Anna Bella Geiger (Rio de Janeiro RJ 1933)
Anna Bella Geiger is a sculptor, painter, record label, draftsman, intermedia artist and teacher. With a background in Anglo-Germanic language and literature, he began his artistic studies in the 1950s in the studio of Fayga Ostrower (1920–2001). In 1954, he lived in New York, where he attended art history classes with Hannah Levy at The Metropolitan Museum of Art (MET) and participated, as a listener, in courses at New York University. returned to Brazil the following year. Between 1960 and 1965, he joined the Metal Engraving Atelier of the Museum of Modern Art of Rio de Janeiro (MAM/RJ), where he started teaching three years later.
In 1969, he returned to New York to Teaching classes at Columbia University, returning to Rio de Janeiro in 1970. In 1982, he received a scholarship from John Simon Guggenheim Memorial Foundation in New York. In 1987, he published with Fernando Cocchiarale (1951) the book Geometric and informal abstractionism: the Brazilian vanguard in the fifties.
His work is marked by the use of different languages and the exploration of new materials and supports. In the 1970s, its production acquired an experimental character, involving photomontage, photo engraving, xerox, video and super-8. Since the 1980s, he has also dedicated himself to painting. From the 1990s onwards, it began to use new materials, creating cartographic shapes hollowed out in metal, inserted in iron boxes or drawers, filled with encaustic. His works are located on the boundary between painting, object and engraving.
Critical comment
At first, the work of Anna Bella Geiger is linked to informal abstractionism. Drawing, engraving and painting by Fayga Ostrower (1920 - 2001) From 1950, the artist participates in the 1st National Exhibition of Abstract Art, at the Hotel Quitandinha, in Petrópolis, Rio de Janeiro, in 1953. After a pause in the artistic activity, motivated by the entry into the National Faculty of Philosophy and a study trip to the United States, Geiger frequents the Metal Engraving Atelier of the Museum of Modern Art of Rio de Janeiro - MAM/RJ from 1960 to 1965. In this period, completely dedicated to engraving, she began to develop an abstract-based figuration.
From 1965 to 1968, Geiger produces what is called by the criticism "visceral phase", under the influence of the figuration. The images bring the research of organic reality through the fragmented representation of the body as a reference to a possible map of the microcosm. This phase anticipates the use of cartography in its production, whose central axis is the questioning of the notion of limitation of cultural territories based on geographic borders, for example, the problematization of the existence of a "Brazilian culture" common to all the inhabitants of the nation. At the same time Geiger composes his images based on cut metal sheets, explaining and exploring artistically the material production process of the metal engraving technique.
Despite the importance and constancy of the engraving in his work, in Circumambulatio (1972) There is a need for Geiger to find new means of expression. In this sense, his production from the 1970s is marked by an eminently experimental character: photogravure, cliché photography, photomontage, serigraphy, xerox, postcard, video, super-8, are some of the media used by the artist. Stimulated by the issues raised by the conceptual art and the political moment lived, it presents in its works mainly issues related to the national identity and culture, the artist's location in society, the constitution of the art medium in Brazil and its position in the world. Alien (1977), in which Geiger has nine postcards with scenes of indigenous life side by side with portraits of his daily life, is emblematic of the period. In it, Brazilian culture is thought of as a result of tensions, continuities and discontinuities, denying an organic cultural unity. At this moment, the ironic and transgressive use of cartography becomes a fundamental element of work in series such as our daily bread and the place of the action. The iconic character of the maps is tensed in order to create a true "topography of art", and simultaneously problematize the delimitations (cultural, political, social) indicted by borders and limits.
In the 1980s the artist begins to paint and develops long series, such as Pier & Ocean, making a critical reassessment of both the history of painting and the signs of his previous works. The 1990s are marked by series as borders, in which new materials are used. The cartographic shapes reappear in metal hollows inside iron boxes or map drawers filled with encaustic. In the boundary between engraving, painting and object, these works are the perfect emblem of all their production insofar as they update the previous series. More recently, he resumes his interests for new technologies using video in association with engraving (metal clichés) and iron files in the undifferentiated installation (2001).
Criticism
"The painting and paintings. the part(s) (1974). the work and the methods. the picture and the proper time of each way of painting. the affixing of matter in the work as a history of color formation and the constitution of space. The artist integrates disparate parts into a whole united by her own artist's history. Quote. Each work has many painters, all are Anna Bella Geiger. Condensation of subjective times in the unique moment of the work.
Saber accumulated in new experience. Revisited History: These works require of Anna Bella Geiger, the artist of all languages.
(...) almost. stains. almost nothing or almost everything. almost-continents or almost-stains. ambivalence. to the public the question arises, but the non-existent answer is required from it.
(...) Map insists on marking the political space when the location of the action, I need to look, is the support - space and matter - here and now lived by the spectator. The support insists on marking the space of the work when the location of the action, precise for the political being, is the map - space and representation - here and now where the artist inhabits".
