SP-Arte 2025: EN

 

 

 

 

 

Regina Silveira’s artistic research questions the orthodox, preestablished forms of representation, leading her to work with new possibilities of signification. Her works explore the architectural and contextual space, generally evoking a sense of uncanniness through the displacement of the commonplace, that is, our common references. Regina Silveira is known for her research into the principles of perspective, tridimensionality, and the study of shadows, which she employs in large site-specific installations, vinyl cutouts, luminous projections, works in printmaking, embroidery, porcelain, digital videos, etc.

 

With a BA in arts from the Instituto de Artes do Rio Grande do Sul (1959), an MA (1980) and PhD in art (1984) from the School of Communication and Arts of the University of São Paulo (ECA USP), her career as a professor includes stints of teaching at the University of Puerto Rico, Mayagüez; at FAAP, São Paulo; and at ECA USP. She was an invited artist at the 1981, 1983, 1998 and 2021 editions of the Bienal de São Paulo, the 2013 and 2015 editions of the Bienal Internacional de Curitiba, and the 2001 and 2011 editions of the Bienal do Mercosul. She participated in the Bienal de La Habana, Cuba, in 1986, 1998 and 2015; Mediations Biennale, Poznan, Poland, in 2012; the 6th Taipei Biennial, Taiwan, in 2006; and the 2nd Setouchi Triennale, Japan, in 2016. Most recently, in 2025, the artist presented her largest commissioned work ever held, Paradise, at IAH Terminal D - George Bush Intercontinental Airport, in Houston, USA, as well as solo exhibitions at the Instituto Arte Contemporânea (USP), in São Paulo, and at La Virreina Centre de La Imatge, Barcelona, ​​Spain. The artist’s work also has been presented in a major retrospective at Museu de Arte Contemporânea – MAC-USP, 2021-22, as well as at La Virreina Centre de La Imatge, Barcelona, Espanha, 2024; Paço das Artes, São Paulo, 2020; the Museu Brasileiro da Escultura (MuBE), São Paulo, 2018; the Museu Oscar Niemeyer, Curitiba, 2015; the Museo Amparo, Puebla, Mexico, 2014; the Fundação Iberê Camargo, Porto Alegre, 2011; Atlas Sztuki Gallery, Lodz, Poland, 2010; Masp, 2010; and the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, 2005. Regina Silveira was awarded the Prêmio Masp (2013), the Prêmio APCA for her career (2011), and the Prêmio Fundação Bunge (2009). She has received grants from the Fulbright (1994), Pollock-Krasner (1993) and Guggenheim (1990) foundations, and her work figures in countless public and private collections, such as those of the Cisneros-Fontanals Art Foundation (USA), Inhotim, Coleção Itaú, El Museo del Barrio (USA), MAC-USP, Masp, MAM-RJ/SP, the Pinacoteca de São Paulo, MoMA (USA), and the Phoenix Museum (USA).

Through references drawn from popular culture and collective memory, Liliana Porter uses devices that border on the fantastic to compose works that subvert the conventions imposed by everyday life and by art itself, creating ambiguous and controversial situations, called “vinhetas teatrais” [theatrical vignettes]. Through a private collection of images and small objects, the artist works on different supports ranging from photography and videos to installations, to present the viewer with allegorical and distorted narratives of reality and time.

 

