Eduardo Sued

Eduardo Sued (Rio de Janeiro RJ 1925)

Eduardo Sued is a painter, printmaker, illustrator, draftsman, stained-glass artist and teacher. He graduated from the Escola Nacional de Engenharia do Rio de Janeiro in 1948. The following year, he began studying drawing and painting with Henrique Boese (1897-1982). Between 1950 and 1951, he worked as a draftsman in the office of the architect Oscar Niemeyer (1907). In 1951, he traveled to Paris, where he attended the Grande Chaumière and Julian academies. During his stay in the French capital, he came into contact with the works of Pablo Picasso (1881-1973), Joan Miró (1893-1983), Henri Matisse (1869-1954) and Georges Braque (1882-1963). He returned to Rio de Janeiro in 1953 and began attending the studio of Iberê Camargo (1914-1994) to study intaglio printmaking, later becoming his assistant.

In 1956, he began teaching drawing and painting at the Escolinha de Arte do Brasil and, the following year, moved to São Paulo, where he taught drawing, painting and printmaking at the Fundação Armando Álvares Penteado (FAAP) from 1958 to 1963. In 1964, he moved back to Rio de Janeiro and published the album of etchings 25 Gravuras [25 Prints]. Sued did not join any movement, keeping his distance from the artistic debates of the time. His career included a brief figurative phase, followed by a transition to geometric abstraction. In the 1970s, he drew closer to the constructive trends, developing his work from reflections on Piet Mondrian (1872-1944) and the Bauhaus. Between 1974 and 1980, he taught intaglio printmaking at the Museu de Arte Moderna do Rio de Janeiro (MAM/RJ).

Critical Commentary

Before deciding on an artistic career, Eduardo Sued attends the Escola Nacional de Engenharia in Rio de Janeiro from 1946 to 1948. In 1949 he begins training as a visual artist in the independent painting and drawing course of the German painter Henrique Boese (1897 - 1982). From 1950 to 1951 he works as an architectural draftsman in Oscar Niemeyer's (1907) office. With the money from the sale of some watercolors, he leaves for Paris in 1951, staying there until 1953. During his stay in France he comes into direct contact with the works of the École de Paris, of Pablo Picasso (1881 - 1973), Joan Miró (1893 - 1983), Henri Matisse (1869 - 1954) and Georges Braque (1882 - 1963). As a student he attends the Académie Julian and the Académie de La Grande Chaumière, which, more than schools, were places where students expressed themselves freely through drawing and painting. Back in Brazil, he begins an intaglio printmaking course with Iberê Camargo (1914 - 1994), later becoming his studio assistant. Of this contact, the artist says: "Iberê was a serious, dedicated artist, a model for me".

Eduardo Sued produces an important body of prints during this period and takes part in exhibitions such as the Bienal de San Juan del Grabado Latinoamericano (1970) and the International Print Biennial (1970), in Poland. In 1956 he begins his career as a teacher of drawing, painting and intaglio printmaking, an activity he gives up in 1980. His interest in large areas of color and the search for greater plasticity lead him to devote himself ever more exclusively to painting in the mid-1960s.

He believes in painting as an intellectual, solitary and meditative practice. That is why the artist who, in the view of the critic Ronaldo Brito, "is the great uninhibitor of abstract languages of constructive origin in modern Brazilian painting"1 does not take an active part in any movement, keeping clear of the disputes between the concrete and neo-concrete artists in the 1950s and also of the debates on the new figuration of the 1960s. His abstract poetics takes shape little by little, in a constant, considered dialogue with the tradition of international and Brazilian modern painting. After a brief period of figurative production, by the early 1970s Sued achieves a confident command of the constructive language, based on his reflection on Piet Mondrian (1872 - 1944) and the Bauhaus. However, this is an updated constructivism and not the direct application of the tenets of early 20th-century artists. On the other hand, at the national level, he is concerned with expanding "Brazilian constructive painting without losing the productive conflict introduced by the neo-concretists", as the critic Paulo Sérgio Duarte assessed.

The achievement of a public dimension is usually pointed to as Sued's greatest contribution to Brazilian painting. In his works he manages to overcome the intimist character that runs through the work of some of our finest modern painters, such as Alfredo Volpi (1896 - 1988) and Milton Dacosta (1915 - 1988), for example. Sued breaks with the local color of figurative traces, with the reminiscent, personal mood that marks the use of geometric elements in these artists. On canvases of "monumental" dimensions by the standards of Brazilian art history, he projects the space of painting outward through the precise, rigorous and "impersonal" structuring of the canvas surface into varied fields of color. This outward movement occurs both in huge, almost monochromatic panel-paintings and in works that rely on the vibrant tension between diverse color fields organized according to an "off-axis" geometry, creating a frenetic rhythm in which the flat surface seems to pulsate.

It is worth noting that in more than 30 years of production, Eduardo Sued has not crystallized his abstract language into preconceived structures. For him, "to experiment is to accept the challenge of doubt. I am a painter insofar as I am an artist who experiments". This exercise is expressed in a trajectory that constantly reinvents its challenges and solutions. Standing out in this body of work are the canvases, developed since the 1980s, with vast gray or black areas precisely interspersed with colored bands, in a sober yet vibrant play of expansion and containment. In the mid-1990s, Sued introduces new elements into his work, such as aluminum paint and thick, discontinuous brushstrokes that make the surface look "almost sculpted", and he returns to collage, present in the 1960s and 1970s. These compositions offer a keen reflection on the relationships between light, surface, space and time in painting, reaffirming once again the artist's position as a constant "uninhibitor" in Brazilian art.