Paulo Herkenhoff
HERKENHOFF, Paulo. Passages. In: GEIGER, Anna Bella. Anna Bella Geiger: Last Thule, Paintings, Objects and Engravings. From the 1970s, the essential in about twenty years of Anna Bella Geiger's work had been the almost absolute dedication to metal engraving. (...) Further on, the engraving was put on hold, replaced by a series of multimedia resources, such as photolanguage, photocopying, postcards and videotape. (...) More recently, finally, a new and unexpected turnaround: the work of Anna Bella Geiger, in 1985, starts to privilege painting for the first time. A painting that is both measured and loose, compact and luminous, concealing and revealing, attached to the traditional shapes of the painting or free of them, in the mounts of the dubiously cute and pointed soft ones. Postmodern command painting in which Fernando Cocchiarale sees remake of the artist's various languages since the 1950s: 'The paintings are the summary of a logbook. Condensedly, step by step, abstract, visceral and conceptual intuitions are combined in a succession analogous to the artist's experience. There is no mere repetition of previous phases here. The paintings are the succinct manifestation of a differentiated methodical repertoire that progressively leads them to a safe harbor - Pier and Ocean'".
Roberto Pontual
PONTUAL, ROBERTO. Anna Bella Geiger. In: ______. Between two centuries: Brazilian art from the 20th century in the Gilberto Chateaubriand Preface Gilberto Chateaubriand; Presentation M. F. do Nascimento Brito. Rio de Janeiro: Jornal do Brasil, 1987. P. 436.
"See your case. Without wanting to decipher his work (...), I think that it is deeply linked to his personal history and the circumstances that formed it. of a young and sensitive daughter of immigrants, situated between various cultures, several languages (...), you became a woman and a professional artist here in Brazil - synthesis of all those influences.
Your work, then, could not be other than the explanation, in the most varied means, of its original ambiguity. Like almost all of us in Brazil and Latin America, his work and ourselves are still somewhat local, somewhat foreign, we breathe the United States and Europe stepping on American lands, walking on the tightrope of native Brazil and alien Brazil. and his work, traveling through so many different languages, and being (...) at the same time engravings, object and painting is, itself, our own congenital indeterminacy. Gradually you became aware of (...), of much broader and relentless conventions and contradictions. (...)
It is in this sense that I consider that of his 1975 work - passages - a milestone. Or rather, a way of accessing a less self-centered art and life formulation, until your production that year, where you discuss your place in the world. its place and the place, the place of action of its closest peers, Brazilian and Latin American. an indefinite place, always between one place and another."
Tadeu Chiarelli
Geiger, Anna Bella. The world perhaps, Olam Ulay. Ipanema: Joel Edelstein Contemporary Art, 1995. p. 6-7.
"The meaning of Anna Bella Geiger's work emerges precisely from the clear dispersion of her individual style, the means and languages she drives and, above all, from the deliberate fragmentation of form and image, almost always thematized in the titles or concepts associated with the works, passing through all levels of their production. (...)
Transmuted over the last 22 years by repetition, chromatic variation or enlargement and reduction, the image of the clouds has become a camouflage of its own origin; A printed skin that supports and candles differences, trapping the iconic shards. Camouflage, however, is not the only surface mobilization element used in the Geiger engraving. Raised by the presence of maps, the grid, or meridian network, performs an analogous function. Both camouflage and network constitute the image of the unity of a field, which joins on the surface of the work the fragments that compose it. The camouflage hangs over the plane by expanding it virtually beyond its limits; The grid delimits and searches a territory, containing it. Each print of this artist can then be taken as a fraction of the continuous and unlimited field of the cloud-camouflage.
The field produced by Anna Bella's engraving is born from the tension between artisanal printing methods (manipulation of canvases, plates and cliché-matriz, inking, paper entries in the press) and the photographic genesis of the image".
Fernando Cocchiarale
COCCHIARALE, Fernando. The constellar meaning in the work of Anna Bella Geiger. In: Geiger, Anna Bella Anna Bella Geiger: Constellations Rio de Janeiro: MAM, 1996. p. 9-10,14.
"Anna Bella Geiger starts recording with Fayga Ostrower in the 1950s, heading for the form after having her practiced figurative engraving. It arrives at the abstraction with rhythmic engravings, composed of lines, colors and shapes that circulate, elaborated or from its reflection on Fayga's visual grammar, or parallel to it. Theoretical, like Fayga and de Lamonica, Anna Bella Geiger, in the late 1960s, experiments with various languages, sometimes incorporating them into the engraving, sometimes taking them to other techniques. His reflection on the becomings, in the 70s, takes place in videotape, xerox, photography, etc. In the opposite direction, in the same years, his aesthetic thinking about the philosophical notions of the part and the whole lead the photograph to the engraving, not without first making it go through experiments with the cliché. In the 1960s, the series linked to the visceral made it leave the abstraction, intensely practiced in the decade in reference. It is in these years that he begins teaching at MAM and researching with means, such as photography and xerox, which, as mentioned above, establish themselves in the next decade". Laudanna
Kossovitch, Leon; Laudanna, Mayra. Abstract-concrete: Abstracts. In: Engraving: Brazilian art of the 20th century. São Paulo: Itaú Cultural: Cosac & Naify, 2000. P. 18.
Testimations
"I started drawing early, and I drew a lot. He had known Fayga Ostrower since childhood, because of a family relationship. But that was not why I drew, and I was not encouraged by my family either. (...)
I continued to draw intensely and then I looked for Fayga's guidance. I was 15 years old. At that time she was not yet an abstract artist - I followed her process closely, which directly influenced my work. [?] used linoleum to engrave, but even x-ray plate we used to record with a dry point. The materials were expensive and often made a drawing on each side on the ingres paper, or used brass plates to engrave on both sides. I learned to print metal engraving before using it as a means for my work. On that occasion, Fayga illustrated a poem by Manuel Bandeira and I made the impression. (...)