Liliana Porter graduated in visual arts from the Escuela Nacional de Bellas Artes (Buenos Aires, Argentina) and from the Universidad Iberoamericana (Mexico City, Mexico). Residing in the USA since 1964, that same year she founded the New York Graphic Workshop, with Luis Camnitzer and José Guillermo Castillo. In 1974, she participated in the creation of the Studio Camnitzer artist’s residency, in Italy. She has held solo shows at notable venues that include Centro Cultural Recoleta, Buenos Aires, Argentina (2024, 2003), Hessel Museum of Art - Bard College, New York, USA (2024), San Jose Museum of Art, San Jose, USA (2023), Saint Louis Art Museum, USA (2022), the National Gallery of Art, Warsaw, Poland (2019); the Pérez Museum, Miami, USA (2018); El Museo del Barrio, New York, USA (2018); the Museum of Fine Arts, Boston, USA (2014); MALBA, Buenos Aires, Argentina (2013); Museu Tamayo, Mexico (2009); Phoenix Art Museum, USA (2000); Bronx Museum, USA (1992); the Museo de Arte Moderno, Cali, Colombia (1990); and the Museum of Modern Art (MoMA), New York, USA (1973). She has participated in group shows at many prominent venues, including BIENALSUR, Museo Nacional de Bellas Artes de Chile, Santiago, Chile (2024), Fundación PROA, Buenos Aires, Argentina (2024), Centre Pompidou Malaga, Malaga, Spain (2023), Fundación PROA, Buenos Aires, Argentina (2021), Guggenheim Museum, New York, USA (2019); the Pinacoteca de São Paulo (2018); Brooklyn Museum, USA (2018); the 57th Venice Biennale, Italy (2017); the Whitney Museum of Art, New York, USA (2016); the Museo Nacional de Artes Visuales, Montevideo, Uruguay (2015); the Bienal de Curitiba, Brazil (2011); the Tokyo Metropolitan Museum of Art, Japan (2008); the VI Bienal do Mercosul, Porto Alegre (2007); and the III Bienal Iberoamericana de Lima, Peru (2002). Her works figure in more than 50 public collections, including those of the Whitney Museum (USA), Tate Modern (England), the Smithsonian Institution (USA), MoMA (USA), the Metropolitan Museum (USA), the Museu de Arte Moderna of Rio de Janeiro, MALBA (Argentina), the Museo Nacional Centro de Arte Reina Sofía (Spain), and Daros Latinamerica (Germany).

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 also 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 show online Waldemar Cordeiro: Bits of the Planet, MAM-RJ/SP, CCSP, Buffalo University (USA), MAC-SP, Itaú Cultural, São Paulo, and the Paço Imperial, Rio de Janeiro. Group shows featuring his work have been held at important venues which include the Walker Art Center (USA), the Pinacoteca de São Paulo, the Museum of Fine Arts Houston (USA), the Museum of Modern Art (MoMA), New York (USA), CCBB-SP/RJ, Goethe-Institut, New York (USA), the Museo Nacional Centro de Arte Reina Sofía, Madrid (Spain), Instituto Tomie Ohtake, São Paulo, 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).

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) and at Zentrum Paul Klee, in Bern, (Switzerland). 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.

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). 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).

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 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).

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 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 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).

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 investigate 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 Paço Imperial (2014, Rio de Janeiro), Oi Futuro (2014, Rio de Janeiro), Instituto Figueiredo Ferraz (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).

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: 23^rd 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 2020, he released the book Altamira, 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); 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.

The brothers Fernando and Humberto Campana were partners since 1983, being recognized worldwide for their work in design. Their art, which was previously strictly in furniture, now extends beyond the limits of multidisciplinarity and establishes design as a path for telling stories, uniting architecture, fashion, scenography and landscape architecture. Through their studio, Estúdio Campana, the brothers have pushed the envelope in terms of the resignification, recovery and reuse of materials, proposing simple and creative solutions, while recovering manual practice. The collective popular mindset of Brazil, with its colors and shapes, is translated into dramatic pieces full of movement and meaning, promoting the art of design as a tool for the exchange of knowledge, transformation and social inclusion. Humberto Campana has led the works with Campana Studio and Foundation since 2022.

