SP-Arte 2026

Luciana Brito galeria

SP-ARTE 2026

Booth

F03

Afonso Tostes | Allan McCollum | ANTONIO PICHILLÁ

Bosco Sodi | caio reisewitz |Delson Uchôa

Gabriela Machado | Geraldo de Barros | Héctor Zamora

IvÁn Navarro | Marina ABramovic | Rafael Carneiro | Regina Silveira 

Rochelle Costi | Rob Wynne | Waldemar Cordeiro

Artist CV

Geraldo de Barros is a key name of 20th-century Brazilian art. Combining his first studies on painting with a later interest in photography, he pushed the envelope of the traditional photographic processes, questioning the classic rules of composition. Geraldo de Barros took a formal concern – as clearly seen in Brazilian concretism, in which participated intensely – and managed to merge this with his social concerns, leading him to approach the industrial processes in his work, dealing coherently with geometric constructions, reproducibility, the socialization of art, the theory of form and industrial design.

At the age of 26, Geraldo de Barros participated in the creation of the photography course and darkroom at the Museu de Arte de São Paulo (Masp), where he presented the exhibition Fotoformas, in 1950. The artist was also one of the most active members of the Foto Cine Clube Bandeirante, which marked the experimentation of photography in Brazil. In 1951, he participated in the Hochschule für Gestaltung (HfG – School of Design) in Ulm, Germany. He was also one of the founders of Grupo Ruptura (1952) and of Grupo Rex (1966), and participated in the 1st, 2nd, 9th, 15th and 21st editions of the Bienal de São Paulo, and in the 1986 Venice Biennale (Italy). Geraldo de Barros’s works have participated posthumously in various national and international exhibitions. In 2014, Instituto Moreira Salles, in Rio de Janeiro, organized a retrospective of the artist, and in the following year the same exhibition was held at Sesc Belenzinho, in São Paulo. In 2017, the Fundação Arpad Szenes-Vieira da Silva in Lisbon (Portugal) and the Document Gallery, in Chicago (USA), held solo shows featuring works by the artist, followed by others at Side Gallery, in Barcelona (Spain), in 2018, and Kunst- und Kulturstiftung Opelvillen, in Rüsselsheim (Germany), in 2019. In 2021, Itau Cultural featured a solo exhibition, while in 2022, the Museé d'Art Moderne et Contemporain – MAMCO, in Switzerland, held the largest retrospective of the artist in Europe. In 2025, Geraldo de Barros participated in the exhibition on Brazilian modernism at the Royal Academy of Arts, in London (England), Zentrum Paul Klee, in Bern, (Switzerland), as well as Fundação Calouste Gulbenkian, Lisbon (Portugal), Arles Les Rencontres de la Photographie (Arles, France) and MASP (São Paulo, Brazil). His work figures in important collections such as those of the Fundação de Arte Cisneros Fontanals, the Art Fund of the State of Geneva, the Fundação Bienal de São Paulo, Instituto Inhotim, the Ludwig Museum, the Max Bill Foundation, the Max Art Museum, the Museu de Arte Contemporânea of São Paulo, the Museu de Arte Moderna of São Paulo, the Museu de Belas Artes, the Museu de Arte de São Paulo, MoMA, Tate Modern, Photographer’s Gallery, the Pinacoteca de São Paulo, the Museo de Arte Latinoamericano de Buenos Aires, and others.

Artist CV

Waldemar Cordeiro was a key figure in the development of concrete art, a vanguard movement essential for the transition of modern art to contemporary art, which came to define 20th-century Brazilian art. Besides being a pioneer in computer art as early as the 1960s, Waldemar Cordeiro developed and implemented important landscaping designs in Brazil. In his interdisciplinary research he defended painting in its essence, with self-supporting basic colors and lines, without the backing of figurative representation. He was notable for his objective and rational art, very much associated with his theoretical studies, as well as for his investigation of industrial materials and elements. Cordeiro worked for an art accessible to all, seeking a collective sense that was also aligned with technology, to design and to landscaping. His research in art was always coupled with a social and political concern.

