Carlos Vergara (Santa Maria RS 1941)
Carlos Vergara is a printmaker, photographer and painter. He began his artistic career in the 1950s, when he moved to Rio de Janeiro. Alongside his work as a laboratory analyst, he devoted himself to making handcrafted jewelry, which was shown at the 7th Bienal Internacional de São Paulo in 1963. That same year, he began to focus on drawing and painting, studying with Iberê Camargo. He took part in the exhibitions Opinião 65 and 66 at the Museu de Arte Moderna do Rio de Janeiro (MAM/RJ), establishing himself on the Brazilian art scene. In 1967, he was one of the organizers of the exhibition Nova Objetividade Brasileira [New Brazilian Objectivity], which aimed to take stock of the avant-garde in Brazil. During this period, Vergara also worked as a set and costume designer for theater productions, while producing figurative paintings influenced by Expressionism and Pop Art.
During the 1970s, Carlos Vergara began using photography and Super-8 films as tools for reflecting on reality, and started researching carnival, which became one of his subjects of interest. He also collaborated with architects on panels for various buildings, using materials and techniques from popular crafts. In 1972, he published the sketchbook Texto em Branco [Blank Text], through the publisher Nova Fronteira. In the 1980s, he returned to painting, producing geometric abstract pictures in which he explored grids of lozenges that created vibrant chromatic fields. In the late 1980s, he began using natural pigments and ores in his works, employing them as the basis for pieces on a variety of surfaces.
In 1997, Carlos Vergara produced the series Monotipias do Pantanal [Pantanal Monotypes], an exploration of direct contact with nature, transferring onto the canvas the textures of stones, leaves and other natural elements. This work reflected his ongoing interest in merging art and the natural environment.
Critical Commentary
While still young, Carlos Vergara began working with ceramics, and in the early 1960s he made silver and copper jewelry. He showed 13 of these pieces at the 7th Bienal Internacional de São Paulo, in 1963. That year, he began a drawing and painting course with Iberê Camargo (1914 - 1994), and until 1967 he produced figurative paintings with agile brushstrokes and a caricatural line, along with an expressionist treatment. The art critic Paulo Sérgio Duarte compares these works to the paintings of the CoBrA Group, by artists such as Asger Jorn (1914 - 1973) and Karel Appel (1921 - 2006), for their "cult of expressive freedom, appropriation of children's drawing, praise of the primitive and the mad".1 In 1965, he took part in the exhibition Opinião 65 with these three works: O General [The General], Vote [Vote] and Patronesse [Patroness].
From 1966 onward, Vergara incorporated graphic icons and elements of Pop Art into his expressionist base. He made his first works of applied art, such as the mural for the Escola de Saúde Pública de Manguinhos and the set design for the theater group Tablado, both in Rio de Janeiro, in 1966. In 1968, he began painting on acrylic surfaces, making the handmade marks of his pictorial practice disappear. That same year, he explored new languages and showed the environment Berço Esplêndido [Splendid Cradle], at Galeria Art Art, in São Paulo. The work combines the sensory investigations of artists such as Hélio Oiticica (1937 - 1980) with political denunciation.
Since the 1980s, Vergara has devoted himself more decisively to painting. In his works he uses natural pigments taken from ores, materials he also uses to produce monotypes, many of them made in natural settings, such as the Pantanal of Mato Grosso.
Notes
1 DUARTE, Paulo Sérgio. Carlos Vergara. Rio de Janeiro: Santander Cultural, 2003. p. 94.
Critiques
"The initial affirmation of Carlos Vergara's work proves how much 1964 was a watershed in Brazilian society and art. (...) The mark of the master (Iberê Camargo) was reflected in the willingness to dissolve the figure into constellations both nebulous and rigorous, dense and emblematic, on the plumb line of the abstract. But the drawings that followed, between 1964 and 1965, are enough to assure us that Vergara had also known how to absorb the vicissitudes of the turbulent surrounding environment (...). When the hardships of 1968 were at their steepest, Vergara, while expanding the arsenal of his materials and combining them with the conventional support, made the reference to Brazil more obvious. The flag, palm trees, banana trees, the rainbow, the Indian and the green and yellow took up a long residence there, as signs of a restless and critical gaze aimed at a precise target. But soon afterward, in the manner of a project, snapshots of the idea coming and going, memory mixed with maneuver, the works, particularly the drawings, took an unequivocally conceptual direction".
