Fairs

ARCOmadrid 2025

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• Geraldo de Barros, Untitled, 1953/1996, laminated plastic mounted on wood, 23.62 x 23.62 in
  1/25

Luciana Brito Galeria is pleased to announce its participation in ARCOMadrid, one of the foremost contemporary art fairs in Europe. For the 2025 edition, running from March 5 to 9, the gallery has selected works that reflect the importance of artistic research and its creative processes. In this selection, the gallery highlights the historical legacy of Geraldo de Barros (1923–1998, Brazil), Regina Silveira (1939, Brazil), and Waldemar Cordeiro (1925, Italy – 1973, Brazil). Rare works by these artists will be shown alongside those by Analivia Cordeiro (1954, Brazil), Antonio Pichillá (1982, Guatemala), Bosco Sodi (1970, Mexico), Caio Reisewitz (1967, Brazil), Gabriela Machado (1960, Brazil), Iván Navarro (1972, Chile), Rafael Carneiro (1985, Brazil) and Raphael Zarka (1977, France).

 

Throughout her 60-year career, Regina Silveira has remained at the forefront of research on perception and visual representation, primarily by investigating the principles of perspective and three-dimensionality. Works from the series In Absentia (1980s) reveal how the artist was already manipulating the perspectival codes used in visual representations, in this case simulating absent objects. The historical studies of this series illustrate the steps the artist took toward her final objective, at a time when such work was done without technological assistance, carried out with brush and paint in the physical space. One of the versions presented at the fair, M.D. (Marcel Duchamp), was first shown to the public in 1983 during the 17th Bienal de São Paulo. Another significant work by Regina Silveira, Quimera, had its first version presented at Galeria Luciana Brito in 2004, in an exhibition held in parallel to that year’s Bienal de São Paulo. This installation demonstrates the artist’s ability to play with our perception through a metalinguistic process involving light and shadow. A comprehensive retrospective of Regina Silveira’s oeuvre is currently being held at La Virreina Centre de La Imatge in Barcelona.

 

Like Regina Silveira, both Geraldo de Barros and Waldemar Cordeiro were major figures in the Brazilian artistic avant-garde. Their work proved decisive in establishing Brazilian visual arts within the contemporary scene. Geraldo de Barros’s multifaceted oeuvre is represented at the fair by more than 20 pieces that exemplify his most significant investigations, such as photographs from the Fotoforma series (1940–1950). The gallery will present a diptych from this series – shown here for the first time – which reveals the creative processes behind these works, as the original image can be compared with the final result. The selection also features artworks from the artist’s concretist period, alongside pieces from the Sobras series (1996–98), his final research project, and furniture pieces produced by the emblematic Unilabor cooperative factory that operated from 1954 to 1967 in Brazil. A key figure in the same period as Geraldo de Barros and one of his collaborators, Waldemar Cordeiro stands as a central figure of the concrete movement. Paintings and drawings representative of this period are presented together with his trailblazing works in computer art, another field that Cordeiro pioneered.

 

The show will also feature historical works by Analivia Cordeiro. The series “0°‹–›45°” (1974) belongs to her groundbreaking research in video and computer dance, now recognized as a precursor to the music video. This work provides insight into our evolving perception of space-time, reflecting both the digital world of today and that of the 1970s, when technology began showing its influence on social life.

 

The legacy of these artists paved the way for current research. Artists like Antonio Pichillá and Bosco Sodi are presenting works using textiles and weaving to give voice to their cultures and ancestral heritage, while Iván Navarro is showing luminous sculptures that use technology to signal contemporary challenges and evoke historical memory. Similarly, Caio Reisewitz is showing photographs that express his concerns about politics and the environment. In another realm, the gallery’s selection for the show features paintings by Gabriela Machado and Rafael Carneiro, demonstrating how their works complement each other and how these artists operate at the boundary between figuration and abstraction.

Art Basel Miami Beach 2024

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• Antonio Pichillá, "Abuela", 2016, textile and mercerized threads, 78.74 x 39.37 x 3.54 in
  1/25

ArtRio 2024

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• Gabriela Machado, "Hino", 2011-2024, acrylic on linen, 57.8 x 53.9 in
  1/25

SP-Arte 2024

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• Bosco Sodi, Untitled, Mixed media on canvas, 55.12 x 74.8 in
  1/24

Art Basel Miami Beach 2023

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• Waldemar Cordeiro, Untitled, 1960, oil on canvas, 29.53 x 29.53 in
  1/23

This set of works was specially selected to present an overview of the year 2023 at Luciana Brito Galeria, reaffirming the trajectory of its represented artists. In addition to relevant institutional projects, the gallery has been active with its own programming that included nine exhibition projects, ending the year with the group show Primavera Silenciosa [Silent Spring]. Along with Brazilian artists Afonso Tostes, Caio Reisewitz, Fernando and Humberto Campana, Delson Uchôa, Gabriela Machado and Waldemar Cordeiro, the gallery is also presenting works by Marina Abramovic, Bosco Sodi, Iván Navarro, Jorge Pardo, Antonio Pichillá, and Manuel Chavajay.

