Ohtake, São Paulo, Brazil (2015); Next time I'd do everything differently, PIVÔ, São Paulo, Brazil (2012).

Cachoeira, Bahia, 1968.

Lives and works in Cachoeira.

The work of Davi Rodrigues is inseparable from the experience of being born and living on the banks of the Paraguaçu River, in the city of Cachoeira, in the Recôncavo Baiano. His drawings, paintings, engravings, sculptures, and writings portray the characters, traditions, and legends — in addition to flora and fauna — of riverside life in a region of enormous African influence and remarkable cultural richness. A public figure of many facets and extremely active in the city's social, cultural, political, and spiritual spheres, Davi produces work of great relevance to the history and memory of his community. He is the author of a kind of pictorial archive of the experiences in the Recôncavo: he paints his village with an eye to the universal.

Davi was born near the house of the great black actor Mário Gusmão, on Rua dos Artistas, where he lives today. In the 1970s, he began drawing and painting under the encouragement of his aunt Ziza. At the Hansen Bahia Foundation, he was a student of artist and teacher Noelice Costa Pinto, having learned the secrets of woodcutting from her. His current production explores acrylic painting on paper in what he calls "collections," series on several themes, such as children's games; carnival masks; saints and orixás; animals, and fruits from the Recôncavo. Davi is the creator of his language, marked by the visual exuberance of colors, strokes, and dots, which one of his fellow countrymen named "davidism". This is a very particular approach to the pointillist technique, in which images are traced, drawn, painted, and retraced, using brushes, a stylus, and his own hands.

He participated in ten editions of the Bienal do Recôncavo (Centro Cultural Dannemann, São Félix, 1993-2013), and has been awarded in the XI edition of the event; he integrated the group show À Nordeste, curated by Bitu Cassundé, Clarissa Diniz and Marcelo Campos (SESC 24 de Maio, São Paulo, 2019) and exhibited individually and collectively in Salvador and several cities in the region, besides São Paulo, Rio de Janeiro, Montpellier (France) and Girona (Spain). He is the author of 4 handmade books and founded the collective and traveling event Varal das Artes. He gives art workshops to children from the public school system and usually participates in activities promoted by the Universidade Federal do Recôncavo. His work has been the subject of academic studies. He is Doctor Honoris Causa by Faculdade Formação Brasileira e Internacional de Capelania e a Ordem dos Capelães do Brasil (2022). His first solo show at Sé, A evolução do picolé, was held at the gallery in 2023.

Itaporã, 1981.

Lives and works in Brasília.

Denise Alves-Rodrigues is a self-taught technologist, visual artist, and amateur astronomer. She began her art studies in Ribeirão Preto, and holds a bachelor's degree in Visual Arts from the Centro Universitário Belas Artes de São Paulo. She invents devices (electronic or not) and instruments dedicated to the research and production of faulty technologies, impure sciences, dubious theories, and useless methodologies. She has participated in various national and international residencies (KIOSKO, Bolivia; JA.CA, Ybytu, and Pivô, Brazil), as well as group exhibitions such as III Trienal Frestas (SESC Sorocaba, 2021), FARSA (SESC Pompeia, São Paulo, 2021), Iminência de tragédia (Funarte, São Paulo, 2018), Travessias ocultas (SESC Bom Retiro, São Paulo, 2018), Southern Revelries (IFAC_Arts, Athens, 2017), Art in Orbit (CAC, Quito, 2015), and solo exhibitions including: Vocation to Ruin: proof of study (Darling Pearls, London, 2019), Há uma esfinge entre nós (Sé, São Paulo, 2019), and O vazio é todo meu (CCSP, São Paulo, 2020). She currently serves as the associate curator of the Chilean festival Toda le Teoría del Universo – Edition 23/24 and works as a Specialist in Devices and Artworks at SESI Lab in Brasília.

Denise combines practices considered magical, spells, and witchcraft—terms often dismissed by politics and hegemonic scientific methods—expanding and poetically overturning reflections on science and knowledge. Openness to error, the indeterminate, pseudosciences, or quasi-sciences is elevated by Denise as epistemological powers, sources, and methods of knowledge, just like rational scientific methods.

São Paulo, Brazil, 1943.

São Paulo, Brazil, 2023.

Dudu Santos was a painter, set designer, illustrator, curator and teacher. Between 1959 and 1963, he studied painting with Eduardo Sued (1925), Mário Gruber (1927) and Yolanda Mohalyi (1909-1978). drawing with Nelson Nóbrega (1900-1997) and Renina Katz (1926); mosaic and fresco with Joaquim Rocha Ferreira (1900-1965); engraving with Marcelo Grassmann (1925) and Mário Gruber and sculpture with Caciporé Torres (1935). In 1966, he taught drawing and painting at Ateliê Via Veneto, by Nieta Lex. In addition to these activities, he performs the scenarios of the pieces Knock or Triumph of Medicine, by Jules Romain in 1960 and Triad in 1993; produces the covers of the books of Paulo Bonfim, Leila Gouvea, Arruda Camargo and Antônio Penteado Mendonça.

Throughout his career, he had individual exhibitions at the Museu de Arte Moderna da Bahia / Solar do Unhão (Salvador, BA) in 1974, Documenta Galeria de Arte (São Paulo, SP) in 1984, Moira Galeria de Arte (Lisbon, Portugal) in 1991, Mônica Filgueiras Gallery of Art (São Paulo, SP) in 1998, Gallery of Art of the House of Brazil (Madrid, Spain) in 1999, among others.