Waldemar Cordeiro studied at the Academy of Fine Arts of Rome (1938) and at the Tasso Lyceum of Rome (1945). In 1949, he took up residence in Brazil. He participated in the inaugural show of the Museu de Arte Moderna of São Paulo (MAM-SP), Do figurativismo ao abstracionismo (1949), and in the 1st Bienal de São Paulo (1951). He was one of the organizers of the show Ruptura, also at MAM-SP (1952), and of Arteônica, at Fundação Armando Alvares Penteado, FAAP-SP (1971). Solo shows of his work have been held at noteworthy venues, including the permanent online show Waldemar Cordeiro: Bits of the Planet, ZKM Center for Art and Media (Germany), MAM-RJ/SP (Brazil), CCSP (Brazil), Buffalo University (USA), MAC-SP (Brazil), Itaú Cultural (Brazil) and the Paço Imperial, Rio de Janeiro (Brazil). Group shows featuring his work have been held at important venues which include the Walker Art Center (USA), Pinacoteca de São Paulo (Brazil), the Museum of Fine Arts Houston (USA), the Museum of Modern Art (MoMA), New York (USA), CCBB-SP/RJ (Brazil), Goethe-Institut, New York (USA), the Museo Nacional Centro de Arte Reina Sofía, Madrid (Spain), Instituto Tomie Ohtake, São Paulo (Brazil), the Venice Biennale (2024), the Bienal de São Paulo (2012, 1975, 1973, 1969, 1967, 1965, 1963, 1961, 1959, 1957, 1955, 1953 and 1951), and the Biennial of Nuremberg (Germany). Waldemar Cordeiro’s works figure in many prominent collections, including those of the Cisneros Fontanals Art Foundation (USA), the Museu de Arte Contemporânea of the University of São Paulo, the Patricia Phelps de Cisneros Collection (USA), the Pinacoteca de São Paulo, the Museum of Modern Art (MoMA) of New York (USA), the Museum of Fine Arts, Houston (USA), and ZKM Museum (Germany).

Artist CV

Regina Silveira's artistic research questions traditional forms of visual representation, leading her to explore new possibilities of media and meaning. Her works explore architectural and contextual spaces, often operating through graphic narratives, to create shifts in perception and strangeness, based on the common experience of virtually modified spaces. The artist is known for her research on the principles of perspective, its distortions, and the study of shadows, which she employs in large, site-specific installations. Above all, she uses a variety of media, including not only prints, porcelain, tapestries and laminate cutouts, but also digitally cut vinyl, light projections, video installations and virtual and augmented realities.

With a Bachelor of Arts from the Instituto de Artes do Rio Grande do Sul (1959), a Master's (1980) and a PhD in Art (1984) from the School of Communications and Arts of the Universidade de São Paulo (ECA-USP), her teaching career includes working at Instituto de Artes de Rio Grande do Sul; the Universidade de Puerto Rico, in Mayaguez; FAAP, São Paulo; and ECA-USP. She was a guest artist at the Coimbra Biennial of Contemporary Art, Portugal, in 2024, the São Paulo Biennial in its 1981, 1983, 1998, and 2021 editions, the Curitiba International Biennial in 2013 and 2015, and the Mercosur Biennial in 2001 and 2011. She also participated in the Havana Biennial, Cuba, in 1986, 1998, and 2015; Médiations Biennale, Poznan, Poland, in 2012; the 6th Taipei Biennial, Taiwan, in 2006; and the 2nd Setouchi Triennale, Japan, in 2016. More recently, in 2025, the artist inaugurated her largest commissioned work, Paradise, at IAH Terminal D - George Bush Intercontinental Airport, in Houston, USA, in addition to solo exhibitions at the Instituto Arte Contemporânea (USP), in São Paulo, at La Virreina Centre de La Imatge, Barcelona, ​​Spain, in 2024, and at the Centro de Extensión de la Universidad Católica, in Santiago, Chile. In 2021-22, Regina Silveira presented a major solo exhibition at the Museum of Contemporary Art – MAC-USP, in São Paulo. Additionally, the artist has had her work presented at Paço das Artes, São Paulo, 2020; Brazilian Sculpture Museum – MuBE, São Paulo, Brazil, 2018; Oscar Niemeyer Museum, Curitiba, Brazil, 2015; Amparo Museum, Puebla, Mexico, 2014; Iberê Camargo Foundation, Porto Alegre, Brazil, 2011; Atlas Sztuki Gallery, Lodz, Poland, 2010; MASP-SP, 2010; Museo Nacional Centro de Arte Reina Sofia, Madrid, 2005. Regina also Silveira received the MASP Award (2013), the APCA Career Achievement Award (2011), and the Bunge Foundation Award (2009). He was a fellow of the Fulbright (1994), Pollock-Krasner (1993) and Guggenheim (1990) foundations and her work is represented in numerous public and private collections, such as Usina de Arte (Brazil), Coleção Itaú (Brazil), MAC-USP (Brazil), MASP (Brazil), MAM-RJ/SP (Brazil), MACRS (Brazil), Pinacoteca do Estado de São Paulo (Brazil), MoMA (USA), Phoenix Museum (USA), Museum of Fine Arts Houston (USA), Taipei Fine Arts Museum (Taiwan), Perez Art Museum Miami (USA), among others.

