Summary

• Presentation.
• Modern and contemporary art in focus
• MAM São Paulo: encounters between the modern and the contemporary
• Between the modern and the contemporary, the end of art history and indeterminacy.
• MAM São Paulo Collection: where modern and contemporary art meet.
• Meetings with the public at MAM Educativo.
• Nature: end of representation.
• Urban Environment: habitat of modernity.
• Bodies: relationship politics.
• Ways of building and breaking.
• Fragments: gestures and abstractions.
• Media: updated traditions.
• Credits

About.

Encounters between the modern and the contemporary is an exhibition that addresses a fundamental part
the identity of the Museum of Modern Art of São Paulo (MAM São Paulo). Discussions about
the links between modern and contemporary art, both in exhibitions and in courses and
Educational initiatives, in addition to being at the heart of MAM's collection since the late 1960s, are central to the museum. The exhibition catalog includes a text by MAM's chief curator, Cauê Alves,
about the relationship between modern and contemporary art from the perspective of art theory, and a text by curator Gabriela Gotoda, which problematizes the definitions of modern and contemporary from the perspective of the history of MAM itself. This publication also features the collaboration of MAM Educativo, with a text on guided tours and public accounts. The exhibition, a partnership between
The Fiesp Cultural Center and MAM São Paulo embody the museum's efforts to work in synergy with other cultural institutions. This represents a valuable opportunity to bring the MAM collection to Paulista Avenue and expand its visibility. Thus, consistent with its history and identity, MAM fulfills its mission of disseminating modern and contemporary art while strengthening its brand as a dynamic museum, open to partnerships, and that values ​​the democratization of art and dialogue with other institutions.

Elizabeth Machado President of the Board of Directors of the Museum of Modern Art of São Paulo.

Modern and contemporary art in focus

The Fiesp Cultural Center Art Gallery is pleased to host the MAM São Paulo exhibition:
encounters between the modern and the contemporary. The exhibition brings together icons from art history to
debate and reflect on the possible transitional milestones between modern art and contemporary art, through the Museum of
Modern Art of São Paulo (MAM São Paulo). The exhibition allows visitors to learn and reflect on the cultural context and historical facts that influenced the conception and creation of the works, as well as the repercussions these works have on the present day. SESI-SP is an institution that works for education broadly, and culture plays a prominent role. Thus, all of the institution's initiatives and projects aim to develop new audiences for the arts, promote the dissemination and access to free culture, and promote the national creative economy.
SESI-SP.

MAM Sao Paulo:
encounters between the modern and the contemporary

The collection of the Museum of Modern Art of São Paulo, with more than 77 years of history, is marked
undergoing transformations and reformulations that reflect its importance for modern and contemporary art in Brazil. Since the second half of the 1960s, the MAM collection has been renewed and expanded. With significant donations from collectors, critics, and other art supporters, as well as the artists themselves, the MAM currently houses over 5 works. A large portion of these, however, correspond to so-called "contemporary art," which
refers, in general, to the production of artists over the last 60 years. This contingent exceeds
quantity and volume of works of “modern art”, those usually linked to the avant-garde
modernists of the first half of the 20th century. Given the encounter between modern and contemporary art in the MAM collection, we can reflect on the recurring debate surrounding the definitions of “modernity” and “contemporaneity” and the ways in which they relate
with artistic productions. After all, the historical narratives that punctuate modern art and
contemporary art in a timeline do not always account for determining its separation,
as aesthetic parties and subjects converge and mix, including in countless works
belonging to the MAM collection. If the beginning of modern art occurred with the European avant-garde
at the turn of the 19th and 20th centuries, the production of Brazilian modernists extended throughout
most of this last century, thus placing it at its own pace of development and improvement. In fact, the beginning of contemporary production in Brazil can be understood from
the unfolding of one of the last modernist avant-gardes, constructivism, in its aspects
concretist and neoconcretist and their dialogue with dystopian avant-gardes such as pop art.
Modern art emerged as a break with the past and with academic art. While art
contemporary represents, for many, a break in relation to modern precepts, such as
the formalism and technical specificity of the supports, introducing new languages ​​and media. The
notion of avant-garde, typical of modern art, which dreamed of revolutionizing the world and
represented a promise of freedom, tends to be lost in the contemporary moment. In art
More recently, the romantic idea of ​​a better world has lost ground, as has the belief in reason and scientism, giving way to reflections on the unsustainability of our ways of life and individually desired microutopias.
Works from different periods in recent Brazilian art history are brought together in six sections of the exhibition: "Nature: End of Representation," "Urban Environment: Habitat of Modernity," "Bodies: Politics of Relationship," "Ways of Constructing and Disrupting," "Fragments, Gestures, and Abstractions," and "Media: Updated Traditions." These thematic sections bring together works from distinct times and contexts to demonstrate that the recurrence of modern issues in contemporary times is inherent to the times we live in, often overlapping periods. Within these sections, works by active artists engage with works linked to the modernist avant-garde. Whether through visual qualities or technical and conceptual procedures, these works extend to the present day issues initially revealed by industrial modernity, which continue to be exacerbated by developmental efforts and technological advancement. The perception of continuity in these ways of thinking and revealing reality is precisely the critical tool society needs to deal with the dystopian challenges facing the world. MAM's current collection thus poses questions that impinge on cultural, social, and historical issues: What is the relationship between the ideas of "modern" and "contemporary"? How do they differ, and what brings them together? And how does this affect our ways of producing culture and narrating history? Is it simply a distinction between periods or styles? Certainly, there are historical and theoretical differences that deserve broad discussion, but ultimately, is it possible to precisely draw the visual and temporal boundary between modern and contemporary art? In what ways does it relate to the perception of historical time and lived time? The exhibition addresses these questions, not to answer them definitively, but rather to contribute to other forms of
approach, offering the public the autonomy to be surprised by the reflections awakened by art, regardless of the time period.
curators Cauê Alves and Gabriela Gotoda.

Between the modern and the contemporary, the end of art history and indeterminacy.

Defining modern art and its differences from contemporary art, which some authors claim has put an end to the history of art, is no simple task. Modern art is not simply a concept referenced in time and a historical period, just as contemporary art is not merely modern art made today by contemporary artists. The notion of modern art also refers to a style (or styles), since not everything produced between the last third of the 60th century and approximately the XNUMXs is modern. Modern art, even though from a certain perspective it can be seen as a continuity with the art that preceded it, was in direct conflict with the academic and official art of the salons, which nonetheless continued to be produced throughout the XNUMXth and XNUMXth centuries. According to American art critic Arthur Danto, "the history of art has evolved internally; contemporary art has come to mean art produced within a certain structure of production never seen before."¹ This structure involves a massive art circuit with institutional and market support of unprecedented proportions before pop art. "Just as 'modern' came to denote a style and even a period, and not just recent art, 'contemporary' came to designate something more than simply the art of the present moment."² According to the critic, contemporary art “designates less a period than what
it happens after there are no more periods in some master narrative of art, and less one style
of making art than a style of using styles.”³ In the current art circuit, there is a recurring discourse that reaffirms a dichotomy between “modern” and “contemporary”, as the latter is characterized by a kind of “informational disorder”,
of “aesthetic entropy” and total freedom, where everything is allowed since there are no more limits
historical and neither a clear opposition between art and non-art. It is the feeling that there is no
There is a single direction or trait that defines the period. A central point in Danto's argument is the discussion of Andy Warhol's 1964 work, "Brillo Box," a laundry detergent box that, although made of wood and silkscreened, is visually indistinguishable from any other on a supermarket shelf. From this work onward, there is no longer anything that allows for the distinction between any mundane object and a work of art. There would be no boundaries between art and non-art, or rather, this definition ceases to be in the realm of sensory perception and shifts to the thought and narrative of art history. For Andy Warhol, Danto continues, there would not even be a need for an artist to find their own style, a sort of system of equivalences, a way in which the artist is recognizable to others. An artist can produce Pop works one moment, Expressionist works the next, and geometric works the next week. This would be an indication of the total freedom of contemporary art.
The Italian-Brazilian critic Lorenzo Mammì, on the contrary, understands that the crisis of the notion of style
individual, instead of leading to an expansion of freedom, indicates greater rigidity.