He recently presented the exhibitions "Transfiguration", in 2022, "Contra o vazio" in 2018 and “Nothing is real but everything is real” in 2016, all in Galeria Jaqueline Martins (São Paulo, SP). He has also participated in numerous collective exhibitions in galleries and institutions such as the Modern Museum of São Paulo (MASP, São Paulo, SP), National Museum of Fine Arts (Rio de Janeiro, RJ) and Atami Museum of Fine Arts (Moa, Atami (MAC / USP, São Paulo, SP) in 1998 and “Only for the Rare, only for the Crazy” curated by Daniela Name, Galeria Jaqueline Martins (São Paulo, SP) in 2011.

João Pessoa, Brazil, 1940.

Lives and works in São Paulo.

Soares started working as a visual artist as from the early 1970s, when participated of the experimental actions and events held in context of the Bienal de São Paulo, and also at the Museu de Arte Contemporânea (MAC-USP), under the tenure of Walter Zanini. His work has been reviewed by renowned critics such as Vilém Flusser e Aracy do Amaral. Along with fellow artists Francisco Iñarra and Lydia Okumura, he created the group Equipe3 in 1971, and a few years later, in 1974, formed a second group named Arte/Ação with Francisco Iñarra. He is the author of numerous ephemeral actions, performances and installations that configure the early years of Brazilian avant-garde art, many of which are documented in the collections of MAC-SP, the Museu de Arte Moderna de São Paulo, the Pinacoteca do Estado de São Paulo, MoMA (New York), among others. Soares moved to São Paulo in 1966, and has since held exhibitions in a number of galleries and institutions, such as the Museu de Arte Moderna (Rio de Janeiro and São Paulo), Paço das Artes (São Paulo), MAC-USP and the Pinacoteca do Estado de São Paulo. He also exhibited internationally in Germany, France, and United States, and participated in four editions of the Bienal de São Paulo (1973, 1977, 1981 and 1989) and two editions of the Panorama da Arte Atual Brasileira (1980 and 1985). In 2003, an exhibition in homage to his oeuvre and that of Equipe3 was held by the Centro Universitário Mariantonia/USP, and in 2012, the Centro Cultural São Paulo paid tribute to his work with Iñarra Iñarra in the show entitled Obra e documento – Arte/Ação e 3Nós3. In 2014 he participated in the show Equipe3 1973 – 2014, at the Solar da Marquesa / Museu da Cidade de São Paulo.

São Paulo, Brazil, 1957-2013.

Hudinilson Jr. was one of the most important Brazilian artists of his generation, influencing the entire Brazilian artistic scene, not only through his personal work - produced between the 70s and 2000s - but also because of his active role as a catalyzing personality of artist groups and experimental exhibitions. Photocopy – the technique that became his favorite over the years both for practical and conceptual reasons - began to interest Hudinilson between 1977 and 1978. During this period, the artist learned to operate the machine to its limit, exploring all possible graphic possibilities; he enlarged details, cut them, widened again, distorting the images of his body to the point where they became pure abstract texture. He said that this exercise meant loosing oneself to seeing, an “exercise of seeing myself”, as he would latter name many of his series.

In recent years, the work of Hudinilson Jr. has been presented at important group exhibitions such as: 16o Biennale de Lyon: manifesto of fragility, Every Moment Counts (Henie Onstad Kunstsenter, Høvikodden), Histories of Sexuality (MASP, São Paulo), Copyart in Brazil - 1970-1990 (University of San Diego), The Matter of Photography in Americas (Stanford University), United by AIDS (Migros Museum, Switzerland), Glasgow International 2014 e 31st São Paulo International Biennial. The artist also had his work presented in individual exhibitions at Pinacoteca do Estado de São Paulo, São Paulo Cultural Center, USP Museum of Contemporary Art (São Paulo) and Scrap Metal Gallery (Toronto).

His work is now part of important collections such as MoMA (New York, USA), Cantor Center for Visual Arts (Stanford University, USA), Reina Sofia Museum (Madrid, Spain), Migros Museum (Zurich, Switzerland), MAGA Museo d’Arte (Gallarate, Italy), MALBA (Buenos Aires, Argentina), MASP (São Paulo, Brazil), Pinacoteca do Estado (São Paulo, Brazil), Museum of Modern Art (São Paulo, Brazil) and the USP Museum of Contemporary Art (São Paulo, Brazil).

Sint-Gillis-Waas, Belgium, 1958.

Lives and works in Stekene, Belgium.

Jan De Maesschalck observes, selects, interprets and fantasizes to create his own paintings. The figures and settings displayed in Jan’s works are fragments taken from art history, photographs, magazines and his own personal life.

His background as a draughtsman for newspapers and art magazines brings a unique set of influences to his artistic practice, highlighting his dynamic compositions, observational skills, versatility in different mediums, social commentary and precision to detail.

De Maesschalck’s fascination with light, shadow, and the Old Masters, in addition to his meticulous eyes, sets the tone for his intimate paintings. Charged with an alluring color palette and bold content, his paintings are enigmatic, seductive and evocative, inviting viewers to embark on a journey of interpretation.

His works bring a contemporary perspective to the rich artistic heritage of Belgium painting, creating captivating works that resonate with both local traditions and global influences.