Roberto Pontual
PONTUAL, Roberto. Entre dois séculos: arte brasileira do século XX na coleção Gilberto Chateaubriand. Prefácio de Gilberto Allard Chateaubriand e Antônio Houaiss. Apresentação de M. F. do Nascimento Brito. Rio de Janeiro: Jornal do Brasil, 1987.
"In a country where a good part of contemporary art relates directly or indirectly, interacting or reacting, to the constructivist chapter that marked and still marks its art, the painting Carlos Vergara has been developing since 1989 produces a certain strangeness. This differentiation comes about through the way he incorporates local issues. Paradoxically, it is strange because it is a Brazilian painting that does not attach itself to the stereotypes of the provinces. When we reject the icons that a certain figuration exploited, creating exotic images of itself, we come to accept the reflective effort of the constructivist and post-constructivist works guided by a conceptual order in which any local element is mediated by so many instances that it goes unnoticed.
(...)
There is a romantic investment in this painting of Vergara's, which seems to believe that there, in the fragment, in the piece of wall, the whole may lie, and that this encounter must not be disturbed by an inhibiting rationality, but captured in the very instant the canvases are printed. Contemporary as it is, the sublime here presupposes no transcendence; on the contrary, in the half-light of these canvases it directs our gaze toward this territory in which we are so deeply immersed that we do not see it".
Paulo Sérgio Duarte
DUARTE, Paulo Sérgio. "Estranha Proximidade". http://www.carlosvergara.com.br/sobreframe.htm, 1995.
"(...) Vergara's current work makes him one of the most restless artists of his generation. Refusing to confine himself to the mere pleasure of an aestheticizing formalism, he goes deeper in his formal search, translating through it, with talent and originality, a will to transformation that makes the very act of painting a continuous gesture of pleasure, the expression of a natural process that emanates from life itself. As one breathes, he draws from life itself the strength to unite this gesture with nature, from which he extracts his color pigments and an energy that acts like a halo running through his canvases and uniting in them form, color, light, heat, matter, action and inaction.
In this, Vergara reveals himself as a painter in search of a recognizable Brazilianness in what could be the most Brazilian thing of all: the earth, the pigment of the earth, the color of the earth. The texture that comes from this earth, with which he paints like someone extracting the most precious mineral from the bowels of nature, builds an impressive range of earthy colors that adds a remarkable dose of drama to his work.
This dramatic charge is the key to explaining his baroque side, the chiaroscuro that runs through his paintings and makes them baroque not only through the religious sense with which they end up imbued, but also when he appeals to the senses as an imperious summons. This can be seen, for example, in the large monotypes, which he prints as if in a playful act, playing with the pigment, the color and the texture that come from this earth, to build a new form of expression that makes painting itself a gesture of interpreting life. Running like a powerful vein through his works, this gesture is incorporated into them as a material force, a vital force".
Emanoel Araujo
ARAUJO, Emanoel. Carlos Vergara: à procura da cor brasileira. In: Carlos Vergara: 89/99. São Paulo: Pinacoteca, 1999, p. 3.
Testimonials
"In 1989, my work did not take a new direction on its own; I decided to give it a new direction because I was sure I had exhausted the series begun in 1980, in which I abandoned the figure and plunged into a painting whose procedure was a 'measuring with color' of the canvas space, dividing it with parallel diagonals to form a grid. I had reached exhaustion; carrying on would have condemned me to no longer having the sensation of discovery and to making everything bureaucratic. Mere craftsmanship.
In 1989, with detachment, I proposed to put myself at a ground zero of painting and look outward and inward.
Making painting means accepting the historical weight of an activity that is only not anachronistic if it contains an adventure, one that goes beyond the question of the image, that stirs up the procedure and has a project, even so remaining the painting that the support has always determined. So it is necessary to 'read' the project and the procedure to know whether it is not just mimicry, historically outdated. (...)
When painting ceases to be an enigma, a catalyst for the subtler areas of your being, it ceases to be necessary. Only an art that, by being mobilizing, justifies its existence is necessary. It is this expressive capacity that gives it its reason for being.
I am speaking from the painter's point of view. To speak from the public's point of view, we would have to talk about the countless forms of blindness and insensitivity. (...)