_{Even within the same
personality, we cannot
fail to notice that the greatest of
modern artists, Picasso,
tried a variety
huge number of conflicting styles,
sometimes within the same
work. And that, in general, almost
all the artists of modernism
showed throughout their work
a variety of features very
bigger than Andy Warhol, who,
however, according to Danto, it would be
the initiator of free transit between
the styles.⁴}

What seems to replace the notion of style in contemporary art, given that process is increasingly valued, is the reiteration of certain gestures and technical procedures (Warhol's silkscreen) that end up taking its place. It's as if style has become a procedure, something the artist has complete knowledge of and is therefore no longer "the emblem of a way of inhabiting the world."⁵ In Warhol's case, everything happens as if the painting already existed before it was even painted. Added to this is the rapid pace at which new works emerge without the possibility or intention of establishing a new style. These same works are quickly discarded to make way for new ones. This is precisely what, according to German art historian Hans Belting, makes impossible an art history model based on the style of an era and the internal logic of art. This is what leads to the dissolution
of the internal unity of the history of art or of its narrative, at least of a history of art seen
as universal. The main target of Danto's criticism is the modernist narrative of the most influential American modern art critic, Clement Greenberg,⁶ who sought to define the essence of modernism based on an idea of ​​purity and self-awareness of modern painting, moving toward its flatness—that is, toward what is proper and exclusive to painting. According to Danto, with the absence of a single narrative line, our era opens up to great experimental possibilities. The end of any narrative is what marks the end of art history, and, according to the author, based on Belting,⁷ Just as there was art before the age of art (which began with the Renaissance), there will continue to be art after the end of art. This is the end of a linear history of art, or, as Belting puts it: “the end of a certain artifact, called art history, in the sense of the end of the rules of the game.”⁸ even if the story goes otherwise. There is no longer a story of
art told through styles or a history of art distinct from the history of culture. Thus, at the same time that the avant-garde disappears, the limitations on how
the work of art could be formed. The notion of appropriation became increasingly recurrent
of other images, in which, obviously, the notion of a uniform style is no longer relevant. Belting and, especially, Danto draw on the Hegelian notion of the end of art “as an awareness of the true philosophical nature of art.”⁹ For these authors, if the Spirit in Hegel develops in three stages, from religion towards art and from this towards philosophy, our time marks precisely the loss of the importance of art for pure reflection, pure thought.
In Hegel, art ceases to be the manifestation of the Absolute Spirit, as it had been in ancient Greece. Art—having become self-reflective since modern art, with the "Age of Manifestos"—began to incorporate philosophical thought within itself. Hegel's prediction would thus be confirmed, according to Danto, by the very history of art that followed. The narrative of art ends when the philosophical nature of art comes to the forefront.
_{Now, said Hegel, and he was
right, art “invited us to
an intellectual contemplation”
specifically about your
own nature, be yours
contemplation in the form of
art in a self-referential role
and exemplary or in the form of
real philosophy.¹⁰}

For Danto, the contemporary period represents a period of maturity for art, a time when it abandoned its excessively materialistic bias, its preoccupation with pigment, surface, form, etc.—that is, what defined it in its inner purity, in the sense proposed by Greenberg—to move closer to philosophy. With this, visibility shifts from the center of aesthetic discussion. The essence of art ceases to be the realm of the visible and belongs primarily to the realm of thought, that is, it crosses the threshold into conceptual art. Thus, even if it has not transformed into philosophy, art has at least begun to understand its philosophical nature.
For Danto, even if art continues to exist after the "end of art," it is not embedded in a unifying narrative, which concluded around the 1970s and 1980s. Everything artistic since then would be understood in a posthistorical period. Artists of this period began to ignore "modernist criteria," recognizing that the narrative of modernism had come to an end. Still according to Danto, who comes from the tradition of analytical philosophy, the only thinker in the history of aesthetics who understood the concept of art in all its complexity was Hegel. According to the American critic, "no philosopher took the historical dimension of art so seriously."¹ Exceptions are made for Nietzsche and Heidegger. It should be noted that Nietzsche's thought¹² on history is opposed to Hegel's philosophy of history and its idealist teleology, since Nietzsche brings the idea of ​​the "eternal return" and a circular conception of time—as if history were a large clock with hands that always tend to restart. In this sense, for Nietzsche, there are certain hidden gears of history that are fixed. This is a rejection of time.
historical and linear, since repetitions presuppose temporality as eternity. On the other hand, perhaps Danto saves Heidegger because, in *The Origin of the Work of Art*, published in 1950, he wrote that it was too early to say whether Hegel's thought was true or false.

_{The final decision about the
Hegel's verdict has not yet been
handed down […]. The decision about
of Hegel's verdict will be
pronounced, if it comes to be, the
starting from the being's own truth
and about it. But until then, the
Hegel's verdict stands
valid. That's the only reason it is
the question about
if the truth, that the verdict
announces, will be definitive, and what
if it happens, if so.¹³}

While Heidegger questions what the essence of the work of art is, Danto confesses to being an essentialist,¹⁴ In other words, his notion of art has something timeless and is abstractly elaborated through reflection, even though he cites countless artists throughout his work and draws on concrete examples. History would be part of the extension of the concept of art. Or, his concept of art, in fact, is the culmination of the history of art: in this case, the self-awareness of its philosophical nature. The problem is precisely the reconciliation between this absolute freedom of contemporary art cited by the author and his essentialist notion of art. Danto will attempt to reconcile his essentialism with Hegelian historicism, hence the enormous presence of narrative in his thought. For him, art
is always linked to a narrative, so not everything can be art in all eras.
Quoting a passage from Wölfflin,¹⁵ Danto will justify through the narrative the fact that Brillo Box
Warhol cannot be seen as art at all times, just like Marcel Duchamp's readymade.
Therefore, nothing prevents the existence of forms of art that are unimaginable today in the future. The philosophical concept
Danto's definition of art will need to be universal and encompass not just a particular style or narrative, but everything that has been known as art throughout history. Whether or not what is art no longer depends
only from the sensitive field or the history of art, to be linked to the thought and philosophy of
art, in fact what comes to an end is a certain critical tradition based on visibility, represented by Greenberg. Danto points out precisely the fact that narratives define the nature of art based on
of a very particular — and exclusive — notion of art. However, there is a multiplicity and
plurality in contemporary art that no style or lateral definition could encompass.
For Danto, it would not be correct to say that the history of art stopped, as if time stopped
to unfold, but rather that the history of art is finished “in the sense that it has come to have a kind of self-consciousness, becoming, in a way, its own philosophy: a state of
things that Hegel predicted in his philosophy of history.”¹⁶ In fact, even if you condemn the view of
history of modern art as a teleological path, Danto ends up, indirectly, accepting it. For him, there would be an internal logic to history, a certain necessary sequence, at least until art
modern. Posthistorical art would be free of this; it would be the moment of suppression of this progressive line. Even though Danto's thought helps us understand the differences between modern and contemporary art and the transformation of the relationship between art and utopia, some 20th-century philosophers, such as the Frenchman Maurice Merleau-Ponty, allow us to say that there is no end to art, nor is there really an elevation of art to a condition of self-awareness or self-reflection.
philosophical. It would not be necessary to decree the end of art or the end of philosophy, since, being different, both can meet again without one having to succumb to the other.
For Merleau-Ponty, there is a difference between art and philosophy and if art became philosophy it would cease to be
to be art. Among the differences between an artistic event and a non-artistic event is its fruitfulness. For an artistic action not to be superficial and insignificant, it must open
path and, from within, generate a future. Contained within the present—in a current action or a work of art—is that which is yet to come. It is not possible to determine how, when, or even what will come, only that something will come. The future is, therefore, what is promised by the present itself.
But the present, like any work of art, does not contain in advance what will happen or
the developments that an artist will still invent, only contain an opening, a possibility for other things to happen from it.
According to the Italian philosopher Giorgio Agamben, contemporaneity would be “a singular relationship with
time itself, which adheres to it and, at the same time, distances itself from it.”¹⁷ Those who fully identify with their own time are not contemporary because they cannot see it. Unlike the etymology of the word, in which contemporary is linked to what occurs at the same time, there would be something outdated in its definition—that is, a dissociation between times, an anachronism. There is, therefore, something incomprehensible about the contemporary. In the impossibility of precisely determining what is current or outdated, it follows that there is always something archaic about the contemporary—that is, a relationship with the original. The relationship between the modern and the contemporary is thus fraught with ambiguity and indeterminacy. History cannot be destined to have a conclusion, culminating in the end of art history or in the posthistorical moment. It is necessary to keep meanings open without delimiting their precise beginning and end, especially when dealing with works of art, which have multiple and contradictory meanings depending on the curatorial context in which they are displayed.