De Maesschalck’s works have been shown in exhibitions at Museu Berardo in Lisbon, Musée d’Art Contemporain in Marseilles, Phoenix Art Museum in Phoenix, Mu.ZEE in Ostend, Museum Dr Guislain in Ghent, De Warande in Turnhout, Museum of Ixelles and Centre for Fine Arts in Brussels. His work are part of private and institutional collections such as MOCA in Los Angeles, Museum Dr Guislain in Ghent, and Mu.ZEE in Ostend amongst others.

São Paulo, Brazil, 1972.

Lives and works in São Paulo.

His work is conspicuous by the speculation of specific codes of representation and diagrammatic figuration. According to Carlos Eduardo Riccioppo, this gives rise to the somewhat pop, good-humored, sometimes sharp, or even malicious aspect his works tend to lend to one another. Loureiro has a master's degree in visual poetics from the School of Communications and Arts of the University of São Paulo (ECA-USP) and a degree in arts from Fundação Armando Álvares Penteado (FAAP). He took part in several group exhibitions, including Brasil futuro: As formas da democracia, Museu Nacional (Brasília, 2023); A máquina do mundo: Arte e indústria no Brasil 1901–2021, Pinacoteca de São Paulo (2022); Modos de ver o Brasil: Itaú Cultural 30 anos, Oca do Ibirapuera (São Paulo, 2017); Brasil, Beleza!?, Beelden Aan Zee museum (The Hague, 2016); Open Borders/Crossroads – Vancouver Biennale (2014); Imagine Brazil, Astrup Fearnley Museet (Oslo, 2013); and Sobrenatural, Pinacoteca do Estado de São Paulo (2013). His solo shows include Desacordados, Sé (São Paulo, 2023); Pedra que Repete, Casa da Imagem (São Paulo, 2013); Fim da primeira parte, Galeria Vermelho (São Paulo, 2011); The Solo Project, VOLTA 6 (Basel, 2010); Blue Jeans, Octógono de Arte Contemporânea da Pinacoteca de São Paulo (São Paulo, 2009). He has been represented by Sé since 2019, where he held the solo show peixe-elétrico-moto-clube (2019), with a critical text by Carlos Eduardo Riccioppo.

His works are part of the collections of the LAM Museum, Lisse; Museu de Arte Moderna de São Paulo – MAM; Museu de Arte Moderna de Santo André; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP; Pinacoteca de São Paulo; Coleção de Arte da Cidade de São Paulo; Museu da República – RJ; Museu de Arte do Rio de Janeiro – MAR; Coleção Itaú Cultural – SP.

Natal, Rio Grande do Norte, Brazil, 1991.

Lives and works between Lisbon, Portugal; and Amsterdam, Netherlands.

Jota Mombaça is an interdisciplinary artist whose work derives from poetry, critical theory, and performance. The sonic and visual matter of words plays an important role in her practice, as well as the resilience, capacity for memory and ephemerality of materials. Her work often relates to anti-colonial critique and gender disobedience. Through performance, visionary fiction, and situational strategies of knowledge production, she intends to rehearse the end of the world as we know it and the figuration of what comes after we dislodge the Modern-Colonial subject off its podium.

In 2020, Mombaça was granted the Pernod Ricard Fellowship in Paris, and the position of writer-in-residence at Nottingham Contemporary. Her recent solo exhibitions featured the projects A CERTAIN DEATH/THE SWAMP, CCA Berlin - Center for Contemporary Arts (2023); and THE SINKING SHIP/PROSPERITY, Kadist San Francisco (2022). Her visual and performative work has been included in institutional group exhibitions La bruit de la chair, FRAC des Pays de La Loire (2023); El terremoto esta intacto, Fundació Miro (2023); My Oma, Kunstinstituut Melly (2023); Bad Timing – or How to Write History Without Objects, DEN FRIE Centre of Contemporary Art (2023); 22nd Biennale of Sydney, NIRIN (2020); More, More, More, TANK SHANGHAI (2020); the 46th Salon de Artistas in Colombia (2019); the 34th São Paulo Biennale, Though it’s dark, still I sing (2021), among others. Her work is included in the Kadist Collection, as well as in the GfZK (Leipzig, DE) collection.

As a writer, Mombaça is the author of Ñ V NOS MATAR AGORA, a collection of texts published by EGEAC (Portugal, 2019) and Editora Cobogó (Brazil, 2021). Besides that, they have had their essays and fictional writings included in institutional publications such as The Contemporary Journal, Afterall, Le Magazine - Jeu de Paume, Terremoto.Mx, HAU 3000, Revista Piseagrama, among others.

Feira de Santana, Bahia, Brazil, 1944.

Lives and works in Feira de Santana.

To study architecture, in the 1960s Juraci Dórea moved from his home-town to Salvador, where he witnessed the intense cultural production that arose there out of the encounter between the experimental vanguardist attitude and the singular experience of a territory steeped in an Afro-Brazilian heritage. After earning his degree, Dórea returned to his hometown of Feira de Santana. There, he began to construct a consistent oeuvre, which gradually brought about a convergence of contemporary visual languages with backcountry roots and traditions.In the 1980s, Dórea’s telluric connection took on another power of magnitude. After beginning his Projeto Terra [Project Earth] (1982 - ), he not only assimilated backcountry artisanal know-how, but also traveled deep into the Bahian backcountry to implant his works in that landscape, often making use of the materials he found in the fields and pastures. Due to this new focus, the primary public of his work was no longer the urban visitor of cultural institutions but rather an audience consisting largely of backcountry dwellers. The records produced in this context, in the form of photographs, films, reports and texts, document not only Dórea’s creative trajectory, but also countless shocks and rearrangements between conceptions of art, language and territory.

