II Concurso Itamaraty de Arte Contemporáneo II Itamaraty

II Itamaraty
Contemporary Art Prize
2012
2nd Itamaraty Contemporary
Art Prize
This publication aims at acquainting the public
with the new works of art that the Ministry of External Relations acquired for its collection both
in Brazil and abroad. This represents the continuation of the new artworks acquisitions policy,
which was resumed in 2011.
It is pleasure to present the twenty artists, who
were the winners of the 2 nd Itamaraty Contemporary Art Prize, recipients of the Itamaraty Acquisition Prizes. The competition was held in 2012
by the Cultural Department (UndersecretariatGeneral for Cooperation, Culture, and Trade
Promotion) in partnership with the Administrative Department and the Communications and
Documentation Department (UndersecretariatGeneral of Foreign Service) and the Alexandre de
Gusmão Foundation.
Winners
06 Alice Shintani
10 Anna Paola Protasio
14 Carlos Bevilacqua
18 Claudia Melli
22 Edina Fischer
26 Flávio Cerqueira
30 Guilherme Licurgo
34 Jarbas Lopes
38 Laíse Frasão
42 Marcelo Moscheta
46 Márcia Xavier
50 Michele Martines
54 Nati Canto
58 Patricia Leite
62 Pedro David
66 Renata Egreja
70 Rosângela Dorazio
74 Tatiana Steter
78 Vânia Mignone
82 Zé César
The granddaughter of Japanese immigrants, Alice Shintani was born in 1971 in São Paulo. She graduated in Computer Engineering from the Universidade Estadual de Campinas (UNICAMP). From 1994 to 2001 she worked on projects
for the implementation of the Internet in Brazil. From 2001
to 2006 she studied painting and drawing under the guidance of Dudi Maia Rosa and attended courses with Carlos
Fajardo, Thierry de Duve, Peter Pal Pelbart, Vladimir Safatle Velloso and Marcus Aurelius, among others. She currently lives and works in São Paulo.
Since 2003 Alice has been working on the idea of an expanded painting which conducts a dialogue with the
viewer through installations, ephemeral interventions
and immersive environments. Her main solo exhibitions
have been: Hanafuda, Mercedes Viegas Gallery, Rio de
Janeiro (2012); Bakemono, Casa Triângulo, São Paulo
(2011); Sinopse Mercedes Viegas Gallery, Rio de Janeiro
(2010), Éter, Virgílio Gallery, São Paulo (2009), Dominó,
USP Ribeirão Preto, São Paulo (2008), Quimera, Virgílio
Gallery, São Paulo (2007). Major exhibitions: Técnicas do
Desaparecimento, Guantánamo, Cuba (2012), Programa
Rumos Artes Visuais, Instituto Itaú Cultural, São Paulo,
and Paço Imperial, Rio de Janeiro (2009), Nova Arte Nova,
Centro Cultural Banco do Brasil, Rio de Janeiro and São
Paulo (2008), Oriente Ocidente, Centro Cultural São Paulo,
São Paulo (2008), Estado de Exceção, Paço das Artes, São
Paulo (2008), Salão Arte Pará (2006) and Bienal Nacional
do Recôncavo (2004 and 2006).
ALICE SHINTANI
8
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Bakemono I
Painting on canvas
Acrylic resin and pigments
3m x 4m
Bakemono, in Japanese folklore,
are spirits which have the ability to
change shape and appearance,
depending on the context or
situation. The series “Bakemono”
is proposed as a silent experience,
open to participant observers,
inviting them to give movement to
their own ideas and imagination.
Anna Paola Protasio was born in 1966 in the city of Rio de Janeiro, where she lives and works. She worked as an architect
and furniture designer and specialized in design and history
of art. In 2006 she turned her attention to fine arts, producing
sculptures and installations.
She has had solo exhibitions in museums and cultural centres in Rio de Janeiro, such as the Museu Nacional de Belas
Artes in 2010, the Casa França Brasil in 2008, and the Centro Cultural dos Correios in 2010; in São Paulo at the Museu
Brasileiro da Escultura in 2012, and SESC in Bauru, São José
do Rio Preto, São José dos Campos and Ribeirão Preto. She
has also participated in conferences such as the Salão de Artes Anuário Embu das Artes 2010 – achieving 3rd place in the
category “other languages” (installation, video, photography
and performance) – and the exhibition A Nova Escultura Brasileira [New Brazilian Sculpture], in 2012, in Rio de Janeiro.
ANNA PAOLA PROTASIO
12
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Corte [Cut]
Sculptures using traffic cones
Traffic cones
1,2m x 1,2m x 2,4m
“Corte” [Cut] is a work using traffic
cones and belongs to the series
“Sentidos” [Senses]. Sense is
the meaning transformed in the
displacement of the object from
its original context (from road to
art). Sense is also what allows us
to perceive and feel this shift. In
this cut, it’s as if the moment was a
struggle between strain and fracture,
between movement and rest.
Carlos Bevilacqua was born in 1965 in Rio de Janeiro,
where he lives and works. He read architecture at the Santa Úrsula University (Rio de Janeiro), from 1986 to 1989. His
lecturer and artist Milton Machado encouraged him to participate in the Macunaíma Project (1988), and was awarded
the Ivan Serpa/ Funarte fellowship. From 1990 to 1994, he
studied and worked in New York under the sponsorship of
Bolsa Vitae de Artes.