As for the theme of Brazilianness, what interests me, as it does not interest others, is using a peculiar idiom which, even being, so to speak, erudite, lets me deal with Brazil without boasting - after all, because there are not so many reasons to. In this symbolic good that is painting, I want you to recognize yourself, whether with ease or unease. This personal pleasure of mine, as I have said, I do not consider of paramount importance, nor even a source of value. I am more concerned that the discourse should go beyond that while keeping a flavor, a temperature, that shows a tradition without it existing in an organized way.
As for the question of time, there is a time evoked by the construction of the image, there is a time that the painting itself asks for in order to be read, there is a physical time that drying demands for each attack on the canvas. There is also a time of another order, relating to the moment of action. A time linked to the gesture, which only happens intuitively and is impossible to measure. (...)
Each canvas is a crucible of ideas of painting and about painting. I think about what I am doing while I am doing it, and I remain open to the contradictions that arise. I have no thesis to prove. I think that is where the differences between the series of works I produce come from. I do not panic, and I even like it if the next work does not look like the previous one. (...)
Returning to the question of repetition, what I meant is that I think it is possible to thicken the work, to add more meaning through the ritualization of repetition, and not empty it of meaning if that repetition is merely mechanical. From the trip I made to India, I remember the way Hanuman is worshipped, a monkey deity, an important character who helped Rama cross the forest in the epic Ramayana. The images representing a monkey have been anointed with oil and orange pigment for centuries, and they no longer have any shape; they are just an impressive orange accumulation with two little eyes deep inside. You only see an orange mound and you know that Hanuman is in there. And that orange spreads around the place with the handprints people leave when wiping off the leftover paint.
I can say that my revisits to the Minas Gerais of oxides over these last 10 years have been a ritual that renews feeling-thinking each time.
It may seem a contradiction, but repetition helps one reflect, emptying out premeditated thought. It is a matter of producing something elaborately simple. There is an energetic difference in that.
Back when painting was done only by addition and sculpture only by subtraction, this was easier to perceive".
Carlos Vergara
VERGARA, Carlos & OSORIO, Luiz Camilo. "Conversa entre Carlos Vergara e Luiz Camilo Osorio". In: Carlos Vergara: 89/99. São Paulo: Pinacoteca, 1999, p. 5-6, 21-22, 32.
Solo Exhibitions
1966 - Rio de Janeiro RJ - Solo, at Fátima Arquitetura
1966 - Rio de Janeiro RJ - Solo, at MAM/RJ
1967 - Rio de Janeiro RJ - Solo, at Petite Galerie
1968 - São Paulo SP - Solo, at Galeria Art Art
1969 - Rio de Janeiro RJ - Solo, at Petite Galerie
1972 - Paris (France) - Solo, at Air France
1972 - Rio de Janeiro RJ - Solo, at MAM/RJ
1973 - Rio de Janeiro RJ - Solo, at Galeria Paulo Bittencourt e Luiz Buarque de Holanda
1975 - Rio de Janeiro RJ - Solo show with works from the Gilberto Chateaubriand Collection, at Galeria Maison de France
1978 - Rio de Janeiro RJ - Solo, at Petite Galerie
1978 - São Paulo SP - Carlos Vergara: Drawing, Paintings, Photographs, at Galeria Arte Global
1980 - Rio de Janeiro RJ - Notes on Carnival, at Galeria Hotel Méridien
1981 - São Paulo SP - Solo, at Galeria Monica Filgueiras
1983 - Rio de Janeiro RJ - Solo, at Galeria Thomas Cohn
1983 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1984 - London (England) - Solo, at Brazilian Centre Gallery
