MAM São Paulo at the Pinacoteca do Ceará: figure and landscape, word and image

Aldo Bonadei was a Brazilian painter, engraver, costume designer and teacher. Trained by Pedro Alexandrino and the Accademia di Belle Arti di Firenze, he was a member of the Santa Helena Group and the FAP. He taught at the Escola Livre de Artes Plásticas and co-founded the Oficina de Arte – ODA. He created costumes for theater and cinema, standing out for his versatility and influence on the cultural scene of São Paulo.

He was a Brazilian photographer, philosopher, professor and art critic, born in Valença, Rio de Janeiro. Graduated in civil engineering in 1944, he abandoned his technical career to dedicate himself to the philosophy of science, aesthetics and history of art. In 1965, during a trip to Europe, he began his photographic career using a borrowed Leica camera. From then on, he began to photograph compulsively, producing around 170 thousand negatives throughout his life.

His photographic work is marked by images of male bodies, often captured from the window of his apartment in Ipanema, Rio de Janeiro. These photographs, often arranged in sequences inspired by musical structures such as sonatinas and symphonies, explore themes such as voyeurism, beauty and sensuality. In addition, Gomes recorded scenes from Rio's carnival and urban landscapes, always with an artistic and contemplative eye.

Alfredo Volpi was one of the most renowned Brazilian modern artists, developing an independent career that flirted with concretism without affiliating himself with any school. He began with landscapes and figures, evolving into geometric compositions, with emphasis on his iconic “facades”. A member of the Santa Helena Group in the 1930s, he combined popular culture and classical art, creating his own formal vocabulary and vibrant colors prepared by hand, in resistance to impersonality.

Anita Catarina Malfatti (São Paulo, December 2, 1889 – São Paulo, November 6, 1964) was an Italian-Brazilian painter, designer, engraver, illustrator and teacher, considered a pioneer of Modern Art in Brazil. Born with a congenital disability in her right arm, she developed artistic skills using her left hand. She began her artistic studies with her mother, Betty Krug, and later studied in Germany and the United States, where she came into contact with movements such as Expressionism and Cubism. Her 1917 solo exhibition in São Paulo caused great controversy, being criticized by Monteiro Lobato, but it also aroused the interest of young modernist intellectuals. Anita participated in the Modern Art Week of 1922, an event that marked the beginning of modernism in Brazil. Throughout her career, her works reflected influences from the European avant-garde and Brazilian culture. She died in 1964, leaving a significant legacy for Brazilian art.

He is a visual artist and filmmaker whose work investigates popular Brazilian cultural expressions such as frevo, brega-funk and gospel, exploring themes such as identity, body and visibility. Since 2011, he has collaborated with Benjamin de Burca on videos that mix documentary and fiction. In 2019, they represented Brazil at the Venice Biennale with the work swing war

was a Brazilian artist whose work moved between performance, video, photography, installation and sculpture. Her practice was deeply connected to everyday life and the poetic relationship with space, especially with her own home in the Botafogo neighborhood, which served as the starting point for many of her works. Ephemeral elements such as fog, brick, water and wind made up her language, focused on capturing the invisible and the sensitive.

painter and engraver graduated in Visual Arts from the Armando Álvares Penteado Foundation (FAAP). Since the 1980s, Caetano has been researching images, graphic reproduction techniques and pictorial expressions, exploring a spectrum that goes from abstraction to figuration.

Carlos Vergara, born in Santa Maria, Rio Grande do Sul, is an artist whose work gained traction in the 1960s, during the resistance to the military dictatorship. A participant in the historic Opinião 65 exhibition at the Museum of Modern Art in Rio de Janeiro, Vergara was one of the protagonists of the New Brazilian Figuration, a movement that combined art and political criticism. In the 70s, he expanded his vocabulary with photographs and installations, and since the 1980s, his paintings and monotypes have followed a path of experimentation, maintaining innovation within the tradition of painting.

Photo: Walter Carvalho/Disclosure

was a Brazilian painter, designer, engraver, set designer and illustrator, recognized for his fidelity to figurativism and his commitment to social issues.

He moved to São Paulo in 1934, where he studied with Waldemar da Costa and, in 1937, joined the Santa Helena Group, alongside artists such as Alfredo Volpi and Francisco Rebolo. His work highlights workers, migrants and musicians, with features influenced by Candido Portinari and elements of post-cubism.

