Ministry of Culture and Museum of Modern Art of São Paulo present:

Santídio Pereira: Fertile Landscapes.

Catalog cover image, 2023

Summary

• Santídio Pereira: Fertile Landscapes.
• Presentation.
• Santídio Pereira: Fertile Landscapes.
• Interview: Cauê Alves and Santídio Pereira.
• Works in the exhibition
• Expographic project.
• Santídio Pereira's CV.
  • Training
  • Solo exhibitions
  • Collective Exhibitions
  • Public collections
  • Awards, scholarships and residencies
  • Selected publications
• Santídio Pereira Exhibition: Fertile Landscapes.
• Catalogue.
• Acknowledgements.
• Museum of Modern Art of São Paulo.
  • Panorama Center
  • Contemporary Center
  • Partners
• Maintainers.
  • • Institutional partnerships:
    • Media Partnerships:
    • Official Player:
  • Platinum
  • Gold
  • Silver 
  • Educational programs
  • International Cataloging in Publication Data (CIP)

About.

Santídio Pereira: Paisagem Fertiles is a solo exhibition by a promising young artist. With over thirty works, most of them in large format, the show emphasizes the artist's recent work, especially landscapes and plants. The selection of works made by MAM's chief curator, Cauê Alves, includes engravings, paintings and wooden objects. In addition, Santídio Pereira created a new work, a flowerbed with grass that, like his papers, is full of vitality.

This catalogue includes a text by the curator and an interview with Santídio Pereira, which discusses the artist's training and work process. This is an opportunity rich to learn more about the artist's trajectory and the way he thinks and builds his work.

The São Paulo Museum of Modern Art, in addition to organizing exhibitions of its collection, periodically holds temporary shows of young and established artists. Historically, the MAM has been an institution close to artists, especially due to their frequent presence at the museum's exhibitions. At the same time, the museum has provoked lasting memories in the lives of its many visitors, whether through its programming, innovative productions or its editorial line.

In addition to being a reference in modern art, MAM is an institution known for exhibiting contemporary art, not only during the first editions of the São Paulo Biennials, which it organized in the 1950s and early 1960s, but also in the editions of the Panorama of Brazilian Art and in other spaces inside and outside its headquarters, including the Projeto Parede, the Sala de Vidro and the Jardim de Esculturas.

The exhibition Santídio Pereira: Paisagem Fertiles (Santídio Pereira: Paisagem Fertiles) helps MAM maintain its cultural relevance through dialogues with all audiences. The exhibition brings a freshness and, at the same time, is welcoming and affectionate. Thus, MAM São Paulo, more than fulfilling its mission of encouraging and disseminating contemporary Brazilian art, strengthens its identity as an experimental, democratic and inclusive museum.

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

Ding 1

Ding 2

Ding 3

Ding 4

Ding 5

Ding 6

Ding 7

Ding 8

Ding 9

Ding 10

Ding 11

Ding 12

Ding 13

Santídio Pereira: Fertile Landscapes.

Caue Alves.

Chief Curator of the Museum of Modern Art of São Paulo.

Santídio Pereira was born in the interior of Piauí, in the northeast of Brazil, in 1996, in an area characterized by a semi-arid ecosystem. During this period, as in previous decades, there were migratory flows to the southeast of the country. Although the region is commonly described by its climatic conditions with high temperatures and scarce rainfall, the village where the artist was born, Curral Comprido, in the municipality of Isaías Coelho, is in his memories as a place of heavy rainfall, especially in winter. At this time, the landscape is taken over by the purple tassel grass, as the species originating from southern Africa is known in the region, with the scientific name Melinis repens.

The artist's memories, in addition to manifesting themselves in his drawings, materialize in grass bed built by him in the exhibition space. It is an index of life, a kind of origin of the world. Its circular shape, like a giant belly button, points to the cyclical nature of life. Grass is the beginning of the process of birth, growth and renewal. It is the beginning of a food chain in which energy is transferred between different species. Herbivores feed on grass and are consumed by carnivores. In addition to being the source of meat, milk, leather and tallow, grass is responsible for feeding horses, an important means of transport in the region.

Santídio Pereira's experience, as he himself observes, is different from that of the migrant worker depicted in Graciliano Ramos' literary work, Vidas secas, from the 1930s, marked by struggles and a lack of perspective in the face of scarce rain and poverty. Santídio Pereira, on the other hand, points to the multiplicity of caatingas (lowlands, plateaus, marshes, wet passages) and to the richness of the region, instead of emphasizing the soil as infertile. His work is also not similar to the paintings of Cândido Portinari, in which migrants from the Northeast, fleeing the drought towards urban centers, are depicted in an edifying way, as examples that can instruct us on the social and human issues faced by the population during the dry season. Santídio Pereira recalls the different types of rain and the transformations of the flora, according to the seasons. The leaves and flowers, in wetter periods, are abundant, and the greens, intense. His work is of extraordinary vitality; It challenges the commonplace of Piauí as arid and inhospitable, by presenting a happy, pleasant atmosphere with vibrant colors.

Instead of depicting an arid, desolate environment, with dry, cracked earth and dead animals, Santídio Pereira's recent engravings and paintings choose vegetation as the central motif. Plants, in general, appear isolated from their biome of origin. They float, not as ideas, but as if they were above geographic and meteorological circumstances. Constructed from memory, his images have exuberant aspects, are full, often in bloom. But they move away from the still life genre. They are not reminders of the ephemerality of life, but praises of the vital force of plants. Santídio Pereira's graphic language is direct, without excess or drama, but it rejects scientific objectivity. Little by little, the artist simplified his vocabulary, resorting to few resources, but to reach the elementary, he used various nuances of light and chromatic subtleties.

In his series of birds of 2017 and 2018, color overlays were frequent. The artist used several almost transparent layers, one on top of the other, in which plants were added to birds. Little by little, especially since 2022, he reduced the overlays, and what was in the background became a figure. Blue, yellow, red or pink leaves came to the foreground and became the protagonists of the engraving. What was previously just part of the composition, preparation for an image that would be applied on top, became the central theme and, little by little, gained a series of variations. According to the artist's study of various species from the caatinga (mandacaru, xique-xique) or the Atlantic forest (especially bromeliads), his drawings became masses of color. The same matrix can generate prints of different shades, but Santídio Pereira makes each print and each engraving different from the other, with a unique edition.