Cauê Alves.

MAM São Paulo Collection:
where modern art
and contemporary if
find.

A series of historical circumstances makes the visual arts collection of the Museum of Modern Art of São Paulo the context of a constituent encounter between modern art and contemporary art.
Founded in 1948, modeled after the Museum of Modern Art in New York, and sponsored by the cultural and political authority of Nelson Rockefeller, who held the presidency of that museum, MAM São Paulo participated directly in the process of institutionalizing modern art in Brazil. With the active participation of artists, critics, and writers who sought to establish in the local context the supposed revolutionary spirit of the transatlantic avant-garde movements, breaking with the academic art of the colonial period, MAM also promoted the first editions of the São Paulo Biennial, presenting to the public and Brazilian artists the most recent production from different parts of the world (with the usual emphasis on European and American avant-garde movements). Through this relationship with the local art scene and the recurring promotion of an international event, the first collection
of the museum was constituted with works of the great artists of the period, many representatives
known from the national and international movements of the modernist avant-garde of the 20th century
XX. Bringing together works by Henri Matisse, Pablo Picasso, Paul Klee, Jacob Lawrence, Tarsila do Amaral,
Anita Malfatti, Lasar Segall, Maria Martins, and Alfredo Volpi, among others, this collection was transferred from MAM to the University of São Paulo in 1963. Concurrently, the Biennial became independent, and was then managed by a foundation created exclusively for this purpose. Both events resulted from decisions by Ciccillo Matarazzo, founder and then president of MAM, and profoundly impacted the museum's history, structure, and mission from that point forward.
It is not the intention of this text to reflect extensively on these historical facts. However, it is important to highlight what happened after the transfer of the initial collection from MAM to USP—notably,
the creation of its Museum of Contemporary Art — and the premise put into practice with the emergence of this new museum: the musealization of modern art was and would continue to be the paradigm
institutional framework of contemporary art. Between the history of the period conventionally called “modern” and the period we call “contemporary,” there was the assimilation of what is called “modernity” in the form of new cultural institutions, tasked with incorporating it into
process of cultural homogenization of the canon. The avant-garde and their inventions were first
positioned in radical, even rebellious, opposition to the aesthetic regime that dominated the field
of the arts since the Renaissance; and then, on the eve of the expiration of its status
As a novelty, they began to be promoted by institutions that, to survive their contemporary world, needed to renew themselves. This observation is even clearer when we consider that, parallel to the founding of MAC USP, efforts were being made to keep MAM alive, even without a headquarters and collection. The coincidence between the near dissolution and subsequent reformulation of a museum dedicated to modern art and the simultaneous founding of a museum dedicated to contemporary art is the synchronous mark of the cycle of genesis, consolidation, and collapse of the avant-garde spirit regarding modernity within its process of institutionalization.
After half a decade of nomadic life, MAM São Paulo acquired a new headquarters with the concession
municipal building under the Ibirapuera Park marquee, decreed in 1967, the same year in which
received as a legacy a large part of the collection of Carlo Tamagni, an important collector of modern Brazilian art, reintroducing some of the Brazilian modernists to the new MAM collection
mentioned above. The museum was reopened in 1969 with the first edition of the Panorama of
Brazilian Art, then called “Panorama de Arte Atual Brasileira”, a recurring exhibition dedicated to promoting the most recent artistic production in the country, including the most current works by already established artists, as well as more experimental works by young artists.
Through the 38 editions of Panorama held to date, MAM has built one of the most important institutional collections of so-called “Brazilian contemporary art”, being a pioneer, including,
in the process of musealization of various new media and languages, such as video art, installation, video installation, and performance. Awards, sponsored acquisitions, and voluntary donations from participating artists enabled the incorporation of works by relevant artists active in recent decades, such as Tunga, Carlos Fajardo, Ernesto Neto, Laura Lima, and Rosana Paulino, among others. At the same time, the Panoramas also enabled the inclusion of works by already established artists in the MAM collection, such as Arcangelo Ianelli, Emanoel Araújo, Alfredo Volpi, Lothar Charoux, Rubem Valentim, and Franz Weissmann, representative names of Brazilian modern art who preserved the mark of their styles until their later productions. Thus, the loss of the original collection and the recomposition begun in the 1960s converged in the character of the collection.
MAM that we seek to highlight in the exhibition: the unexpected coexistence between works by artists considered modern and works produced in the last seven or six decades, of so-called "contemporary art." It is as if, in the MAM collection, the supposed promise of overcoming the naturalist and academic tradition, proffered by modern art in its utopian and avant-garde stance, and the apparent proof of its failure, evidenced by contemporary art and its dystopian fatalism, were forced to coexist in mutual fulfillment. But, to glimpse and give meaning to this coexistence,
would it be necessary to definitively distinguish one from the other? Perhaps it is natural to imagine that, to recognize the encounter between differences, we must focus on the contrasts between them, bypassing
the forms and nuances of their divergences, which would justify the importance of trying to bring them closer together
them. Many theories and philosophical perspectives have been developed in recent decades in an effort
to elucidate the specificities of modern art and contemporary art through the idea
of “modernity”, a concept with the character of an ephemeral-historical process, which would have led to the emergence of the avant-garde and, consequently, the rupture and contrast created by
more recent productions. The philosopher Jacques Rancière, however, points out that:

_{The idea of ​​modernity is
a mistaken notion that
I would like to produce a cut
in the complex configuration
of the aesthetic regime of the arts,
retain the forms of rupture,
the iconoclastic gestures etc,
separating them from context
which authorizes them: reproduction
generalized, the interpretation, the
history, the museum, the heritage…
She wished there was
a one-way street, when the
temporality specific to the regime
aesthetic of the arts is that of a
co-presence of temporalities
heterogeneous.
The notion of modernity
it seems, therefore, as if invented
on purpose to confuse the
intelligence of transformations
of art and its relations
with the other spheres of
collective experience.}¹⁸

Modern art and contemporary art coexist beyond a relationship of detriment and opposition, as both inform and relate to each other through parallel references and contexts, culturally and politically overlapping in collective experience, following Rancière's thinking. This suggests that the ideal definition, whether positive or negative, can lead to inconsistencies. Alfred Barr, the first director of MoMA, published a text in 1934 pointing precisely to the consecutive variability in the attributions of "modern" across the historical timeline and narrative.
then in force regarding the art of the avant-garde.¹⁹“Modern history” would be an ambiguous and flexible expression, with variable dates depending on the elected opposition. For example, if viewed in opposition to
classical or ancient history, modern history would have begun with the fall of the Roman Empire. But, if the medieval period is viewed with some autonomy, the modern era would have begun with the fall of Constantinople or with the discovery of the Americas, or, even if the focus is on the history of
In modern Europe, this period would have the French Revolution or the Franco-Prussian War as its starting point. Similarly, attributing the term "modern" to art with any degree of (Western) chronological precision would ignore its use at least since the Renaissance, when the adjective was used as a mark of approval for new emulations of Greco-Roman art, and then, with the Baroque turn, acquired tones of disapproval. According to Barr,