 

Curated by the Chilean Alexia Tala, the exhibition Primavera Silenciosa [Silent Spring] is an ambitious project featuring works by Latin American artists, aiming to convey to the public the significance of the indigenous worldview in relationship with the environment. In this context, artists such as Antonio Pichillá and Manuel Chavajay present works that incorporate elements of contemporaneity while reclaiming their Mayan Tz’utujil indigenous ancestries. Revisiting its 2023 programming, the gallery is presenting works by Afonso Tostes that were part of the show Ajuntamentos [Joinings], a project that was continued later at the Iberê Camargo Foundation, in Porto Alegre. In producing the works for that show, the artist used materials that would otherwise have been discarded, repurposing them to create paintings from the remnants of his studio production process. For his part, Bosco Sodi reused old coffee bean shipping bags as his canvas, on which he painted a monumental depiction of the sun.

 

In 2023, the gallery also held a show that marked Delson Uchôa’s return to the gallery’s roster of artists after more than ten years. The featured artworks summarize the result of unprecedented research, in which the artist blends traditional geometric patterns of the Brazilian Northeast with the constructivist planimetry of the Bauhaus, using plant fibers in the composition of the works. Concurrently, recalling one Brazil’s most significant artists, the gallery is presenting a set of works from the Geometria Intuitiva [Intuitive Geometry] series by Waldemar Cordeiro. This  series represents an important phase of Cordeiro’s career, in which he still espoused the appeal to the constructivist aesthetic but abandoned the precision of rulers and compasses to adhere to a freer drawing and colors. The gallery is also showing a historic installation by Marina Abramovic, in a tribute to the Serbian artist, who is currently presenting her first major exhibition in England at the Royal Academy of Arts.

 

Complementing the selection, the gallery is also featuring works by Caio Reisewitz, an artist who occupied all of the gallery’s spaces at the beginning of the year with the exhibition Mundo do Meio [World in Between]. In this project, the artist presented an overview of his more than twenty years of research concerning the representativity of architecture. During the fair, the public will also be able to see works by Jorge Pardo, and Iván Navarro as well as by Gabriela Machado, the latest addition to the gallery’s lineup of artists.

ArPa 2023

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• Fernando Zarif, Untitled, wool and acrylic on canvas, 23.62 x 19.68 in
  1/19

The decision to present a booth with a solo show of works by Fernando Zarif was made with two aims: to pay merited homage to this artist, and to let the public know more about his multidisciplinary production, which greatly impacted the São Paulo art scene in the 1980s and ’90s. Curated by Rafael Vogt Maia Rosa, who has been studying Fernando Zarif’s legacy since 2018, the selection presents a representative set of never-before-shown works, emphasizing the singularity of his pictorial production in the context of the so-called “return to painting” in Brazilian art in the 1980s. It also features tridimensional and photographic experiments, especially self-portraits, which allowed Zarif to produce figurative works in keeping with his theatricalized, rebellious lyricism and expressivity. A further aim is to show the independence and virtuosity that allowed the artist to intercross the dominant trends of his time – which were couched in formalist thinking and in the heroic character of abstract North American expressionism, cultivating a philosophical and poetic “Orientalism” informed by the tradition of surrealist automatism and by a musical conception of art history.

SP-Arte 2023

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• Delson Uchôa, “Tela Cultivada Interstício Clorofila”, 2020, resin in pigment of acrylic paint dehydrated on beaten clay floor, 112.5 x 111 in (double side)
  1/21

For the 2023 edition of SP-Arte, Luciana Brito Galeria is presenting a group of works that underscore the importance of multidisciplinarity in the visual arts and reveal the power of the diversity of materials used by its represented artists, as well as the plurality of their discourses. The highlights are Afonso Tostes (1965, Brazil) Bosco Sodi (1970, Mexico), Caio Reisewitz (1967, Brazil), Delson Uchôa (1956, Brazil), Gabriela Machado (1960, Brazil), Geraldo de Barros (1923, Brazil), Héctor Zamora (1974, Mexico), Iván Navarro (1972, Chile), Rafael Carneiro (1985, Brazil), Rochelle Costi (1961, Brazil), Waldemar Cordeiro (1925, Italy) and the brothers Fernando and Humberto Campana of Campana studio.