Many of his early prints were in black. Some had overlapping colors, but in his recent works, black is rare. The colors in Santídio Pereira's work are generally solar; they emanate an intense and strong light. His colors, mixed from the offset inks used in large printing houses, are not restricted to the representation of the world, that is, they do not indicate a direct correspondence with what is perceived. A flower that can be blue or green, since his commitment is the correspondence between his memories and the sensations he wants to convey. The artist approaches the decorative, but without seeking universal rules or commonplaces; on the contrary, he bases himself on his subjective and unusual experiences. The more intimate and unique his intentions are, the more they resonate with others.

In what he does, the reference to a specific species of plant, which is available to his eyes, does not oppose the imagination, that is, the mentalization of something that is not present. It's as if he interpreted what he saw and what he remembers from what he saw, but in a different, new way, since it goes beyond what happened and what he remembers.

in your landscape engravings, rather than using traditional engraving tools, such as a gouge for incisions on wood or plywood, Santídio Pereira uses carpentry resources, especially cutting the wood and then fitting it together at the time of printing. This allows for a huge series of variations and combinations.

In his landscapes, the line is soft and fluid. Santídio Pereira brings the mountains closer to the horizon and to each other, without resorting to traditional drawing. The lines that appear between two plates are lines that mark the meeting, and not exactly the incision in the wood. The white outline emerges from the joint, a place where the paint does not reach. Instead of a drawing made with the gesture and movement of the hand, the line indicates an approximation, a fit and a dialogue with what is nearby. The line marks a distance and, at the same time, unites different tones. It is as if each mountain responded to the sun with its own timbre, and the white around it was a kind of glow, an intangible quality of the atmosphere.

The vastness is also a tribute to nature and the vast world to be explored. If the landscapes of Alberto da Veiga Guignard, from the 1950s and early 1960s, usually bring mists and mysteries, as if everything were suspended or in transformation, the views of Santídio Pereira are precise and crystalline, but they still present something fantastical. Whether the landscapes have warm or colder tones, they are clear, as if our eyes could see them completely, without illusions. However, beneath this clarity, there is something uncertain, since the light unifies the mountains and the horizon. It is not an impressionistic light that reflects or passes through objects, but a light that emanates from the mountains themselves. It is as if the clarity came from within them, but without any spiritual connotation. The landscapes are flat, and the ambiguity arises when the sky contrasts little with the mountain range; it appears as a calm continuity, with coherent nuances, with practically the same color as the mountains, instead of behaving like a backdrop.

The Brazilian landscape has been a central element in the research of many artists, from travelers and colonizers of the 17th, 18th and 19th centuries to modern painters. The artist, landscaper and amateur scientist Roberto Burle Marx is among the great researchers of the landscape. Throughout his career, he worked with plants from the Cerrado, the Amazon and the Northeastern hinterland, valuing native species that had been little studied until then. Just like Burle Marx, Santídio Pereira does not approach the Brazilian landscape and species as exotic. By moving away from the stereotypical view of Brazil and its flora, he experiences the landscape as a human necessity that is essential to our existence.

Study notebooks

Santídio Pereira's interest in botany is evident, as is his interest in his homeland. In addition to organizing an artistic residency and workshops that aim to help educate the inhabitants of the village where he was born, he goes on trips, a kind of expedition. During these trips, he seeks to get closer to the natural landscape and gain insights into the practice of drawing. His attitude toward nature is not that of a predator or someone who simply takes the image that interests him. Nor does he behave like a tourist who takes a photograph and heads off to the next destination, like an uncommitted explorer. Instead of simply absorbing relevant information, the way the artist positions himself before the world is based on exchanges, affections and significant experiences.

Santídio in the studio

If some sketches, graphic notes, are made on your small notebooks, the final works are much larger. The scale of Santídio Pereira's works is that of Human Body. Printed without the use of a press, the artist bends over each engraving using tools, such as spoons, so that the ink adheres to the paper. Many of his works are Giants, and this means that our contact with them is not just with our eyes, but with our entire body. The large formats, in addition to indicating this desire to overcome the physical and manual challenge, point to an ambition to depict the world on a scale as close as possible to 1 x 1, without reducing the images to miniatures.

For some time now, Santídio Pereira has also been showing works in wood. Instead of works printed or painted on paper, the matrix itself is treated as an object. Wood has a physical presence and a greater weight than paper. Different species of plants are cut into their organic shapes, without a screen or background, painted and fixed directly to the wall. The pieces are well-finished and fall somewhere between sculpture and the matrix of a woodcut, which is why the artist prefers the term object, which is broad enough to encompass painting, drawing and even aspects of installation. These objects are also loaded with memory, both in the sense of making present that which is not close by, and because they may have given rise to woodcuts.

Santídio Pereira is a young artist with a keen eye and rare sensitivity. The quality of his work is also linked to the spontaneous and genuine way he relates to the world. His life story is an exception, and the visibility his work has achieved is atypical in the art world. He knew how to relate his freedom to what was truly necessary for him, betting on invention, but without renouncing work or abandoning his origins. In this sense, his work is also original, drawing on references from Piauí, as well as the tradition of modern engraving and painting, to project fertile horizons and fertile landscapes.

Interview: Cauê Alves and Santídio Pereira.

December 14, 2023, Santídio Pereira's studio, São Paulo, Brazil.

Caue Alves: Let’s start talking about your memories. How did you become interested in art? Tell us a little about your background, your education and studies.

Santídio Pereira: Artistic creations have appeared in my life especially since I arrived in São Paulo. Before that, I had a relationship with something that could be understood as art. But I wasn't aware that it could be understood as art. It was a beautiful thing, back in the Caatinga, where I was born. When it was raining a lot, a lot, in the Caatinga, in the winter, when the floodwaters flooded the lowlands and the water almost reached the houses. When it was raining a lot, I had a habit to stop the rain: I would take a twig, draw a circle in the red earth, in the red clay, draw some lines and make a sun eye; I made a sun to stop the rain and make the sun shine. That, like, is the first drawing I ever made in my life, if I think about it. It's my first relationship with drawing.

Ding 14

cause CA: So you started drawing on the ground, before on paper?

santídio SP: A drawing in life. I made a drawing because people said: “Draw a sun eye, and the sun will come out. And then it will stop raining.”

cause CA: And did it work?

santídio SP: It stopped raining; it had already rained a lot, anyway, it was going to stop raining, but I was a child, so I really believed it was my sun eye. There must be a story about it, it's a custom there in the Northeast. 