_{In chronological terms, the
term “modern art”
is so elastic that it can only
be poorly defined.
And, in colloquial terms, the
expression “modern art”
is used in a way that is unrelated to
academic chronology. “Art
modern” is recurrently
a subject for debate, for
be attacked or disfigured,
to serve as a flag for the
progressive, or alert
for conservatives. In this
sense, the word “modern”
becomes a problem that has
less to do with time than
with prejudice. […] The truth
is that modern art cannot
be defined to any degree
of purpose in time or in
character, and any attempt to
doing so presupposes blind faith,
insufficient knowledge,
or an academic absence
of realism.}²⁰

The convergence between modern and contemporary art occurs naturally in the MAM São Paulo collection due to historical circumstances, but in the shared experience of present time-space, it occurs through the diversity of lived or remembered temporalities, which maintain the productions that address modernity in a state of relativity and permanent significance. After all, the modernist avant-gardes are so called precisely because of the perception that what they proposed was ahead of their time, progressively projecting itself into the future, thus directing itself toward an idealized modernization, relative to the past. The art that
is contemporary to the present day and to recent decades, yet it nonetheless addresses modernity, but our current modernity—one that already presents a series of failures and disappointments with the legacy of the modernists. Given this, would the utopian stance of transforming reality through art be abstract naiveté?
By proposing thoughtful dialogues between works from different periods, from conceptual perspectives
or different forms and different technical procedures, the exposure and the cut that it
makes of the MAM São Paulo collection suggests that, in the physical and public encounter between modern art and
contemporary, the differences and specificities are not definitive, nor are they essential to
that an aesthetic and cultural experience is possible. And, even when we seek support for
stabilize definitions, the spatial encounter between works is still capable of introducing new meanings
and perceptions, suspending the weight of an unprecedented existence in the present space-time.
In addition to showcasing emblematic pieces present in the collection, the exhibition's curators focused on the works that were added to the MAM collection through the 1967 Tamagni donation,
The first addition, which debuted its reconstruction, and recent donations, such as that of Rose and Alfredo Setubal in 2024, which transferred to the museum contemporary works created in the last 20 years, as well as works from the 1950s and 60s by artists considered modern, reiterating the dual nature of the collection—always and simultaneously modern and contemporary. Furthermore, the exhibition was organized into sections that highlight issues central to narratives that ultimately distance artistic productions according to chronological or theoretical criteria. The themes addressed
in each nucleus can be placed, to a large extent, in relation to historical paradigms
of the representation of nature, or of the naturalistic representation of reality; of the supposed dichotomy
between figuration and abstraction; the constructive character of abstraction; and the conceptual appropriation of
unconventional supports for art. The three-dimensional works of Ione Saldanha [p. 46-7], present
in the center of the first section of the exhibition, “Nature: End of Representation,” exemplify and synthesize some of these relationships. A liminal artist, who cannot be easily classified
as modern or contemporary, Ione Saldanha appropriated bamboo trunks, measuring
almost 4 meters high, and made them the support of a colorful and linear painting. The smooth texture and
ring segmentations common to the bamboo trunk were covered with strips of acrylic paint, which
vary in color and size, but uniformly impose themselves on the natural order of this species.
Subtracting nature from itself, without completely denying it, this work thus produces a new and still recognizable materiality. The provenance of these works in the MAM collection cannot be ignored given their synthetic virtue: they were donated by the artist for the first Panorama exhibition in 1969. At that time, Ione Saldanha was already an artist with a consolidated career.
awarded two years earlier at the São Paulo Biennial. Like many of the works presented
at the MAM reopening exhibition, this set introduced new technical possibilities
and conceptual for the artistic production of that period. Its three-dimensional condition does not easily lend itself to the classification of “sculpture,” since there was no actual act of sculpting in its creation. Nor could it be called “painting,” considering that what is conventionally
being called that presupposes a two-dimensional support. The spatial arrangement of these works, specifically guided by the artist in an assembly description kept in the MAM archive along with the donation documents, perhaps brings them closer to the idea today
of “installation,” as they lead and shape their own ambiance in the place they occupy and resignify. It is precisely the imprecision or instability of any attempt to subject them to a definition, whether related to modern art or contemporary art, that
make these works a symbol of the encounter between the modern and the contemporary, which happens
between and within a large contingent of works in the MAM São Paulo collection.
Gabriela Gotoda.

18. Rancière, Jacques. The Sharing of the Sensible: Aesthetics and Politics. São Paulo: EXO experimental org.; Editora 34, 2009, p. 37.

19. Barr Jr., Alfred H. “Modern and 'Modern'”. Bulletin. New York: Museum of Modern Art, 1934. Available at https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/185/releases/MOMA_1933-34_0052.pdf. Accessed March 20, 2025.

20. Ibid., author’s translation.

Meetings with the public
Educational MAM.

At the beginning of a guided tour, we usually introduce ourselves. So, let's do the same here: we are the MAM Educativo team, made up of multidisciplinary educators with their own specific and collective knowledge. Seeking to develop a reflection on the terms "modern" and "contemporary," we will share insights from our visits.
based on our experiences with diverse audiences. In our educational practice at MAM São Paulo, we start with triggering questions like "what is a museum?" Some answers
emerge from the public: “a place of ancient things”, “a place that has dinosaurs”, “a place that
keeps stories”, among others. In light of these statements, we observe the agreements and disagreements of
expectations of the public. When we ask about what is in an art museum, many
Sometimes, the answer is simply "art." But what is art? "Painting," "statue," "sculpture," "picture," "drawing." Questions also arise like: "Shall we see the Mona Lisa? Shall we see Van Gogh?", "Picasso?", "Leonardo da Vinci?" When we ask about the context of Brazilian art, sometimes the name "Tarsila do Amaral" or "that painting with the big foot" comes up. To be even more specific: what is the Museum of Modern Art and what does it have? We receive answers like: "modern, new arts," "technological and current things." Which in itself presents a contradiction: the museum
as an old place, but with modern elements. It turns out that, in many exhibition cycles, MAM São Paulo presents contemporary art exhibitions. And from there, a new question arises: what is contemporary? Often, a silence ensues. Some people say it's something akin to modern, while others say the opposite. We realize that the term "contemporary" doesn't seem as familiar as "modern." The latter is more present in everyday life, often associated with the idea of ​​change and a break with the past. The word is used to describe temporality and urban advancements: "this building is very modern," "these sneakers are modern," "you are super modern." Contemporary, on the other hand, refers to coexistence in the same time, such as, for example, being contemporary with someone. However, for many, the term sounds distant and academic. By connecting with the diverse perceptions of what can be modern and contemporary, we seek to prioritize the public's experience and aesthetic enjoyment of the artwork, always considering its
repertoires and sociocultural contexts. This is because, regardless of the period of the work, the discussions and interpretations constructed have the potential to lead us to ethical, aesthetic, and political questions.
of the society we live in. And we live in the now, with the public. These, so important
for the field of art, they have within their strength and influence the possibility of experimenting, participating, and challenging conceptions regarding terms like contemporary and modern, since they are the ones who enter the museum with their baggage. Between the modern and the contemporary, there has always been and always will be... the public.
Amanda Alves Vilas Boas Oliveira,
Amanda Harumi Falcao, Amanda Silva dos Santos, Barbara Goes, Caroline Machado, Leonardo Sassaki, Luna Aurora Souto Ferreira, Maria Ferreira, Maria Iracy Costa, Mirela Estelles, Pedro Queiroz,
Sansorai Oliveira.

Nature: end of representation.