Carlos Bevilacqua has participated in important art events:
6th Salão de Arte Contemporânea de São Paulo (1988), 11th
Salão Nacional (1989), 15th Salão Nacional (1995), 6th Salão da
Bahia (1999); solo exhibitions at the Museu de Arte Moderna
(MAM)/ São Paulo (1992), Espaço Cultural Municipal Sérgio
Porto/ Rio de Janeiro (1992), Millan Gallery/ São Paulo (1995,
2001 and 2003), Cândido Mendes Gallery/ Rio de Janeiro
(1999), Museu de Arte Moderna (MAM)/ Rio de Janeiro (2000),
New Acquisitions for the Gilberto Chateaubriand Collection
(2000), Laura Marsiaj Gallery (2003), Mercedes Viegas Arte
Contemporânea (2007), Fortes Vilaça Gallery (2008 and
2010) and Artur Fidalgo Gallery (2011). Also participated in various collective exhibitions such as the four-hands exhibition
jointly with the artist Ernesto Neto at Fortes Vilaça Gallery.
Carlos Bevilacqua has also participated in international
fairs such as Arco (Spain) and Basel (Miami and Switzerland) and exhibited at Simon Preston Gallery (New York)
and the exhibition Verlangen nach Form – O Desejo da Forma Neoconcretismo und zeitgenössische Kunst aus Brasil
at the Academy of Arts, Berlin.
Other works and collections of the artist can be seen
at the Chateaubriand Collection of the Museu de Arte
Moderna (MAM) in Rio de Janeiro and Museu de Arte Contemporânea/ Universidade de São Paulo (USP).
He is represented by Fortes Vilaça Gallery and Simon
Preston Gallery.
CARLOS BEVILACQUA
16
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Ek-semelhante II
Sculpture in wood, lead and steel
Wood, carbon steel, stainless steel
1m x 1m
The sculptures are involved in
both movement and balance
of forms and forces. The poetic
form exploits functional and
symbolic features of the combined
materials, elements and objects.
Claudia Melli was born in São Paulo in 1966 and lives and works
in Rio de Janeiro. While she was training in art, she attended
various courses at the Escola de Artes Visuais do Parque Lage,
Rio de Janeiro such as “Linguagens Artísticas” [Art Languages]
taught by Maria do Carmo Secco and Malu Fatorelli; “Três Olhares sobre a Arte” [Three Views on Art] taught by Fernando
Cocchiarale, Franz Manat and Milton Machado as well as workshops: Katie Von Scherpenberg’s on materials and Charles
Watson’s on the creative process, provenance and ownership.
Collective exhibitions: New acquisitions for Gilberto Chateaubriand Collection, Museu de Arte Moderna (MAM), Rio de
Janeiro (2012); Interferência no Espaço [Interfering in Space],
site-specific art, Museu da República, Rio de Janeiro (2008);
Oçapse – Oproc – Zul – collective video project conceived of
by Mark Bonisson – Atelier da Imagem, Rio de Janeiro (2007);
Espaço Contemporâneo [Contemporary Space] – Casa
França-Brasil, Rio de Janeiro, a Universidarte Project curated
by Luiz Camillo Osorio and Mácio Doctors (2007); Novíssimos
[The Newest] (2006) – IBEU Art Gallery, Rio de Janeiro; Livro
do Artista [Artist’s Book] Escola de Artes Visuais do Parque
Lage, Rio de Janeiro (2004).
Solo exhibitions: Entre o perto e distante [Between the near
and the far], HAP Gallery, Rio de Janeiro (2012), Tudo da vida é
um país estrangeiro [All in life is a foreing country], Eduardo
Fernandes Gallery, São Paulo (2011); Série Azul [Blue Series],
Penteado Gallery, Campinas (2009), Onde [Where], Durex
Gallery, Rio de Janeiro (2008).
Her works in collections: Museu de Arte Moderna (MAM), Rio
de Janeiro; Banco Espírito Santo Collection, São Paulo, Brazil Golden Art Investments, São Paulo; Fundação Leal Rios,
Lisbon; Instituto Figueiredo Ferraz Collection, Ribeirão Preto,
São Paulo; and in private collections of Artur Lescher, Heitor
Martins and Fernanda Feitosa, and José Olympio Pereira.
20
CLAUDIA MELLI
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Untitled
Indian ink on glass
Indian ink, glass and acrylic
1m X 1m
This work aims at exploring the possibilities
of using new supporting material, glass,
and at grappling with surprises and
discomfort that this unknown presents.
“Untitled” is not documentary work: albeit it
represents the world we are able to see, it is
not a landscape in a mimetic sense, rather
it is the affirmation of the image obtained
by means of and because of the means
that it employs. The issue it raises is that of
the might of the image. The work becomes
complete at the very point that the viewer
feels surprised and doubts what he/she
sees: painting or photograph? A dialogue
ensues between the comfort of the known
landscape and a perception of something
that appears to be somewhat odd.
Born in São Paulo in 1959, Edina graduated in Fine Arts from
the Faculdade de Belas Artes in São Paulo and also studied
Jewellery, Silversmithing & Allied Crafts at the Sir John Cass
Faculty of Arts, London. She has also done courses at the
Hochschule Wismar, Germany, where she produced a series of rings that looked like small sculptures. She moved to
Munich, where she continued making jewellery and participated in several group exhibitions.
In 2010, with the exhibition Grenze_n, she showed a series
called “Despedida” [“Farewells”], where she exhibited perforated screens with words/ phrases, pictures of fertilized
eggs and assemblages with injection needles, ampoules
and tablets: everything that was used in her IVF treatment,
an autobiographical work that she continues to develop.
EDINA FISCHER
24
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Untitled
Perforated wood
Wood, vaginal speculums
2,00m x 2,00m x 0,12m
“Untitled” is an assemblage made up
of vaginal speculums and the words
“We do not think you understand
what we have been through. We do
not think ...” The artist addresses
the process which many women
undergo: feelings of fear, guilt,
anxiety, frustration and, above all,
loneliness. As in the other works
in the series, the text is formed by
drilled holes – an allusion to the
female body, so often perforated and
penetrated by surgical instruments
during in vitro treatment.