FB 1

cause CA: When you arrived in São Paulo, was it easy to adapt? Where did you start your studies?

santídio SP: As soon as I arrived from Piauí, my mother put me in a place called Instituto Acaia, which is Elisa Bracher's NGO here in São Paulo. And it was at Acaia that I had my first contact with what I understand as artistic procedures. For example, when I was eight years old, I started doing carpentry. And, in the carpentry classes, since I missed Piauí, missed my childhood memories, the carpentry classes with Professor [Ênio] Alex helped me to have Piauí close to me again.

I wanted to have a little horse close to me, which was in Piauí. And Alex taught me how to materialize this horse in wood. So, I drew a picture of a horse together with Alex, we cut it out and we had a horse. For me, the horse I used to ride when I was seven, eight years old in Acaia was as true as the horse I had left in Piauí, in such a way that it filled the longing I had for what I had left in Piauí. The carpentry started like this, to satisfy the longing, to put into the world what I was missing. So I, at eight years old, I think, managed to materialize a lot of memories.

FB 2

Then I took drawing classes with Andressa. It was in such a way that I looked at a bottle, a plant, anything that was in front of me, except the human being, because I'm not good at portraits, nor was I. And I felt very happy. I stopped doing carpentry, I stopped doing everything and I became crazy about drawing. It was really satisfying, I was still a child.

Then there came a time when I realized that drawing didn't satisfy me as much as carpentry workshops. I didn't want to draw what was in front of me; I didn't want to draw what I came into contact with. I wanted to draw what I didn't have, what I lacked. I wanted to put into the world what I was missing, not what was close to me. The observation drawing did not account for this symbolic part of the drawing. There came a time when it started to make no sense to me. One day, Alex said to me: “Santídio, how about you visit another workshop? Come on, there’s a teacher called Fabrício Lopez, there’s the group Xiloceasa, come on, I’ll introduce you.”

FB 3

I started taking engraving classes. I started just making xilo. So, yes, there I drew, I tried to draw from memory. I would make a drawing, record that drawing. When it printed, it was something else, but it was something satisfying. Something heavy, that had gravity for me. First you make a drawing, you engrave it, then you print it. There is a huge change from the beginning to the moment of printing. Its design changes, everything is inverted, the masses come in, the whites, the blacks, the result is very good. I liked making engravings, so I said: “I want to join the Xiloceasa group”, a group set up by Fabrício that had a certain prestige in the institution, they went to fairs, sold their engravings.

FB 4

cause CA: Did you already have the desire to become a professional, to choose what you wanted to do with your life?

santídio SP: No, absolutely none! It was more about the sense of belonging to something. I wanted to belong to that group that had prestige in Acaia. I joined Xiloceasa when I was about ten or eleven years old. When I joined, Fabrício clearly knew that I was a dedicated student. There was a process to join Xiloceasa. I joined straight away, because he knew that I took drawing classes and that I was a good carpentry student. Then I had to take typography and engraving classes, in addition to taking classes on the history of engraving. To join the Xiloceasa group, to get that scholarship, you had to do that. But as soon as I joined the group, they stopped giving out scholarships, which wasn't a problem at all, because my mother always worked, supported the children, I didn't need anything at home, nothing like that.

When they stopped offering this scholarship, the students who were studying the history of printmaking stopped going to classes. And I was already getting to know Fabrício, so I started taking classes on the history of printmaking alone with him. We were studying ukiyo-e at the time, how printmaking arrived in Europe, what the function of printmaking was before it arrived… which was aligned with the printing press, the idea of ​​reproducing the image.

I spent a year studying with him, just him and me, in the classroom, drinking coffee, reading, looking, reading Madalena Hashimoto's books. I became very good friends with Fabrício. Imagine, one year, he and I studying every Tuesday night. He invited Madalena Hashimoto, who had written the two big books that I had leafed through, had read. He invited Madalena, she talked to us in class, and then, somehow, he got some original Japanese prints and took them for me to see.

FB 5

Then I started participating in fairs, the fairs that Xiloceasa attended. It was at Feira Plana, Tijuana… Whatever I brought, I sold. I began to understand that my memories, in a way, were not just mine, but were a collective memory, from the moment someone recognized themselves in that memory. And that made me happy. More than selling, it was a person recognizing themselves in that. At that time, Fabrício was teaching us how to apply for public notices. Anyone who wanted could go there to learn. I applied for the Santo André Engraving Biennial when I was thirteen or fifteen years old, and I won the prize! They bought my work, it must still be in their collection. When I won that prize, it gave me prestige.

FB 6

I started applying for every call for proposals. I was sixteen and applied for the Praia Grande call for proposals. It was a really cool way to start getting into some places. I applied for Arte Londrina 4, and you were the curator, and I got in too. I applied for several. Sometimes I would get through, but I wouldn't win anything. Sometimes I would win something.

FB 7

It was at that time that I also started to make some colored engravings and overlays, because Fabrício taught me how to do color overlays, lost matrix, black and white engraving, all the engraving and woodcut procedures… So I started to use, more than the others, some procedures that involved color, because I began to understand that color in engraving was more aligned with what I wanted. I didn’t want a black and white memory; I wanted a colored memory.

When I turned eighteen, I had to leave Acaia. When you reach that age, you have to leave. So I had to find a job. I was working at the market; from the age of fifteen to eighteen, I worked at the market, selling fruit at Ceasa, Saturdays and Sundays. Working at Ceasa on Saturdays and Sundays was very good for me. My mother didn't demand money at home, so I went to Reserva Cultural, to Cine Sesc, to various cinemas in São Paulo, to exhibitions. My brothers went to play soccer; I went to exhibitions, I watched different films.

cause CA: Did you continue working with engraving after you left Acaia?

santídio SP: I would go to Acaia on the weekends, I think it was open to me, I continued to do engraving. Xiloceasa had almost disbanded, everyone had already turned eighteen. And it was at that time that I decided to print everything I had done in engraving, I did a print run of everything, signed it with Fabrício's guidance, as if it were almost a TCC. When I turned eighteen, I took everything I had done under my arm.

cause CA: What was the print run at that time?

santídio SP: It was usually five. Some of the ones I liked the most, I would print ten copies. I made the prints and I still have the results of that. And I did that in 2015, I think. 

FB 8

cause CA: Tell us how you got by after that. You continued working at Ceasa and taking an art history course with Rodrigo Naves…

santídio SP: I was eighteen years old and, for some reason, Rodrigo Naves found out that I had studied at Acaia. I never told him that I studied at Acaia. But I asked, and he gave me a scholarship. And, at one time, Dulce, Rodrigo's assistant, was going on vacation, and he had no one to work there. I was already finishing his course. He said: "Santídio, don't you want to replace Dulce?" So I spent a month with Rodrigo. I learned a lot from him. It was a way to finish the course better. I read, I saw how he studied, what he did, how he wrote, how he organized his desk, how his reasoning worked.