Artist CV

Bosco Sodi’s research is outstanding for its simplicity of materials from a natural origin, such as pigments, sawdust, fibers, wood, soil, etc. The combination of these elements with the gesturality of his production makes each work unique, while creating a special connection between the artist and his process of creation, which transcends the conceptual. Currently, he has been making increasing use of techniques from olden times, which not only establish a direct relationship with the ethnobotanical discourse, but also recover his native Latin American ancestrality. Bosco Sodi also associates these techniques to traditional and contemporary processes, dialoguing with the movements of land art and informalism.

He has presented solo shows at prominent institutions that include MkT Contemporary (2025, Kyoto, Japan), Castello di Ama (2025, Siena, Italy), Fundación Caja Canarias (2025, Santa Cruz de Tenerife, Spain), Museo de Arte de Sonora (2025, Mexico), He Art Museum (2024, Foshan, China), Casa das Rosas (2024, São Paulo, Brazil), Harvard Art Museum (2023, Cambridge, USA), Fundación Casa de Mexico (2023, Madrid, Spain), the Fondazione dell’Alberto d’Oro, Venice, Italy (2022, as part of the official program of Venice Biennale); University of South Florida Contemporary Art Museum, Tampa, USA (2021); CAC Málaga, Spain (2020); the Royal Society of Sculptors, London, England (2019); the Museo di Scultura Antica Giovanni Barracco, Rome, Italy (2019); the Mexican Cultural Institute, Washington, DC, USA (2019); the Museo Nacional de Arte, Mexico (2017); and the Bronx Museum, New York, USA (2010). He has participated in group shows at venues that include the Ryosokuin Zen Temple (2024, Kyoto, Japan), Desert X (2024, AlUla, Saudi Arabia), Converge 45 Biennial (2023, Oregon, USA), Harbour Arts Sculpture Park, Hong Kong (2018); the Museum of Modern Art, Gunma, Japan (2017) and the Museo Espacio, Mexico (2016). Bosco Sodi’s work is also part of important collections such as Colección JUMEX (Mexico), the Harvard Art Museums (USA), the Museum of Contemporary Art San Diego (USA), the New Orleans Museum of Art (USA), the Scottish National Gallery of Art (Scotland), and Walker Art Center (USA).

Artist CV

Marina Abramovic became known worldwide for her research in performance art, which as early as the 1960s presented artistic experiences involving the discussion about the limits of the body and the mind, along with a direct relationship between the artist and the public. From the 1980s onward, the artist began to investigate the subjects related to spirituality and religious syncretism, as well as the potentials of the mind, body and spirit, through a connection with nature and the sacred. This investigation took on even greater importance in the artist’s work after her first visit to Brazil, in 1989, when she gained experiences that provided rich material for the production of photographs, videos, sculptures and installations.

Marina Abramovic graduated from the Academy of Fine Arts (Belgrade, 1970), the Academy of Fine Arts (Zagreb, 1972) and from the Art Institute of Chicago (2005). She is a cofounder of the Marina Abramovic Institute (MAI), in New York, a platform for immaterial art and long-duration performances. Her first solo show was held in 1964 at the Workers’ University, in Belgrade; since then, she has presented dozens of solo shows at institutions such as Gran Teatre del Liceu (2026, Barcelona, Spain), The Albertina Modern (2025, Vienna, Austria), Centre Pompidou-Metz (2025, França), Southbank Centre, Londres (2025, Inglaterra), Modern Art Museum Shanghai (2024, China), Usina de Arte, Água Preta (2024, Brazil), Stedelijk Museum, Amsterdam (2024, Netherlands), Royal Academy of Arts (2023, UK), Serpentine Galleries (2019, UK), Sesc Pompeia (2015, Brazil), MoMA (2010, USA), Guggenheim Museum (2005, USA), the Museo Nacional Centro de Arte Reina Sofía (2005, Spain), Neue Nationalgalerie (1992, Germany), the Centre Georges Pompidou (1990, France), the Fundação Calouste Gulbenkian (1986, Portugal) and others. Abramovic has participated in countless group shows, most notably the 45th and the 47th (1993, 1997) editions of the Venice Biennale (winning the Golden Lion Award for Best Artist); dOCUMENTA (13), documenta IX, documenta 8 and documenta 6 (2012, 1992, 1988 and 1977); the 28th, 18th and 16th editions of the Bienal de São Paulo (2008, 1985 and 1981); the 5th and the 13th Bienal do Mercosul (2007); and the 7th Bienal de la Habana (2000). Marina Abramovic also performs the play "7 Deaths of Maria Callas", since 2020 roaming different countries. Her artworks figure in many prominent public and private collections, including those of Cisneros Fontanals Art Foundation, Miami (USA), the Kunstmuseum (Switzerland), Museum Ludwig (Germany), the San Francisco Museum of Modern Art (USA), the Solomon R. Guggenheim Museum (USA), and the Museum of Modern Art (MoMA), New York (USA).