In 2023, Juraci Dórea presented his first solo show at the Jaqueline Martins Gallery (Brussels), and in 2021 he presented a solo show as part of the 34th São Paulo International Biennial, at the MuBE (Brazilian Museum of Sculpture and Ecology). He has participated in important institutional exhibitions, such as Contemporary Artists from Bahia (São Paulo’s Museum of Contemporary Art, 1983), 19th International Biennial of São Paulo (1987), 43rd Venice Biennial (Italy, 1989), 3rd Havana Biennial (Cuba, 1989), Projeto Terra (Université Paris 8, France, 1999), 3rd Bahia Biennial (Salvador, 2014), 10th Mercosul Biennial (Porto Alegre, 2015), Memories of Underdevelopment (San Diego Museum of Contemporary Art, USA, 2017), À Nordeste (SESC 24 de Maio, São Paulo, 2019). His works are part of the collections of the Museum of Modern Art of Bahia (Salvador/BA), Museum of Contemporary Art of Feira de Santana (BA), Museum of Contemporary Art of Paraná (MAC-PR), among others.

Martinópolis, São Paulo, Brazil, 1978.

Lives and works in São Paulo.

Lia D Castro’s artistic practice offers an approach to art that goes beyond her own paintings, texts and installations. It encompasses the complexity of society, and seeks to build more meaningful and inclusive narratives and lived experiences that have been overlooked in museums and art galleries.

For the past 10 years, Lia D Castro has worked as educator, sex worker, transgender rights activist and gives antiracism and anti-transphobia lectures in art institutions, as well as in national and multinational companies. She also has interests in areas such as hate criminology, anthropology, behavioral psychology and sociology.

Full of meanings and resonances, Lia D Castro’s paintings reflect on gender and race hierarchies, art history, transphobia and biased notions of femininity, in works that invite the viewer to examine them closely. A powerful call to action, emphasizing the importance of representation and inclusivity.

In 2024, Lia D Castro presents her first institutional solo exhibition at MASP, São Paulo. In January 2023 she had her first solo show “Reflected Cumplicity” at Galeria Jaqueline Martins, São Paulo – Brazil, and in April 2023 “Those who are worthy of being loved” at Galeria Jaqueline Martins, Brussels – Belgium, with a curatorial text by Mohamed Almusibli. She recently was part of group exhibitions including “Middle Gate III” curated by Philippe Van Cauteren in Geel, Belgium; “Hors de la nuit des normes, hors de l’énorme ennui” curated by Clement Raveu and Valentina d’Avenia at Palais de Tokyo, Paris; “Dos Brasis: Arte e Pensamento Negro” curated by Igor Simões at Sesc, São Paulo; “Art of Treasure Hunt - Women in Tuscany” organized by Luziah Hennessy among diverse locations such as Castello AMA, Castello di Brolio, Borgo San Felice, Colle Beretto, Villa Geggiano - Italy. In 2022 she presented the solo show “Axs Nossxs Filhxs” at Instituto Çare, São Paulo – Brazil, among others. Her work is part of private and institutional collections including S.M.A.K. Ghent among others.

Osvaldo Cruz, Brazil. 1948

Lives and works in New York.

Okumura had her first solo exhibition in 1968 and later was part of Equipe3 (1970-1979) along with artists Francisco Iñarra and Genilson Soares. She contributed in a fundamental way to the development of ephemeral site-specific installations and many of them are documented in MAC-USP, Museu de Arte Moderna de São Paulo,

Pinacoteca do Estado de São Paulo, Hall Art Foundation - Germany, MetropolitanNY, MoMA (New York) and other museums.

First impressions of Lydia Okumura’s individual work can easily be misleading. For almost 50 years, the Brazilian-born, New York based artist has been investigating the interstice between two and three-dimensional space through precise, site-specific installations. Mostly using acrylic paint, cotton string, painted aluminum sheets, charcoal and pencil, Okumura constructs abstract geometric compositions that project from the walls into three-dimensional space. Although her practice can be framed within the minimalist tradition, op art is also at play. Through modest interventions, Okumura enhances our awareness of our bodily presence in the exhibition space.

In 2023, Lydia Okumura presented a solo exhibition in Galeria Jaqueline Martins (Brussels). Her work has recently been the subject of extensive retrospectives at the Hall Art Foundation (2022) and the University of Buffalo (2016). In recent years she has also participated in important institutional exhibitions at The Americas Society (New York), São Paulo’s Museum of Contemporary Art (MAC, São Paulo), Galerie Thaddaeus Ropac (London), ZKM Center for Art and Media (Karlsruhe, Germany), Instituto Figueiredo Ferraz (Ribeirão Preto, Brazil), Hall Foundation (Derneburg, Germany), MuBE (São Paulo, Brazil) among others.

Manaus, Brazil.

Lives and works in São Paulo, Brazil.