Santídio Pereira and Vilma Eid

Santídio with open arms

cause CA: And it was through him that you discovered Galeria Estação.

santídio SP: Yes. When I finished this work, I was also going to finish the course, so Rodrigo said: “Santídio, I heard that you do some engravings and stuff, do you want to bring them for me to see?” There was a folder in Acaia, I made a selection, a portfolio of the ones I liked the most, and I took it to him. Then, he said: “Open it up, take out the chairs”. I put everything on the floor, spread out several engravings, he went up to that mezzanine, looked and said: “You really are an artist. Wow, you are an artist”, he said to me. It was the first time that someone said I was an artist, I think.  

Then he said, “Do you want to show someone? Do you want to show these works in a gallery?” I said, “I do!” He went upstairs, called Vilma Eid, and said, “I’m sending you some boy’s work for you to see.” He called the delivery boy. Thirty minutes later, the delivery boy came, picked them up, and took them to Vilma. And she liked them too.

cause CA: And how was your first solo exhibition?

santídio SP: Some time later, I shared a studio with Guga Szabzon for a little over a year. Guga was a friend of mine, she called me and said: “There’s a guy who wants to encourage young art in Brazil, he asked me to recommend someone, and I recommended you.” André had a business called Acervo CSC. He saw all the work I had done, he saw the new large works I was doing, some birds, some large horses, 2,20 m tall. With the money from Ceasa, I bought paper; I had stopped going to the movies, I was tired of movies, I was buying paper, ink, buying some things and expanding the scale. I was leaving Acaia, but I was still there on the weekends. Then André went there and said: “Santídio, what about an exhibition? If there’s an exhibition, I can provide all the frames for the works. I’ll pay, you give me some works, I’ll sell them, and we’ll collect them to frame the ones that will go to the exhibition. If there’s an exhibition, I’ll be responsible for everything that’s framed.”

I called Rodrigo and said: “André came here, he liked it, and said that if there’s an exhibition, he’ll frame everything.” Rodrigo replied: “If there’s an exhibition, Santídio, I’ll curate it and write the text for you.” I think Rodrigo must have called Vilma too, I don’t know how it happened, because Vilma said: “Santídio, it seems like they want to do an exhibition of yours. If there’s an exhibition, I’ll give you a room in the gallery.” Then a designer friend of mine, with whom I had taken a design course at Acaia, said: “If there’s a catalog, I’ll design it.”

cause CA: Everything conspiring in favor…

santídio SP: Then a photographer friend said: “I can take photos of the works”. And that’s how this 2016 exhibition was born, the first solo exhibition at Galeria Estação, with text by Rodrigo Naves. No one was paid anything for this exhibition. Then, Camila Molina, from Estadão, someone must have mentioned it to her, wanted to talk to me, she went to Acaia, I told her a little about this story that I’m telling you. A week later, it was on the front page of the newspaper. There was a big photo of me talking about the exhibition that was going to open. Then TV Cultura called, the program Manos e Minas, Metrópolis, TV Brasil called, there was a lot of media coverage, everything that was in the gallery was sold out. 

With the money, I bought a house in Piauí. I stayed there for a month, came back, and continued working. When I came back, Galeria Estação invited me to be represented by them. I asked Rodrigo, called some friends, and made a very good deal, which is the deal I have with the gallery to this day. And [I] was still working at the fair, at Ceasa, Galeria Estação was selling and making money. Then I stopped working at Ceasa to keep drawing, to keep doing what I like. I kept working at Acaia at first, because they let me use their studio, but then I rented a small, tiny studio.

In 2018, they held another exhibition. In it, I showed some birds, I think about twenty large birds. With overlapping layers, there were always some plants behind the birds, some memories, then I would throw the bird on top. I did about twenty birds from the Caatinga. I did this second solo exhibition, the large birds, Vilma couldn't believe the size, it looked like a huge thing, several layers on the paper. 

One day, Vilma called me and said: “Santídio, I showed you your work, and they’re inviting you to do a residency in New York. Do you want to go? The gallery will pay for everything. Whatever you have to spend, the gallery will pay for it.” I spent a month in New York, working in the cold winter. When I got back, Vilma had shown my work to someone who liked it, someone from the Cartier Foundation. Then, the Cartier Foundation paid for my flights to go to France to see the exhibition.

Aerial view of rural house

cause CA: Tell us about your residency project in Piauí.

santídio SP: My mother's house in Piauí was a house full of memories. The bricks that my mother and my great-grandfather had made. The tiles made of clay from the forest, the doors made of amburana wood also from the forest. So it was a house very, very full of memories. I always went to Piauí, every year I went, and the house was falling apart, the rain was knocking down the walls, the tiles were falling off. My mother let me take care of the house. So I also had more freedom to preserve the memory of the house. It was built with two thoughts: to be my mother's and to be an artistic residence.

Mandacaru

House seen through a crack

I bought all the furniture. I bought things that have memories and activate people's memories. It's a very important place for me, very special. So not just anyone can go to this very special place. I don't want to take someone who treats people in any way. I don't want a racist person, consciously racist, and who continues to be racist, to go there.

RK 1

So, on this first trip, I called people I truly trust: Ramon, Deusvaldo, Igor, the people from Xiloceasa, my friends from Xiloceasa and so on. And we went, we stayed two weeks in the Caatinga, we planned everything.

RK 2

But how were we going to enjoy the Caatinga? The flora, the fauna, the sun, the sounds, the intelligence of the people, we know that we are going to enjoy this. The food, the customs... We don't want to be cultural parasites. We don't want to go there and take it, draw the mandacaru there, come here to São Paulo and sell it. We also want to leave something in return. With the intelligence of Ramon, Igor, Des, Eduardo, everyone. So, I started preparing the ground beforehand, talking to people about what that house would be, what the idea of ​​that house was, that it was a house to welcome artists. I tried to convince the people of the region. When we went by the houses, we said that we were going to give engraving classes, an engraving workshop. Deusvaldo built an open-air movie theater with popcorn, soda, a big screen on the wall of the house, good sound, and people went there to watch. Ramon gave bookbinding classes to fifteen children and young people, I gave expanded drawing classes to fifteen children. What we learned at Acaia, we also gave a little.