For a long period of history, the faithful representation of nature was considered the absolute purpose of art. Modernist avant-gardes and contemporary artists reject this prescription and propose new ways of imagining and reflecting on the relationships we establish with the natural world and its elements. The works of Victor Brecheret and John Graz present figures through volumes and succinct drawings, which correspond to natural forms without pretending to imitate them, instead highlighting their most significant features. Siron Franco's sculpture reproduces all the physical aspects of a cocoon, but the resemblance is challenged by its much larger size than cocoons found in nature. Raoul Dufy's painting and the engravings of Oswaldo Goeldi and Carlos Vergara resemble each other through the expressiveness of their images: in the former, the colorful brushstrokes
give shape and movement to a static flower vase; in the second, the lines and stains produced by woodblock printing create a scene of mystery and melancholy; and, in the third, the use of iron oxide to print the image of a fish is inseparable from the environmental conditions in which many animals currently live. The works of Haruka Kojin and Ione Saldanha create abstractions from the aesthetic power of natural elements combined with synthetic colors, and Leonilson's painting appropriates the physical aspects of the river to create metaphors for emotional states, turning the objectivity of nature into a means of subjectivation.

Urban Environment: habitat of modernity.

The notion of modernity is deeply linked, from a historical and cultural perspective, to the urban environment and the process of industrialization. However, several modern paintings from the 1930s and 1940s, such as those by Di Cavalcanti, Rebolo, Tarsila do Amaral, and José Antonio da Silva, depict suburbs and outskirts of cities when urbanization was still very incipient. Instead of urban life, with buildings and bridges, Tarsila do Amaral chooses views of a farm, with small houses, trees, and cacti. José Antonio da Silva depicts still poorly urbanized villages, where one can recognize the grocery store, horseback transportation, and a social life far removed from the speed of the contemporary city. During this period, the paintings of many modernists approximate forms
more traditional and emphasizes popular and evocative scenes from Brazilian culture. Works by contemporary artists, such as Leda Catunda—who depicts the glass-enclosed MAM building in Ibirapuera Park—Shirley Paes Leme—who condenses São Paulo's air pollution using an air conditioning filter—and André Komatsu—who uses broken glass or display windows patched with plywood—reveal a city that, despite its green spaces for leisure and museums, is unhealthy and plagued by acts of violence.

Bodies: relationship politics.

The forms of representation of the human body in modern and contemporary art suggest
that the relationships we establish from and through it are full of power games.
Some of these relationships occur naturally, such as emotional and family relationships, while others
result from specific conditions and contexts of approach and separation of bodies in
dynamic situations. In the engravings by Candido Portinari, which illustrated a special edition
In Machado de Assis's *Posthumous Memoirs of Brás Cubas*, we see a series of scenes featuring characters from the novel; their gestures, clothing, and interactions seem to suggest, even without the text, the relationships established between them. In Heitor dos Prazeres's painting and Lívio Abramo's watercolors, the different body postures, along with the flowing dresses and skirts, imbue the dance images with dynamism. The works of Ismael Nery, Anna Maria Maiolino, Antonio Henrique Amaral, and Marco Paulo Rolla present bodies that suggest intimate relationships from different perspectives, sometimes more symbolic, sometimes more literal. The paintings of Rubens Gerchman and Claudio Tozzi introduce social and political relationships,
accentuated by the national context of military dictatorship in the period in which they were carried out. The
portraits by Flávio de Carvalho and Samson Flexor engage with questions of representation of
an identity, using cubist fragmentation as a visual strategy of subjectivity.
The works of Letícia Parente, Ana Maria Tavares and Tunga do not present bodies, but allude to
to its presence when we reflect on the functionality of the objects portrayed.

Ways of building and breaking.

The forms of representation of the human body in modern and contemporary art suggest
that the relationships we establish from and through it are full of power games.
Some of these relationships occur naturally, such as emotional and family relationships, while others
result from specific conditions and contexts of approach and separation of bodies in
dynamic situations. In the engravings by Candido Portinari, which illustrated a special edition
In Machado de Assis's Memórias Póstumas de Brás Cubas, we see a series of scenes featuring characters from the novel; their gestures, clothing, and interactions seem to suggest, even without the text, the relationships established between them. In Heitor dos Prazeres' painting and Lívio Abramo's watercolors, the different body postures, in addition to the flowing dresses and skirts, imbue the dance images with dynamism. The works of Ismael Nery, Anna Maria Maiolino, Antonio Henrique Amaral, and Marco Paulo Rolla present bodies that suggest intimate relationships from different perspectives, sometimes more symbolic, sometimes more literal.
paintings by Rubens Gerchman and Claudio Tozzi introduce social and political relations,
accentuated by the national context of military dictatorship during the period in which they were created. The portraits of Flávio de Carvalho and Samson Flexor engage with questions of identity representation, utilizing Cubist fragmentation as a visual strategy for subjectivity. The works of Letícia Parente, Ana Maria Tavares, and Tunga do not depict bodies, but allude to their presence when we reflect on the functionality of the objects depicted.

Fragments: gestures and abstractions.

Modern art is closely linked to abstraction, which is also common among contemporary artists. Among the origins of abstraction in art is, precisely, the cut-out and
fragmentation of nature, that is, the enlargement of a fragment to the point of losing its initial reference. In Aldo Bonadei's paintings, there is no point-by-point representation of reality; in them, figurative elements linked to the still life genre coexist with geometric abstractions. Antônio Henrique Amaral, on the other hand, starts with a bunch of bananas—a kind of icon of Brazilian identity due primarily to economic and cultural connections that range from Carmen Miranda to
Tropicalism—to select a fragment that can be perceived as green and yellow bands. The delicate gestures present in Sandra Cinto's pen drawings lie in this nebulous zone between the figurative and the abstract, a discussion that MAM has been engaged in since its founding in the 1940s. Beatriz Milhazes, using vivid colors, engages with the field of collage, fusing geometric patterns, circular shapes, mandalas, and floral motifs. Works by Flávio Shiró, Samson Flexor, and Yves Klein transform gestures into paintings through the use of brushes, paints, and the bodies of the artists and models.

Media: updated traditions.

Contemporary art is commonly characterized by the use of new media and different languages ​​not previously associated with artistic work. However, technologies such as photography and video, as current as they are, were already explored by artists within the modernist avant-garde, while contemporary productions continue to appropriate traditional languages ​​and media, such as newspapers, printed text, and drawing, to reformulate their creations.
Visual and conceptual. Alberto da Veiga Guignard's photomontages represent one of the first visual experiments with the photographic image in Brazil and can be associated with the Surrealist avant-garde due to their dreamlike setting and the symbolism of the elements in the compositions. The videos in Antonio Dias's series The Illustration of Art are some of the first video art works in Brazilian art and discuss ways of illustrating or imagining what art could be through the technology of home video. The works of León Ferrari, Franklin Cassaro, and Antonio Manuel use the materiality of newspapers to produce conceptual provocations, which address the viewer both through their potential expectations about the function of this communication medium and through the possibilities for participation that the different forms and visual volumes suggest. The works of Artur Barrio and Rodrigo Matheus are created from a variety of decontextualized elements, configured in compositions of material "drawings," which update the formal and conceptual possibilities of one of the languages
oldest in art.

Credits.