Artist CV

The appeal of Iván Navarro’s works springs from a combination of elements that question our perception. On the one hand, from a formalist point of view, his works are carefully constructed, having light as their main support. Light that arouses feelings, at the same time that it sparks enchantment in the spectator. Iván Navarro’s production is also imbued with political connotations, communicated to the public through countless strategies, as seen in the titles of his works, in his careful use of color, in the use of anagrams, or in the appropriation and deconstruction of symbols that represent ideologies and institutionalized power. 

Iván Navarro graduated in visual arts, in Santiago, Chile, in 1995. He has held solo shows at prominent institutions such as Gare Villejuif - Gustave Roussy, Paris, France (2026), Centro Cultural Gabriela Mistral, Santiago, Chile (2025), Galpón Santa Elena, Santiago, Chile (2025),  La Capilla Azul, Chiloé, Chile (2024), Micromuseo di arte Contemporanea della Tuscia, Italy (2023), Art-OMI Sculpture Park, Ghent, USA (2022), Farol Santander, São Paulo (2020); MAC – Niterói, RJ (2019); MACBA, Buenos Aires, Argentina (2019); the Museu Nacional de Belas Artes, Santiago, Chile (2015); and the Espace Culturel Louis Vuitton, Paris, France (2010). Titles and venues of group shows he has participated in most notably include the Knoxville Museum of Art, Knoxville, USA (2025), Centro de Arte Caja de Burgos, Burgos, Spain (2024), Illuminate SF Festival of Light, São Francisco, USA (2020); the XIV Bienal de Nuevos Medios, Museo Nacional de Bellas Artes, Santiago, Chile (2019); the 13th Biennale of Cairo, Egypt (2019); MACBA, Buenos Aires, Argentina (2018); Guggenheim NY, USA (2018); the Museo del Barrio, NY, USA (2017); MuBE-SP (2016); the Centro Nacional de Arte Contemporáneo, Santiago, Chile (2016); the 10th Bienal do Mercosul, Porto Alegre (2015); the Cairo International Biennale, Egypt (2010); the 53rd Biennale di Venezia, Italy (2009); and the 2nd Moscow Biennale, Russia (2007). His works figure in the collections of important institutions such as the Centro Galego de Arte Contemporánea (Spain), the Fonds National d’Art Contemporain (France), the Hirshhorn Museum and Sculpture Garden (USA), Inhotim, the Museum of Fine Arts (Boston, USA), the Saatchi Collection (England) and the Solomon R. Guggenheim Museum (USA).

Artist CV

Caio Reisewitz’s research takes photography as its main medium. Through technical and thematic refinement, his work evinces an interest in human action and its social and political effects, whether in the natural space or the architectural space. While his photographic technique highlights the dramaticity among shapes, colors and textures, his artistic poetics constructs a nearly dreamlike aesthetic repertoire. These aspects establish a dichotomous dialogue between the real (that which is characteristic of the photographic record) and the chimerical (our own repertoires).

With a degree in visual arts from Mainz University (Germany), Caio Reisewitz has an advanced degree in visual poetics and an MA from the University of São Paulo. The biennials he has participated in include: Bienal de Fotografia de Daegu, Coreia do Sul (2025), 23rd Sydney Biennale (2022), Biennale des Arts 2022 de Nice, France,  the 26th Bienal de São Paulo (2004), the 51st Biennale di Venezia (2005), in Italy, and the Nanjing Biennale (2010), in China. His work has also been shown at the Fundació Mies van der Rohe (2024, Barcelona, Spain), 22nd DongGang International Photo Festival, Dong Gang Museum of Photograph (2024, Coreia do Sul); Museo de Arte Contemporáneo de Castilla y León (MUSAC) (2024, 2023 and 2010, Spain); Instituto Moreira Salles, Rio de Janeiro and São Paulo (2010); the Ella Fontanals-Cisneros Collection Miami (2005, 2010, USA); the International Center of Photography (ICP), New York (2014, USA); the Maison Européenne de la Photographie, Paris (2015, France); the Pinacoteca de São Paulo (2017), as well as at Photo Shanghai (2019, China). In 2026, the artist will participate in a group exhibition at the Ford Foundation in New York (USA). In 2020, he released the book Altamira, published by the Swiss Artphilein Editions SA, based on a collection of the same name acquired by the Pinacoteca de São Paulo. His work figures in important collections such as those of the Cisneros Fontanals Art Foundation (USA); the Fundación ARCO Madrid (Spain); the Collezione Fondazione Giovanni Guastalla (Italy); the Fond National d’Art Contemporain (France); MUSAC (Spain); International Center of Photography - ICP (USA); Maison Européenne de la Photographie (France); the Museu de Arte Moderna (MAM) of São Paulo, of Rio de Janeiro and of Salvador (Brazil); the Musée Malraux (France); and the Pinacoteca de São Paulo (Brazil).