I abhorred the idea of going to a college of fine arts. My choice turned to architecture, although I had the clear impression that it was going to fall into stereotypes: architectural syntheses, its perspectives, the use of ruler and square. So I decided on the National Faculty of Philosophy, and these studies absorbed me a lot. I interrupted, and went to live in New York. I wanted to see the modern art museums, see what was happening there, and study art history with Hannah Levy at NYU and the Metropolitan Museum. She had been a teacher here at Fundação Getúlio Vargas in the 1940s, coming from Germany. These were very important years for my training. (...)
What there was was a great and difficult question about the very need or not to maintain the figuration, because if, on the one hand, it was 'inexorable' and of course the path of abstraction, on the other hand there was a commitment, let's say, political and ideological to the maintenance of the figurative question. I worked very little on issues related to 'social realism', as it was called at the time. (...)
The greatest influence on this type of art, and especially on the engraving, came from the German artist Käthe Kollwitz. Leskoschek had been his student, and all that expressionist European past, which was somehow recent, influenced the artists here, like Fayga and, consequently, acted on me. In my work, however, it was more important to accentuate a line or a geometric shape that came from the fold of an arm than keeping the figure or object represented. this in a first step. The true awareness of what the abstraction meant, radical, when one no longer worked from any reference, only happened through much elaboration. (...)
At the 70s-71s, I started looking for other ways to help me put together the ideas of my work. (...) Photography interested me not as a photographer but while using appropriate photographic images or recorded by me. (...)
In 1972 I began to experience the possibility of cliché photography as such, printing it on the press. (...) Here, I had nowhere to deal with the technique that in the United States they called photo-etching. (...)
I needed to use color in these engravings, and in a very specific way, without oxidation (...). Despite having used this result in the abstract engravings of the 60s, this did not serve now (...). In a practical but very rudimentary way, I started to print, gradually understanding the technical possibilities, especially in the use of color."
Anna Bella Geiger - Sesc Tijuca, September 28, 1986 and August 8, 1997
Experience with photo, video and serigraphy: Anna Bella Geiger. In: Brazilian engraving today: Testimonials Rio de Janeiro: Sesc-Tijuca Engraving Workshop, 1997. v. 3.
Finders
Casa de las Americas (Havana, Cuba)
Center Georges Pompidou (Paris, France)
Museum of Contemporary Art of the University of São Paulo (SP)
João Sattamini Collection - Museum of Contemporary Art of Niterói (Mac-Niterói)
Collection of Modern Art of Rio de Janeiro (RJ)
Serralves Foundation (Porto, Portugal)
Musée d'Art Geneve et histoire
Museum of Modern Art of (New York, United States)
Individual exhibitions
1954 - Toronto (Canada) - Individual, at Eglington Gallery
1963 - New York (States) - Individual, at the European Gallery
1965 - Rio de Janeiro RJ - Individual, at the Goeldi Gallery
1967 - Rio de Janeiro RJ - Individual, at Galeria Relevo
1968 - São Paulo SP - Individual, at Art Gallery
1969 - New York (United States) - Individual, at Columbia University
1972 - Rio de Janeiro RJ - Circumambulatio, Museum De Arte Moderna do Rio de Janeiro - MAM/RJ
1974 - Rio de Janeiro RJ - Individual, at the Bonino Gallery
1975 - Rio de Janeiro RJ - limit situations, at - MAM/RJ
1976 - São Paulo SP - Individual, at the Global Art Gallery
1978 - New York (United States) - Anna Bella Geiger, at MOMA
1978 - Rio de Janeiro RJ - Location of the action, at the Candido Mendes Center
1980 - São Paulo SP - Place of action, at Galeria Saramenha
1981 - São Paulo SP - Individual, at Paulo Figueiredo Art Gallery
1982 - New York (USA) -individual Guggenheim Fellowship
1984 - London (England) - Individual, at the Brazilian Center
1984 - Munich (Germany) - Individual, at the Galerie Irene Maeder
1985 - Rio de Janeiro RJ - Last Thule, at Galeria Saramenha
1987 - Brasília DF - Anna Bella Geiger: Paintings, at Espaço Capital Contemporâneo
1987 - São Paulo SP - Individual, at the São Paulo Art Office Paulo
1988 - Rio de Janeiro RJ - The smile of the Cheshire cat in Alice nº 1, at the Saramenha gallery
1990 - Rio de Janeiro RJ - Anna Bella Geiger: painting, at the Saramenha Gallery
1990 - São Paulo SP - Individual, at the Kate Art Gallery
1993 - Rio de Janeiro RJ - Friso and video soft, at the Ibeu Copacabana Gallery