EXPOSURE [EXHIBITION]
realization
Fiesp Cultural Center (CCF) /
SESI-SP
Museum of Modern Art of São Paulo
curatorship
Caue Alves
Gabriela Gotoda
executive production
[executive production]
Luciana Nemes (coord.)
Ana Paula Pedroso Santana
Elenice dos Santos Lourenço
Paola da Silveira Araujo
(assistance) (PJ)
expographic project
[exhibition design]
Carmela Rocha
Sofia Gava
graphic design and communication
visual [graphic design and visual
communication]
Paulo Vinicius G. Macedo
Rafael Soares Kamada
editorial coordination
[editorial coordination]
Renato Schreiner Salem
communication
Anne Tavares (coord.)
jamyle rkain
Rachel Brito
Nicolas Oliveira (trainee
[intern])
Press office
[press office]
Ana Beatriz Garcia (PJ)
Evandro Pimentel (PJ)
execution of the expographic project
[execution of exhibition design]
Cenotech Scenography
conservation
Patricia Pinto Lima (coord.)
Alessandro Costa (PJ)
Barbara Blanco Bernardes de
alencar
Camila Gordillo de Souza
Fabiana Oda (PJ)
Igor Ferreira Pires (arthandler)
Marina do Amaral Mesquita
Taline de Oliveira Bonazzi (PJ)
installation
Handling Assembly e
Cultural production
Eduardo Tadeu da Silva (coord.)
lighting design
[lighting design]
Anna Turra Lighting Design

lighting equipment
[lighting equipment]
holy light
printing and installation of
visual communication [printing and
installation of visual communication]
SECALL Visual Communication
LTD
accessibility consultancy
[accessibility consultancy]
Silvia Arruda
accessibility features
[accessibility resources]
video guide and audio description itinerary

Gregory Sanches
Leonardo Sassaki
review of the audio description text
[revision of the audio description text]
Rafael Braz
interpreters and video guide in Libras
[interpreters and video guide in
Brazilian Sign Language
Accessibility Bridge
audio and video equipment

NB3 Rentals and Events
shipping
ATM Janus and Logistics
English translation
[English translation]
Paul Webb
text review and preparation
[copy editing and proofreading]
Mauricio Ayer
Dominique Makins Bennett
CATALOG [CATALOG]
realization
FIESP Cultural Center (CCF) – SESI-SP
Museum of Modern Art of São Paulo
curatorship
Caue Alves
Gabriela Gotoda
texts [texts]
Caue Alves
Elizabeth Machado
Gabriela Gotoda
MAM Educativo [Education]
Amanda Alves Vilas Boas Oliveira
Amanda Harumi Falcao
Amanda Silva dos Santos
Barbara Goes
Caroline Machado
Leonardo Sassaki
Luna Aurora Souto Ferreira
Maria Ferreira Maria Iracy Costa
Mirela Estelles
Pedro Queiroz
Sansorai Oliveira
visual identity and graphic design
[visual identity and graphic design]
Paulo Vinicius G. Macedo
Rafael Soares Kamada
coordination
Anne Tavares
graphic production
[graphic production]
Leandro da Costa
editorial coordination
[editorial coordination]
Renato Schreiner Salem
English translation
[English translation]
Paul Webb
text review and preparation
[copy editing and proofreading]
Mauricio Ayer
Dominique Makins Bennett
photos [photos]
Ding Muse
except [except]:
Renato Parada (p. 56–7)
image processing and printing
[photo retouching and printing]
Ipsis Graphics
THANKS
[ACKNOWLEDGEMENTS]
Special thanks to the Center
Cultural Fiesp (CCF) and its teams
for the institutional partnership with MAM
São Paulo and the invaluable collaboration
with the exhibition.
[Special thanks to the Fiesp Cultural Center
(CCF) and their staff for the institutional
partnership with MAM São Paulo and their
invaluable collaboration to the exhibition].
MAM São Paulo thanks the artists,
authors and copyright holders
who generously authorized the
reproduction of the works in this catalog.
[MAM São Paulo is thankful to the artists,
authors, and copyright holders who
generously licensed the reproduction of the
works in this catalog.]

SESI – SOCIAL SERVICE OF
Light industry
Personnel
SÃO PAULO REGIONAL
[SESI – SOCIAL INDUSTRIAL
SERVICE – regional department of
São Paulo]
president
Josué Christiano Gomes da Silva
board members
André Luiz Pompéia Sturm
Dan Ioschpe
Elias Miguel Haddad
Luiz Carlos Gomes de Moraes
Antero José Pereira
Narciso Moreira Preto
Sylvio Alves de Barros Filho
Vandermir Francesconi Junior
Massimo Andrea Giavina-Bianchi
Irineu Govêa
Marco Antonio Melchior
Alice Grant Marzano
Marco Antonio Scarasati Vinholi
Sergio Gusmão Suchodolski
Daniel Bishop Calazans
superintendent of SESI-SP
[superintendent of SESI-SP]
Alexandre Ribeiro Meyer Pflug
executive culture manager
[executive manager of culture]
Deborah Viana
technical culture manager
[technical manager of culture]
Alvaro Alves Filho
visual arts team and
audiovisual [audiovisual and visual arts team]
cultural activities analysts
[cultural activities analysts]
Elder Baungartner
Eliana Garcia
Larissa Lanza
intern
Rayssa Rafaela de Lima Sobrinho
cultural recruitment center
[cultural contracting nucleus]
project management supervisor
cultural projects
management supervisor]
Jonatas Willian de Oliveira Sousa
administrative services analysts
Aina Margot da Silva
Douglas Miranda Ferreira
Eduardo Viegas Cerigatto
Ione Augusta Barros Gomes
Isabela Martos Paes Capatti
Jonathan Ezekiel de Menezes da Silva Julius Caesar de Araújo
Kielcimara de Almeida Nascimento
Michele Araújo da Silveira
Solange Silva Santos Primo
administrative support assistant
[administrative support assistant]
Gabriel Vicente
FIESP CULTURAL CENTER
[FIESP CULTURAL CENTER]
technical supervisor
[technical supervisor]
Marcio Madi
cultural activities analysts
[cultural activities analysts]
André Luiz Porto Salvador
John Edson Martins
cultural mediators
Alessandra Rossi
Maria Fernanda Guerra
public guides
[audience guidance]
Aline Gonçalves de Barros
Meireles
Bianca Santos Silva
Éderly Cármen C. Ribeiro Rocha
Henrique Blankenburg Cipriano
Martins da Silva
Herbert de Souza Laurentino
art education monitors
[art education monitors]
Brigite Ery Shiroma
Bruno Vital Alcantara dos
Santos
Catarina Aretha Abreu
Diana Proença Modena
Elis Ramos Genro
Leo do Nascimento Rezende
Maria Julia Fonseca Nascimento
Pamela da Silva Nascimento
Vinicius Araujo Buava
machinist in charge
[head machinist]
Nilson dos Santos
machinists
Alessandro dos Santos Peixoto
Menes Santos Machado
illuminators [lighting technicians]
Ronie de Araújo Ferreira
Rubens Marcel G. Torres Masson
sound technicians
Charles Alves dos Santos
Roberto Aparecido Coelho
Roselino Henrique Silva
stagehands
Carlos Leandro de Carvalho Braga
Evandro Pedro da Silva Julio Silva Neto
interns
Luna Cunha Roque
Ulysses Gomes da Silva
SESI-SP cultural memory
[SESI-SP cultural memory]
cultural activities analysts
[cultural activities analysts]
Josilma Gonçalves Amato
Thais dos Anjos Bernardo
interns
Felipe Alencar Machado
Giovanna Brito de Oliveira
communications team
[communication team]
Executive Marketing Director
and corporate communication
[executive director of marketing and
corporate communication]
Ana Claudia Fonseca Baruch
marketing manager and
corporate communication
[marketing and corporate
communication manager]
Leticia Martins Acquati
digital planning manager
[digital planning manager]
Rafael Queiroz
press manager
Rose Matuck
communications coordinator
and marketing [communication and
marketing coordinator]
Mariana Soares
analysts
Alexandre Muner
Cleiton Prado
Juliana Cezario
Karina Costa
Larissa Oliveira dos Santos
Matheus Araújo
Vinicius Froes
copywriter
[advertising copywriter]
Mirella Luiggi
proofreader
Felipe Ferreira De Melo
video editor
Rodolfo Pereira Da Silva
interns
Giovanna Julia Oliveira
Klelvien Arcenio
Laura Maluf
Melissa Castro
Milena Mucheironi