And the idea is that we always give something, [that] every artist who goes to Caatinga, gives something. It’s not money. It’s… it’s… give something to give back what you’re enjoying. It would be good if you also left something for the population. It’s not for the residency, it’s for the population. And always have horizontal relationships. And that’s how the idea for my TCC for the Caatinga Artistic Residency was born. As I was building this house, I was studying at FAAP, I needed to have a final project for my undergraduate degree, so I thought: “I’m going to do a TCC about an artistic residency, about my idea of ​​what it means to build this house.”

Ding 15

cause CA:What is your research process like? Do you draw or photograph what you are going to study?

santídio SP: I take photos, draw, and have ideas. I go to nature, that's where ideas are born. I think: “This is blue; this is green; this shape is like this”. That's where ideas are born. But I take photos, draw, make sketches and so on. 

I started to look for plants a lot. I went to the Pantanal. At that time of the MAM Panorama, I left the Panorama and, on the same day, I went to a place near Minas Gerais, looking for plants. It was an artistic immersion with several wonderful artists. I went there to draw plants, draw bromeliads, I spent two weeks there drawing plants, looking. Oh, the little frog inside the plant, the sun bromeliad, shade bromeliad, half-shade bromeliad, bromeliad with inflorescence, ground bromeliad, epiphytic bromeliad, researching and getting ideas.

PM 1

When I arrived here, I had several drawings. I took the notebook, it had several bromeliads, several hills, many landscapes, I think it was Bocaina, the Serra da Bocaina. I was there, I started drawing and I saw that there were many hills. I thought: “I think I want to make hills in addition to plants”. I started drawing the hills, making the hills, researching hills. I went to Minas Gerais a few times, looking for hills. Hills grow from plants, because I went looking for plants, and the hill showed itself to me. The hill chose me, I chose the hill.

PM 2

cause CA: Then you changed the way you work with woodcuts.

santídio SP: It's another way of making woodcuts, much easier. That way, I thought: “I’m just going to make the hills in the cutout”. I don't even record these hills; I draw a hill on the wood, take the jigsaw, then paint that piece, paint the other piece, paint all the pieces, put them together and print. So, it is no longer an engraving.

PM 3

cause CA: Then you started to expose the wood, the matrices became objects. 

santídio SP: When I started to cut, incise and fit, I saw that the wood was no longer a matrix. When I started to cut, I saw that it had the quality of an object and, aware of this, I thought: “I’m going to make an object, so it won’t be a matrix anymore, it will be an object that will be printed”. Then an awareness of an object that can be printed is born, which changes everything. Even the printing itself changes, based on the awareness of the object. The printed result changes. Then, I thought: “I’m going to cut”. Creating these objects, I began to understand how I could install them on the wall, and this unfolds… And I’ve been doing this for about three or four years.

Ding 16

Ding 17

Works in the exhibition

Expographic project.

Metropolis_Arq

• Ana Paula Pontes
• Anna Helena Villela
• Bruna Caracciolo (assistance)

MT 1

MT 2

MT 3

Santídio Pereira Resume.

Training

• Bachelor's Degree in Visual Arts, FAAP, 2023

Solo exhibitions

• 2023:
  • Santídio Pereira: Un horizon végétal, Xippas Gallerie, Paris, France
  • Santídio Pereira: from the forest to the hill, Xippas Gallery, Punta del Este, Uruguay
• 2022:
  • Santídio Pereira: botany, Station Gallery, Sao Paulo, SP, Brazil
  • Santídio Pereira: incisions, cutouts and fittings, Iberê Camargo Foundation, Porto Alegre, RS, Brazil
• 2020:
  • Hills, Station Gallery, Sao Paulo, SP, Brazil
• 2019:
  • Between Two Skies, b[x], New York, USA
• 2018:
  • Exhibition Program – Black and white, overlap and nuances, São Paulo Cultural Center, SP, Brazil
  • A look from memory – Santídio Pereira, Station Gallery, São Paulo, SP, Brazil
• 2016:
  • Santídio Pereira: colors in black and white, Estação Gallery, São Paulo, SP, Brazil

Collective Exhibitions

• 2023:
  • Living Stone: Serra da Capivara – The legacy of Niède Guidon, MuBE – Brazilian Museum of Sculpture and Ecology, São Paulo, SP, Brazil
  • Siamo Foresta, Fondation Cartier pour l'art contemporain / Triennale di Milano, Milan, Italy
  • From Brazils: black art and thought, Sesc Belenzinho, São Paulo, SP, Brazil
• 2022:
  • NOW, Inimá de Paula Museum, Belo Horizonte, MG, Brazil
  • Woodcut occupation, Sesc Birigui, SP, Brazil
  • Cuddle, Sesc Quitandinha, Petropolis, RJ, Brazil
  • Arrows and tourmaline, Park House, Sao Paulo, SP, Brazil
  • Modernism from here, Palace of Arts, Sao Paulo, SP, Brazil
  • Various 2, Art Gallery 132, Sao Paulo, SP, Brazil
  • If you put your feet on the ground: relationships between humans and plants, Museu de Arte Paranaense (Mupa), Curitiba, PR, Brazil
• 2021-2022:
  • Woodcut, SESI São José do Rio Preto, SP, Brazil
• 2021:
  • Burle Marx | Santídio Pereira, Bortolami Gallery, New York, USA
  • Woodcut, SESI Campinas Amoreiras, SP, Brazil
  • Woodcut, SESI São José Campos, SP, Brazil
  • Woodcut, SESI Itapetininga, SP, Brazil
  • Trees, Power Station of Art, Shanghai, China
• 2019-2020:
  • PretAtitude – Insurgencies, emergencies and affirmations in contemporary Afro-Brazilian art, Sesc Santos, SP, Brazil
  • Xylo – body and landscape, Sesc Pinheiros, SP, Brazil
• 2019:
  • Xylo – body and landscape, Sesc Guarulhos, SP, Brazil
  • 36th Panorama of Brazilian Art, MAM São Paulo, SP, Brazil
  • Nous les Arbres, Fondation Cartier pour l'art contemporain, Paris, France
• 2018-2019:
  • New wood, Sesc Santo Amaro, Sao Paulo, SP, Brazil
• 2018:
  • 5th Lívio Abramo International Printmaking Biennial, Araraquara, SP, Brazil

Public collections

• Pinacotheca of Sao Paulo, SP, Brazil
• Patricia Phelps Collection of Cisneros, New York, USA
• Sesc Art Collection, Sao Paulo, SP, Brazil
• Rio Art Museum – MAR, Rio de Janeiro, RJ, Brazil
• Fondation Cartier pour l'art contemporain, Paris, France