1984 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1985 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1987 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1988 - Rio de Janeiro RJ - Solo, at Galeria Thomas Cohn
1989 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1990 - Rio de Janeiro RJ - Solo, at Galeria de Arte Ipanema
1990 - Rio de Janeiro RJ - Solo, at Paço Imperial
1991 - Belo Horizonte MG - Solo, at Itaú Cultural
1991 - Belo Horizonte MG - Solo, at Palácio das Artes
1991 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1992 - Lisbon (Portugal) - Recent Works 1989-1991, at Centro de Arte Moderna da Fundação Calouste Gulbenkian
1992 - São Paulo SP - Solo, at Capela do Morumbi
1993 - Antwerp (Belgium) - Solo, at Galeria Francis Van Hoof
1993 - Rio de Janeiro RJ - Solo, at Galeria Goudar
1993 - Rio de Janeiro RJ - Solo, at CCBB
1993 - São Paulo SP - Carlos Vergara, at Gabinete de Arte Raquel Arnaud
1994 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1995 - Paris (France) - Solo, at Galeria Debret
1995 - Rio de Janeiro RJ - Solo, at Galeria Paulo Fernandes
1997 - Rio de Janeiro RJ - Carlos Vergara: Prints, at Fundação Castro Maya
1997 - São Paulo SP - Pantanal Monotypes and Recent Paintings, at MAM/SP
1998 - Rio de Janeiro RJ - Carlos Vergara: Works on Paper, at GB Arte
1998 - Rio de Janeiro RJ - The Travelers, at Paço Imperial
1999 - São Paulo SP - Carlos Vergara 89/99, at Pinacoteca do Estado
2001 - Rio de Janeiro RJ - Solo, at Silvia Cintra Galeria de Arte
2001 - São Paulo SP - Solo, at Galeria Nara Roesler
2003 - Porto Alegre RS - Carlos Vergara Traveler: Works from 1965 to 2003, at Santander Cultural
2003 - São Paulo SP - Carlos Vergara Traveler: Works from 1965 to 2003, at Instituto Tomie Ohtake
2003 - Vila Velha ES - Solo, at Museu Vale do Rio Doce
2004 - São Paulo SP - Carlos Vergara, at Monica Filgueiras Galeria de Arte
Group Exhibitions
1963 - Lima (Peru) - Latin American Painting, at Instituto de Arte Contemporâneo
1963 - São Paulo SP - 7th Bienal Internacional de São Paulo, at Fundação Bienal
1965 - Paris (France) - Salon de la Jeune Peinture, at Musée d'Art Moderne de la Ville de Paris
1965 - Rio de Janeiro RJ - Opinião 65, at MAM/RJ
1965 - Rio de Janeiro RJ - 14th National Salon of Modern Art, at MAM/RJ
1965 - São Paulo SP - 2nd Young National Drawing Exhibition, at MAC/USP
1965 - São Paulo SP - Propostas 65, at Faap
1966 - Belo Horizonte MG - Brazilian Avant-Garde, at UFMG. Reitoria
1966 - Lima (Peru) - Latin American Painting
1966 - Rio de Janeiro RJ - Opinião 66, at MAM/RJ
1966 - Rio de Janeiro RJ - Pare [Stop], at Galeria G4
1966 - Rio de Janeiro RJ - 1st Salão de Abril [April Salon], at MAM/RJ
1966 - Rio de Janeiro RJ - 15th National Salon of Modern Art
1966 - Salvador BA - 1st National Visual Arts Biennial
1966 - São Paulo SP - 8 Artists, at Atrium
1967 - Belo Horizonte MG - 22nd Belo Horizonte City Fine Arts Salon, at MAP
1967 - Petrópolis RJ - 1st National Young Painting Salon, at Hotel Quitandinha
1967 - Rio de Janeiro RJ - Nova Objetividade Brasileira [New Brazilian Objectivity], at MAM/RJ
1967 - Rio de Janeiro RJ - 3rd The Face and the Work, at Galeria Ibeu Copacabana
1967 - Rio de Janeiro RJ - Salão das Caixas [Box Salon], at Petite Galerie - O.C.A. Prize
1967 - Rio de Janeiro RJ - 16th National Salon of Modern Art
1967 - São Paulo SP - 9th Bienal Internacional de São Paulo, at Fundação Bienal - acquisition prize
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, at MAM/RJ
1968 - Rio de Janeiro RJ - 6th JB Art Summary, at MAM/RJ - JB Summary Prize for Object
1968 - Rio de Janeiro RJ - Flags in the Square, at Praça General Osório
1968 - Rio de Janeiro RJ - 1st Rio de Janeiro Art Fair, at MAM/RJ
1968 - Rio de Janeiro RJ - The Brazilian Artist and Mass Iconography, at Esdi