ART MUSEUM
MODERN SÃO PAULO
honorary president
[honorary president]
Milú Villela
management board
president
Elizabeth Machado
vice president [vice president]
Daniela Montingelli Villela
legal director
Tatiana Amorim de Brito Machado
financial director
José Luiz Sá de Castro Lima
directors
Camila Granado Pedroso Horta
Marina Terepins
Raphael Vandystadt
deliberative council
[advisory board]
president
Geraldo José Carbone
vice president [vice president]
Henry Luz
board members
Adolpho Leirner
Alfredo Egydio Setubal
Andrea Paula Barros Carvalho
Israel da Veiga Pereira
Antonio Hermann Dias de Azevedo
Caio Luiz de Cibella de Carvalho
Eduardo Brandao
Eduardo Mazzilli de Vassimon
Eduardo Saron Nunes
Eduardo Sirotsky Melzer
Erica Jannini Macedo
Fábio de Albuquerque
Fábio Luiz Pereira de Magalhães
Francisco Pedroso Horta
Helio Seibel
Jean-Marc Etlin
Jorge Frederico M. Landmann
Lucia Hauptman
Luis Terepins
Luiz Deoclécio Massaro Galina
Maria Regina Pinho de Almeida
Mariana Guarini Berenguer
Mário Henrique Costa Mazzilli
martin grossmann
Neide Helena de Moraes
Paulo Setubal Neto
Peter Cohn
Renata Mei Hsu Guimarães
Roberto B. Pereira de Almeida
Rodolfo Henrique Fischer
Rolf Gustavo R. Baumgart
Salo Davi Seibel
Sérgio Ribeiro da Costa Werlang
Sergio Silva Gordilho
Susana Leirner Steinbruch

cultural and communications committee
[cultural and communications
committee]
coordination
Fábio Luiz Pereira de Magalhães
members
Andrea Paula Barros Carvalho
Israel da Veiga Pereira
Camila Granado Pedroso Horta
Eduardo Saron Nunes
Elizabeth Machado
Fábio de Albuquerque
Jorge Frederico M. Landmann
Maria Regina Pinho de Almeida
martin grossmann
Neide Helena de Moraes
Raphael Vandystadt
governance committee
[governance committee]
coordination
Mário Henrique Costa Mazzilli
members
Daniela Montingelli Villela
Elizabeth Machado de Oliveira
Erica Jannini Macedo
Geraldo José Carbone
Henry Luz
Mariana Guarini Berenguer
Renata Mei Hsu Guimarães
Sérgio Ribeiro da Costa Werlang
Tatiana Amorim de Brito Machado
finance and fundraising committee
[financial and fundraising committee]
coordination
Francisco Pedroso Horta
members
Daniela Montingelli Villela
Eduardo Mazzilli de Vassimon
Elizabeth Machado
Jean-Marc Etlin
José Luiz Sá de Castro Lima
Lucia Hauptman
Luis Terepins
nominating committee
[nomination committee]
Alfredo Egydio Setubal
Elizabeth Machado
Geraldo José Carbone
Henry Luz
fiscal board
standing members
Demetrio de Souza
Reginaldo Ferreira Alexandre
Susana Hanna Stiphan Jabra
(president)
alternates
Magali Rogéria de Moura Leite
Rogério Costa Rokembach
Walter Luís Bernardes Albertoni

art commission
Alexia Tala
Claudinei Roberto da Silva
Christiana Tejo
Daniela Labra
rosana paulino
ethics and conduct committee
[ethics commission]
Daniela Montingelli Villela
Elizabeth Machado
Erica Jannini Macedo
Renata Mei Hsu Guimarães
Sergio Miyazaki
Tatiana Amorim de Brito Machado
patron associates
[associate patrons]
Adolpho Leirner
Alfredo Egydio Setubal
Antonio Hermann Dias de Azevedo
Daniela Montingelli Villela
Eduardo Brandao
Eduardo Saron Nunes
Fernando Moreira Salles
Francisco Pedroso Horta
Geraldo José Carbone
Helio Seibel
Henry Luz
Jean-Marc Etlin
Mariana Guarini Berenguer
Mário Henrique Costa Mazzilli
Neide Helena de Moraes
Paulo Setubal Neto
Peter Cohn
Roberto B. Pereira de Almeida
Rodolfo Henrique Fischer
Rolf Gustavo R. Baumgart
Salo Davi Seibel
Sérgio Ribeiro da Costa Werlang
core panorama
[panorama art hub]
coordination
Camila Granado Pedroso Horta
members
Alberto Srur
Anita Kuczynski
Antonia Bergamin, Conrado
Mosque and [and] Tomás Toledo
Antonio Almeida and Michele
Uchoas de Paula
Cleusa De Campos Garfinkel
Carlos Dale Junior and [and]
Roberta Dale
Deborah Assalve Strike
Diego Fernandes and Dani
Romani Fernandes
Eduardo and Ariely Farah
Eduardo Suassuna
and Marcelle Farias
Fatima and [and] Marco Antonio
Lima
Felipe Dmab, Matthew Wood
and Pedro Mendes Guilherme Martins Duarte
and Victoria Steinbruch
Jessica Cinel
Luciana Caravello
Luiz Alberto Danielian
and Ludwig Danielian
Malvina Sammarone
Maria Luisa Barros
Marilia Chede Razuk
Milton Goldfarb
Odine and Marcos Ribeiro
Simon
Olavo Egydio Setubal Junior
Paula Azevedo
Pedro Henrique Carvalho de
Assis Martins
Renata
Ricardo Garin Ribeiro Simon
Rodrigo Mitre
Teodoro Bava and [and] Eduardo
Baptistella Jr
Teresa Cristina R. Ralston
Botelho Bracher
Thiago Gomide and [and] Fabio
Frayha
Thomas Mousinho Gomes
Carvalho Silva
Vanessa and Bruno Amaral
Vilma Eid
William Maluf
contemporary core
[contemporary art hub]
coordination
Camila Granado Pedroso Horta
members
Adriana de C. Leal Andreoli
Ana Carmen Longobardi
Ana Eliza Setubal
Ana Lopes
Ana Lucia Siciliano
Ana Paula Cestari
Ana Paula Vilela Vianna
Ana Serra
Ana Teresa Sampaio
Andrea Gonzaga
Antonio de Figueiredo Murta Filho
Antonio Marcos Moraes Barros
Beatriz Freitas Fernandes
Távora Filgueiras
Beatriz Yunes Guarita
Bruna Riscali
Camila Barroso de Siqueira
Camila Tassinari
Carolina Costa e Silva Martins
Cintia Rocha
Cleristton Cruz Rodolfo Martins
Cleusa de Campos Garfinkel
Cristiana Rebelo Wiener
Cristiane Quercia Tinoco Cabral
Cristina Baumgart
Cristina Canepa
Cristina Tolovi
Daniela Bartoli Tonetti
Daniela M. Villela
Daniela Steinberg Berger Eduardo de Vicq
Eduardo Mazilli de Vassimon
Elen Leirner
Esther Cuten Schattan
Fabricio Guimarães
Felipe Akagawa | Angela
Akagawa
Fernanda Mil-Homens Costa
Fernando Augusto Paixão
Ax
Flavia Regina de Souza Oliveira
Florence Curimbaba
Gustavo Clauss
Gustavo Herz
Helena Gualandi Verri
Hena Lee
Isabel Ralston Fonseca de Faria
Janice Mascarenhas Marques
José Eduardo Nascimento
José Augusto Abujamra Kappaz
Judith Kovesi
Juliana de Souza Peixoto Modé
Karla Meneghel
Leila Rodrigues Jacy da Silva
Luciana Lehfeld Daher
Luisa Malzoni Strina
Marcio Alaor Barros
Maria Claudia Curimbaba
Maria das Graças Santana
Good
Maria do Socorro Farias de
Andrade Lima
Maria Julia Freitas Forbes
Maria Teresa Igel
Mariana de Souza Sales
Mariana Schmidt de Oliveira
Iacomo
Marina Lisbona
Monica Mangini
Monica Vassimon
Nadja Cecilia Silva Mello Isnard
Natalia Jereissati
Patricia Magano
Paula Almeida Schmeil Jabra
Paulo Setubal Neto
Raquel Steinberg
Regina de Magalhaes Bariani
Renata Nogueira Studart do Vale
Renata Paes Mendonça
Rosa Amelia de Oliveira Penna
Marques Moreira
Rosana Aparecida Soares de
Queiróz Viscount
Rosana Wagner Carneiro
Mokdissi
Sabina Lowenthal
Sérgio Ribeiro da Costa Werlang
Silvio Steinberg
Sonia Regina Grosso
Sonia Regina Opice
Such Days Cabral
Tatyane Frasson Henriques
Telma Andrade Nogueira
Titiza Nogueira
Vera Lucia Freitas Havir
Wilson Pinheiro Jabur