When I was born as a small fry, in 1997, in the northern light of Minas Gerais, I was given the same name as my father, Davi de Jesus do Nascimento. I'm a Curimatá barranqueiro, a supporter of a muvuca and a trusted writer. Generated on the banks of the São Francisco River – the watercourse of my life – I work collecting affections from riverside ancestry and perceiving “almost-rivers”, in the arid. I was raised in the thicket of carranqueiros, fishermen and laundresses. the weight of carrying the river on my back drinks from the source of the first suns I cried in my life. Holding the frown on its back has made me feel the force of the wind from my bowed board following the loose tail that descended in a spiral gong snail wrapping towards my right heel like a snake, bait, fish and stone.

is a visual artist, researcher and educator. Graduated in Visual Arts from FMU in 2011, he develops a practice that intertwines painting, photography and digital techniques to explore themes such as ancestry, Afro-Brazilian identity and collective memory. His works engage with elements of African and Afro-Brazilian culture, proposing reflections on the past and the present.

was a Brazilian visual artist whose work ranges from sculpture, painting, embroidery and watercolor. His practice is marked by a deep connection with northeastern popular culture, Catholic religiosity and nature, especially birds, which appear recurrently in his creations. Using materials such as wood and bronze, Almeida explored themes such as sexuality, identity and personal memory, often incorporating autobiographical elements and self-portraits into his works.

is a visual artist and professor at UFRGS. Her work investigates the relationships between words, images and memory, exploring intersections between literature and visual arts. She holds a PhD from Université Paris I – Sorbonne and founded the Torreão space (1993–2009), a reference in Brazilian contemporary art. She has held solo exhibitions and projects that highlight the materiality of language.

was a multifaceted Brazilian artist, recognized as the country's first primitivist painter. In addition to painting, he stood out as a poet, musician, playwright and folklorist.
Self-taught, he began his artistic career at the age of 18, painting scenes of his hometown. Between 1888 and 1890, he studied painting with Benedito Calixto in Santos, assisting him in the decoration of events commemorating the Lei Áurea (Golden Law) and in the preparation of the book “A Villa de Itanhaém” (The Villa of Itanhaém).

Di Cavalcanti was born in Rio de Janeiro, RJ, Brazil (1897) and died in São Paulo, SP, Brazil (1976). He graduated from the Largo São Francisco Law School (USP) and studied drawing and painting in Rio de Janeiro and Paris, where he encountered the European avant-garde movements, particularly Cubism and Expressionism, which influenced his artistic expression. A painter, illustrator, and muralist, he was a central figure in the 1922 Modern Art Week and created a body of work marked by the synthesis of intense color, robust volumes, sinuous design, and a play of light that emphasizes the atmosphere of his scenes. He allegorically represented elements of Brazilian culture, such as popular festivals, Carnival, music, and religion, as well as urban scenes that portrayed social and racial issues, such as the suburbs of Rio de Janeiro, informal workers, and collective life in the cities, articulating modernist aesthetics with a critical perspective. He also created murals for public and private spaces, bringing his work closer to modern architecture. His trajectory was revisited in the exhibitions In the suburb of modernity – Di Cavalcanti 120 years, Pinacoteca of São Paulo (2017) and Di Cavalcanti, muralist, Tomie Ohtake Institute (2021).

is a contemporary Brazilian artist known for immersive installations that explore the body, senses and spirituality. He uses materials such as lycra, spices and beads to create organic and sensorial environments. Since the 1990s, he has stood out internationally and collaborated with indigenous communities on works that combine art and ancestry.

was an artistic collective active between 1998 and 2009, founded by artists such as Fabrício Lopez. Based in São Paulo, the group promoted exhibitions, publications, videos, classes, exchanges and artistic residencies, standing out for its collaborative and experimental approach to the visual arts. The studio played a significant role in the Brazilian art scene, encouraging innovative practices and the formation of networks between artists.

is a visual artist and holds a master's degree in visual poetics from ECA-USP. He stands out for his large-format woodcuts, which explore overlapping images and colors inspired by the urban and natural surroundings of Santos. He is co-founder of the Espaço Coringa Studio and the Jatobá Cultural Association, in addition to working as an educator at the Acaia Institute, in São Paulo. His works are part of collections such as those of the Pinacoteca do Estado de São Paulo and the Itamaraty

Farnese de Andrade was a Brazilian painter, sculptor, designer, engraver and illustrator. He studied with Guignard in Belo Horizonte (1945-1948) and, after moving to Rio de Janeiro to treat tuberculosis, he worked as an illustrator for several newspapers and magazines. In 1959, he perfected his engraving skills at the Museum of Modern Art in Rio. In the 1960s, he began creating works with discarded materials and found objects, reflecting the political and moral context of the time.

is a Brazilian visual artist who works with painting, installation, performance and video. His work has an experimental and critical approach, exploring themes of cultural identity and Brazilian history. He began as a cartoonist in the south of the country and participated in important exhibitions, such as the 29th São Paulo Biennial.

Francisco Rebolo was a painter and engraver, linked to the Santa Helena Group and the formation of São Paulo modernism. In the 1950s, he explored woodcuts, and from the 1970s onwards, he dedicated himself to etching and lithography, encouraged by Marcello Grassmann. His engravings, far from being mere studies for painting, have their own strength, combining technical rigor and chromatic sensitivity. His production reflects the same search for balance and synthesis that marked his career in painting.