Born in Manaus, in the north of Brazil, and daughter of evangelical missionaries from the Amazon, her relationship with art begins inside the church, between trips across the state, being also prepared for her mission that would begin outside there. In São Paulo, her production emerges as an interpreter of the city's nightlife. Her work with performance expands into dialogues with new perspectives on transvestite existence, questioning the conditions that permeate them from processes of border transition and sensitive dives that build intimate records of a northern artist. As artistic director of Ateliê TRANSmoras, alongside designer Vicenta Perrotta, she built imaginary constructions within fashion, evoking dialogues that shed light on the subjectivities of Brazilian dissident corporealities between 2015-2023.

In 2020, her research was developed as part of the Delfina Foundation Residency Program in partnership with the Inclusartiz Institute in London and in 2021 at Piramidón - Centro de Arte Contemporânea (Barcelona), both with the support of the Inclusartiz Institute (Brazil). She has already taken part in several group exhibitions, at the IAB SP - Instituto de Arquitetos do Brasil (São Paulo) and at the Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro) and had two solo shows in 2021, Pitiu de Cobra (Delirium, São Paulo) and Saltação (Casa70, Lisbon). In 2024 she will take part in “Stranieri Ovunque - Foreigners Everywhere”, the 60th International Art Exhibition of La Biennale di Venezia and will also occupy the Video Room at the São Paulo Museum of Art - MASP.

São Paulo, Brazil, 1974.

Lives and works in São Paulo.

In her artistic practice, Maria explores the relationships between her occupations, that of artist and gallery owner. His works address questions of both a poetic and prosaic order: basic questions of survival and performance in the field of art. Through objects, drawings, installations, videos and appropriations, Maria Montero proposes a space for metalanguage, leaning over her own art to make it. What moves his practice are the artists he represents as a gallery owner, the afflictions of the market, classes, notes, observations and the possibilities of producing fictions and frictions from a conceptual activity.

Founder of the experimental space of artistic residency Phosphorus (2011-2014), in a property located on the first street of São Paulo, Maria founded in 2014, in the same location, Sé Galeria, an artist run gallery formed by a team of artists with a solid trajectory artistic and academic and that, for the most part, entered the art market through the gallery. Today the Sé gallery works in a house in the modernist village of Flávio de Carvalho, also in São Paulo. In his work as a gallery owner, he seeks to monitor the artists he represents, proposing exhibition projects that favor critical, conceptual and experimental thinking. It is through the intimacy with the artists and their works that he outlines the contours of his performance.

Maria studied Art Psychotherapy at Goldsmiths College, London (1998), and graduated (2020) in Art: History, Criticism and Curatorship from the Pontifical Catholic University of São Paulo (PUC-SP).

In 2017, she held the solo show “Survivência dos Vagalumes” at Sé Galeria and in 2018 she participated in the group exhibition “Women at the Collection of the Sea”. In 2019, he performed the solo show “8 Movements” at the Simon Preston Gallery, New York.

São Paulo, Brazil, 1961

Lives and works between Naples, Italy, and Berlin, Germany

Maria Thereza Alves’ artistic trajectory is inseparable from her political activism, whether it be in favour of ecology, the rights of Indigenous peoples or land struggles. 

Alves has worked and exhibited internationally since the 1980s, creating a body of work investigating the histories and circumstances of particular localities to give witness to silenced histories. Her projects are researched-based and develop out of her interactions with the physical and social environments of the places she lives, or visits for exhibitions and residencies. These projects begin in response to local needs and proceed through a process of dialogue that is often facilitated between material and environmental realities and social circumstances. 

Maria Thereza Alves has participated in documenta fifteen, 22nd Biennale Panamericana di Quito, Sydney Biennale (2020), 1st Toronto Biennale, Manifesta 12 and 7, Sao Paulo Biennale (2016 and 2010), Berlin Biennale 8,  Sharjah Bienale (2017), dOCUMENTA (13),  Taipei Biennale (2012), Guangzhou Triennale 3 and the Second Havana Biennale among others. Alves is the recipient of Museo delle Civitá Research Fellowship Program for 2022-23 and the Vera List Prize for Art and Politics  for 2016-2018.

In 1978, as a member of the International Indian Treaty Council, Alves made an official presentation of human rights abuses of the Indigenous population of Brazil at the U.N. Human Rights Commission in Geneva. Alves was one of the founding members of the Green Party of Sao Paulo in 1987. Her recent book is Thieves and Murderers in Naples: A Brief History on Families, Colonization, Immense Wealth, Land Theft, Art and the Valle de Xico Community Museum in Mexico.

Maceió, Brazil, 1943

Lives and works in Maceió

Since the early 1980’s the surprising and fascinating work of Martha Araújo has focused on the limits of the body, understood in its physical, individual sense and its metaphorical, poetic connotations, in which the body is invited to publicly interact with the clothes and objects produced by the artist, and frequently with other people, thus becoming, to all effects, a communal, collective body.

Araújo participated in the VII and IX Salão Nacional de Artes Plásticas (MAM/RJ). She was granted an award at the 10th Salão Carioca de Artes (1986) and carried out solo exhibitions at numerous venues, such as Galeria do Centro Empresarial Rio, Rio de Janeiro (1986); Galeria Karandash, Maceió (1989); Galeria de arte do IBEU, Rio de Janeiro (1991); Galeria de Arte do Espaço Cultural Sérgio Porto, Rio de Janeiro (1992); Itaugaleria, São Paulo (1992), RG – Oficina de Arte, Maceió (1993); and Galeria de Arte ACBEU, Salvador (1994). In 2012 she held the individual exhibitions Entrópicos at the Pinacotèque of the Universidade Federal de Alagoas and Casulares Eclipsados at Arte Plural Galeria in Maceió. In 2014 the artist participated in the 12th Bienal de Cuenca, and in the group shows Ultrapassados at Broadway 1602, New York, at ArteVida in Parque Lage, Rio de Janeiro, and also in the III Mostra do Programa de Exposições 2014 of the Centro Cultural São Paulo as Guest Artist.