 

The Estúdio Campana was founded in 1984. Their first solo show was held at Nucleon 8 (1989), followed by the Pinacoteca do Estado de São Paulo (1991), the Museu da Casa Brasileira (1996, São Paulo, Brazil), MAM-SP (2001), the Design Museum, London (2004), the Victoria & Albert Museum, London (2007), the Musée Des Arts Decoratifs, Paris (2012), and MAM-RJ (2020), The Power Station of Art, Shanghai (2024, Shanghai, China), among many other venues. The venues of group shows they have participated in have most notably included Centre Pompidou - Metz (2023), Design Museum, London (2022), MoMA-NY (1998), the Crystal Palace, Milan (2003), Centre Pompidou (2005), the Triennale di Milano (2015), Somerset House, London (2018), the Museum of Fine Arts, Houston (2020) and the Denver Art Museum (2021). Their pieces figure in important collections such as those of Centre Pompidou (France), the Musée Des Arts Décoratifs (France), MoMA-NY (USA) and MAM-SP (Brazil). In 2009, they founded the Instituto Campana to promote design as a social tool. They have also received various honors and awards, being ranked among the most important design professionals by the magazine Wallpaper (2014–15), and, in 2012, they were conferred the Colbert Committee Award (Paris), honored by Design Week (Beijing), received the Order of Cultural Merit (DF) and the Order of Arts and Letters of the Ministry of Culture of France, and were elected as Designers of the Year by Maison & Objet of Paris. In 2008, they won the Design/Miami Designer of the Year Prize.

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 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 (1993) and the 47th (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).

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 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).

Raphaël Zarka's artistic research starts from theoretical experimentalism, which crosses various media, including painting, sculpture, photography and video. His main interest lies in the sculptural potential of structures, their volumes and geometries, influenced by architecture and urbanity. The artist frequently collaborates with local communities to create his projects, which explore the history and materiality of the objects and spaces involved. Skateboarding, in particular, represents an important element in his investigation, not only for the culture that surrounds that practice, but also for the dynamics of the surfaces used, such as ramps. Also, it is worth mentioning that the point of convergence of his work is a change in the meaning of the forms according to the space and time in which they are inserted.

 

Raphaël Zarka graduated in Arts from the Winchester School of Art, in England, and from the École Nationale Supérieure des Beaux-Arts, in Paris. Among the solo exhibitions, there are the ones at Center Georges Pompidou (2024, Paris, France), Center régional d’art contemporain, (2020, Le Havre, France), Koffler Center of the Arts (2019, Toronto, Canada), National Museum of Contemporary Art (2019, Romênia), Musée d’Art Modern (2016, Toulouse, France), Le Corbusier – Villa Savoye (2013, French), etc. His main participations in group exhibitions are: Biennale d'art contemporain d'Enghien (2022, Belgium), Center Regional d’Art Contemporain (2021, Montbéliard, France), Museé d’Art Contemporain (2019, Bordeaux, France), Museo Nazionale delle arti del XXI Secolo (2018, Rome, Italy), Center Georges Pompidou (2016, Paris, France), Museu de Arte do Rio – MAR (2014, Brazil), Palais de Tokyo (2012, Paris, France), Museum of Contemporary Art (2010, Detroit, USA), etc. His works feature among various public and private collections, such as Center George Pompidou (France), Fonds National d'Art Contemporain (France), Museé d'Art Moderne de Paris (France), among others.

Painting as a language is the main object of research for Tiago Tebet, who has been exploring its processes and forms of resignification since he was very young. Carried out with impeccable technical ability, Tiago Tebet’s investigation is moreover outstanding for its originality in exploring the possibilities and specificities of representation in painting. His research is concerned with the processes of construction and materiality, as mechanical and artisanal methods that he uses to achieve more spontaneous results, leading to a larger variation of languages.

 

In 2009 Tiago Tebet graduated in visual art from FAAP-SP, having participated in three Anuais (internal exhibitions of FAAP) in the years 2007, 2008 and 2009, also receiving a study grant. While still in college, he joined the Anarcademia group led by Dora Longo Bahia, through which he participated in the 28th Bienal de São Paulo, in 2008. Among his solo shows the ones held at Espaço Auroras (São Paulo, Brazil, 2023), Luciana Brito Galeria (São Paulo, Brasil, 2019, 2013 and 2011), Lisa Kandlhofer Galerie (Austria, 2018), as a result of that gallery’s summer residency program), and Instituto Tomie Ohtake (São Paulo, 2017). Group shows he has participated in include Paralela (2010), Museu de Arte de Ribeirão Preto (2011); TRIO Bienal (2015); and the 10th Bienal do Mercosul (2015). In 2016, he moreover participated in the Billingbear Residency, in England.