Flávio Cerqueira holds a degree in Arts Education from Faculdade Paulista de Artes, São Paulo, in 2005 and has been
a member of Ateliê Fidalga since 2009, where the artists
Sandra Belt and Albano Afonso steward his art projects. Since
the time he was an undergraduate, Flávio has pursued research into tridimensional language aimed figurative production.
Following a visit to the cities of Carrara and Pietra Santa in
Italy and Michelangelo Buonarroti’s studios in 2006, Flávio decided to dedicate himself fundamentally to figurative sculpture. His work revolves around issues such as loneliness and exclusion, issues linked to the affective side. His work has been
shown in significant art venues in Brazil: he was the winner
of awards at the 10th Bienal do Recôncavo in São Félix, Bahia
(2010), 35th Salão de Arte Contemporânea de Ribeirão Preto,
São Paulo (2010), 9th Salão Nacional de Arte de Jataí, Goiás
(2010), Honorable Mention at 19th Encontro de Artes Plásticas
de Atibaia, São Paulo (2010) and held numerous group and
solo exhibitions. He had an Art Residency at the Carpe Diem
Arte where he also did research under the guidance of the
curator Paulo Reis.
FLÁVIO CERQUEIRA
28
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Iceberg
Paint on bronze
Bronze
0,45m x 0,30m x 0,45m
“Iceberg” is part of a long series of sculptures that the
artist embarked upon in which he sets a visual poetics
perspective. This work deals with the concept of waiting
in broad terms. It is an individual that places himself
before the landscape of life, in an eternal quest, and
continually awaiting whatever there is to come.
Guilherme Licurgo, a former model with a degree in law,
has tried various diverse professions before finding himself in photography. It would be seven years from the time
he left Rio de Janeiro and moved to São Paulo that he
would discover his vocation.
In 2008, Terry Richardson, a distinguished American fashion photographer, invited him to pose for a photograph.
Guilherme was fascinated by the way Terry photographed
ever motivated by humour, naturalness and feeling in a virtually symbiotic relationship with the camera and working
at such ease that he wished he were able to work in the
same way and for pleasure.
Since then, he went on to study photography, motivated
by a huge desire to express his feelings and his manner of
viewing, quitting his job and dedicating himself to photography wholeheartedly. A few months later, he was already
photographing for major fashion magazines in Brazil and
abroad and was subsequently invited to shoot his first
book for a key European brand in Rome.
He has participated in some photography exhibitions in
Brazil, Milan and Paris.
GUILHERME LICURGO
32
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Ordre et Progrès
Photography
Pigment
0,9m x 0,6m
The image “Ordre et Progrès”
was snapped in Paris in 2011. It
represents the flag of Brazil, bringing
part of the green rectangle and
overlaying it with a lozenge and
circle, represented there by the
fountain at the Tuileries Gardens
captured in black and white.
Jarbas Lopes, born in Nova Iguaçu, Rio de Janeiro in 1964,
lives and works in Maricá, Rio de Janeiro. He holds a degree in sculpture from Escola de Belas Artes da Universidade Federal do Rio de Janeiro (UFRJ).
Solo exhibitions: Park Central, Tilton Gallery, New York
(2010); Padedeu, Luisa Strina Gallery, São Paulo (2009),
Com Piada, Baginski Gallery, Lisbon (2008), Estação Cicloviaérea, Centro Cultural São Paulo (2007), Novas Utopias,
Museu de Arte Moderna Aloisio Magalhães (MAMAM), Recife (2007), Cicloviaérea, ASU Museum of Art, Phoenix, A
Gentil Carioca Art Gallery, Rio de Janeiro (2004).
Biennials and international exhibitions: 11th Biennale de
Lyon (2011), look.look.again, The Aldrich Contemporary Art
Museum, USA (2009); Somethink for Nothink, CAC, New
Orleans (2008), Gwangju Biennial, Korea (2008); 27th Bienal de São Paulo (2006); 8th Havana Biennial, Cuba (2003),
Panorama da Arte Brasileira [Panorama of Brazilian Art],
Museu de Arte Moderna (MAM), São Paulo (2000).
Works in collections: Museum of Modern Art (MOMA), New
York; Instituto Cultural Inhotim, Minas Gerais; Victoria and
Albert Museum, London; Arizona State University Museum;
Cisneros Fontanals Art Foundation; Henry Moore Foundation, London; Gilberto Chateaubriand Collection, Museu
de Arte Moderna (MAM) de Janeiro; Esther Emilio Carlos
Collection, Rio de Janeiro; Museu de Arte da Pampulha,
Minas Gerais; Funarte/IBAC, Rio de Janeiro.
JARBAS LOPES
36
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
O Debate [The Debate]
Mixed
Publicity banners, carpet
1,80m x 1,20m
During the 1998 electoral campaign, the
artist came across loads of plastic banners
printed with pictures of candidates littering
his city. This material was interesting for him
as it was linked to the central area of political
debates, thus enabling him to interact
with that universe in a plastic manner.
At the launch of every new campaign,
he created a series under the title of “O
Debate” [The Debate], using a technique in
which he weaves plastic strips in a bawdy
manner blending two photographs of
different candidates on the screen and
superimposing them with three layers of
carpet in various colours, which gives the
screen body, texture and movement.