In 2023, Martha Araújo received the Achievement Award from CIFO Grants & Commissions and took part in a group exhibition at MARCO Monterrey. In 2015, she had her first solo exhibition at Galeria Jaqueline Martins, Para um corpo pleno de vazios. In 2016 she was part of the group show Resistance Performace - Aesthetic Strategies under Repressive Regimes in Latin America at the Migros Museum in Switzerland and in 2017 was chosen to be part of the important retrospective exhibition Radical Women: Latin American Art, 1960-1985, organized by the Hammer Museum, Los Angeles and with itinerancies to the Brooklyn Museum, New York and Pinacoteca do Estado, São Paulo. Since then, she has also participated in group shows at KADIST Foundation, Paris, and Broad Art Museum, Michigan, USA.

Jequié, Bahia, 1945.

Lives and works in Salvador.

Adilson Costa Carvalho, Mestre Dicinho, is one of the protagonists of the great cultural revolution of Tropicália. The movement innovated Brazilian artistic panorama with the fusion of tradition, avant-garde, and pop culture. The artist's visual production, extensive and diverse, includes painting, illustration, sculpture, scenography, costume design, and performance. Of note, however, are the so-called "sculpture paintings" made of a paste, the COPAGETI (an acronym in Portuguese for glue, paper, plaster, and paint), developed by him in years of research. Later painted, the pieces reveal an aesthetic associated with tropicality and psychedelia, presenting different themes ranging from figurative depictions of animals and humans to elements of popular culture and geometric abstractions. With over 50 years of production, Dicinho has unique visual poetics. He is a self-exiled artist in his studio in Salvador, but he remains active, producing new works and seeing his work rediscovered.

Between the 1960s and 1980s, he worked with important figures in the Brazilian cultural scene, such as Lina Bo Bardi, Rogério Duarte, Edinízio Primo, Waly Salomão, Gilberto Gil, Gal Costa, Jards Macalé and José Celso Martinez Corrêa. He has participated in national and international exhibitions, highlighting the solo show Dicinho-Animais, curated by Lina Bo Bardi (Sesc Pompéia, São Paulo, 1983). His work was revisited in the show A todo vapor during the III Bienal da Bahia, curated by Ayrson Heráclito (Salvador, 2014), and was part of the group shows Histórias afro-atlânticas, curated by Adriano Pedrosa, Ayrson Heráclito, Hélio Menezes, Lilia Moritz Schwarcz and Tomás Toledo (Art Museum of São Paulo, 2018); Home Stories: 100 Years, 20 Visionary Interiors (Vitra Design Museum, Weil am Rhein, Germany, 2020) and A parábola do progresso, curated by Lisette Lagnado, André Pitol and Yudi Rafael (Sesc Pompeia, São Paulo, 2022-2023). Dicinho's works are in the collections of the Instituto Bardi, the Museu de Arte Moderna da Bahia, and the Instituto Inhotim.

Santa Maria, in 1977. 

Lives and works in Porto Alegre.

His drawings, embroideries, ceramics, collages, sculptures, and installations come from different subjects, originating from visual investigations into natural and dreamlike events as if taken from old hardback encyclopedias or magical books. Among these subjects: the formation of stones, the origin of volcanoes and mountains, the fall of meteorites, the planets that surround us, the strange shapes of corals, shells and trees, the possible existence of unidentified flying objects, the execution of magic tricks, the transformative operations of alchemy and magic, the visual effects of opium and its derivatives, the images that inhabit nightmares, horimono-style tattoo designs, and science fiction films.

Zózimo is a teacher of visual arts and a doctor in visual poetics at Instituto de Artes da Universidade Federal do Rio Grande do Sul (UFRGS). He participated in the 36th Panorama da Arte Brasileira at Museu de Arte Moderna (São Paulo, 2019), curated by Júlia Rebouças; the 9th Bienal do Mercosul, curated by Sofía Hernández Chong Chuy (Porto Alegre, 2013); and Festival Vídeobrasil (São Paulo, 2013). Among his solo shows are A mão encantada, Museu de Arte Contemporânea do Rio Grande do Sul (Porto Alegre, 2022); O nome vem depois, Sé (São Paulo, 2021); A mão prolongada, Sé (São Paulo, 2016); Estados ordinários da consciência, Santander Cultural (Porto Alegre, 2015); Animalpedramonstro, Sé (São Paulo, 2015); Muntanya, Mùltiplos (Barcelona, 2013). He was awarded the Prêmio Rumos 2011-2013. His works are part of the collections of Pinacoteca de São Paulo, Museo de Arte Latinoamericano de Buenos Aires, Museu de Arte do Rio, Museu de Arte Contemporânea do Rio Grande do Sul and Fundação Vera Chaves Barcellos.

Rio de Janeiro, Brazil, 1984

Lives and works in São Paulo, Brazil. 