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 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).

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: 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 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).

A visionary and ceaseless questioner, Fernando Zarif produced a vast oeuvre, in which he established an authentic language independent from the cultural precepts of his time and associated with vanguard expressions such as performance art and video installations. Fernando Zarif is considered one of the most emblematic figures of the generation of artists from the city of São Paulo in the 1980s. From the 1990s onward, the artist began to appropriate various objects in his research, sometimes maintaining the integrity of their materials, sometimes not, but always resignifying them. Besides sculpture, video and performance, the artist explored other artistic supports, such as writing, drawing, painting and music.

 

Fernando Zarif studied architecture and took open courses in the arts. In 1982, he held his first solo show at the Gabinete Fotográfico of the Pinacoteca de São Paulo. The following year, he presented performances with music by Richard Wagner and John Cage, as part of the musical programming of the Museu de Arte de São Paulo Assis Chateaubriand (Masp). In 1995, he held his largest solo show at a Brazilian institution, at the Museu de Arte Moderna of Rio de Janeiro. In 1998, he had a solo show at the Maison des Arts et de la Culture André Malraux, in Créteil, France (1998). In 2009, he participated in his last show during life, at Espaço Tom Jobim, Rio de Janeiro. Beginning in 2011, his family began the Projeto Fernando Zarif, aimed at preserving, cataloging, and disseminating the artist’s work, with 2000 artworks recovered until today, including photographs, books, documents and writings. In 2015, the artist’s first large posthumous exhibition was held, at Instituto Figueiredo Ferraz, Ribeirão Preto, SP, followed by a show in honor of Zarif, held by Luciana Brito Galeria. More recently, in 2021, the Instituto Fernando Zarif launched the publication “Fernando Zarif: Múltipla Unidade”.

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.

Analivia Cordeiro develops her artistic research in a hybrid and multidisciplinary way, with a particular interest in the study of corporal language, focused on various aspects of expression and consciousness, including their relationship with digital media. Her experience with dance began in her childhood and has, ever since, been the central guiding point of her career in the visual arts. A pioneer in the so-called computer dance field and multimedia performance, the artist began to use the computer as a tool for understanding artistic processes as early as 1973, when she became Brazil’s first video artist with the work M3X3, which already foresaw the representativity of information technology in the everyday life of society. In 1981, she created the Nota-Anna software, an application for transcribing the body’s motion, resulting in scientific analyses for the tracing of corporal movements. Analivia’s investigation works with the organic/artificial duality in body language and, in parallel, the control/freedom duality in its relationship with technology, considering corporal language as a semantic filter for reality, an intermediary for dialogue with the public. This has led to her innovative productions in both art and technology, which kindle multisensorial experiences and also work with health, affectivity and self-knowledge , dialoguing with technology, art, the body and the mind.

 