1968 - Rio de Janeiro RJ - The Face and the Work, at Galeria Ibeu Copacabana
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art, at MAM/RJ - jury exemption prize
1969 - Rio de Janeiro RJ - Salão da Bússola [Compass Salon], at MAM/RJ
1970 - Belo Horizonte MG - Object and Participation, at Palácio das Artes
1970 - Medellín (Colombia) - 2nd Medellín Art Biennial, at Museo de Antioquia
1970 - Rio de Janeiro RJ - 19th National Salon of Modern Art, at MAM/RJ
1970 - Rio de Janeiro RJ - 8th JB Art Summary, at MAM/RJ - JB Summary Prize for Drawing
1970 - Rio de Janeiro RJ - Brazilian Contemporary Painting, at MAM/RJ
1970 - São Paulo SP - 2nd Panorama of Current Brazilian Art, at MAM/SP
1971 - Rio de Janeiro RJ - 9th IAB/RJ Awards
1971 - Rio de Janeiro RJ - Multiples Exhibition, at Petite Galerie
1972 - Rio de Janeiro RJ - 10th IAB/RJ Awards
1972 - Rio de Janeiro RJ - Domingos da Criação [Creation Sundays], 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
1973 - Rio de Janeiro RJ - Inquiry into Nature: Meaning and Function of the Work of Art, at Galeria Ibeu Copacabana
1973 - São Paulo SP - Expo-Projeção 73, at Espaço Grife
1974 - Campinas SP - 9th Campinas Contemporary Art Salon, at MACC
1975 - Campinas SP - (Arte), at MACC
1975 - Campinas SP - Waltercio Caldas, Rubens Gerchman, Carlos Vergara, José Resende, at MACC
1975 - Rio de Janeiro RJ - Communication According to Visual Artists, at Rede Globo
1975 - Rio de Janeiro RJ - Experimental Art Exhibition of Super-8 Films, Audiovisual and Videotape, at Galeria Maison de France
1976 - Salvador BA - Brazilian Art of the 1960s/70s in the Gilberto Chateaubriand Collection, at MAM/BA
1977 - Brasília DF - Brazilian Art of the 1960s/70s in the Gilberto Chateaubriand Collection, at Fundação Cultural do Distrito Federal
1977 - Recife PE - Brazilian Art of the 1960s/70s in the Gilberto Chateaubriand Collection, at Casarão de João Alfredo
1978 - São Paulo SP - The Object in Art: Brazil in the 1960s, at MAB/Faap
1980 - Milan (Italy) - Quasi Cinema, at Centro Internazionale di Brera
1980 - Venice (Italy) - 40th Venice Biennale
1981 - Rio de Janeiro RJ - From Modern to Contemporary: Gilberto Collection, at MAM/RJ
1981 - Rio de Janeiro RJ - Universe of Carnival: Images and Reflections, at Acervo Galeria de Arte
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - Lisbon (Portugal) - From Modern to Contemporary: Gilberto Chateaubriand Collection, at Fundação Calouste Gulbenkian
1982 - London (United Kingdom) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - Rio de Janeiro RJ - Contemporaneity: Tribute to Mário Pedrosa, at MAM/RJ
1983 - Rio de Janeiro RJ - 13 Artists/13 Works, at Galeria Thomas Cohn
1983 - Rio de Janeiro RJ - 3 x 4 Large Formats, at Centro Empresarial Rio
1983 - Rio de Janeiro RJ - Skin Deep: Painting and Pleasure, at Centro Empresarial Rio
1983 - Rio de Janeiro RJ - Brazilian Self-Portraits, at Galeria de Arte Banerj
1983 - São Paulo SP - Imagining the Present, at Gabinete de Arte Raquel Arnaud
1984 - London (England) - Portraits of a Country: Brazilian Modern Art from the Gilberto Chateaubriand Collection, at Barbican Art Gallery
1984 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães and Rubens Gerchman, at Galeria do Centro Empresarial Rio
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Brasília DF - Brazilianness and Independence, at Teatro Nacional de Brasília/Fundação Cultural de Brasília
1985 - Porto Alegre RS - Iberê Camargo: Trajectory and Encounters, at Margs
1985 - Rio de Janeiro RJ - Exhibition Cycle on Art in Rio de Janeiro/Opinião 65, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Opinião 65, at Galeria de Arte Banerj
1985 - São Paulo SP - 18th Bienal Internacional de São Paulo, at Fundação Bienal
1985 - São Paulo SP - Art New Media/Multimedia: Brazil 70/80, at MAB/SP