A painter, draftsman, and engraver, he graduated from the Institute of Fine Arts in Porto Alegre and began his career in southern Brazil before continuing his studies in Rio de Janeiro and Europe. His figurative painting, characterized by landscapes and portraits with a dense atmosphere, uses bold brushstrokes and contrasting colors to express profound emotional states. From the late 1950s onward, his work moved toward a more gestural and material language, in which the thickness of the paint, the energy of the line, and the tension between figure and background brought him closer to abstraction, as in the famous series of Reels. His last two major exhibitions were Inside Landscapes: Iberê Camargo's latest paintings, (2010) and Iberê Camargo: a visual essay (2009), both at the Iberê Camargo Foundation, in Porto Alegre, which preserves, researches and disseminates his legacy.

She is a Brazilian sculptor, engraver and multimedia artist. He began his training in dance and design, moving to Milan in the 1970s, where he worked as a designer at Olivetti and began to develop his own art. In the 1980s, he returned to Brazil and began to dedicate himself to sculpture, using materials such as wire, canvas, steel, copper and stone. Her work explores the relationship between body, space and movement, reflecting her training in dance. He participated in important exhibitions, including the IX São Paulo Biennial (1981) and Documenta in Kassel (2007).

She is a Brazilian conceptual artist recognized for her sculptures and installations created from everyday objects, such as banknotes, plastic bags and cigarette packs. Graduated in Fine Arts from FAAP, her work reflects on consumption, memory and the transition from banal objects to art. He participated in important exhibitions, including the Venice Biennale (1990 and 1997), dOCUMENTA (1992) and the 29th São Paulo Biennale (1983). His work is present in the collections of renowned institutions, such as MoMA (New York) and the Museum Ludwig (Cologne)

He is a Brazilian visual artist who lives and works in Recife. His practice encompasses photography, video and installation, exploring themes such as collective memory, cultural identity and social inequalities. It uses strategies that mix fiction and reality to reconstruct narratives from the past and reflect on the dynamics of the present. De Andrade frequently collaborates with local communities, highlighting marginalized voices and questioning power structures. His solo exhibitions include “O Peixe” at the New Museum, New York (2017), and “One to One” at the Museum of Contemporary Art Chicago (2019). He participated in important biennials, such as Venice (2022) and São Paulo (2016). His works are part of the collections of institutions such as MoMA and Guggenheim.

A self-taught painter, he became known for his depiction of rural life in the interior of São Paulo. His work depicts open landscapes and scenes of everyday life in the countryside, such as crops, harvests, livestock, festivals, and community life. His work balances observation and imagination, with a style characterized by subverted proportions, intensified colors, and symbolic elements that bring the real scene closer to a universe of personal fantasy, making his paintings a unique testament to Brazilian popular culture. Recent exhibitions include highlights José Antônio da Silva: “I was born wrong and I am right”, Pinacoteca of São Paulo (2018) and José Antônio da Silva: painting Brazil, Iberê Camargo Foundation (2025). His legacy is preserved and disseminated by the José Antonio da Silva Museum of Primitivist Art, in São José do Rio Preto, SP, Brazil.

A self-taught artist, later trained at the Núcleo Bernardelli, he was a portraitist and landscape painter, but he became known primarily for his seascapes, the most significant expression of his work, inspired by his experience as a sailor on the Italian docks and in the Brazilian military. In them, he explored the relationship between horizon, sea, and sky through curved and diagonal lines that structure the composition, broad scales, and a precise use of light. In addition to seascapes, he excelled in portraits and self-portraits with geometric lines and restrained expression, in which figures appear synthesized, often in lateral or shadowy poses. He also produced singular still lifes, in which fruits, flowers, and objects appear fused with portraits or unconventional arrangements. Among his recent exhibitions, highlights include Pancetti: the poetics of the navy, Fiat House of Culture, Belo Horizonte (2017).

Visual artist known for works that combine geometric patterns and optical effects using objects such as dominoes, dice and buttons. Influenced by constructive art, he develops compositions based on repetition and variation. He has participated in biennials such as those in São Paulo (1994) and Havana (2003), and his works are in collections such as the Pinacoteca de SP and the Fondation Cartier.

He is a visual artist and professor at UNESP, known for sculptures and installations that explore space, time and memory. His work uses materials such as wood, sand and wax, often dialoguing with literary and philosophical texts. He studied at the Düsseldorf Academy of Arts and holds a doctorate from ECA-USP. Among his exhibitions, “Tiamm Schuoomm Cash!” stands out at the Pinacoteca de São Paulo and the FAMA Museum.

He is a Brazilian photographer and filmmaker known for his experimental and innovative aesthetic. He began his career in the 1970s with surfing photographs and later stood out in fashion and advertising photography, collaborating with magazines such as Vogue e ELLE. His work moves between the documentary and the artistic, exploring urban and human themes. He has published several books and held exhibitions in Brazil and abroad.