Laíse Frasão was born in the city of São Luís in 1988, holds a
degree in architecture and urbanism from Universidade de
Brasília (UnB) and attended four initial terms in Visual Arts
at Universidade Federal do Maranhão. She has gained relevant experience in tender competitions for development
plans in the areas of art, architecture and design being able
to find solutions related to functionality and plasticity of
spaces, objects and products.
The artist has been winner at the following competitions: 1st
place at State Competition CEASA, Maranhão for the building of its new administrative building/shed (2007); 1st place
in the National Competition for Architecture Students of
the Centro Brasileiro da Construção em Aço (CBCA) (2008);
representative of Brazil in the First Instituto Latinoamericano del Fierro y el Acero (ILAFA) Competition in Architecture
with Steel for undegraduates, Cancun, Mexico (2008), finalist in National Design Competition Skitsch + CASA CLAUDIA
(2012), 2nd place in the National Competition for the Instituto
Jackson Lago logo, Maranhão (2012), 1st place in the DCE
Space Refurbishment Competition, Universidade de Brasília (UnB) (2012).
LAÍSE FRASÃO
40
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
) Brasília (
Oxidized steel plate
Steel plate (1,5mm)
1m x 0,55m x 0,30m
The sculpture creates an analogy
to the city of Brasília. It was inspired
by the chromatic tones of the
Cerrado and the curvilinear forms
of Niemeyer’s architecture. It is a
singular piece, albeit symmetric,
has a rough finish – revealed by the
action of time and bad weather.
Marcelo Mosqueta was born in São José do Rio Preto in 1976,
and holds a degree in fine arts from Universidade de Campinas (UNICAMP) in 1999. He lives and works in Campinas, São
Paulo. Since the beginning of his career in 2000, Marcelo has
created installations and made drawings and photographs,
which are born out of his travels to remote places, where he
goes on gathering objects that come from nature, which he reproduces in drawings and photographs. His works attempt to
situate those elements geographically, be the locations real or
fictional. His approach is a blend of scientific and fictional observation, land art and steered by very places, where he works.
In 2011, at 8th Bienal do Mercosul, he created an artwork along
the length of the border between Brazil and Uruguay; participated in an Artist Residency aboard a sailboat in Spitzbergen, in the North Pole; took part in ATLAS at Leme Gallery and
the group exhibition, An Other Place, at Galerie Lelong, New
York. Also a solo exhibition CONTRA.CÉU, at Morumbi Chapel, São Paulo, and the collective Realism: Adventure of Reality, the Kunsthalle der Hypo Kulturistifung, Munich (2010). He
also participated in Rumos Itaú Cultural, in 2009.
Awards: Awarded the Iberê Camargo fellowship for the École des Beaux-Arts, Rennes, France (2007); Investidor Profissional Art Prize (PIPA) Jury, Museu de Arte Moderna (MAM),
Rio de Janeiro; 8th Salão da Bahia; and 13th Festival da Cultura Inglesa.
Works in collections: Gilberto Chateaubriand Collection, Museu de Arte Moderna (MAM), Rio de Janeiro; Lhoist Collection,
Brussels; RNA Foundation, Moscow; Deutsche Bank; Banco Espírito Santo; Museu de Arte Contemporânea (MAC) Campinas;
Museu de Arte Moderna (MAM), São Paulo and Bahia; Itaú Cultural; Pinacoteca Pinacoteca do Estado de São Paulo and Le
Musée d’art moderne et d’art contemporain (MAMAC) Liège.
MARCELO MOSCHETA
44
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Carbon Heritage Brazil
Monotype over photography
Carbon paper and rubber stamp
0,53m x 0,51m (for each diptych)
“Carbon Heritage” refers both to the role of the artist who seeks to recreate what he sees through his
subjectivity and the performance of photography as a faithful representation of the world and how it
intersects with design. ‘Carbon’ refers to the artist’s role and carbon as a chemical element. ‘Heritage’
leads to the idea of cultural legacy. The countries that feature in stamp prints are the places where the
pictures were taken, similarly to a landscape file, an affective catalogue of places that were once visited.
Márcia Xavier, born in Belo Horizonte in 1967, holds a degree
in Visual Communications (1989) from Fundação Armando
Álvares Penteado (FAAP). She lectures at Instituto Tomie
Ohtake, offering an extramural course “Metamorfose da
Imagem – as relações entre a fotografia e as artes plásticas” [Metamorphosis of the Image – relationships between
photography and visual arts]. She has had over 10 solo exhibitions and 50 collectives both in Brazil and abroad.
Márcia participated in 3rd Bienal do Mercosul (2001) and
4th Havana Biennial (1997); 1st, 2nd, 3rd and 4th Bienal de São
Paulo (collateral events); Frieze Art Fair (London); Art Basel (Miami) and Arco (Madrid); also a collective publication
edited by the Fundação Bienal de São Paulo in 2009. She
was awarded various prizes at the Ribeirão Preto and Belo
Horizonte Salons and her works are in the following collections: Collection d’art Contemporain de Société Generale
(France); Museu de Arte Moderna de São Paulo; Museu de
Arte Contemporânea de Ribeirão Preto; Gilberto Chateaubriand Collection, Museu de Arte Moderna do Rio de Janeiro; Banco Itaú S.A and SESC Belenzinho
In 2003, she launched the book ET EU TU, in partnership
with Arnaldo Antunes, published by Cosac Naify, focusing
on the interactions between photography and poetry, for
which was awarded the Jabuti Prize (the project and the editorial production) in 2004.
Márcia currently works with Casa Triângulo Gallery (São
Paulo), Laura Marsiaj Gallery (Rio de Janeiro) and 111 Gallery
(Portugal).