1994 - Rio de Janeiro RJ - Partial environment with return to smile of the Cheshire Cat in Alice nº 1, at the Paço Imperial
1994 - Rio de Janeiro RJ - Individual, in the Imperial Palace
1995 - Frankfurt (Germany) - Individual, at the Galerie Bernd Slutzky
1995 - Rio de Janeiro RJ - The world maybe, Olam Ulay, at Joel Edelstein Contemporary Art
1996 - Rio de Janeiro RJ - Anna Bella Geiger: Constellations, MAM/RJ
1997 - São Paulo SP - Anna Bella Geiger: Constellations, at the São Paulo Museum of Modern Art - MAM/SP
1997 - Salvador BA - Anna Bella Geiger: Constellations, at the Museum of Modern Art of Bahia - MAM/BA
1997 - Brasília DF - Anna Bella Geiger: Constellations, at the Itamaraty Palace
1998 - Rio de Janeiro RJ - Bereshith, at the beginning..., in the Imperial
1999 - Frankfurt (Germany) - Skulpturen, at the Bernd Slutzky Gallery
2001 - Rio de Janeiro RJ - Individual, at Laura Marsiaj Contemporary Art
2001 - Rio de Janeiro RJ - Undifferentiated, at Paço Imperial
2001 - Rio de Janeiro RJ - Location of the action, at the Cultural Center of Banco do Brasil - CCBB (Rio de Janeiro, RJ)
2002 - Rio de Janeiro RJ - RROSE Sèlavy, even in Parque das Ruínas
2003 - Rio de Janeiro RJ - Individual, at Paço Imperial
2003 - Rio de Janeiro RJ - Works in archipelago, Paço Imperial
2004 - São Paulo SP - Works in archipelago, at the Tomie Ohtake Institute
2005 - Frankfurt (Germany) - An Einem Bestimmten Ort, at the Galerie Bernd Slutzky
2005 - Rio de Janeiro RJ - Ultra Licitum, at Galeria Laura Marsiaj Contemporary Art
2006 - Rio de Janeiro RJ - CIRCA, at the Eva Kablin Foundation
2006 - Rio de Janeiro RJ - The paths of Fayga Ostrower, At Caixa Cultural (Rio de Janeiro, RJ)
Collective exhibitions
1952 - Rio de Janeiro RJ - 1st National Salon of Modern Art, at the Museum of Modern Art of Rio de Janeiro - MAM/RJ
1953 - Petrópolis RJ - 1st National Exhibition of Abstract Art, at the Hotel Quitandinha
1956 - Rio de Janeiro RJ - 1st Railway Salon, at the Ministry of Education and Culture
1961 - São Paulo SP - 6th Bienal São Paulo International, at the Ciccilo Matarazzo Sobrinho Pavilion
1962 - Curitiba PR - Salão do Paraná, at the Paraná Public Library
1962 - Havana (Cuba) - 1st Pan-American Hall of Cuba, at the Las Américas, 1st Prize
1962 - Madrid (Spain) - Arte de América y España
1963 - Curitiba PR - 20th Salão Paranaense de Belas Artes, at the Public Library of Paraná - Gold Medal
1963 - Curitiba PR - Modern Art Salon - 1st Prize
1963 - London (England) - Brazilian Art Today, at the Royal College of Art
1963 - Santiago (Chile) - 1st American Engraving Biennial - Honorable Mention
1963 - São Paulo SP - 7th International Biennial of São Paulo, at the Bienal Foundation
1964 - Ribeirão Preto SP - 1st Exhibition of Young Engraving National
1964 - São Paulo SP - 1st Exhibition of the Young National Engraving, at the Museum of Contemporary Art of the University of São Paulo - MAC/USP - 1st Prize
1965 - Belo Horizonte MG - 1st Exhibition of the Young National Engraving, at the de Pampulha Art - Map (Belo Horizonte MG)
1965 - Curitiba PR - 1st Exhibition of Young National Engraving, at the State Department of Education
1965 - Florianópolis SC - 1st Exhibition of Young National Engraving, at the Santa Catarina Art Museum - MASC (Florianolopis SC)
1965 - London (United Kingdom) - Brazilian Art Today, at the Royal Academy of Arts
1965 - Santiago (Chile) - 2nd American Engraving Biennial, at the Contemporary Art Museum
1965 - São Paulo SP - 2nd National Drawing Exhibition, at MAC/USP
1965 - São Paulo SP - 8th São Paulo International Biennial, at the Bienal Foundation
1966 - Rio de Janeiro RJ - 15th National Salon of Modern Art - Jury Exemption
1966 - Rio de Janeiro RJ - Abstract JB, at MAM/RJ - 1st Prize/Gravura
1966 - Salvador BA - 1st National Biennial of Fine Arts - Acquisition Award
1966 - São Paulo SP - 2nd Exhibition of the Young National Engraving, MAC/USP
1966 - Tokyo (Japan) - The Week of Brazilian Contemporary Art, at Kaigado Gallery
1967 - Brasília DF - 4th Federal District Modern Art Salon, at the Theater Nacional Cláudio Santoro - 1st prize/engraving
1967 - Ljubljana (Slovenia) - 7th International Engraving Biennial, in the modern Galeria Ljubljana
1967 - Paris (France) - 5th Youth Biennial
1967 - Rio de Janeiro RJ - 3rd The face and the work, at the Ibeu Copacabana Gallery
1967 - São Paulo SP - 9th São Paulo International Biennial, at the Fundação Bienal
1968 - Edinburgh (Scotland) - Young Brazilian Art, at Demarco Gallery
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, at MAM/RJ
1968 - Rio de Janeiro RJ - 6th JB Art Summary - Travel Award abroad
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art, at MAM/RJ