She is a Brazilian visual artist recognized for sculptures and installations that explore the relationship between body, space and ephemerality. Graduated from FAAP and with a master's degree from ECA-USP, she began her career in the 1980s, moving from painting to three-dimensional works. He participated in biennials such as São Paulo (2004) and Mercosul (1999, 2005, 2009), and has works in institutions such as Inhotim and MAM-SP. She also works as an art director in theater, standing out for her set designs at Teatro Oficina.

Visual artist and poet, Lenora de Barros graduated in Linguistics from the University of São Paulo (USP) and began her artistic career in the 1970s. The first works created by Lenora can be placed in the field of “visual poetry” in dialogue with the concrete poetry movement of the 1950s. Words and images were its first materials.

In 1983, LB published the book Onde Se Vê, a set of somewhat unusual “poems”. Some of them dispensed with the use of words, constructed as photographic narratives, where the artist herself represented different characters in performative acts. This book already announced Lenora de Barros' transition to the field of visual arts, which ended up happening. Since then, the artist has followed her path, marked by the use of different languages: video, performance, photography, sound installation and construction of objects.

His work is included in collections in Brazil and several other countries, including the Hammer Museum (CA, USA), Barcelona Museum of Contemporary Art (Spain), Daros Coleção Latinamerica (Switzerland), São Paulo Museum of Modern Art ( MAM), Pinacoteca do Estado de São Paulo and Museo Nacional Centro de Arte Reina Sofía, (Madrid). Among the most important exhibitions she participated in are: Radical Women: Latin American Art, 1960-1985, Hammer Museum, LA, Brooklyn Museum, New York-NY, USA; Pinacoteca de São Paulo-SP, Brazil; Tools for utopia, selected works from the Daros Latinamerica Collection, Bern, Switzerland; 11th Lyon Biennial, (France, 2011); ISSOÉOSSODISSO at Oficina Cultural Oswald de Andrade (São Paulo, 2016); 4th Thessaloniki Biennial of Contemporary Art (Greece, 2013); 17, 24 and 30th São Paulo International Biennial, and in 2022 she will be at the 59th Venice International Biennial.

His artistic research focuses on creating photographic devices suitable for capturing and reconstructing movement and presenting it through video, photography and installation. With a particular interest in the science of fiction, he developed complex geographical novels in some of his series, such as ERBF, Bitácora and Vostok. Chance, as well as experimentation with photography and the artistic process are directions that can be seen in his work.

He is a Brazilian visual artist whose work encompasses painting, sculpture, drawing and engraving. Graduated from FAAP and having studied at FAU-USP, he was a student of Wesley Duke Lee and co-founder of Escola Brasil, alongside Carlos Fajardo, José Resende and Frederico Nasser. His production moves between the abstract and the figurative, with emphasis on large-format paintings with irregular contours. He participated in the Venice Biennale (1984) and has works in collections such as MAC-USP and MAM-RJ.

Mabe Bethônico is an artist and researcher who works with archives and institutions, dealing with the boundaries between documentation and construction, highlighting how information and history can be constructed and reworked continuously. From this perspective, she dedicates herself largely to issues related to mining in Minas Gerais. She participated in the 27th and 28th São Paulo Biennials and in exhibitions at MAM and MIS SP, Museu da Pampulha, at the Centre de la Photographie, Geneva, Museo de Antioquia – Medellin, Kunstverein Muenchen – Munique, Nothingham Contemporary, among others. She is a member of the international collective of artists and theorists World of Matter and conducts research in France, with the École Supérieure d'Art Annecy Alpes, ESAAA. Bethônico holds a master's degree and a doctorate in visual arts from the Royal College of Art, London, and carried out postdoctoral research at the Museum of Ethnography in Geneva, on the project One traveler after another, a guide or two about the Caatinga, on the archives of the Swiss geologist Edgar Aubert de la Rüe.

He is a Brazilian visual artist who lives and works in Coimbra, Portugal. His artistic practice involves drawing, photography and installation, focusing on themes such as displacement, territory, landscape and memory. Since 2000, he has created works based on trips to remote locations, collecting elements from nature to create works that explore the relationship between humans and the environment. He has received awards such as the Pollock-Krasner Foundation Grant (2017) and the PIPA Popular Vote Award (2010). His works are part of the collections of institutions such as MAM-RJ and the Pinacoteca de São Paulo.

He holds a Master’s degree in Arts from UFMG and is the coordinator of CEIA – Center for Art Experimentation and Information. With solo exhibitions in Brazil, Germany, Argentina and the Netherlands, he has participated in important events such as the 29th São Paulo Biennial (2010). His work has won awards at national exhibitions and is part of collections such as MAM-SP, Pinacoteca de SP, Inhotim and MAC-USP. He also stands out as a performer, having participated in national and international festivals. He lives and works in Belo Horizonte.

Photo: Marco Paulo Rolla

She is a Brazilian visual artist whose work ranges from videos, photographs, engravings, sculptures, paintings, actions and site-specific installations. His work constantly deals with language and literature, exploring the relationship between words, memory and space. With a degree in Social Communication from UFMG and a master's degree in Visual Arts from UFRJ, Dardot lives and works between Mexico City and São Paulo. He has participated in several biennials, such as those in São Paulo, Havana and Coimbra, and has works in the collections of institutions such as Inhotim and the Museum of Modern Art in São Paulo.