An artist and member of Ueinzz Theatre Group, pedro studied at the School of Visual Arts of Parque Lage in Rio de Janeiro between 2001 and 2005 and holds a Master Degree in Social History at PUC- Rio (Rio de Janeiro). Since 2011, pedro frança has been working as an artist in a variety of media, mainly paintings, installation and video. His work engages in schizo and metonymical rearrangements of images and objects, in both individual and collaborative practices. Among his main collective or individual exhibitions are: Marcantonio Vilaça Prize Exhibition (FAAP, Sao Paulo, 2019), AI-5 - It’s still not over. (Instituto Tomie Ohtake, Sao Paulo, 2018), Don’t Judd me! I just arrived and there’s this Giant Ulcera among us (Museu de Arte de Ribeirao Preto, Ribeirão Preto, Sao Paulo,2018), Sites of delirium (MAR - Rio de Janeiro, 2017), Frestas - SESC Triennial (São Paulo, 2017), Homeroadmovie (Centro Cultural Sao Paulo, Sao Paulo, 2012).

Since 2011, frança has been a part of Ueinzz Theatre Group, a theatre collective which gathers people with all sorts of psychic experiences. With the group, has participated in the development and performance of the works Cais de Ovelhas (Noreadymademen) (2012-2015), Gravidade Zero (Zero Gravity) (2015-2017), and Mobedique HORS ACVE (2018-2019).

Finally, he was nominated for the PIPA Prize in 2016, 2017, 2018 and 2019 and Marcantonio Vilaça Prize in 2019.

Ghent, Belgium, 1946

Brussels, Belgium, 2019

Philippe Van Snick is one of the foremost contemporary Belgian artists. His work combines the heritage of modern abstract art and the conceptual enunciates of the seventies, delving into a field of speculations on the perception of the world and life. Even though Van Snick’s work has been repeatedly considered from the perspective of painting fundamentals, recent reviews of his oeuvre have shed light on his recurrent experimentations, straddling fields as distinct as conceptual photography, film, installation, artist’s books, or site-specific projects. Like a spiral, the work of Philippe Van Snick unfolds continually from the infinitesimal to that which transcends us. Encompassing not only mathematical strictness but also an experimentalism that embraces the element of chance in life, his artistic propositions are poetical and unconventional, at once dense and light-hearted, empathic and desiring of the world, silent and dynamic.

His work is in the museum collections of MoMA, New York (US), Museu de Arte Contemporânea de Serralves, Porto (PT), Mu.ZEE, Ostend (BE), M HKA, Antwerp (BE), S.M.A.K., Ghent (BE) and various private & corporate collections in Europe, USA and Latin-America. He presented solo exhibitions at, amongst others, M HKA, Antwerp (BE); Museum M Leuven (BE); S.M.A.K., Ghent (BE); BOZAR, Brussels (BE); De Hallen Haarlem (NL); Grazer Kunstverein, Graz (AU); Kunstverein Langenhagen, Langenhagen (DE); Art Gallery of York University, Toronto (CA); ART-EX’95, Oxy Gallery, Osaka (JA); Zeno X Gallery, Antwerp (BE); Tatjana Pieters, Ghent (BE); Galeria NunoCenteno, Porto (PT); Arcade, London (UK), Exile, Vienne (AU).

Rio de Janeiro, 1981.

Lives and works in São Paulo. 

His research focuses on media such as video, photography, installation, performance and music. His creative process is based on hermeneutic thinking in the search for sensorial solutions to shape philosophical problems about space, time, and dreams. Pontogor is a member of Cia. Theatrical UEINZZ. Main group shows: video program at the terreiro "A Pele do Invisível" (29th Bienal de São Paulo, 2010); AI-5 50 Anos - Ainda não terminou de acabar (Instituto Tomie Ohtake, São Paulo, 2018), curated by Paulo Miyada; Performance Arte Brasil (MAM-RJ, 2011), curated by Daniela Labra. Main solo shows: Apenas uma pedra (Sé, São Paulo, 2018); Frente à realidade, desisto (Paço das Artes, São Paulo, 2017); Labirinto de Hermes, Hello.Again program (Pivô, São Paulo, 2015); Ação (Centro Cultural Banco do Nordeste, Fortaleza, 2010), curated by Beatriz Lemos. Residencies and Awards: 1st Research Cycle Coleção Moraes-Barbosa (São Paulo, 2011); Urra (Buenos Aires, Argentina, 2014); Phosphorus (São Paulo, 2013); Air Antwerpen (Antwerpen, Belgium, 2011); Encontro V.E.R. Terra UNA (Liberdade, Minas Gerais, Brazil, 2011); Banco do Nordeste (Fortaleza, 2010); Batiscafo (La Habana, Cuba, 2009); 4Territórios (Brasília, Brazil, 2008); Prêmio Prodem Bienal Internacional Siart (La Paz, Bolivia, 2007).

Porto Alegre, Brazil, 1957

Chicago, USA, 1991

Rafael França’s work is recognized as one of the most coherent and systematic works among Brazilian artists who work with moving images. Leaving aside the use of video as a simple recording device, his work continued (and took even further) the experiments carried out by the video art pioneers of the 1960s. The narrative of his videos, elliptical and discontinuous, explored elements such as the absence of sync between sound and image, alternation between fast and slow cuts and images that are purposely blurry and out of focus. By making his friends, as well as himself, characters in his videos, Rafael França also expanded the limits of a fictional/documental narrative.