Artist CV

Rochelle Costi's works deals with affective memory – that which normally stirs up the dust in our unconscious, activated by a device: the image. Her research is based on her own image repertoire, to then be formalized through refined photographic technique, videos and installations. Collecting and photography not only complement one another, but are also merged in her work, bringing the spectator to an intimate confrontation with this universe, which becomes shared by everyone.

She holded a BA in social communication from PUC-RS, and a specialist degree from Saint Martin School of Art and Camera Work, in London. Among the venues that she held solo shows include Casa do Povo, São Paulo, Brazil (2024); Solar dos Abacaxis, Rio de Janeiro, Brazil (2023); Estúdio Extraordinário, Itú, Brazil (2023), Oficinas Culturais Oswald de Andrade, São Paulo, Brazil (2021); The Photographer’s Gallery, London, England (2016); the Museu de Arte Moderna (MAM), São Paulo (2010); the Centro Cultural São Paulo (CCSP) (2009); the Museu da Imagem e do Som, São Paulo (2008); and Instituto Tomie Ohtake, São Paulo (2005). She has participated in many significant group shows, held at venues that include the BienalSur, Brazil and Argentina (2023); Casa do Parque, Brazil (2023); Solar dos Abacaxis, Brazil (2023); Museu da Imagem e do Som-MIS, São Paulo, Brazil (2022); Pinacoteca de São Paulo (2023 and 2020), the Museu de Arte de São Paulo (Masp) (2018); Somerset House, London, England (2012); and the Centro de Arte Reina Sofía, Madrid, Spain (2000). Group shows she has participated in include most notably the III Beijing Photo Biennial, Beijing, China (2018); the Bienal de la Paiz, Guatemala (2016); the 11th Venice Architecture Biennale, Italy (2008); the 24th and 29th editions of the Bienal de São Paulo (2010 and 1998); the Bienal de Cuenca, Ecuador (2009); the XXVI Bienal de Pontevedra, Spain (2000); the II Bienal do Mercosul, Porto Alegre (1999); the 6th and 7th editions of the Bienal de Havana, Cuba (1997 and 1999); and the II Tokyo Photography Biennial, Japan (1997). Her artworks figure in prominent collections, including those of the Cisneros Fontanals Art Foundation (USA), Instituto Inhotim, Masp, MAM-SP/RJ, the Pinacoteca de São Paulo, and the Museum Moderner Kunst Stiftung Ludwig (Austria).

Artist CV

Rob Wynne is a collector of memories. Keenly aware of his own context and popular culture, the artist uses visual syntax to combine fragments excerpted from conversations, literature, theater, cinema, etc., in works that involve images and, primarily, texts as the main elements – whether in sculptures, installations, collages, digital prints, or embroidery. One of his preferred materials is glass, from which he typically obtains organic forms that he manually spreads. His investigation is also influenced by concepts reminiscent of Fluxus, the 1960s American art movement that used an experimental and multidisciplinary approach to forge connections between everyday life with art, and with which he was intimately related.

With a degree in art from the Pratt Institute (New York, USA), Rob Wynne has held solo shows at important venues that include the Norton Museum of Art (2019 and 2012, Palm Beach, USA), the Brooklyn Museum (2019, New York, USA), and New York University (1994, New York, USA). He has also participated in group shows at institutions that include New Orleans Museum of Art (2017, New Orleans, USA), Massachusetts College of Art & Design (2017, Boston, USA), the Museum of Modern Art (2013, New York, USA), the Georgia Museum of Fine Art (2005, Athens, USA), and P.S.1 Institute for Contemporary Art (1998, Long Island City, USA). His works figure in important public and private collections, such as those of the Brooklyn Museum of Art (USA), Centre Pompidou (France), Museum of Fine Arts (USA), Columbus Museum of Art, Columbus (USA), the Museum of Modern Art – MoMA (USA), the Whitney Museum of Art (USA), the Philadelphia Museum of Art (USA), Frac des Pays de la Loire (France), the Bibliothèque National Paris (France), and Norton Museum of Art (USA). In 2023, the publishing house Gregory R. Miller & Co released his monograph Obstacle Illusion.