MÁRCIA XAVIER
48
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Horizonte Inebriante [Inebriating Horizon]
Object photography
Glass, water, image and light
0,27m x 0,26m x 0,1m
The image, a beach landscape on a rainy
day, moves, transits, in tandem with our
movements in front of the object. The
water is the agent of this warp, blending in
with the ebb and flow of the sea, causing
a slight sensation of inebriation. This
work is part of a series of optical objects
that the artist has been developing
since 2005. The idea is to make the
observer participate in the artwork with
the movement of their body/eye and the
warped image creating thus a hybrid
form combining cinema with sculpture.
Michelle Martines, born in Montenegro, Rio Grande do Sul,
in 1982, lives and works in Nova Petrópolis in the same state.
Her work seeks to ascribe distinctive viewpoints to quotidian experiences in the relationship between dweller and the
space in which he/she inhabits, raising social order and anthropological issues linked to contemporary culture. By making habitat a thematic axis in her poetic research, the artist
has been developing works by appropriating and manipulating extant images, painting and drawing installations aimed
at establishing a relation between the space of creation and
the space of exhibition in which the artwork is placed. Her
approach traverses painting, drawing and photography. She
has also developed projects in partnership with other artists,
as for instance, the Heptagone Collective, made up of seven
artists of various nationalities, which exploits the relationship
between image and literary content.
In 2012, Michelle held solo exhibition Do Corpo para a Casa [From
the Body to the House], Fundação Casa das Artes, Rio Grande do
Sul, and participated in the 28th Salão de Artes Plásticas de Embu
das Artes, São Paulo. In 2011, she was granted an Artistic Residency at the CAMAC Art Centre, Marnay-sur-Seine, France, and
participated in the exhibition Reflejos y Perspectivas en las Artes
Plásticas, Timóteo Navarro Museum, Argentina. In 2010, she held
a solo exhibition Ambiências na Parede [Ambiances on the Wall],
Fundarte, Rio Grande do Sul, and participated in collectives such
as Salão de Artes Plásticas de Mato Grosso do Sul, Museu de Arte
Contemporânea de Campo Grande, and Corpos em Cena [Bodies on Stage], Fundação Hassis, Santa Catarina. In 2006, she received awards at 17th Salão de Artes Plásticas da Câmara Municipal de Porto Alegre and in 2008 she was the winner of the regional
phase of the 20th Salão do Jovem Artista, Centro Cultural Mario
Quintana (CCMQ), Rio Grande do Sul. She holds a Master’s Degree in Visual Arts from the Universidade Federal de Santa Maria
and a BA from the Universidade Estadual do Rio Grande do Sul.
MICHELE MARTINES
TITLE OF WORK
52
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Rito de passagem
[Rite of Passage]
Painting on canvas
Acrylic paint, canvas
1m x 1,45m x 0,2m
The two images invite
the beholder to engage
in an exercise aimed at a
cognitive reconstruction
of the narrated
environments. Various
points of view of the same
scene evoke the idea of
an instant, hence the
photographic reference,
given that the ‘instant’
is photographic. The
instant is a counterpoint
to the time that painting
took to be set up, and
by the same token,
strengthens the fictional
character of the artwork.
Nati Canto uses a digital camera and a lens that she constructed herself by using a home sink plunger. Her homemade
contraption enables the photographer to take control of noises and accidents in her images. In this way, the imprecise
contours establish limits to what lies beyond the field of vision
of the photograph, directing the spectator to a hyper-perception of what is excluded from our viewing and, as such, does
not define it as something that we are able to see. The photograph, which has been super-exposed to light, has the power
to awaken the collective imaginary at the surface of what is
commonplace, so much so that it is able to guide the viewer
towards their individual pathway in constructing memory.
Nati studied journalism and graduated in gastronomy. In 2007,
she was awarded the honorary mention at the SESC Marc
Ferrez Photography Prize and also held an exhibition at the
Mostra Livre de Artes (MoLA), Rio de Janeiro. In 2010, she gained admission to the Abril Journalism Course, in which she
participated in the category of photography. She attended
the course “Modos Contemporâneos de Criação de Imagens
Poéticas” [Contemporary Ways in Creating Poetic Images] at
the Master’s Degree course of the Escola de Comunicação e
Artes (ECA) da Universidade de São Paulo and participated in
42nd Salão de Arte Contemporânea de Piracicaba (2010), at
which she was awarded the Leitura Pública de Portfólio Prize. In 2011, her work was published in the Colombian Fotonia
Magazine. She has also participated in Sp-Arte and Sp-Foto
with Zipper Gallery. Her works were accepted for 62nd Salão
de Abril de Fortaleza, 43rd Salão de Arte Contemporânea de
Piracicaba and Salão de Arte de Mato Grosso do Sul. Reviews
of her works were published in the magazine DasArtes, issue
16. In 2012, she was granted an Artist’s Residence in Beijing,
where she completed the trilogy Lembranças Particulares e
Coletivas [Private and Collective Recollections]. Zipper Gallery (São Paulo) represents her.
NATI CANTO
56
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
A Chuva [The Rain]
Photography on fine art paper
Homemade lens
1,10m x 1,65m
“A Chuva”, the first work of a series,
was made in Santos in 2010. The
series includes the works “O Sal”
[The Salt] (Bolivia, 2011) and “A
Neve” [The Snow] (China, 2012).
The exaggerated use of white in
these works along with limited
information that appears in colour
in the photographs confuse the
spectator since it becomes unclear
whether the works are paintings or
photographs, reinforcing thus the
idea that memories are distant and
often muddled and that the images
shared by all end up becoming
unique and individual memories.