She is a Brazilian visual artist who lives and works in São Paulo. Graduated in Visual Communication from FAAP, her work moves between photography, objects and installations, exploring optical distortions and the participation of the viewer. It uses mirrors, lenses, water and translucent materials to create sensory experiences that challenge perception. He participated in biennials such as Mercosul and Havana, and has works in collections such as MAM-SP, MAM-RJ and Société Générale, in France.

He is a Brazilian visual artist who explores various media, such as painting, sculpture, video, photography and installation. His work, marked by a strong interaction with nature, uses elements such as earth, water, fire and air to reflect on time, memory and the transformations of the natural world. Pitta invites the viewer to contemplate the impermanence of existence, through projects that highlight the ephemeral and transitory aspects of life.

Photo: Projector

He is a Brazilian visual artist known for creating installations and sculptures from obsolete electronic devices, such as printers, scanners and cameras. His work combines artisanal and technological elements, exploring themes such as memory, obsolescence and the relationship between humans and machines. Marques participated in important exhibitions, including the 26th São Paulo Biennial (2004) and the 5th Mercosul Biennial (2005). In 2006, he received the Marcantonio Vilaça Award. He is represented by Galeria Leme and lives and works in Brasília.

She was a Brazilian artist and thinker, known for exploring the relationship between chaos and order, sensoriality and rationalism. Her production was marked by the transition from painting to monotypes on Japanese paper, which, due to their translucency, gained a two-sided reading. In the graphic objects, suspended between acrylic plates, and in the Drugs, made in 1964, Schendell gave volume and texture to the almost invisible. His work intertwines text and materiality, translating poetry into lines and letters.

Photo: Galatea

He was a Brazilian painter, decorator and ceramist, member of the Santa Helena Group. His work is marked by intense colors and simple compositions, standing out as one of the great colorists of modern Brazilian art alongside Alfredo Volpi. He participated in the first three São Paulo Biennials and received recognition from critics such as Mário de Andrade.

Nazareth Pacheco was born in São Paulo, SP, Brazil (1961). She graduated in Fine Arts from Mackenzie Presbyterian University and began her career in the 1980s, working with sculpture and three-dimensionality. Her work reflects autobiographical experiences and explores the relationship between body, pain, and aesthetic standards, using materials such as rubber, steel, scalpels, beads, and acrylic. She has held solo exhibitions such as Seductive Objects, at SESC Santo Amaro (2012) and Dropwise, at the Pinacoteca de São Paulo (2015). He participated in group exhibitions such as the 20ª and 24ª São Paulo Biennial (1989, 1998) and the Panorama of Brazilian Art (1988, 1991, 1998, 1999). 

FHi, a Brazilian visual artist known for his critical and provocative stance towards the artistic system. In 1966, he founded the Rex Group, which questioned art institutions through actions such as the “Exhibition-Non-Exhibition”, in which he offered his works to the public free of charge. His most emblematic work, The pig (1967), consisted of a stuffed pig sent to the 4th Salão de Arte Moderna de Brasília, defying the event's selection criteria. Leirner was also a pioneer in the use of multiple and unconventional supports, such as billboards, and taught at FAAP and the Escola de Artes Visuais do Parque Lage. His production is marked by irony, humor and political engagement.

He is an Argentine visual artist whose work ranges from drawing, sculpture and installation, exploring themes such as language, memory and knowledge structures. He uses simple, everyday materials to create compositions that evoke technical and architectural diagrams. Lives and works between São Paulo and Buenos Aires, with training at the Martín A. Malharro School of Visual Arts. He participated in biennials such as São Paulo (2008) and FEMSA (2018), and exhibited at institutions such as MAM São Paulo, Museu Sívori (Buenos Aires) and Künstlerhaus Bethanien (Berlin). He has received awards such as the Marcantonio Vilaça (2015–2016) and the Paradoxos Rumos Itaú Cultural.

The production of No Martins articulates the languages ​​of painting, installation and performances, through which Martins investigates everyday interpersonal relationships, mainly the coexistence of the black population in urban daily life, questioning social conflicts such as racism, mortality due to violence and the over-incarceration of Brazilian population. His works are in collections of museums such as MASP – São Paulo Museum of Art, Pinacoteca do Estado de São Paulo, Inhotim and Museu da Escravatura, Luanda – Angola.
Among his most recent exhibitions, solo exhibitions stand out: Political Encounters at Galeria Mariane Ibrahim in Paris – France; Social signs at Jack Bell Gallery in London – UK (2020); Everything under control, at the 29th CCSP (Centro Cultural São Paulo) exhibition program, in São Paulo – Brazil (2019); To those who have passed away, to those who are here and to those who will come, at the Instituto Pretos Novos, Rio de Janeiro – Brazil (2019). And the group exhibitions: The discovery of what it means to be Brazilian, at Mariane Ibrahim Gallery, Chicago – USA (2020); 21st Sesc VideoBrasil Contemporary Art Biennial, in which he received the Sesc Contemporary Art Award (2019); and Afro-Atlantic Stories at MASP (São Paulo Art Museum) and ITO (Tomie Ohtake Institute), São Paulo – Brazil (2018).