Analivia Cordeiro holds a BA in architecture from the Faculdade de Arquitetura e Urbanismo of USP (1976, São Paulo), an MA in multimedia from Unicamp (1996, Campinas-SP) and a PhD in communication and semiotics from PUC (2004, São Paulo-SP); she has furthermore done postdoctoral work for the Universidade Federal do Rio de Janeiro (UFRJ, 2010, Rio de Janeiro) and for the Universidade de São Paulo (USP, 2018, São Paulo). Between 1977 and 1979 she studied contemporary dance and choreography at Merce Cunningham Dance Studio in New York and at Alwin Nikolais Studio. Recently, the artist featured her first major solo international exhibition, at the ZKM - Museum of Contemporary Art (2023, Germany) and Centro Atlántico de Arte Moderno, Las Palmas (2023, Spain), besides participating in a show at LACMA (2023, USA). The shows and events in which she has participated notably include the 1973 International Festival of Edinburgh; the 12th Bienal de São Paulo (1974, São Paulo, Brazil); LatinAmerica 74, at Institute of Contemporary Arts (1974, London, GB); International Conference Computer & Humanities/2, at the University of Southern California (1976, Los Angeles, USA); Art of Space Era, at Von Braun Civic Center of Huntsville Museum of Art, 1978; Brasil Século XX, Bienal de São Paulo (1984, Brazil); Arte e Tecnologia, at Itaú Cultural (1996, São Paulo, Brazil); the 27th Annual Dance on Camera Festival (1998, New York, USA); SIGGRAPH (2008, USA), B3 Biennale of Moving Images – Expanded Senses, at Museum Angewandte Kunst (2015, Frankfurt, Germany); Video art in Latin America, Laxart (2016–2017, Los Angeles); Radical Women: Latin American Art, 1960–1985, at Hammer Museum (2017, Los Angeles, USA), Brooklyn Museum (2018, New York, USA) and the Pinacoteca de São Paulo (2023 and 2018, São Paulo, Brazil); Coder le Monde, at Centre Georges Pompidou (2018, Paris, France); and Control and Chance: Art in the Age of Computer, at Victoria & Albert Museum (2018, London, UK), Electric Dreams: Art and Technology Before the Internet - TATE Modern (2024, London, UK), além de Radical Software: Women, Art & Computing, 1960-1991 - The Contemporary Museum of Luxembourg - MUDAM (2024, Kirchberg, Luxembourg) Her work figures in important collections, including those of the Museum of Fine Art, Houston (USA), Victoria & Albert Museum Collection (GB), the Museum of Modern Art of New York (MoMA-NY, USA), the Museo Nacional Centro de Arte Reina Sofia (Spain), the Museum of Concrete Art (Ingolstadt, Germany), MAC-USP (Brazil), the Pinacoteca do Estado de São Paulo (Brazil), Itaú Cultural (Brazil), and the collection of Oskar Schlemmer (Switzerland/Germany). Among her various activities, the artist is a member of the International Dance Committee (IDC), of UNESCO.

Thomaz Farkas’s first authorial series are associated with his experience with the Foto Cine Clube Bandeirante, where the artist contributed to the advances of Brazilian photography. His practice was concentrated on creative technical resources, rather than on pictorialism or the traditional genres dealt with in painting (portrait, landscape, etc.). In his photographs, Farkas recorded everyday urban scenes, architecture and cityscapes, through geometric compositions and unusual angles. The artist’s work not only gathers everyday scenes, but also composes a rich documentary source concerning Brazil’s history and social scenario.

 

Residing in São Paulo from the age of six onward, Thomaz Farkas was the son of the founder of Fotoptica, a pioneering company in the commercialization of photographic equipment in Brazil. He received his PhD from the School of Communication and Arts of USP (1973). He held solo shows at important institutions including the Instituto Moreira Salles (2024, São Paulo, Brazil), MIS Museu da Imagem e do Som Chico Albuquerque (2024, Fortaleza, Brazil), Museu da Imagem e do Som (2019, São Paulo), the Instituto Moreira Salles (2011, São Paulo), the Pinacoteca de São Paulo (2005), the Centro Português de Fotografia (2000, Lisbon, Portugal), Masp (1949, 1997), and MAM-SP (1949). He participated in many group shows, held at prominent venues including MAM-SP (2023, Brazil), MoMA-NY (2021, USA), Museo Jumex (2018, Mexico), Tate Modern (2018, London, England), the Museum of Contemporary Art (2017, San Diego, USA), Itaú Cultural (2017, São Paulo), The Photographer’s Gallery (2016, New York, USA), the Fundação Calouste Gulbenkian (2015, Paris, France), and the Museum für Fotografie (2012, Berlin, Germany). Farkas was also elected four times as Brazil’s representative in the Photographic Society of America, and was a key figure in the creation of the departments of photography of Masp and of MAM-SP. His work figures in the collections of MoMA-NY (USA), Masp, MAM-SP/RJ, Instituto Moreira Salles, and Tate Modern (England).