1969 - Rio de Janeiro RJ - Compass Hall, at MAM/RJ
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1970 - Rio de Janeiro RJ - 19th National Salon of Modern Art, in the MAM/RJ
1970 - São Paulo SP - The Brazilian engraving, at Paço das Artes
1971 - São Paulo SP - 3rd Panorama of Current Brazilian Art, at MAM/SP
1972 - Rio de Janeiro RJ - Circumambulatio, at MAM/RJ
1972 - Rio de Janeiro RJ - Exhibition, at MAM/RJ
1972 - São Paulo SP - Art/Brazil/Today: 50 years later, at Galeria da Collectio
1972 - São Paulo SP - Multiple Brazilians, at the Multiple Art Gallery
1973 - Rio de Janeiro RJ - Question about nature: meaning and function of the work of art, at the Ibeu Copacabana Gallery
1973 - São Paulo SP - Circumambulatio, at MAC/USP
1973 - São Paulo SP - Expo-Projeção 73, at Espaço Grfe
1974 - São Paulo SP - 6th Panorama de Arte Current Brazilian, at MAM/SP
1974 - São Paulo SP - 8th Young Contemporary Art, at MAC/USP
1974 - São Paulo SP - Prospectiva' 74, at MAC/USP
1975 - Chicago (United States) - Video Art, at the Museum of Contemporary Arts
1975 - Philadelphia (United States) - Video Art, NOC The Institute of Contemporary Art
1975 - Kassel (Germany) - Multimedia II, at the Richard Bottinelli Gallery
1975 - Rio de Janeiro RJ - Experimental Art Exhibition of Super-8, Audiovisual and Videotape Films, at Galeria Maison de France
1977 - São Paulo SP - Visual Poetics, at MAC/USP
1977 - Washington (United States) - The Original and its Reproduction: A Melhoramentos Project, at the Brazilian-American Cultural Institute
1978 - Curitiba PR - 1st Annual Engraving Exhibition City of Curitiba, at the Creativity Center of Curitiba
1978 - Ljubljana (Slovenia) - Juij Group, in the modern Gallerija Ljubljana
1978 - Paris (France) - Artistes Brésiliens, at the Musée Galliera
1978 - Paris (France) - Images et Massages d'Amerique Latine, at the Center Culturel Villeparisi
1978 - São Paulo SP - 1st International Video-Art Meeting of São Paulo, at the Museum of Image and Sound - MIS (São Paulo, SP)
1978 - São Paulo SP - Anna Bella Geiger and Artur A. Barrio, at the Pinacoteca do Estado de São Paulo - PESP
1978 - Tokyo (Japan) - 11th International Biennial Exhibition of Prints
1978 - Venice (Italy) - 39th Venice Biennale
1979 - New York (United States) - Contemporary Brazilian Works on Paper: 49 Artists at Nobé Gallery
1980 - Amsterdam (Netherlands) - Kunstenaarsboeken, at the Stedelijk Museum Amsterdam
1980 - Curitiba PR - 3rd Annual Engraving Exhibition City of Curitiba, at Casa da Engraving Solar do Baron
1980 - Kyoto (Japan) - Impact Art, at the Kyoto City Museum
1981 - Kobe (Japan) - International Video Art Festival Portopia 81
1981 - São Paulo SP - 16th São Paulo International Biennial, at the Bienal Foundation
1981 - São Paulo SP - Photo/Idea, at MAC/USP
1982 - Penápolis SP - 5th Northwest Plastic Arts Salon, at Fundação Educacional from Penapolis. Faculty of Philosophy, Sciences and Letters of Penápolis
1982 - Rio de Janeiro RJ - 5th National Salon of Plastic Arts, at MAM/RJ - Travel abroad Award
1982 - Rio de Janeiro RJ - Contemporary: Homage to Mário Pedrosa, at MAM/RJ
1983 - New York (United States) - Latin-American Artist's Multiples, at Franklin Furnace, Inc.
1983 - New York (United States) - Exhibition, at the Guggenheim Foundation
1983 - New York (United States) - Video Art: A History, at MOMA
1983 - Olinda PE - 2nd Exhibition of the Abelardo Rodrigues Collection of Plastic Arts, at the Museum of Contemporary Art from Pernambuco (Olinda, PE)
1983 - Rio de Janeiro RJ - 6th National Salon of Plastic Arts, at MAM/RJ
1984 - Buenos Aires (Argentina) - 1st Paper Biennial - Prize/Drawing
1984 - London (England) - Portraits of a Country: Brazilian Modern Art from the Gilberto Chateaubriand Collection, at the Barbican Art Gallery
1984 - Ribeirão Preto SP - Brazilian recorders 50/60, at the Campus Gallery
1984 - Rio de Janeiro RJ - 1st National Exhibition of Abstract Art - Hotel Quitandinha 1953, at the Art Gallery Banerj
1984 - São Paulo SP - Tradition and rupture: synthesis of Brazilian art and culture, at the Bienal Foundation
1985 - London (England) - Impostors, at the Interim Art Gallery
1985 - Rio de Janeiro RJ - 8th National Arts Hall Plasticas, at MAM/RJ
1985 - Rio de Janeiro RJ - Art Construction: 21 contemporary artists, at the Rio Empresarial Center Gallery
1985 - Rio de Janeiro RJ - Velha Mania: Brazilian Drawing, at the School of Visual Arts - EAV/Parque Lage
1985 - São Paulo SP - 18th São Paulo International Biennial, at Fundação Bienal
1985 - São Paulo SP - Art and Technology, at MAC/USP
1985 - São Paulo SP - Art New Media/Multimeios: Brazil 70/80, at the Brazilian Art Museum - MAB/FAAP
1985 - São Paulo SP - Trends of the Artist's Book in Brazil, at the Centro Cultural São Paulo - CCSP