A Brazilian visual artist whose work moves between painting, sculpture and drawing, exploring the relationship between form, color and space. He was one of the founders of the Casa 7 group in the 1980s, which revitalized Brazilian painting with neo-expressionist influences. He participated in several biennials, such as those in São Paulo (1985, 1994, 2013) and Havana (1986), and had a retrospective at the Pinacoteca de São Paulo in 2008. His works are part of the collections of institutions such as MoMA, MAM São Paulo and Pinacoteca.

He is a photographer and visual artist. He has been working with photography since 1990 and graduated in fine arts from FAAP in 1997. In his work, he explores the body as a support, using the skin as a surface for incisions and lines that cause discomfort and activate sensory and affective experiences. Pain, blood and geometry reveal tensions between reason and corporeality. Influenced by the body performances of the 1970s, his production is designed for photography as a final work. The series Feature (1999) and Output Maps (2006), in addition to work in the fields of fashion and contemporary art.

He is a multimedia artist, professor, curator and critic. He has participated in individual and collective exhibitions since 1981, including the 25th São Paulo Biennial (2002), Urban Tension (Museum in Progress), Vienna (2002), and the exhibition Between Pindorama, at the Künstlerhaus in Stuttgart (2004). He has published several texts in specialized magazines, in Brazil and abroad, and is currently a professor at the Institute of Arts of the State University of Rio de Janeiro (UERJ).

She is one of the most internationally renowned Brazilian visual artists. A graduate of UFMG, she has participated in residencies in London (Royal College of Art) and Stockholm (Iaspis), and has received awards from institutions such as Funarte and ArtPace. Her work ranges from video, installation, performance and photography, with an interest in collective narratives, memory and language. She has participated in biennials in São Paulo (1998, 2006) and Venice (2003, 2005). Her work is part of collections and exhibitions in major museums around the world, making a decisive contribution to contemporary art.

Lives and works in Belo Horizonte. He holds a PhD in Arts from UFMG and was a member of the Galpão Embra collective in the 1990s. He has participated in exhibitions in Brazil and abroad, including the Arco (Madrid) and Pinta (New York) fairs. He has received awards at art shows, such as the Visiting Artist at the Tamarind Institute (USA). His works explore tensions between the natural and the artificial, presence and absence, and range from drawings, objects, installations, interventions and artist books. His work is part of collections such as MAM-SP, MAM-RJ, Museu de Arte da Pampulha and Coleção Madeira (Portugal).

She was a photographer and multimedia artist. She graduated in Social Communication from PUC-RS and lived and studied in London, attending institutions such as Saint Martin School of Art. Her work began with editorial photography and expanded to include installations, objects and videos, exploring urban life, private spaces and identity. With a keen eye for everyday life, she created series that give new meaning to common experiences. Her work is part of the collections of institutions such as MASP, MAM São Paulo, Inhotim and CIFO (Miami).

He lives between Paris and Rio de Janeiro. He graduated in Visual Arts from UFPE and develops works through immersion in natural landscapes and body practices that dialogue with performance, photography and video. His production investigates the tensions between humans and nature, in compositions that mix the real and the fantastic. He participated in the 30th São Paulo Biennial and exhibited at MoMA PS1 and the Palais de Tokyo. He has received awards such as the PIPA (2012) and the Marcantonio Vilaça (2009). His works are in collections such as MAM São Paulo, MAM Rio and Maison Européenne de la Photographie.

He holds a master's degree in Visual Poetics from UFRGS. His practice investigates space-time simulations and the role of the artist in different contexts, crossing visual arts with science and history. He has participated in exhibitions such as the 31st São Paulo Biennial, the 35th Panorama of Brazilian Art at MAM São Paulo, the Pinacoteca de São Paulo, the Mercosul Biennial, and Region 0 (New York). He has held residencies at the Bronx Museum (USA), the Sacatar Institute (BA), Takt Kunstprojektraum (Berlin), and Sunhoo Creatives (China).

She holds a PhD in Visual Arts from ECA/USP and specializes in engraving from the London Print Studio. Her work investigates the scars of slavery and the place of black women in Brazilian society. She has participated in exhibitions such as the 59th Venice Biennale, the 35th São Paulo Biennale and the XNUMX Venice Biennale. Afro-Atlantic Histories (NGA, USA). His works are in collections such as MASP, MAM São Paulo, Pinacoteca de São Paulo, Malba and UNM Art Museum. He was a scholarship holder of the Ford Foundation, CAPES and Rockefeller Foundation.