 

Art Basel Miami Beach 2022

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• Iván Navarro, "Quark V", 2022 (detail)
  1/22

For this edition of Art Basel Miami Beach, Luciana Brito Galeria is presenting a set of works by represented artists who have contributed to the international cultural debate in recent years, such as Allan McCollum (1944, USA), Anthony McCall (1946, England), Bosco Sodi (1970, Mexico), Iván Navarro (1972, Chile), Leandro Erlich (1973, Argentina), Liliana Porter (1941, Argentina) and Marina Abramovic (1946, Yugoslavia), as well as Caio Reisewitz (1967, Brazil) and Regina Silveira (1939, Brazil). Argentine artist Leandro Erlich has been one of the gallery’s highlights in 2022, with shows at various institutions worldwide, including a traveling show in Brazil at the venues of Centro Cultural Banco do Brasil (CCBB). The artist is currently preparing the show Liminal, which surveys his last 20 years of production, to be held at PAMM (Pérez Art Museum Miami), curated by Dan Cameron. The artist also presents a performance at Luciana Brito Galeria’s booth at the fair and at the museum, You can’t have your cake and eat it too, in partnership with Kreëmart. The action features a chocolate cake in the shape of a piece of furniture, on display during the First Choice day until being cut up and served to the public by the artist.

 

ArtRio 2022

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• Rochelle Costi, “Equilíbrio_Brasil + corpo”, 2021
  1/2

A quintessential word for designating stability, “equilibrium” is used in physics to describes a state where the various forces acting on a given object do not change its situation. Arising from either harmonic or opposing forces, equilibrium is intrinsic to artistic creation. Inspired by the recent series by Rochelle Costi, Equilíbrio [Equilibrium] (2021), Luciana Brito Galeria is presenting at ArtRio 2022 a group of works that deal with how the search for equilibrium permeates the creative processes of its artists taking part in this show: Bosco Sodi (1970, Mexico), Caio Reisewitz (1967, Brazil), Hector Zamora (1974, Mexico), Iván Navarro (1972, Chile), Leandro Erlich (1973, Argentina), Marina Abramovic (1946, Yugoslavia), Rafael Carneiro (1985, Brazil), Regina Silveira (1939, Brazil) and Rochelle Costi (1961, Brazil). Also on this occasion, for the first time in Rio de Janeiro, the gallery is presenting the Sala Modernista project, a special space for showing historical works by Waldemar Cordeiro (1925, Italy – 1973, Brazil), Geraldo de Barros (1923–1998, Brazil) and Thomaz Farkas (1924, Hungary – 2011, Brazil). Another novelty is brought by the works by Afonso Tostes (1965, Brazil), an artist from the state of Minas Gerais who was recently added to the gallery’s roster.

SP-Arte 2022

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• Leandro Erlich, "Cloud - América del Sur", 2018
  1/28

For SP-Arte 2022, Luciana Brito Galeria is presenting a group of works that reflects the power of the investigations of the artists it represents, with a highlight on the installations by Argentine artist Leandro Erlich (1973, Argentina) and by Regina Silveira (1939, Brazil). They both occupy the central space of the gallery’s stand, in dialogue with works by Afonso Tostes (1965, Brazil), Augusto de Campos (1931, Brazil), Bosco Sodi (1970, Mexico), Caio Reisewitz (1967, Brazil), Fernando Zarif (1960, Brazil), Geraldo de Barros (1932, Brazil), Héctor Zamora (1974, Mexico), Iván Navarro (1972, Chile), Liliana Porter (1941, Argentine), Pablo Lobato (1976, Brazil), Rafael Carneiro (1985, Brazil), Rochelle Costi (1961, Brazil) e Tiago Tebet (1986, Brazil)

 

The work Cloud – America del Sur (2018) is one of Leandro Erlich’s most enigmatic productions, where a cloud is represented through the illusion brought about by the interposition of twelve ultratransparent panels printed with ceramic ink. The playful and intangible world generally associated with clouds is reproduced by the artist, who understands it as a delicate beauty of nature, a symbol of resistance against the impact suffered by the natural environment. Another highlight is the installation Touch (2021), by Regina Silveira, consisting of giant handprints on the stand’s main wall accompanied by a series of porcelain plates that bear life-size handprints. The work calls attention to what is out of scale, challenging the public’s perception. Leandro Erlich has been outstanding in Brazil with the show A Tensão, a traveling show currently at CCBB-SP, while Regina Silveira is in the middle of having her first retrospective, at MAC-USP.