Artist CV

Héctor Zamora is better known for his research, which involves public spaces and the built environment. In his works, the artist reinvents and redefines conventional spaces – exhibition spaces or others – giving rise to noise between the meanings of public and private, exterior and interior, real and imaginary. If, on the one hand, Héctor Zamora’s work deals with the aesthetic and formal legacy of concretism and other Latin American vanguard movements, on the other, it problematizes social and political questions related to work in a consumer society and to the subversion of architectures, of the city, and of history. 

Héctor holds a degree in graphic design and structural geometry. He has held solo shows at prominent institutions which include NDSM-werf Foundation, Amsterdam, Netherlands (2025), 2025 Commissions Programme, Art Dubai, Emirados Árabes Unidos (2025), MAZ Museo de Arte de Zapopan, Zapopan, Mexico (2024), Museu Marítimo de Ílhavo, Ílhavo, Portugal (2023), The Roof Garden Commission, MET NY, USA (2020); LABOR, Mexico City (2019); Pavilhão Branco (Portugal, 2018); the Museo de Arte Contemporáneo de Monterrey (Mexico, 2017); Fundación RAC (Spain, 2017); the Palais de Tokyo (Spain, 2016); CCBB São Paulo (2016), the Center for Contemporary Art (Los Angeles, USA, 2013) and Itaú Cultural (São Paulo, 2010). He has participated in group shows at venues that include the Desert X, Wadi AlFann, AlUla, Saudi Arabia (2026), Museo de Arte Carrillo Gil, Cidade do México, México (2025),  IJssel Biennale, IJssel River, Deventer, Holanda (2025), Prototipoak Bilbao, Bilbao, Espanha (2025), Instituto Cultural de Mexico, France (2023), Desert X, Coachella Valley Palm Springs, USA (2023); 13th Mercosul Biennial (2022), 4th Mediterranean Biennial, Israel (2021); Hirshhorn Museum, USA (2020); the Centro Galego de Arte Contemporánea, Spain (2018); the 12th Shanghai Biennale, China (2018); MAM-RJ (2014); Guggenheim Museum (USA, 2013); the Museo de Arte de Lima (Peru, 2012); the 54th Venice Biennale (Italy, 2011); the 11th and 14th editions of the Biennale de Lyon (2011 and 2017); the 12th International Cairo Biennale (Egypt, 2010); the 9th and 12th editions of the Bienal de la Habana (2006 and 2015); and the 27th Bienal de São Paulo (2006). Zamora has moreover been awarded prizes from the Graham Foundation Arquitetura + Arte (2011), the Garage Centre for Contemporary Culture (2009), the Pollock-Krasner Foundation (2007), the Cisneros Fontanals Art Foundation (2006), the Jumex Collection Foundation (2006), and others. His works figure in collections of important institutions such as Amparo Museum (Mexico), Fundación RAC (Spain), and Hirshhorn Museum and Sculpture Garden (USA).

Artist CV

Allan McCollum is known for the large installations created from the combination of several small items, produced by hand, but influenced by industrial production methods. Based on the concept, its production is characterized by collaborative and democratic processes, which require the participation of professionals and communities. His research explores issues related to mass production methods and the value of work in the context of mass culture, as well as the need to understand how objects acquire cultural, public and subjective meanings within contemporary societies.

The most important solo exhibitions by the artist were featured in well-known institutions, such as ICA Miami (2020, USA), Metropolitan Museum of Art – MET-NY (2009, EUA), Museum of Modern Art – MoMA (2007, EUA), Serpentine Gallery (1990, London, UK), etc. Among the group shows are 48th and 55th Venice Biennale (1988, 2013), 28th Sao Paulo Biennial (2008) and 9th Mercosul Biennial (2013), as well as institutions like Hammer Museum (2014, Los Angeles, EUA), Whitney Museum (2010, New York, USA), Solomon R. Guggenheim Museum (2004 e 2010, New York, USA), Centre Georges Pompidou (2023 e 1998, Paris, France), Musée d'Art Moderne et Contemporain (2023, Geneva, Switzerland), etc. His work integrates more than 50 public collections around the world, as in MoMA (USA), Metropolitan Museum (USA), The New Museum (USA); Musée National d’Art Moderne (France), Centre Georges Pompidou (France), Fondation Cartier (France), Museu Berardo (Portugal), New Tokyo Metropolitan Museum (Japan), National Museum of Contemporary Art Seoul (South Korea), among others.