Awards, scholarships and residencies

• 2024:
  • Worlingham Hall Residency, Worlingham Beccles, England
• 2023:
  • Artistic Residency Caatinga, Isaías Coelho, PI, Brazil
• 2021:
  • Piza Award, Paris, France
• 2020:
  • Pantanal Now Project, Campo Grande, MS, Brazil
• 2019:
  • Kaaysá Artistic Residency, Sao Sebastiao, SP, Brazil
  • AnnexB Artist Residency, New York, USA

Selected publications

• 2023:
  • Fondation Cartier pour l'art contemporain / Triennale di Milano, Siamo Foresta, publisher Nava Press, Milan
• 2022:
  • Station Gallery, Santídio Pereira: botany, Sao Paulo, SP, Brazil
  • Iberê Camargo Foundation, Santídio Pereira: incisions, cutouts and fittings, Porto Alegre, RS, Brazil
• 2021:
  • Fondation Cartier pour l'art contemporain / Power Station of Art, Trees, publisher Shanghai People's Fine Arts, China
• 2019:
  • Claudio Mubarac, Xilo – body and landscape, Sesc, São Paulo, SP, Brazil
  • Adolfo Caminha, Good Creole, Todavia Publishing House, Sao Paulo, SP, Brazil
  • Fondation Cartier pour l'art contemporain, Trees, publisher EBS in Verona, Italy
• 2018:
  • Vilma Eid and Germana Monte-Mór, Brazilian Folk Art: Contemporary Perspectives, WMF Martins Fontes, São Paulo, SP, Brazil
  • Vilma Eid and Luisa Duarte, Santídio Pereira – A look from memory, Lis Gráfica, São Paulo, SP, Brazil
• 2016:
  • Rodrigo Naves, Director of Graphic Design, Sao Paulo, SP, Brazil

Santídio Pereira Exhibition: Fertile Landscapes.

Presented by: Museum of Modern Art of São Paulo

Curatorship: Caue Alves

Living room: Paulo Figueiredo

Period: April 01, 2024 to August 25, 2024

Executive production: Marcela Tokiwa Obata dos Santos, Ana Paula Pedroso Santana

Expographic project: Metropolis_Arq

• Ana Paula Pontes
• Anna Helena Villela
• Bruna Caracciolo (assistance)

Graphic project: Julio Mariutti

Editorial coordination: Renato Schreiner Salem

Execution of the expographic project: Secall Scenography

Conservation: Fabiana Oda and team, Mara Lucia Carrett de Vasconcelos

Assembly: MReneé Art, Production and Editing Phina

Shipping cost: ATM Janus

English translation: Paul Webb

Text review and preparation: Regina Stocklen

Press office: a4&spotlight communication

Catalogue.

Presented by: Museum of Modern Art of São Paulo

Curatorship: Caue Alves

Texts: Elizabeth Machado, Cauê Alves

Graphic project: Julio Mariutti

Editorial coordination: Renato Schreiner Salem

Editorial assistance: Gabriela Gotoda

English translation: Paul Webb

Text review and preparation: Regina Stocklen

Accessible version: Cida Leite, Gregory Sanches, Jean Bernardo da Silva Vieira

Photos:

• Antonio Passos 1
• Courtesy ©Iberê Camargo Foundation/Nilton Santolin 2
• Courtesy of Station Gallery 3
• Godvaldo Pereira 4, 5, 6
• Ding Muse 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25
• Studio under construction 26, 27, 28, 29, 30
• Fabrício Lopez and Patricia Yanaguisawa/acaia studios and school collection 31, 32, 34, 35, 36, 37, 38, 39
• John Liberato 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 68, 70, 71, 72, 73, 74
• Marcela Tokiwa 75, 76, 77
• Marina Passion 78, 79, 80
• Ricardo Kugelmas 81, 82
• Santídio Pereira 83

Image processing and printing: Ipsis

Thanks.

Ana Lucia Penon Goncalves
Andrea Veiga Pereira
André Lefki Brennand
Antonio Passos
Beatriz Junqueira
Claudia Miranda Barroso
Cristina Baumgart
Denise Abdala
Denise Rabinovich
Godvaldo Pereira
Edward Rabinovich
Esteban Luis Israel
Fabia Toqueti Pace
Fabricio Lopez
Aidar Iune
Flavia Brito
Iberê Camargo Foundation
Station Gallery
Giselli Gumiero
Igor Romualdo
Achaia Institute
Ivan Jose Bernuzzi Jr.
Janaina Damaceno
Jane Savi de Freitas
John Liberato
John Lucas Pereira
John Vieira Cunha
Jose Luiz PC Vianna
Jose Olympio da V. Pereira
Leticia Rudge Barbosa Kina
Lebanon Miranda Barroso
Lucas Arruda
Luiz Lira
Marcelo Araujo
Maria Barreto
In a pear tree in Valle Bisneto
Patricia Asdourian Lapenta
Patricia Quirico Coimbra
Paul Henry Conrad
Peter Lapenta
ramon santos
Roberto Eid Philipp
Santídio Pereira
Shasta Darlington
Thais Chede Soares Barreto
Vilma Eid

Museum of Modern Art of São Paulo.

Honorary President: Milú Villela

Board of Directors:

• President: Elizabeth Machado
• 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:

• President: Geraldo José Carbone
• Vice president: Henry Luz
• Advisors: Adolpho Leirner, Alfredo Egydio Setubal, Andrea Motta Chamma, Andrea Paula Barros Carvalho, Antonio Hermann Dias Azevedo, Caio Luiz de Carvalho, Eduardo Brandão, Eduardo Saron Nunes, Fabio Albuquerque, Fabio Luiz Pereira, Fernando Moreira Salles, Francisco Pedroso Horta, Gabriela Baumgart, Georgiana Rothier Pessoa, Helio Seibel, Israel Vainboim, Jean-Marc Etlin, Jorge Frederico M. Landmann, Karla Meneghel, Luis Terepins, Maria Regina Almeida, Mariana Guarini Berenguer, Mario Henrique Costa Mazzilli, Martin Grossmann, Neide Helena Moraes, Paulo Setubal Neto, Peter Cohn, Roberto B. Pereira, Rodolfo Henrique Fischer, Rolf Gustavo R. Baumgart, Salo Davi Seibel, Sergio Ribeiro da Costa Werlang, Sergio Silva Gordilho, Simone Schapira Wajman, Susana Leirner Steinbruch

Cultural and Communication Committee:

• Coordination: Fábio Luiz Pereira de Magalhães
• Members: Andrea Paula Barros Carvalho, Gabriela Barbosa, and Raphael Vandystadt

Governance Committee:

• Coordination: Mário Henrique Costa Mazzilli
• Members: Daniela Montingelli Villela, Elizabeth Machado, Gabriela Baumgart, Geraldo Jose Carbone, Henrique Luz, Mariana Guarini Berenguer, Sergio Ribeiro da Costa Werlang, Tatiana Amorim de Brito Machado

Finance and fundraising committee:

• Coordination: Francisco Pedroso Horta
• Members: Daniela Montingelli Villela, Elizabeth Machado, Jean-Marc Etlin, Jose Luiz Sá de Castro Lima, Luis Terepins

Nominating Committee:

• Alfredo Egydio Setubal, Elizabeth Machado, Geraldo Jose Carbone, Henrique Luz

Supervisory board:

• Headlines: Demetrius de Souza Reginaldo Ferreira Alexandre, Susana Hanna Stiphan Jabra (president / president)
• Substitutes: Magali Rogeria de Moura Leite, Roger Costa Rokembach, Walter Luis Bernardes Albertoni

Art Commission:

• Alexia Tala, Claudinei Roberto da Silva, Cristiana Tejo, Daniela Labra, Rosana Paulino

Ethics and Conduct Committee:

• Daniela Montingelli Villela, Elizabeth Machado, Henrique Luz, Mario Henrique Costa Mazzilli, Sergio Miyazaki, Tatiana Amorim de Brito Machado

Patron members:

• Adolpho Leirner, Alfredo Egydio Setubal, Antonio Hermann Dias Azevedo, Daniela Montingelli Villela, Eduardo Brandao, Eduardo Saron Nunes, Fernando Moreira Salles, Francisco Pedroso Horta, Georgiana Rothier Pessoa Cavalcanti Faria, Geraldo Jose Carbone, Helio Seibel, Henrique Luz, Israel Vainboim, Jean-Marc Etlin, Mariana Guarini Berenguer, Mario Henrique Costa Mazzilli, Neide Helena Moraes, Paulo Setubal Neto, Peter Cohn, Roberto B. Pereira Almeida, Rodolfo Henrique Fischer, Rolf Gustavo R. Baumgart, Salo Davi Seibel, Sergio Ribeiro da Costa Werlang, Simone Schapira Wajman

Panorama Center

• Coordination: Camila Granado Pedroso Horta
• Members: Bia Penha Gonçalves, Daniel Augusto Motta, David Ades and Andrea Ades, Ian Duarte and Allan Seabra, Karla Meneghel, Lucila Hoberman, Marília Chede Razuk, Renata Queiroz de Moraes, Teodoro Bava and Eduardo Baptistella Jr, William Maluf

Contemporary Center

• Coordination: Camila Granado Pedroso Horta
• Members: Ana Carmen Longobardi, Ana Eliza Setubal, Ana Lopes, Ana Lucia Siciliano, Ana Paula Vilela Vianna, Ana Serra, Ana Teresa Sampaio, Andrea Gonzaga, Anna Carolina Sucar, Antonio de Figueiredo Murta Filho, Antonio Marcos Moraes Barros, Beatriz Yunes Guarita, Bianca Cutait, Bruna Riscali, Camila Barroso de Siqueira, Camila Tassinari, Carolina Costa e Silva Martins, Cintia Rocha, Cleusa de Campos Garfinkel, Cristiana Rebelo Wiener, Cristiane Quercia Tinoco Cabral, Cristina Baumgart, Cristina Canepa, Cristina Stanowski Herz Sorrentino, Cristina Tolovi, Daniela Bartoli Tonetti, Daniela M. Villela, Daniela Steinberg Berger, Eduardo Mazilli de Vassimon, Esther Cuten Schattan, Felipe Akagawa | Angela Akagawa, Fernanda Mil-Homens Costa, Fernando Augusto Paixão Machado, Flavia Regina Oliveira, Florence Curimbaba, Franco Pinto Bueno Leme, Gustavo Clauss, Hena Lee, Ida Regina Guimarães Ambroso Marques, Isabel Pereira Queiroz, Isabel Ralston Fonseca, Janice Mascarenhas Marques, Jose Eduardo Nascimento, Judith Kovesi, Juliana Neufeld Lowenthal, Juliana Vignol Gutierrez da Cruz, Karla Meneghel, Luciana Lehfeld Daher, Luisa Malzoni Strina, Marcio Alaor Barros, Maria Claudia Curimbaba, Maria Julia Freitas Forbes, Maria Julia Pardo Almendra, Maria Teresa Igel, Mariana Souza Sales, Marina Lisbona, Monica Mangini, Monica Vassimon, Murillo Cerello Schattan, Nadja Cecilia Silva Mello Isnard, Natalia Jereissati, Nicolas Wiener, Patricia Magano, Paula Almeida Schmeil Jabra, Paula Regina Depieri, Paulo Setubal Neto, Raquel Steinberg, Regina Magalhaes Bariani, Renata Castro e Silva, Renata Nogueira Studart do Vale, Renata Paes Mendonça, Rosa Amelia Penna Marques Moreira, Rosana Wagner Carneiro Mokdissi, Sabina Lowenthal, Sergio Ribeiro Werlang, Silvio Steinberg, Sonia Regina Grosso, Sonia Regina Opice, Tais Dias Cabral, Telma Andrade Nogueira, Titiza Nogueira, Vera Lucia Freitas Havir, Vitoria Coutinho, Wilson Pinheiro Jabur, Yara Rossi

Partners

• Chief Curator: Caue Alves
• Executive Superintendent: Sergio Miyazaki
• Collection:
  • Coordination: Patricia Pinto Lima
  • Analyst: Marina do Amaral Mesquita
  • Assistants: Barbara Blanco, Camila Gordillo de Souza
  • Handling technician: Igor Ferreira Pires

• Assistance to the presidency, curatorship and superintendence: Daniela Reis
• Library:
  • Supervisor in museology: Pedro Nery
  • Documental librarian: Agatha Contursi
  • Assistant: Felipe de Brito Silva

• Communication:
  • Coordination: Anne Tavares
  • Analysts: Jamyle Hassan Rkain, Rachel de Brito Barbosa
  • Designers: Paulo Vinicius Gonçalves Macedo (PJ), Rafael Soares Kamada
  • Video production and editing: Marina Passion (PJ)
  • Intern: Nicolas Oliveira Souza