1986 - Curitiba PR - 7th Collection of the National Engraving Museum - Casa da Gravura, at the Guido Viaro Museum
1986 - Rio de Janeiro - occupied territory, at EAV/Parque Lage
1986 - São Paulo SP - Red Project Proggetto Rosso, at MAB/FAAP
1987 - Austin (United States) - Latin American Artists in New York since 1970, at The University of Texas at Austin. Archer M. Huntington Art Gallery
1987 - Rio de Janeiro RJ - To the collector: Homage to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - photo/idea, in the MAC/USP
1988 - Campinas SP - 13th Contemporary Art Salon of Campinas, at the José Pancetti Museum of Contemporary Art
1988 - Curitiba PR - 8th Exhibition of the Engraving City of Curitiba, at Casa da Engraving Solar do Baron
1988 - New York (United States) - Abstract Vision, at the Museum of Contemporary Hispanic Art
1988 - New York (United States) - The Latin American Spirit: Art and Artists in the United States, 1920/1970, at The Bronx Museum of the Arts
1989 - El Paso (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at the El Paso Museum of Art
1989 - Rio de Janeiro RJ - Collection Banco Bozzano-Simonsen, at MAM/RJ
1989 - Rio de Janeiro RJ - Brazilian engraving: 4 Themes, at EAV/Parque Lage
1989 - San Diego (United States) - The Latin American Spirit: Art and Artists in the United States, 1920/1970, at the San Diego Museum of Art
1989 - San Juan (Porto Rico) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at the Puertoriqueña Institute of Culture
1989 - São Paulo SP - 20th São Paulo International Biennial, at the Bienal Foundation
1990 - Brasília DF - Brasília Award for Plastic Arts, at MAB/DF
1990 - Curitiba PR - 9th Engraving Exhibition City of Curitiba, in the Engraving Museum
1990 - Miami (United States) - The Latin American Spirit: Art and Artists in the United States, 1920/1970, at the Center for the Fine Arts Miami Art Museum of date
1991 - São Paulo SP - What is you now Generation 60?: Young contemporary art of the 60s revisited, at MAC/USP
1992 - Curitiba PR - 10th Exhibition of the Engraving City of Curitiba/Mostra America, at the Engraving Museum
1992 - Rio de Janeiro RJ - 1st on the way to Niterói: João Sattamini Collection, at the Imperial Palace
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, NA EAV/Parque Lage
1992 - Rio de Janeiro RJ - Eco Art, at MAM/RJ
1992 - Rio de Janeiro RJ - Engraving of Art in Brazil: Proposal for a mapping, at CCBB
1992 - Rio de Janeiro RJ - Artist's Path: Engravings, at EAV/Parque Lage
1993 - Brasília DF - A look at Joseph Beuys, at the Athos Bulcão Foundation
1993 - Florence (Italy) - Brazil: Segni d'Art, at the Nationale Centrale di Firenze
1993 - Milan (Italy) - Brazil: Segni d'Arte, at the Nazionale Braidense Library
1993 - Rio de Janeiro RJ - The rarefaction of the senses: João Sattamini Collection - 70s, at EAV/Parque Lage
1993 - Rio de Janeiro RJ - The role of Rio, in the Paço Imperial
1993 - Rio de Janeiro RJ - Paixão do Olhar, at MAM/RJ
1993 - Rome (Italy) - Brazil: Segni d'Arte, at the Center for Brazilian Studies
1993 - São Paulo SP - The modern design in Brazil: Gilberto Chateaubraind collection, At the SESI Art Gallery
1993 - Venice (Italy) - Brazil: Segni d'Arte, at Fondazione Scientific Querini Stampalia
1993 - Washington (United States) - Ultramodern: The Art of Contemporary Brazil, at The National Museum of Women in the Arts
1994 - Beijing (Beijing) - Works on Paper, at the Yan Huang Art Museum
1994 - Belo Horizonte MG - The ephemeral in Brazilian art: 60's/70's at Itaú Cultural Belo Horizonte
1994 - New York (United States) - Blast 4: Bioinfomatic, at The X-Art Foundation
1994 - Penápolis SP - The Ephemeral in Brazilian Art: 60's/70's, at the Itaú Cultural Gallery
1994 - Beijing (China) - Contemporary Art in Brazil: Works on Paper, at YAN Huang Art Museum
1994 - Rio de Janeiro RJ - Object book: The frontier of the voids, in the CCBB
1994 - Rio de Janeiro RJ - The modern design in Brazil: Gilberto Chateubriand collection MAM/RJ
1994 - Rio de Janeiro RJ - Under the sign of Gemini, at the Saramenha Gallery
1994 - Rio de Janeiro RJ - Trencheiras: Art and Politics in Brazil, at MAM/RJ
1994 - São Paulo SP - Contaminated photography, at CCSP
1994 - São Paulo SP - Bienal Brasil Século 20th, at the Bienal Foundation
1994 - São Paulo SP - Marinhas, at the Nara Roesler Gallery
1994 - São Paulo SP - The ephemeral in Brazilian art: 60s/70s, at Itaú Cultural
1994 - São Paulo SP - Poetics of the Resistance: aspects of Brazilian engraving, at the SESI Art Gallery
1995 - Arizona (United States) - The World's Womem On Line!, at the Institute for Studies in the Arts of Arizona State University
1995 - Bremen (Germany) - Copy-Grafien-Bücher und Graphik-Neues, at the Museum Weserburg