staff
chief curator
Caue Alves
executive superintendent
[chief operating officer]
Sergio Miyazaki
collection
coordination
Patricia Pinto Lima
analyst
Marina do Amaral Mesquita
assistants
conservation
Bárbara Blanco Bernardes de Alencar
documentation
Camila Gordillo de Souza
Taline de Oliveira Bonazzi (PJ)
assistance to the presidency,
curatorship and superintendence
[management board, curatorship,
and superintendence assistance]
Daniela Reis
controller analyst
[controllership analyst]
Janaina Chaves da Silva Ferreira
library
museology supervisor
[museology supervisor]
Pedro Nery
documental librarian
[documentation librarian]
Victor de Almeida Serpa
communication
coordination
Anne Tavares
analysts
Jamyle Hassan Rkain
Rachel de Brito Barbosa
designers
Paulo Vinicius G. Macedo
Rafael Soares Kamada
videomaker
Marina Paixão/Planes
intern
Nicolas Oliveira Souza
Press office
[press office]
Ana Beatriz Garcia (PJ)
Evandro Pimentel (PJ)
curatorship
accessibility specialist and
affirmative actions
[specialist in accessibility and
affirmative action]
Gregorio Ferreira Contreras
Sanches
curatorial analyst
Gabriela Gotoda
intern
Laura Almeida
educational [education]
coordination
Mirela Agostinho Estelles
analyst
Maria Iracy Ferreira Costa
educators
Amanda Alves Vilas Boas Oliveira (PJ)
Amanda Harumi Falcao
Amanda Silva dos Santos
Caroline Machado
Leonardo Sassaki Pires
Luna Souto Ferreira
Maria da Conceição Ferreira da Silva Meskelis
interns
Bárbara Barbosa de Araújo Góes
Pedro Henrique Queiroz Silva
financial administrative
[financial administration]
coordination
Gustavo da Silva Emilio
buyer
Fernando Ribeiro Morosini
analysts
Anderson Ferraz Viana
Renata Noé Peçanha da Silva
Roberto Takao Honda Stancati
assistant
Lucas Corcini e Silva
intern
Paulo Henrique da Silva Magalhães
legal
lawyer
Renata Cristiane Rodrigues
Ferreira (BS&A Borges Sales &
Alem Lawyers)
relationships and business
[institutional relations and business]
coordination
Larissa Piccolotto Ferreira
analyst
Marcio da Silva Lourenço
relationships
[institutional relations]
analysts
Lara Mazeto Guarreschi
(Collectors Club
[Collectors' Club])
Mariana Saraceni Brazolin
(Institutional Programs)
[Institutional Programs])
business [business] business supervisor
[business supervisor]
Fernando Araujo Pinto dos Santos
analysts
Giselle Moreira Porto
(Courses)
Tainã Aparecida Costa Borges
(Shop)
assistants
Camila Barbosa Bandeira
Oliveira (Shop)
Guilherme Passos (Shop)
intern
Thayná Aparecida da Silva
partnerships and projects encouraged
[partnerships and cultural incentives
law projects]
coordination
Kenia Maciel Tomac
partnerships
analysts
Beatriz Buendia Gomes
Isabela Marinara Dias
intern
Renata Rocha
encouraged projects [cultural
incentive law projects]
analysts
Deborah Balthazar Leite
assistant
Isadora Martins da Silva
Marisa Tinelli, Simone Meirelles
and Sirlene Ciampi (Odara
Business Consulting in
Cultural Projects LTDA)
patrimony
[premises and maintenance]
coordination
Estevan Garcia Neto
analyst
Vitor Gomes Carolino
building maintenance
[building maintenance]
Alekiçom Lacerda
Andre Luiz (Tejofran)
Deivid Cicero da Silva (Avtron Engenharia)
Venicio Souza (Formata Engineering)
motorbike courier [motorcycle courier]
Agenor Arruda
(Express Dimension)
cleaning
Tejofran monitoring and audience guidance
Power Systems
exhibition production
[exhibition production]
coordination
Luciana Nemes
producers
Ana Paula Pedroso Santana
Bianca Yokoyama da Silva
Elenice dos Santos Lourenço
Erika Hoffgen (PJ)
assistant
Paola da Silveira Araujo (PJ)
human resources
[human resources]
coordination
Karine Lucien Decloedt
analyst
Débora Cristina da Silva Bastos
Information Technology
[information technology]
coordination
Nilvan Garcia de Almeida
technical support
Felipe Ferezin (INIT NET)
Gabriella Shibata (INIT NET)
intern
Luis Henrique Santana da Silva
platinum sponsors
3M from Brazil
BV
Ultra Group
Suzano
gold
Ageo Thermal Baths
lease
Ambev
Bloomberg
BMA
dexco
Goldman Sachs
Comolatti Group
Behavior group
Iochpe Maxion
Leo Madeiras and Leo Social
lockton
Pine Neto
TozziniFreire Advogados
unipar
Vicunha Steels
Living
silver
Marsh & McLennan
PWC
institutional partnerships
[institutional partnerships]
ABGC
Africa
BMA
Canopy
University Center of Fine Arts
Fine Arts Cinema
Liquid House
Chandon
Deutsche Bank
FAAP
FIAP Gomide & Co
Gusmão & Labrunie Property
Property
Hand talk
Hugo Boss ICIB – Instituto Cultural Italo-
Brazilian Inner Light
Interlight Lighting
James Lisboa Official Auctioneer
Kaspersky
Lefosse Lawyers
Neovia
Mercure Hotels
Picolin
Saint Paul – Business School
Senac
Seven
YBYTU
media partnerships
[media partnerships]
Art That Happens
BeFree Mag
Electromedia
Estadão
Inner Editora
JCDecaux
Piaui
four five one
official player [official player]
Spotify
Educational programs
[educational programs]
contacts with art
[contacts with art]
Ultra Group
Sunday [mam sunday]
MAM Sao Paulo
different equal
3M Brazil
visitation program
program]
MAM Sao Paulo
art and ecology
unipar
mam family
MAM Sao Paulo

SÃO PAULO MUSEUM OF MODERN ART
MAM São Paulo: encounters between the modern and the contemporary
/ organization Museum of Modern Art of São Paulo; editorial coordination
Renato Schreiner Salem ; curated by Cauê Alves and Gabriela Gotoda ;
translation by Paul Webb
São Paulo: Museum of Modern Art of São Paulo, 2025
176 p. ill. : color.
Bilingual edition: Portuguese/English.
ISBN 978-65-84721-19-7

1. Museum of Modern Art of São Paulo. 2. Contemporary art
2. Modern Art I. Title. II. Alves, Cauê. III. Gotoda, Gabriela. IV Salem,
   Renato Schreiner. V. Webb, Paul
   CDU: 7.09
   CDD: 709

The Museum of Modern Art of São Paulo is available to people who
eventually want to express an opinion regarding the license to use images
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Accessible Publication:
Organization
Leonardo Sassaki
Image description script
Dylan Garbini
Consultancy
Marelija Zanforlin