She holds a PhD in Visual Arts from ECA/USP and specializes in engraving from the London Print Studio. Her work investigates the scars of slavery and the place of black women in Brazilian society. She has participated in exhibitions such as the 59th Venice Biennale, the 35th São Paulo Biennale and the XNUMX Venice Biennale. Afro-Atlantic Histories (NGA, USA). His works are in collections such as MASP, MAM São Paulo, Pinacoteca de São Paulo, Malba and UNM Art Museum. He was a scholarship holder of the Ford Foundation, CAPES and Rockefeller Foundation.

Born in 1996 in Isaías Coelho, Piauí, Santídio Pereira lives and works in São Paulo. He studied Art History with critic and curator Rodrigo Naves, and has a degree in Visual Arts from Fundação Armando Álvares Penteado, in São Paulo.

Santídio Pereira's trajectory has been permeated by experimentation and constant study of artistic precepts, driving a desire to create and innovate pre-established standards, both in the formal and conceptual aspects of artistic languages. His work has been exhibited in Brazilian institutions such as Fundação Iberê Camargo (Porto Alegre), Centro Cultural São Paulo, Paço das Artes, MuBE – Brazilian Museum of Sculpture and Ecology, and MAM – Museu de Arte Moderna de São Paulo (all in São Paulo ) in exhibitions at international spaces and institutions such as Galería Xippas (Punta del Este, Uruguay), b[x] Gallery (New York, USA), Bortolami Gallery (New York, USA), Fondation Cartier pour l'Art Contemporain – Triennale di Milano (Milan, Italy), Fondation Cartier pour l'Art Contemporain (Paris, France), Power Station of Art (Shanghai, China), among others. His work is included in important collections, such as Pinacoteca do Estado de São Paulo (Brazil), Coleção Cisneros (USA), Acervo Sesc de Artes (Brazil), Museu de Arte do Rio – MAR (Brazil) and Fondation Cartier pour l'Art Contemporain (France). Santídio was also awarded the Piza Prize (2021, Paris, France), in addition to having participated in the AnnexB Residência Artística (2019, New York, USA).

He is a visual artist, performer and researcher. He lives and works between Joinville and São Paulo. He has a degree in Visual Arts and a master's degree in Philosophy. In 2014, he was included in the book Builders of Visual Arts: Five Centuries of Arts in Santa Catarina, as one of the 30 most influential artists in the state. He has participated in more than 80 exhibitions, including solo, collective and salons. He has received awards such as the Elisabete Anderle Prize for Cultural Incentive (2014 and 2017), the 10th Elke Hering National Salon (2012) and the 10th National Art Salon of Itajaí (2005).

He studied Economics and Social Sciences at the University of Bern, Switzerland, where he encountered the European avant-garde movements of the early 20th century. One of the protagonists of the first phase of the MAM São Paulo's history, he was also a prominent painter and writer, as well as a prominent painter. An active participant in the 1922 Modern Art Week, Milliet was a leading figure in Brazilian modernism. His relationship with MAM began at the museum's inception, of which he was one of its most active creators and organizers. He was one of the founders and first president of ABCA (Brazilian Association of Art Critics). He served as MAM's second artistic director from 1952 to 1957, when he held the first Tarsila do Amaral retrospective. He also served as artistic director of the São Paulo Biennial from 1953 to 1958, overseeing its second, third, and fourth editions. A few years after his death in 1966, MAM organized an exhibition of his paintings, paying great tribute to his career and life. Sergio Milliet.

Sidney Amaral was a visual artist and art teacher in the public school system. Through different languages, he dedicated himself both to the subversive exploration of the meanings of the material and contextual displacement of objects, and to the approach to ethnic-racial themes, including the condition of the black population and, in particular, of black men in Brazil, addressed, often through his self-portrait. Sidney Amaral began his career in the 1990s, when he studied at the Liceu de Artes e Ofícios de São Paulo, the Escola Panamericana de Artes and the ECOS Escola de Fotografia. In 1998, he graduated in Artistic Education from Fundação Armando Álvares Penteado. The following year, he was a student of artist Ana Maria Tavares (1958-) in the orientation and development of artistic projects course at the Brazilian Museum of Sculpture and Ecology. In 2001, he held his first solo exhibition at Centro Cultural São Paulo. His work received relevant recognition, such as the II Funarte Prize for Black Art and the artistic residency at the Tamarind Institute (New Mexico, USA) in 2012, and he participated in important exhibitions, such as “Histories Mestiças” (2014) at the Instituto Tomie Ohtake , and “Dialogues Ausentes” (2016-2017) at Itaú Cultural. At the beginning of 2017, Sidney Amaral was diagnosed with pancreatic cancer, which, within a few months, led to his premature death.