Patricia Leite, born in Belo Horizonte in 1955, lives and works
in that city. She was Amílcar de Castro’s student and holds a
BA in Drawing and Engraving from the Escola de Belas Artes
da Universidade Federal de Minas Gerais (UFMG). She organizes her paintings from images that carry two adjectives,
and which cannot be naturally aligned to an abstractionist
tradition, which had been a trademark of her earlier works:
appropriated and photographic. It is the relations with these
images that make the decisions for the composition of her
canvases, made up of large masses of colour, obtained by
means of juxtaposition of slender oil paint layers. In the exhibition Outra Praia [Another Beach] at the Museu de Arte
da Pampulha (2005), she redefined landscape painting attaining the essence by means of her research into colour.
Mendes Wood Gallery (São Paulo) is her representative.
Patricia was awarded the 1987 Fiat Art Prize and the Salão
Paulista de Arte Contemporânea prizes in 1988 and 1989.
Solo exhibitions: Mendes Wood Gallery (2012), Nara Roesler
Gallery (2009), Manoel Macedo Art Gallery (2008), Museu de
Arte da Pampulha (2005), Centro Cultural Cândido Mendes
(1992), Itaú Gallery (1987), Funarte (1984), to mention but a few.
Colletive exhibitions: The Circus as a Parallel Universe,
Kunsthalle Wien, Austria (2012); Estou aqui [I am here], Marilia Razuk Art Gallery (2011), Reveillon na Box 4 [New Year’s Eve
in Box 4] (2011), collateral event at Liceu de Artes e Ofícios
(2008), Procedente MAP: novas aquisições do Museu de
Arte da Pampulha (2008), Palácio das Artes (1998), Parque
Lage (1992), among other exhibitions.
Collections: Inhotim – Instituto de Arte Contemporânea
(Minas Gerais), Museu de Arte da Pampulha (Minas Gerais);
Thyssen-Bornemisza Art Contemporary (Austria); Pinacoteca do Estado de São Paulo, Centro Cultural Cândido Mendes
(Rio de Janeiro); Museu de Arte Contemporânea de Sorocaba (MAC), São Paulo, and in various private collections.
PATRICIA LEITE
60
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Duas Pedras [Two Stones]
Painting on wood
Oil paint and wood
1,60m x 1,90m
The motif depicts a scene on the
beach, using the classic division
of the landscape into the rule of
thirds. The first plane represents
an area of sand. The remaining two
thirds depict the sky, chromatically
contrasting it with the third of sand,
which confers an effect of depth to
the artwork. From the same line,
two vertical organic forms emerge,
highlighted, representing the rock
formations, thus rendering the
composition dynamic. What stands
out in the compositions is a desire
for geometric order in harmony with
rather more organic and fluid forms.
Born in Santos Dumont, Minas Gerais, in 1977. Lives and
works in Belo Horizonte. Photographer/ visual artist, graduated in journalism from the Pontífica Universidade Católica (PUC, Minas Gerais, 2011) and in Fine and Contemporary
Arts from the Escola Guignard (Universidade Estadual de
Minas Gerais, UEMG, 2002). Published the book Paisagens
Submersas [Submerged Landscapes] (Cosac Naify, 2008)
with the photographers João Castilho and Pedro Motta.
Pedro has participated in the following group exhibitions:
Ex-Teresa arte Actual (Mexico DF, 2011), Geração 00 (SESC
Belenzinho – São Paulo, 2011); Noordelicht Photogallery
(Groningen, Holanda, 2008), 5th Liege Photography and
Visual Arts Biennial (Mammac – Liége, Bélgica, 2006).
He has had solo shows in the Museu de Arte Moderna da
Bahia (Salvador, 2012); Fauna Gallery (São Paulo, 2012);
Museu da Imagem e do Som (São Paulo, 2011); Centro Cultural São Francisco (João Pessoa, Paraíba, 2011); Centro
Municipal de Fotografia de Montevideo (Uruguay, 2008);
and the Palácio das Artes (Belo Horizonte, 2008).
He has received the Art Pará award (2012), the Pierre Verger National Award for Photography (2011), the Latin Union Prize – Martín Chambi Photography (2010), and the
Porto Seguro Brazil Photography Award (2005).
PEDRO DAVID
64
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Sufocamento [Suffocation]
Photography
Mineral pigments on paper
1,80m x 3,65m (110 pictures, 50 x 50cm,
on sheets of paper, 85 x 65cm)
Brazil’s forests are gradually being replaced by eucalyptus.
Companies in the steel industry buy land, deforest it,
and then carry out ”reforestation”, replacing the native
vegetation with this plant species known for its rapid
growth and high resistance to pests. Eucalyptus is ideal
for obtaining charcoal and essential for turning iron ore
into steel, but its role in this developmental miracle comes
at a high price: it drains water and nutrients from the soil,
dries springs, and its odour drives away wildlife. No other
plant species can survive in a field of eucalyptus.
Renata Egreja was born in 1984 in São Paulo, where she
lives and works.
She studied at Fundação Armando Álvares Penteado
(FAAP) in São Paulo and at the École Nationale Supérieure
des Beaux-Arts (ENSBA) in Paris, where she completed
her master’s degree. During her four-year stay in France
she researched the Support/ Surface (1970-1972) group
painters and the physicality of painting, working under
the direction of Dominique Gauthier. She participated in
the abstract art salon Réalités Nouvelles at the Parc Floral in Paris (2008); exhibited at the Galerie Droite, Palais
des Études; and in 2010 received an award in the Jeunes
Talents exhibition at Paris-Dauphine University. After returning to Brazil in 2010 she had solo and group exhibitions including: Um traço basta [A line is enough], Museu de
Arte Contemporânea, Paraná; A regra do jogo [The rule of
the game], Zipper Gallery; and Museu Histórico de Santa
Catarina (MHSC), Os Primeiros 10 anos [The first ten years],
Instituto Tomie Ohtake, São Paulo, and others.