• Curatorship:
  • Accessibility and affirmative action specialist: Gregório Ferreira Contreras Sanches
  • Curation Analyst: Gabriela Gotoda
  • Intern: Laura Almeida

• Educational:
  • Coordination: Mirela Agostinho Estelles
  • Analyst: Maria Iracy Ferreira Costa
  • Educators: Amanda Harumi Falcao, Amanda Silva dos Santos, Caroline Machado, Leonardo Sassaki Pires, Luna Souto Ferreira, Maria da Conceição Ferreira da Silva Meskelis, Sansorai Oliveira Rodrigues Coutinho
  • Interns: Amanda Alves Vilas Boas Oliveira, Barbara Barbosa de Araujo Goes, Daniel Oliveira Ribeiro Mascarenhas da Cruz Pereira, Gabe Nascimento, Pedro Henrique Queiroz Silva

• Financial administrative:
  • Coordination: Gustavo da Silva Emilio
  • Buyer: Fernando Ribeiro Morosini
  • Analysts: Anderson Ferraz Viana, Janaina Chaves da Silva Ferreira, Renata Noe Pecanha da Silva
  • Assistant: Roberto Takao Honda Stancati
  • Assistant: Lucas Corcini e Silva
  • Intern: Paulo Henrique da Silva Magalhães

• Legal:
  • Attorney: Renata Cristiane Rodrigues Ferreira (BS&A Borges Sales & Alem Lawyers)
  • Intern: BS&A Borges Sales & Alem Lawyers

• Relationships and business:
  • Coordination: Larissa Piccolotto Ferreira
  • Analyst: Marcio da Silva Lourenço
  • Relationships:
    • Analysts: Lara Mazeto Guarreschi (Collectors Club) Mariana Saraceni Brazolin (Institutional Programs)
  • Business:
    • Business Supervisor: Fernando Araujo Pinto dos Santos
    • Analysts: Giselle Moreira Porto (Courses), Juliene Campos Braga Botelho Lanfranchi (Events), Tainã Aparecida Costa Borges (Store)
    • Assistants: Camila Barbosa Bandeira Oliveira (Store), Guilherme Passos (Store)
    • Intern: Thayná Aparecida da Silva

• Partnerships and projects encouraged:
  • Coordination: Kenia Maciel Tomac
  • Partnerships:
    • Analysts: Isabela Marinara Dias,
  • Supported projects:
    • Analysts: Deborah Balthazar Leite, Valbia Juliane dos Santos Lima, Marisa Tinelli, Simone Meirelles and Sirlene Ciampi (Odara Business Consulting in Cultural Projects LTDA)
    • Intern: Isadora Martins da Silva
• Heritage:
  • Coordination: Estevan Garcia Neto
  • Assistant: Alekiçom Lacerda
  • Intern: Vitor Gomes Carolino

• Building maintenance:
  • Deivid Cicero da Silva (Avtron Engineering), Venicio Souza (Formata Engineering)

• Civil firefighter: Andre Luiz (Tejofran)
• Cleaning: Tejofran
• Asset security: Power Security
• Box office: Ana Flavia da Silva Martins (Power Systems), Matheus Rodrigues da Silva (Power Systems)
• Monitoring and public guidance: Power Systems
• Exhibition production:
  • Coordination: Luciana Nemes
  • Producers: Ana Paula Pedroso Santana, Elenice dos Santos Lourenco, Erika Hoffgen (PJ), Marcela Tokiwa Obata dos Santos
  • Intern: Paola da Silveira Araujo

• Human Resources:
  • Coordination: Karine Lucien Decloedt
  • Analyst: Débora Cristina da Silva Bastos

• Information Technology:
  • Coordination: Nilvan Garcia de Almeida
  • Technical support: Felipe Ferezin (INIT NET), Gabriella Shibata (INIT NET)

maintainers.

Institutional partnerships:

• Africa
• Anauene Art Law
• BMA
• BMI
• Canson
• University Center of Fine Arts
• Fine Arts Cinema
• DoubleTree by Hilton
• Publisher Cobogó
• Ubu Publisher
• FIAP
• Freixenet
• Givoa Art Consulting
• Gusmão & Labrunie Intellectual Property
• Hand talk
• Havana
• ICIB – Italian-Brazilian Cultural Institute
• Interlight Lighting
• James Lisboa Official Auctioneer
• Lefosse Lawyers
• Neovia
• Picolin
• Saint Paul School of Business
• Senac
• Vixsystem
• Wiabiliza

Media Partnerships:

• Art that Happens
• BeFree Mag
• buzz monitor
• Art Channel 1
• Electromedia – Elemedia
• Estadão
• JCDecaux
• MECA
• Piaui
• four five one
• Vogue

Official Player:

• Spotify

Platinum

• 3M Brazil
• Bradesco
• Dasa
• EMS
• Ultra Group

Gold

• Agibank
• BMA
• Cimed
• CSN
• Lefosse
• Pine Neto
• Singular
• TBE Alupar
• Tivit
• TozziniFreire Advogados
• Living

Silver

• Bloomberg
• Leo Madeiras
• Marsh & McLennan
• PWC
• Green Asset

Educational programs

• Contacts with art: Ultra Group
• MAM Sunday: MAM Sao Paulo
• Same different: 3M Brazil
• Visiting program: MAM Sao Paulo
• Art and ecology: unipar
• MAM Family: MAM Sao Paulo

The Museum of Modern Art of São Paulo is available to anyone who may wish to express their views regarding the license to use images and/or texts reproduced in this material, given that certain authors and/or legal representatives did not respond to requests or were not identified or located.

International Cataloging in Publication Data (CIP)

(Brazilian Book Chamber, SP, Brazil)

Santídio Pereira: fertile landscapes / produced by the Museum of Modern Art of São Paulo; curated by Cauê Alves; translated by Paul Webb; exhibition design by Metrópole_Arq, Ana Paula Pontes, Anna Helena Villela. – São Paulo: Museum of Modern Art of São Paulo, 2024.

Bilingual edition Portuguese/English

ISBN 978-65-84721-16-6

1. Art – Brazil – Exhibitions – Catalogs 2. Contemporary art 3. Pereira, Santídio, 1996– 4. Woodcut I. Museum of Modern Art of São Paulo. II. Alves, Cauê. III. Metropolis_Arq. V. Pontes, Ana Paula. VI. Villela, Anna Helena.

24-197980 CDD-709.81

Indexes for systematic catalog:

1. Brazil: Art: Exhibitions: Catalogs 709.81

Eliane de Freitas Leite – Librarian

CRB 8/841