Tadáskía (b. 1993, Brazil) is a black and trans artist and writer based in Rio de Janeiro and São Paulo. His work in drawing, photography, installation and textiles mobilizes histories, geographies and the material and immaterial relationships that can arise between the world and living beings. Through her practice, she also seeks to elaborate the visible and invisible experiences of the black diaspora, resulting from familiar and unusual encounters. Tadáskía has already exhibited at the Rio Art Museum, Paço Imperial and EAV Parque Lage, in Rio de Janeiro; at Framer Framed, in Amsterdam; at ISLAA in New York; at the Astérides Triangle in Marseille; in Madragoa, in Portugal; and at Sé, Pivô, Auroras and the Casa de Cultura do Parque, in São Paulo.

lives and works in Belo Horizonte. She has been developing paintings, videos, sculptures and installations since 1998. She participated in the 29th São Paulo Biennial, was a finalist for the Nam June Paik Award (Germany) and was recognized by the Cisneros Fontanals Art Foundation (USA). She won the PIPA Prize in 2011 and held a residency at Gasworks (London). She has had solo shows at CCBB Rio, Capela do Morumbi, MAM Bahia, among others. She has exhibited at the Wexner Center (USA), Kunst im Tunnel (Germany), MAM Rio and Itaú Cultural. She is represented by Galeria Millan (SP) and Johannes Vogt Gallery (NY).

Antônio José de Barros Carvalho and Mello Mourão, Tongue, born in 1952, in Palmares, Pernambuco, lived and worked in Rio de Janeiro.

He was the first contemporary artist to exhibit his work in the Louvre pyramid, in addition to having participated in exhibitions such as the Venice Biennale, in 1982, and Documenta de Kassel, in 1992. Today, the artist's work is in the collections of MoMA, in New York; the Museum of Fine Arts, Houston; the Center Pompidou, in Paris; the Barcelona Museum of Contemporary Art, and the Tate Modern, in London.

was born in Porto Alegre in 1938, and has lived and worked in the same city, also maintaining his studio in Barcelona since 1986. In the 60s, he devoted himself to engraving after studying in England and the Netherlands. In 1975, he received a British Council scholarship at Croydon College in London, studying photography and its application in graphic techniques. He is among the founders of Nervo Óptico (1976–1978) and Espaço NO (1979–1982), as well as the gallery Obra Aberta (1999–2002), active in southern Brazil. Among the exhibitions in which he has participated are the solo exhibitions at Galeria Goeldi (Rio de Janeiro, 1966) and “Inéditos e Reciclados” at Galeria Bolsa de Arte (São Paulo, 2019); the group shows at the Venice Biennale (1976), at the 14th São Paulo Biennale (1976), at the 3rd São Paulo Contemporary Art Salon (São Paulo, 1985), and “The 70s – art as a question”, at the Tomie Ohtake Institute (São Paulo, 2007).

is a photographer whose work combines formal investigations of photography with intimate issues. His essays explore the body, landscapes, objects and private spaces, with a focus on light, time and fragmentation. In 2007, he received the APCA Award for his exhibition at the Pinacoteca do Estado. In 2012, he was the first Brazilian to be in residence at the Espace Photographie Contretype (Belgium), where he presented SilentCity. In 2015, he won the CCBB Contemporary Award with the installation Ultramarine.

 is a Brazilian photographer and filmmaker. An heir to the Cinema Novo movement, he began his career assisting his brother Vladimir Carvalho, and established himself as a director and cinematographer. His work bears the mark of Brazilian cinema in the second half of the 20th century and reflects the country's social, political and cultural transformations. He is a member of the Brazilian Cinema Academy committee responsible for nominating Brazilian films for the Oscars.

Xadalu Tupã Jekupé is a mixed-race artist who uses elements of screen printing, painting, photography and objects to address the tension between indigenous and Western culture in cities in the form of urban art. His work, the result of experiences in villages and conversations with wise men around the campfire, became one of the most powerful resources of visual arts against the erasure of indigenous culture in Rio Grande do Sul. Dialogue and integration with the Guarani community Mbyá allowed the artist to rescue and recognize his own ancestry. Xadalu has an origin linked to the indigenous people who historically inhabited the banks of the Ibirapuitã River. The waters that bathed his childhood carry the story of Guaranis Mbyá, Charruas, Minuanos, Jaros and Mbones — as well as the artist's great-grandparents and great-great-grandparents. The work made for the Collectors Club features an indigenous head, like those carved on the base of the Porto Alegre cathedral, which symbolize the dominance of Christianity over indigenous culture and the extermination of original peoples. In Guarani, the artist writes “There is a city above us”, in a clear allusion to the buried indigenous territory and the archaeological remains found in the region.

 investigates themes such as memory, temporality, ruin and gentrification, stretching the boundaries between reality, fiction and the possible. His work encompasses video, installation, performance and photography, with a strong presence of the body as an inscription of history. He holds a master's degree from ECA/USP and his works are included in collections such as MAM São Paulo, MAR, Museu da Pampulha and Museu Nacional de Belas Artes. He participated in the 31st São Paulo Biennial, 11th Mercosul Biennial and 14th Jogja Biennale, among others.