Artist CV

Material and its structure, as well as forms of connection, fixation and support, are the concepts that Afonso Tostes finds most interesting. And in the 2000s the artist began an investigation that now guides his work: tridimensionality and its representation in space. This research springs from a consistent evolution since the outset of his career, which has included the study of organic structural forms in drawing and in painting. Known for his large installations, Tostes recovers the previous histories of materials, mainly wood, revealing and transforming their narratives, according to a sensitive reconstruction of the exhibition space, or even through the resignification of preexisting smaller objects such as work tools and utensils.

Afonso Tostes studied arts at Escola Guignard (1980, Belo Horizonte/ MG) and, later, at the Escola de Artes Visuais do Parque Lage (1989 to 1994, Rio de Janeiro). The venues of his main solo shows have included Fundação Iberê Camargo (2023, Porto Alegre, Brazil), Sesc Pompeia (2019, São Paulo, Brazil), Casa França Brasil (2013, Rio de Janeiro, Brazil), Museu de Arte Moderna – MAM/RJ (2011, Rio de Janeiro, Brazil), Museu de Arte Contemporânea – MAC Niterói (2009, Rio de Janeiro, Brazil), Centro Cultural Maria Antônia (2003, São Paulo, Brazil) and Centro Cultural São Paulo – CCSP (1996, São Paulo, Brazil). He has participated in group shows at Casa de Cultura do Parque (2025, São Paulo, Brazil), Casa Roberto Marinho (2023, Rio de Janeiro, Brazil), Museu de Arte do Rio – MAR (2020, Rio de Janeiro, Brazil), Fondation Cartier pour l’Art Contemporain (2019, Paris, France), National Art Museum of China (2018, Beijing, China), Frestas Trienal Sesc (2014, Sorocaba, Brazil), Instituto Tomie Ohtake (2010, São Paulo, Brazil) and the 5th Bienal do Mercosul (2005, Porto Alegre, Brazil). His work figures in important collections such as those of MAM-RJ (Brazil), MAM-BA (Brazil), MAC Niterói (Brazil), Fondation Cartier pour l’Art Contemporain (France) and Coleção SESC de Arte (Brazil).

Artist CV

The main object in Delson Uchôa’s research is light, which he identifies with his region of origin: the city of Maceió, in northeast Brazil. It is through light that the artist works with time, color, texture and transparency – as well as scale, since most of his paintings have monumental dimensions and take years to finish. He also studies the natural chromaticity of the flora and fauna of that region, which he combines with the Northeastern popular constructive geometry. Considered one of the main artists of the “80s Generation” of Brazilian painting, Delson also works with photography and sculpture – practices he considers as ways of constructing colors, that is, as extensions of painting.

With a degree in medicine received from the Federal University of Alagoas in 1981, Delson Uchôa studied painting at Fundação Pierre Chalita. He has held solo shows at renowned institutions such as the Museu Oscar Niemeyer (Curitiba, Brazil, 2023) Museu do Estado de Pernambuco (Recife, Brazil, 2022), Museu de Ecologia e Escultura (São Paulo, Brazil 2018), Ludwig Museum (Koblenz, Germany 2015), Centro Cultural São Paulo (São Paulo, Brazil, 2012), and Instituto Tomie Ohtake (São Paulo, Brazil 2003), as well as in group shows in Museuns such MASP (São Paulo, Brazil, 2025), CCBB (Brazil, 2025, 2022), Museu Nacional da República (Brasília, Brazil, 2017), Museu de Arte do Rio (Brazil, 2016, 2014), MAM (São Paulo, Brazil, 2007, 1995), among others. He has participated extensively in national and international art biennials, such as those of Venice, São Paulo, Havana and Cairo, and his works figure in important collections, including those of Inhotim (Brumadinho, Brazil), the Museu de Arte Moderna do Rio de Janeiro (Brazil), the Museu de Arte Moderna de São Paulo (Brazil), the Pinacoteca do Estado de São Paulo (Brasil), the Vogt Collection (Berlin, Germany) and the York Stack Collection (Berlin, Germany).

Artist CV

Gabriela Machado’s research is focused mainly on painting. The imagery of day-to-day experience is a great source of inspiration, providing the artist with parameters for landscapes and still lifes, in which she emulates small slices of everyday life on the canvas. Her processes spring from quick, organic and spontaneous gesturality, lending pure visuality to the lively colors and forms. As an outgrowth of this aesthetics, she also creates sculptures, in which she investigates shapes through the potentials of other materials, such as clay, plaster and bronze.