1995 - Curitiba PR - 11th Engraving Exhibition, at the Cultural Foundation of Curitiba. Solar do Barão
1995 - Lausanne (Switzerland) - River: Mysteries and Frontiers, in the Musée de Puly
1995 - New York (United States) - Adding it up: Acquisitons 70-95, at MOMA
1995 - São Paulo SP - Object Book: The Frontier of the Voids, at MAM/SP
1995 - Tucson (United States) - The World's Women on Line! at Arizona State University. Institute for Studies in the Arts
1995 -Washington (USA) - Ultramodern Art of Contemporary Brazil, at the National Museum of women in the arts
1996 - Belém PA - 15th Salão Arte Pará, at the Museu de Arte do Belém
1996 - Belo Horizonte MG - Itinerant impressions, at Palácio das Artes
1996 - Brasília DF - The Ephemeral in Art Brazilian: 60s/70s, at Itaú Galeria
1996 - Niterói RJ - Brazilian contemporary art at the João Sattamini Collection, at the Museum of Contemporary Art (Niterói, RJ)
1996 - Rio de Janeiro RJ - Rio: Mysteries and Frontiers, at MAM/RJ
1996 - São Paulo SP - Mercosur Cultural, at CCSP
1996 - São Paulo SP - Modernity and contemporaneity in the visual arts, in the CCSP
1996 - São Paulo SP - Women artists at the MAC collection, at MAC/USP
1997 - Curitiba PR - The Contemporary Art of Engraving, at the Metropolitan Museum of Art of Curitiba
1997 - Havana (Cuba) - 6th Havana Biennial, at the Contemporary Art Center Wifredo Lam
1997 - Little Rock (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing at Arkansas Art Center
1997 - New York (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at El Museo del Barrio
1997 - Porto Alegre RS - 1st Mercosul Visual Arts Biennial, at APLUB; Mário Quintana House of Culture; DC Navegantes; Edel; gasometer plant; UFRGS Institute of Arts; Mercosur Biennial Visual Arts Foundation; margs; ULBRA space; Social Communication Museum; UFRGS Rectory; Theatro São Pedro
1997 - Porto Alegre RS - Cartographic slope, at the Gasómetro plant
1997 - Rio de Janeiro RJ - Identity/No Identity: the current Brazilian photography, at the Light Cultural Center
1997 - Paulo SP - Identity/No Identity: The current Brazilian photography, at MAM/SP
1998 - Austin (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at Archer M. Huntington Art Gallery
1998 - Belo Horizonte MG - The word support
1998 - Caracas (Venezuela) - Re-Aligning Visions: Alternative Currents in South American Drawing, Bellas Artes Museum
1998 - Cuenca (Ecuador) - 6th International Biennale of Cuenca
1998 - Monterrey (Mexico) - Re-aligning visions: Alternative Currents in South American Drawing, at the Contemporary Art Museo
1998 - Niterói RJ - Mirror of the Bienal, at MAC-Niterói
1998 - Porto Alegre RS - 1st Mercosul Biennial
1998 - Rio de Janeiro RJ - 16th National Salon of Plastic Arts, at MAM/RJ
1998 - Rio de Janeiro RJ - 60s/70s: Gilberto Chateaubriand Collection, MAM/RJ
1998 - Rio de Janeiro RJ - Brazilian Art in the collection of the Museum of Modern Art of São Paulo: recent donations 1996-1998, at CCBB
1998 - Rio de Janeiro RJ - Terra Incógnita, at CCBB
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - Fronteiras, at Itaú Cultural
1998 - São Paulo SP - O Moderno e o Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - São Paulo SP - The Support of the Word, at MAM/SP
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and engravings, at the SESI Art Gallery
1999 - Miami (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at the Miami Art Museum
1999 - City do Porto (Portugal) - CIRCA 68, at Fundação Serralves
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving: Brazilian modern engraving: Collection National Museum of Fine Arts, in MNBA
2000 - Belo Horizonte MG - Investigations. Brazilian engraving. They are or are not engravings, at Itaú Cultural
2000 - Brasília DF - Investigations. Are they or are they not engravings?, at Itaú Galeria
2000 - Curitiba PR - 12th Exhibition of the Engraving of Curitiba. Body marks, Folds of the Soul
2000 - Madrid (Spain) - Cartographies del Deseo, at the National Museum Reina Sofia Art Center
2000 - Rio de Janeiro RJ - Brasilidades, at the Light Cultural Center
2000 - Rio de Janeiro RJ - Jornal Aberto, at the Telephone Museum
2000 - Rio de Janeiro RJ - Situations: Brazilian Arts 70's, at Fundação Casa França-Brasil
2000 - São Paulo SP - Conceptual Art and Conceptualism: 70's in the MAC/USP collection, at the SESI Art Gallery
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition. Contemporary Art, at the Bienal Foundation
2000 - São Paulo SP - Investigations. The Brazilian engraving, at Itaú Cultural
2001 - Brasília DF - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Campinas SP - (almost) efêmera Arte, at Itaú Cultural