She is represented by Zipper Gallery.
RENATA EGREJA
68
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Alpinia da gia
Painting on canvas
Acrylic on canvas
2,0m x 1,5m
The artist’s work is revealed by the accumulation of
information and presents a pictorial logic aimed at
chaotic construction. Large fields of colour are invaded
by criss-crossed lines, splashes, swirls and geometric
shapes, and share the space with references from the
history of Brazilian art, as well as references from the East
and elements of botany. Colours, shapes, patterns and
movements are combined and recombined, overlapping,
sometimes hiding or revealing each other, building up the
memory of the work. (Text adapted from Fernanda Lopes).
Rosângela was born in Araguari (Minas Gerais) in 1963, and
lives and works in São Paulo. She received an art scholarship
at Fundação Armando Álvares Penteado (FAAP), where she
majored in fine arts in 1996. She has worked coordinating the
Museu de Arte Moderna (MAM) and Itaú Cultural educators,
training arts teachers at the Fundação Gol De Letra and teaching at Escola da Vila.
Her work forms part of public collections such as: Museu
de Arte Moderna (MAM) São Paulo, Museu de Arte Contemporânea (MAC) Ceará (Dragão do Mar), Museu de Arte Contemporânea (MAC) Americana, North American Peruvian
Institute, Pontificia Universidad Catolica del Peru, Museu de
Arte Contemporânea de Sorocaba and SESC São Paulo.
She has had individual exhibitions at Gravura Brasileira (São
Paulo, 2012), Casa Amarela (Pernambuco, 2009); D-Concept
Escritório de Arte (São Paulo); Sala Recife (Pernambuco); Centro
Cultural São Paulo (São Paulo); and the Virgílio Gallery (São Paulo); and has taken part in collective shows Passato Imediato (Memorial da América Latina), Blue Connection (Frankfurt, São Paulo and Sorocaba), Bola de Fogo/ Trânsito [Fireball/ Transit] (SESC
Vila Mariana); Herança (Museu Murilo La Greca), 9th Semana
de Fotografia (Museu de Arte de Ribeirão Preto, MARP) (MARP),
Entrelinhas (Museu de Arte Contemporânea, Ceará), 34th Salão
de Arte Contemporânea Luiz Saciloto (São Paulo), Bola De Fogo/
Gravura [Fireball/ Engraving] (Instituto de Arte Contemporânea
da Universidade Federal de Pernambuco), Solar do Barão (Paraná); Bola de Fogo (MAC Americana), 3rd Bienal de Gravura de
Santo André (São Paulo), Convite: Imagem [Invitation: Image]
(Museu de Arte Contemporânea, Americana), Grabado Contemporâneo El Ojo Ajeno (Peru), Bola De Fogo (SESC Paulista), Salão
Nacional de Arte de Goiás, 2nd Bienal de Gravura de Santo André
(São Paulo), 8th Bienal de Santos, 27th Salão de Arte de Ribeirão
Preto (Museu de Arte Contemporânea Ribeirão Preto), São Ou
Não São Gravuras? [Are they engravings or are they not?] (Museu de Arte Moderna São Paulo e Itaú Brasília Gallery), A Gravura
Como Escultura [The Engraving as Sculpture] (Museu de Arte
Moderna São Paulo e Itaú Cultural Campinas).
ROSÂNGELA DORAZIO
72
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Escalavrado/ Amarelo [Scratched/ Yellow]
Engraving on photography
Photo and PVC
0,9m x 1,2m
In this series, the artist uses printmaking
studio tools to deconstruct photographed
landscapes. She makes incisions on the
photographic paper, taking out everything
that is not part of the ground or the sky
and is interested in the images produced
by the removal of material, by subtraction;
places that seem so corroded and faded.
Part is recognizable while another part is
lost in the transformation of the material
while a new landscape emerges, a new
possibility to grasp the ground and the air.
Born in 1978 in São Paulo, where she lives and works. She
graduated in Visual Arts from the Centro Universitário
Belas Artes de São Paulo. Currently Tatiana manages
and works in Ateliê 99B. She started to develop her work
in 2009, when she began participating in salons, atelier
shows and collective exhibitions. She was awarded the Acquisition Prize and the Grand Gold Medal in the 16th Salão
de Artes Plásticas de Catanduva. She was selected by curator Fernando Cocchiarale to participate in the Olheiro da
Arte [Art’s Scout], a popular arts competition.
Tatiana has taken part in several exhibitions, including
Carne de Primeira – Exposição Coletiva [Prime Meat – Collective Exhibition] – Bunker; 16th Salão de Artes Plásticas de
Catanduva; Arte + Arte – Liberdade Contemporânea [Art
+ Art – Contemporary Freedom] at Casa de Cultura Mario
Quintana; Check-In – Artist Occupation at Casa 92 curated
by Emma Thomas Gallery (2012), 1st and 2nd Tomada Cultural; 5th Bienal de Gravura de Santo André, 6th Salão de Artes Plásticas de Suzano, Salão de Arte de São José do Rio
Preto (2010), Em processo [In progress], SESC Santo Amaro
(2009), among others.
TATIANA STETER
76
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Paisagens Desenhadas #3
[Drawn Landscapes #3]
Painting on glass with vinyl sticker
Spray pen, glass, vinyl sticker
1,28m x 1,14m
Landscapes printed on adhesive
vinyl are glued on glass, allowing
the artist to build her designs from
the opposite face. On photographs
of mountains and beaches she
creates invented landscapes.