Gabriela Machado received her BA in architecture from Universidade Santa Úrsula (RJ), in 1984. She then furthered her studies in art at the Escola de Artes Visuais do Parque Lage (RJ), between 1985 in 1993, as well as in open courses. She has held solo shows at notable venues including Fundação Eugênio de Almeida (2019, Évora, Portugal), the Museu de Arte de Santa Catarina (2018, Santa Catarina), Auroras (2017, São Paulo), MAM (2016, Rio de Janeiro), the Espaço Caixa Cultural (2009, São Paulo and Rio de Janeiro), and the CCBB (2002, Rio de Janeiro). She has participated in group shows held by prestigious museums and organizations that include Instituto Figueiredo Ferraz (2025, Ribeirão Preto, Brazil), Paço Imperial (2014, Rio de Janeiro), Oi Futuro (2014, Rio de Janeiro), Instituto Figueiredo Ferraz (2025 and 2012, Ribeirão Preto) (2012, São Paulo), Centro Cultural São Paulo (2011, São Paulo), the Museu de Arte da Pampulha (2010, Belo Horizonte), Centro Universitário Maria Antônia (2002, São Paulo), and MAM (1999, Salvador). Her work figures in the collections of important institutions, including those of the Museu de Arte da Pampulha (Belo Horizonte), the Instituto Brasileiro de Arte Contemporânea (IBAC, Rio de Janeiro), and the Museu de Arte de Santa Catarina (Santa Catarina).

Artist CV

Rafael Carneiro's work has been transforming within painting over the years. The transcription of images to the canvas has become, in and of itself, the main thematics of his work, which seeks to avoid the formal commitments and labels proper to painting in order to approach the complex world of the images of culture and the collective imaginary. The meaning of the figures used by the artist is diluted by the technique he uses, which decontextualizes, reconfigures and resignifies, through the breaking of their integrality, subtracting and adding new elements, in order to compose more complex narratives. More recently, the artist has explored the possibilities of new materials on canvas, often in abstract works, based on the production of his artisanal oil paint brand Joules & Joules.

Rafael Carneiro holds a BA in visual arts from ECA USP. His works have been shown at many institutions including the Espace Moliére, Paris, France (2025), Centro Cultural Banco do Brasil, CCBB-DF and RJ (2019); the 33rd Bienal de São Paulo (2018); the Pinacoteca de São Paulo (2017); the Caixa Cultural Rio de Janeiro (2017); Instituto Tomie Ohtake, São Paulo (2016 and 2013); the Paço das Artes, São Paulo (2014); the Festival Sesc_Videobrasil, São Paulo (2013); Itaú Cultural, São Paulo (2011); the Centro Cultural São Paulo (2009 and 2006); and the Centro Universitário Maria Antonia, São Paulo (2005).

Artist CV

An indigenous artist from the Mayan Tz'utujil people, Antonio Pichillá works with a variety of media, but finds textile weaving as his main focus of interest. For him, the processes and materials that involve textile traditions represent a way of rescuing his ancestry, especially through the memory of the women of his own family. His research is also based on the collectivity, culture and symbols of his people, native from the Lake Atitlan region (Guatemala).

Antonio Pichillá graduated from Escuela Nacional de Artes Plásticas Rafael Rodríguez Padilla, in Guatemala. He is a member of TEI-CA group (Study and Research Workshops in Science and Art). Among his most important solo shows is the one that was featured at the International Centre of Graphic Arts – MGLC (2024, Slovenia), Museum of Contemporary Art Santa Barbara (2023, USA), La Nueva Fábrica, Santa Ana (2022, Guatemala). As for the group shows, the most important are: Manif 12 - Biennial (2026, Quebec, Canada), 24th Bienal de Arte Paiz (2025, Guatemala City, Guatemala), Barbican Centre (2024, UK), The Institute for Studies on Latin American Art ISLAA (2024, USA), 22nd Bienal Sesc VideoBrazil (2023-24, Brazil), Denver Art Museum (2022, USA); Kathmandu Triennial (2022, Nepal), 11th Berlin Biennial (2020, Germany), Arte Paiz Biennial (2002, 2010 and 2014, Guatemala), etc. His work features in relevant collections, such as Museo d’Art Contemporani de Barcelona - MACBA (Spain), Museo Nacional Centro de Arte Reina Sofía (Spain), Denver Art Museum (USA) and Tate Modern (UK). Some of his prizes are: Intercontinental Indigenous Biennial - Honorable Mention (2012, Mexico) and Juannio Latin American Art Contest / Auction (2017, Guatemala).