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1986 - Brasília DF - Iberê Camargo: Trajectory and Encounters, at Teatro Nacional de Brasília
1986 - Rio de Janeiro RJ - 1st Christian Dior Contemporary Art Exhibition: Painting, at Paço Imperial
1986 - Rio de Janeiro RJ - Iberê Camargo: Trajectory and Encounters, at MAM/RJ
1986 - Rio de Janeiro RJ - Christian Dior Contemporary Art Exhibition: Painting, at Paço Imperial
1986 - São Paulo SP - Group show, at Gabinete de Arte Raquel Arnaud
1986 - São Paulo SP - Iberê Camargo: Trajectory and Encounters, at Masp
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro RJ - New Figuration Rio/Buenos Aires, at Galeria do Instituto Cultural Brasil-Argentina
1988 - Rio de Janeiro RJ - The Eternal Is Ephemeral, at Petite Galerie
1988 - São Paulo SP - 63/66 Figure and Object, at Galeria Millan
1989 - São Paulo SP - 20th Bienal Internacional de São Paulo, at Fundação Bienal
1989 - São Paulo SP - Brazilian Painting of the 19th and 20th Centuries: Works from the Banco Itaú Collection, at Itaugaleria
1990 - Brasília DF - 9th Brazil-Japan Art Exhibition
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1991 - Curitiba PR - 48th Paraná Salon, at MAC/PR
1991 - Rio de Janeiro RJ - Image upon Image, at Espaço Cultural Sérgio Porto
1992 - Paris (France) - Diversité Latino Americaine, at Galerie 1900/2000
1992 - Rio de Janeiro RJ - 1st On the Way to Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Coca-Cola 50 Years with Art, at MAM/RJ
1992 - Rio de Janeiro RJ - ECO Art, at MAM/RJ
1992 - Rio de Janeiro RJ and São Paulo SP - Coca-Cola 50 Years with Art, at MAM/RJ and MAM/SP
1992 - Santo André SP - Lithography: Methods and Concepts, at Paço Municipal
1992 - São Paulo SP - The 1960s/70s: Gilberto Chateaubriand Collection - MAM/RJ, at Galeria de Arte do Sesi
1992 - São Paulo SP - Coca-Cola 50 Years with Art, at MAM/SP
1993 - Rio de Janeiro RJ - Erotic Art, at MAM/RJ
1993 - Rio de Janeiro RJ - Brazil, 100 Years of Modern Art, at MNBA
1993 - Rio de Janeiro RJ - Emblems of the Body: The Nude in Brazilian Modern Art, at CCBB
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1994 - Penápolis SP - The Ephemeral in Brazilian Art: 1960s/70s, at Itaugaleria
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, at MAM/RJ
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - The Ephemeral in Brazilian Art: 1960s/70s, at Itaú Cultural
1995 - Rio de Janeiro RJ - Libertines/Libertarians
1995 - Rio de Janeiro RJ - Limits of Painting, at Conjunto Cultural da Caixa
1995 - Rio de Janeiro RJ - Opinião 65: 30 Years, at CCBB
1995 - São Paulo SP - Today's Brazil in the Mirror of the 19th Century: German and Brazilian Artists Retrace the Langsdorff Expedition, at Masp
1996 - Brasília DF - Group show, at Galeria Referência
1996 - Brasília DF - The Ephemeral in Brazilian Art: 1960s/70s, at Itaugaleria
1996 - Goiânia GO - Group show, at Fundação Jaime Câmara
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - Palmas TO - Inaugural Exhibition of the Espaço Cultural de Palmas, at Espaço Cultural de Palmas
1996 - Rio de Janeiro RJ - Group show, at Galeria Toulouse
1996 - Rio de Janeiro RJ - Today's Brazil in the Mirror of the 19th Century: German and Brazilian Artists Retrace the Langsdorff Expedition, at Fundação Casa França-Brasil
1996 - Rio de Janeiro RJ - Petite Galerie 1954-1988, A View of Brazilian Art, at Paço Imperial
1996 - São Paulo SP - Group show, at Galeria A Estufa
1997 - Porto Alegre RS - 1st Bienal de Artes Visuais do Mercosul, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Porto Alegre RS - Cartographic Strand, at Usina do Gasômetro
1997 - Rio de Janeiro RJ - Petite Galerie 1954-1988: A View of Brazilian Art, at Paço Imperial
1997 - Rio de Janeiro RJ - A Conversation with Rugendas, at Museus Castro Maya