2001 - Campinas SP - Displacements of the self: the digital and pre-digital self-portrait in Brazilian art 1976-2001, at Itaú Cultural
2001 - Penápolis SP - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Rio de Janeiro RJ - 9th University, at Universidade Estácio de Sá. Maria Martins Gallery
2001 - Rio de Janeiro RJ - The trajectory: the artist's experiment, the trajectory and the process, at Funarte
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at the Light Cultural Center
2001 - Rio de Janeiro RJ - Orlândia, temporary occupation of a house under construction, bringing together 44 artists from different generations, at Rua Jornalista Orlando Dantas nº 53, Botafogo
2001 - São Paulo SP - Brazilian culture 1, at Casa das Rosas
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2001 - Washington D. C. (United States) - Virgin Territory: Women, Gender, and History in Contemporary Brazilian ART, at the National Museum of Women in the Arts
2002 - Brasília DF - Fragments to its magnet, in the contemporary cultural space Venâncio
2002 - Niterói RJ - Paper collection, in the Mac-Niterói
2002 - Rio de Janeiro RJ - The image of the sound of rock pop Brasil, at Paço Imperial
2002 - Rio de Janeiro RJ - Artefoto, at CCBB
2002 - Rio de Janeiro RJ - Caminhos do Contemporânea 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Between the image and the word: Module 2, at the Mam-Cittá América Room
2002 - São Paulo SP - A Forma and The technical image in the art of Rio de Janeiro: 1950-1975, at Paço das Artes
2002 - São Paulo SP - Multiple Brazilians 30 years later, at Multipla de Arte
2002 - Washington (USA) - Virgin Territories at The National Museum for Women in the Arts
2003 - Brasília DF - Artephoto, at CCBB
2003 - Iowa City (United States) - Layers of Brazilian Art, Faulconer Gallery
2003 - Rio de Janeiro RJ - 1st Contemporary Art Projectiles, at Funarte
2003 - Rio de Janeiro RJ - Flags of Brazil, at the Museum of the Republic
2003 - Rio de Janeiro RJ - each - two, at EAV/Parque Lage
2003 - Rio de Janeiro RJ - Order x Liberdade, at MAM/RJ
2003 - Rio de Janeiro RJ - BrazilianArt Project, at Almacén Art Gallery
2003 - Rio de Janeiro RJ - Treasures da Caixa: Brazilian modern art in the Caixa collection, in the Caixa Cultural Complex
2003 - São Paulo SP - The subversion of the media, at Itaú Cultural
2003 - São Paulo SP - Art and society: a controversial relationship, at itaú Cultural
2003 - São Paulo SP - Entre Aberto, at Galeria Engravura Brasileira
2003 - São Paulo SP - MAC USP 40 years: Contemporary interfaces, MAC/USP
2003 - São Paulo SP - My friends, at Espaço MAM - Villa-Lobos
2003 - Vila Velha ES - O Sal da Terra, at the Vale do Rio Doce Museum
2004 - Fortaleza CE - Heterodoxy: Fortaleza edition, at Centro Dragão do Mar de Arte e Cultura
2004 - Rio de Janeiro RJ - Contemporary Brazilian Art in the collections of Rio, at MAM/RJ
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Collection CHATEUBRIAND, at MAM/RJ
2004 - São Paulo SP - Contemporary Art in the studio of Iberê Camargo, at Centro Universitário Maria Antonia
2004 - São Paulo SP - Contemporary Centers, at Valu Oria Gallery of Art
2005 - Campos de Goytacazes RJ - besieged image, at Sesc de Campos de Goytacazes
2005 - London (United Kingdom) - Citizens, at Pitzhanger Manor museum
2005 - Petrópolis RJ - Abstract Express, at the Imperial Museum
2005 - Petrópolis RJ - besieged image, at the Sesc Petrópolis gallery
2005 - Rio de Janeiro RJ - image besieged, at the gallery of SESC Copacabana
2005 - São Paulo SP  - The body in Brazilian contemporary art, at Itaú Cultural
2005 - São Paulo SP - Anna Bella Geiger, Carlos Vergara and Claudio Murabac, at Valu Oria Art Gallery
2006 - Rio de Janeiro RJ - Photography Collective, at the Laura Marsiaj Gallery of Contemporary Art
2006 - Rio de Janeiro RJ - A century of Brazilian art, in the MAM/RJ
2006 - Liège (Belgium) - Biennale Internationale de la Photographie et des Arts Visuelsde Liège Brasil, at the Center Culturel Les Chiroux
2006 - Madrid (Spain) - First Generation: Art and Image in Motion, NCA Reina Sofia Museum
2006 - São Paulo SP - A Century of Brazilian Art, at the São Paulo Museum of Art - MASP
2006 - São Paulo SP - Radical maneuvers, at CCBB
2006 - São Paulo SP - Paralelas, in the Pavilion of the States
2007 - Rio de Janeiro RJ - Banco do Brasil and the graphic arts, at CCBB
2007 - Salvador BA - A Century of Brazilian Art - Gilberto Chateaubriand Collection, at the Museum of Modern Art of Bahia - MAM/BA  
2007 - Curutiba PR - A Century of Brazilian Art - Gilberto Chateaubriand Collection, at the Oscar Niemeyer Museum
2007 - São Paulo SP - Art as a Question, at the Tomie Ohtake Institute
2008 - Madrid (Spain) - ARCO, at the Feira de Madrid Institute
Source: Itaú Cultural