After studying drawing, painting and lithography as a teenager, Rafael moved to São Paulo in the late 1970s to study at the School of Communications and Arts at the University of São Paulo, where, encouraged by artist and teacher Regina Silveira, he developed an intense research on engraving. By 1979, he began to explore xerography and, together with Hudinilson Jr and Mário Ramiro, he formed the group 3Nós3, focused on urban interventions. Due to his interest in art and technology, and influenced by artists such as Nam June Paik and Buky Schwartz, Rafael began to work with video installations. In 1982, the artist enrolled in a master’s program at the Chicago Art Institute (USA), where he dedicated his research entirely to video and began the series of works that would become his main legacy. A continuous and radical research that questions and explores the technical and conceptual elements that constitute video making.

São Paulo, 1976. 

Lives and works between the USA and Brazil. 

In her poetic-spiritual process, she combines pictorial and meditative practices. Her work explores a variety of astral and mundane planes and, currently, their meeting with each other: unusual worlds covered by abyss in vivid hues that live together in vibrant ways. The canvas works as coded messages coming from her soul's inner space. Her delicate, surreal compositions appear almost instinctively once the initial theme is revealed. According to Rebecca, "What I realize today is that the artist's job is to create and intervene in invisible universes. Long before the painting is ready, the creation and dissolution of a galaxy have already occurred. The work is the condensed mantra, a visible and tactile result of what cannot be explained. It is a logbook, an earthly document, an ignition key." Rebecca graduated in theater and dramatic arts from Goldsmiths, University of London. In 2018, she took part in the 33rd Bienal de São Paulo, Afinidades Afetivas, in the session curated by Sofia Borges. In 2019, she was in residence at the renowned California Institute of Arts, and, in 2023, participated in Anderson Ranch’s Artists-in-Residence Program. Solo shows: Trago a mensagem do destino (Sé, São Paulo, 2020), curated by Tiago de Abreu Pinto; Tools for the Wonderland (Mendes Woods, Brussels, 2021); Terrestres (Sé, São Paulo, 2023); A Thinning Veil (Hexton Gallery, Aspen, 2023); Return of the Baroque (Akara Contemporary, Mumbai, 2023).

Rio de Janeiro, 1943

Lives and works in Rio de Janeiro.

In a research that encompasses the relationship between society, nature and technology, Regina Vater has developed a complex and sophisticated body of work over the last four decades that contributes significantly to the debate on the emergence of a media ecology in the areas of art and contemporary life. The poetic, activist and ecological nature of his work has always been woven into trans-media impulses, where the language of each work presents itself as a further development of the artist interests.

Her work has recently been shown in individual shows at MASP São Paulo, MAC Niterói, Oi Futuro Flamengo and Centro Cultural Candido Mendes, in Rio de Janeiro. Vater also participated in important collective exhibitions, such as: Radical Women: Latin American Art 1960-1985, organized by the Hammer Museum, Los Angeles - with itinerancies through the Brooklyn Museum, NY and Pinacoteca do Estado, São Paulo, Feminist Avant-Garde of the 1970s, organized by the SAMMLUNG VERBUND Collection, ArteVida - Parque Lage, Rio de Janeiro, Subversive Practices - Kunstverein, Stuttgart and History of Sexualities - MASP - São Paulo.

Vater’s works belong to important collections, such as: MoMA (New York), Bibliothèque Nationale (Paris), SAMMLUNG VERBUND Collection (Vienna), Blanton Museum of Art (Austin, USA), San Antonio Museum of Art (Texas, USA), ArtPace Foundation (San Antonio, USA), Latin America Collection of the University of Essex (England), Marvin and Ruth Sackner Visual Poetry Archives (Miami), Long Beach Museum of Art (Los Angeles), CAYC - Centro de Artes Y Comunicación (Buenos Aires), Museum of Modern Art (Rio de Janeiro), Museum of Modern Art (São Paulo), Museu de Arte Contemporânea - USP (São Paulo) e Museu Nacional de Belas Artes (Rio de Janeiro).

New York, 1936.

Lives and works in New York.

Robert Barry is, since the mid 1960’s, one of the most important names in North-American conceptual art.

After beginning his career with works that presented groups of monochromatic paintings in such a way that they could enhance the exhibition space’s characteristics, Robert Barry completely abandoned conventional painting by 1967 and started a brief series of installations made of transparent nylon cords, inert gases, radiation and electromagnetic energy. All invisible materials through which the artist aligned himself with the quest for the “dematerialization of the art object”, one of the main ideas that drove the development of 1960’s conceptual art.

In 1969, in another radical change, Barry abandoned his series of invisible works (convinced that they were still related to a physical and measurable dimension) and begun to incorporate texts into his art, aiming to connect more directly with the spectators and to create a dynamic in which every though or reaction coming from the public in relation to the artist’s texts would became part of the work. Since then, it was through this textual language, its graphic and communicative power that Barry’s work developed and made him (along with names like Lawrence Weiner, Ed Ruscha, John Baldessari and Mel Bochner) one of the great North-American conceptual artists to work with the many potentialities inside written text.

In his 55-year career, Robert Barry has participated in exhibitions inside galleries and institutions across Europe, United States and Asia. His work is in renowned collections, including the Guggenheim Museum (New York), MoMA (New York), Stedelijk Museum (Amsterdam), Kunstmuseum Basel (Switzerland), Center Georges Pompidou (Paris), Sammlung Ludwig Collection (Cologne), Museum of Contemporary Art (Los Angeles), among others.