1997 - São Paulo SP - Arte Cidade: The City and Its Stories, at Estação da Luz, Indústrias Matarazzo and Moinho Central
1997 - São Paulo SP - Arte Cidade: Route
1997 - São Paulo SP - Bar des Arts: Auction No. 1, at Aldeia do Futuro
1997 - São Paulo SP - Galeria Brito Cimino Arte Contemporânea e Moderna
1998 - Niterói RJ - Mirror of the Biennial, at MAC/Niterói
1998 - Rio de Janeiro RJ - Brazilian Art in the Collection of the Museu de Arte Moderna de São Paulo: Recent Donations 1996-1998, at CCBB
1998 - Rio de Janeiro RJ - Poetics of Color, at Centro Cultural Light
1998 - Rio de Janeiro RJ - Terra Incognita, at CCBB
1998 - Rio de Janeiro RJ - Thirty Years of '68, at CCBB
1998 - São Paulo SP - Frontiers, at Itaú Cultural
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1999 - Curitiba PR - Group show, at Galeria Fraletti e Rubbo
1999 - Rio de Janeiro RJ - Everyday/Art. Object 1960s/90s, at MAM/RJ
1999 - Rio de Janeiro RJ - Mostra Rio Gravura: Armando Sampaio Collection: Brazilian Printmaking, at Centro de Artes Calouste Gulbenkian
1999 - Rio de Janeiro RJ - Mostra Rio Gravura: Brazilian Modern Printmaking: Collection of the Museu Nacional de Belas Artes, at MNBA
1999 - São Paulo SP - Everyday/Art. Consumption - Metamorphosis of Consumption, at Itaú Cultural
1999 - São Paulo SP - Everyday/Art. Consumption - Drink Mona Lisa, at Itaú Cultural
1999 - São Paulo SP - Lithography: Fidelity and Memory, at Espaço de Artes Unicid
1999 - São Paulo SP - Everyday/Art. The Object - 1960s/90s, at Itaú Cultural
2000 - Brasília DF - Brazil Europe Exhibition: Encounters in the 20th Century, at Conjunto Cultural da Caixa
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Fundação Calouste Gulbenkian. Centro de Arte Moderna José de Azeredo Perdigão
2000 - Niterói RJ - Paintings in the João Sattamini Collection, at MAC/Niterói
2000 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães, Rubens Gerchman, at GB Arte
2000 - Rio de Janeiro RJ - Situations: Brazilian Art of the 1970s, at Fundação Casa França-Brasil
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2001 - Belo Horizonte MG - From Body to Earth: A Radical Landmark in Brazilian Art, at Itaú Cultural
2001 - Goiânia GO - 1st Goiás National Art Salon, at Flamboyant Shopping Center
2001 - Rio de Janeiro RJ - The Image of Sound of Antônio Carlos Jobim, at Paço Imperial
2001 - São Paulo SP - The 1970s: Trajectories, at Itaú Cultural
2002 - Niterói RJ - Sattamini Collection: Moderns and Contemporaries, at MAC/Niterói
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC/Niterói
2002 - Passo Fundo RS - Prints: Paulo Dalacorte Collection, at Museu de Artes Visuais Ruth Schneider
2002 - Porto Alegre RS - Prints: Paulo Dalacorte Collection, at Museu do Trabalho
2002 - Rio de Janeiro RJ - Artefoto, at CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - São Paulo SP - 4th Artecidadezonaleste, at Sesc/Belenzinho
2002 - São Paulo SP - Map of Now: Recent Brazilian Art in the João Sattamini Collection of the Museu de Arte Contemporânea de Niterói, at Instituto Tomie Ohtake
2002 - São Paulo SP - Gate 2, at Galeria Nara Roesler
2003 - Brasília DF - Artefoto, at CCBB
2003 - Rio de Janeiro RJ - Autonomy of Drawing, at MAM/RJ
2003 - Rio de Janeiro RJ - Flags of Brazil, at Museu da República
2003 - Rio de Janeiro RJ - Black and White Project, at Silvia Cintra Galeria de Arte
2003 - São Paulo SP - The Subversion of Media, at Itaú Cultural
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - Vila Velha ES - The Salt of the Earth, at Museu Vale do Rio Doce
2004 - Rio de Janeiro RJ - 30 Artists, at Mercedes Viegas Escritório de Arte
2004 - São Paulo SP - Contemporary Art at Iberê Camargo's Studio, at Centro Universitário Maria Antonia
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
Source: Itaú Cultural