Delicate but at the same time
brutal and radical, the drawings
reproduce monumental and
geometrically built urban structures
upon untouched landscapes,
confusing the observer. They are
giant in relation to the landscapes
but small in relation to the observer.
Vânia Mignone was born in 1967 in Campinas, Brazil. She
graduated in Publicity and Advertising from PUC Campinas and in Fine Arts from UNICAMP. She has a studio in
Campinas where she teaches freehand drawing. Her artistic career began when she won awards in the Arts Salons
in Piracicaba, Ribeirão Preto, Paraná and Santa Catarina,
and in the Santos and Santo André biennials. She participated in the CCSP Exhibition Programme in São Paulo and
the Funarte Exhibition Programme in Rio de Janeiro. In 2002
she was invited to exhibit at the Bienal Internacional de São
Paulo and twice at the Panorama da Arte Brasileira in Museu
de Arte Moderna (MAM). She has works in collections such
as Gilberto Chateaubrinad/ MAM Rio de Janeiro, Banco Itaú,
MAM/São Paulo, MAB/ FAAP, SESC and UBS Art Collection.
Her work is influenced by a number of other media such as
the continuous language of cinema; the fragmentation of
comics; the fast, forceful information of street art; simple,
hand-painted street signs; rustic Brazilian art naïf; various aspects of advertising; photography frameworks; and
concepts linked to the traditions of painting, engraving and
drawing. From this whirlwind emerges vigorous work that
speaks directly to the contemporary observer.
VÂNIA MIGNONE
80
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Untitled
Painting on mdf
Acrylic on mdf
1,80m x 1,80m
A somewhat disturbing painting,
presenting that which we do not
know and to which we can’t even
attach a name. Alone, in places
which can’t be precisely identified,
human figures seem to drown in
a claustrophobic physical and
emotional isolation – but without
displaying obvious regret. For
them, merely existing is enough.
Zé César, born in 1950, holds a degree in Social Sciences
and Arts with a specialization in engraving from the Universidade Federal de Goiás (UFG) and a PhD in Arts from the
Faculty of Fine Arts of the Complutense University of Madrid. He lectures at the Faculdade de Artes Visuais da UFG,
pursues research into engraving and cardboard artwork
assemblages and installations. He works with discarded
cardboard packaging boxes by incising surfaces, making
cut-outs and reliefs representing cities, which refer to the
current capital cities, metropolises of the Brazilian states,
which grow without any rational or human urban planning.
The use of this material contains an irony as cardboard is a
byproduct of consumption, which is recycled and then reused as a representation of urban landscapes.
Zé César participated in solo exhibitions at Funarte Gallery
in Brasília; Fundação Jaime Câmara, Goiânia; Museus de
Arte Contemporânea in Goiânia, Anápolis and Jataí; Gallery
of Faculdade de Artes Visuais da UFG; Marina Potrich Contemporary Art Gallery, Goiânia; Casa de Cultura da América
Latina of the Universidade de Brasília; Paulo Campos Guimarães Art Gallery, Belo Horizonte; Circle Gallery, Australia, and
Casa do Brasil in Madrid. He also participated in the Bienal Internacional de Gravura de Curitiba; Bienal Nacional de Gravura Olho Latino at the Atibaia Resort; Obranome – curated
by Wagner Barja; Salão Nacional Arte e Cidade, Salvador;
Bienal de Artes do Triângulo, Uberlândia; and Cinco grabadores brasilenos – Impresiones contemporéneas, Peru. His
works are part of the collections of the Museus de Arte Contemporânea in Jataí and Goiânia; Museu de Arte de Goiânia/
Universidade Federal de Goiás, the National Library of Madrid and the Gilberto Marinho Collection, Rio de Janeiro.
ZÉ CÉSAR
84
TITLE OF WORK
TECHNIQUE USED
MATERIAL USED
DIMENSIONS
DESCRIPTION
Metropolis - 47
Cut-outs and collage on cardboard
Cardboard and glue
0,95m x 2,50m x 0,05m
Made by incising surfaces, using
cut-outs and collage, a drawing is
made with a Stanley utility knife and
glue is applied; its cuts perforate
the cardboard, plane surfaces
are overlaid creating high relief
enabling thus the construction
of buildings, that appear to be
housing estate buildings randomly
erected, evoking unplanned and
chaotic landscape design.
This is a publication by the Information Coordinating Office of the Cultural Department of the Ministry of External Relations.
MINISTRY OF EXTERNAL RELATIONS
www.itamaraty.gov.br
Minister of External Relations
Ambassador Luiz Alberto Figueiredo Machado
Secretary-General of External Relations
Ambassador Eduardo dos Santos
Undersecretary-General for Cooperation,
PARTNERSHIP
Undersecretary-General of Foreign Service
Ambassador José Borges dos Santos Júnior
Alexandre de Gusmão Foundation (FUNAG)
Ambassador Sérgio Eduardo Moreira Lima
Administrative Department
Ambassador Reinaldo Storani
Communications and Documentation Department
Minister João Pedro Corrêa Costa
Culture and Trade Promotion
ACKNOWLEDGMENTS
Cultural Department
Organized by
Ambassador Hadil Fontes da Rocha Vianna
Minister George Torquato Firmeza
Information Coordinating Office
Secretary Carlos Eduardo de Carvalho Pachá
Secretary Fernanda Magalhães Lamego
Secretary Daniel Guilarducci Moreira Lopes
Secretary Rafael Prince Carneiro
Embassy of Brazil in London
Cecília Lopes Frossard
Manuela Bogéa Perez
Vanessa Catharino Picchetti
Translation
Laura Barbi
Nadia Kerecuk
Renato Barcellos
Graphic Design
Boibumbá Estúdio Criativo
Free distribution/ not for sale
London, 2014