Notes
1 Ronaldo Brito has followed Eduardo Sued's work since the 1970s and is the critic who has written most about the artist. This statement was made in 1998 in the text O Pensamento Contemporâneo da Cor [Contemporary Thinking about Color], written for the catalog of the exhibition Eduardo Sued: pinturas 1980-1998, held at the Centro de Artes Hélio Oiticica, in Rio de Janeiro.

Critiques

"Painting, as Merleau-Ponty notes, will always and ultimately mean raising anew the question of meaning, of being in the world. Investigating the body in its primary articulations, before it becomes the instrument of a will. Revisiting it no longer as the support of the subject, but as its condition. And there, inevitably, the gaze ceases to be the unequivocal point of view of the subject facing the object, to appear as an incessant, indefinite movement in which subject and object meet and lose each other. The painter is someone who has chosen to exist in the midst of this whirlwind. Someone who throws his own body into the task of 'looking at the true gaze' - the one that set up the world and places us in it. Sued's painting practice is immersed in this phenomenological questioning. It will never be a matter of making an object, of placing a canvas-thing in the real in order to represent or interpret it. There is nothing prior to the canvas, but neither does the canvas have the power to disclose an Idea of the World. What there is, is a process, a problem-place - a pulsating field that, among objects, seems to go beyond them, to pass through them, and, facing the subject, has the strength to confront it and deny it as pure ideality".
Ronaldo Brito
BRITO, Ronaldo. Eduardo Sued. In: BIENAL INTERNACIONAL DE SÃO PAULO, 16.,1981, São Paulo, SP. Catálogo geral. Introdução Walter Zanini. São Paulo: Fundação Bienal de São Paulo, 1981. p. 34.

"Rarely has the work of a Brazilian artist managed to incorporate the dilemmas and impasses of contemporary art with such grandeur as the work of Eduardo Sued. Never before have the old constituent elements of painting faced such an adverse situation: colors that do not carry an underlying doubt about the truthfulness of their appearance can hardly emerge authentically; structures and forms must, at every moment, check their tendency to bring everything into good order - inevitably artificial in our times - without, however, ceasing to structure and give form; formats oscillate uncertainly between their physical extension and the sensory dimension of the works, with verticals that do not rise and horizontals that do not rest; and even paints move, undecided, between the neutrality of a mere vehicle and the insinuation of the object. In short, we live in a world that has made perception so problematic that any univocal or simply enthusiastic understanding of pictorial elements may pass for naivety, if it does not run the risk of being mere hypocrisy".
Rodrigo Naves
NAVES, Rodrigo. Evidência e dissolução. In. PRECISÃO: Amilcar de Castro, Eduardo Sued, Waltercio Caldas. Rio de Janeiro: Centro Cultural Banco do Brasil, 1994. p. 65 [Texto publicado originalmente no Catálogo Galeria Luisa Strina. São Paulo, 1989.]

"The artist confesses that 'the choice of colors is secret. They emerge naturally'. When Sued finishes a work, everything is 'right', everything is 'correct'. But beneath the apparent calm, the tension created by the combination of colors, by the off-axis symmetry, by the line that interrupts, energizes and echoes itself, forces us to question, to reflect on and to interrogate the picture that appears within the picture, in a refined exercise of perception. It often seems as though the color, in its expansion, were about to overflow the limits of the canvas, and it is then that Sued creates a rigorous structure that contains it at the sides, top and bottom. He places a line that composes but also creates tension and energizes (line and color of an almost irritating, indisputable precision). Sometimes he places a band of a different tone, with different rhythms and silences, or of another color that holds back the expansion of the previous one, 'swallowing' it when that color is black".
Irma Arestizábal
ARESTIZÁBAL, Irma. A linha e a cor. In. PRECISÃO: Amilcar de Castro, Eduardo Sued, Waltercio Caldas. Rio de Janeiro: Centro Cultural Banco do Brasil, 1994. p. 11.

"He moves away from a purely rationalist project to come ever closer to an empirical exercise in which surprises occur, such as cut-out elements, masks and foreign materials that gradually become incorporated into the painting. Now, the elements added to the canvas reach a certain brutalism. This is a courageous symbolic violence practiced by the language of this painting. First, with regard to its own history, which it never ceases to question. And this questioning does not take place through evasive inquiries, a questioning from the margins, but through a confrontation, at times brutal, with itself, as if it were always asking about its own limits. Second, it marks out and delimits a field of tension within contemporary painting itself and its relations with the history of modern art.
(...)
Works like Eduardo Sued's are the very poetic evidence of how the time of modern culture works. The complex notion of history embedded in the work sees time much more as a geological section of layers that accumulate one on top of another, each with its own characteristics and successive discontinuities in relation to the others. Its poetic vigor and power undoubtedly lie in this capacity to capture the characteristics of modern time and incorporate them as the very method of painting. The further it advances in the search for its own limits, the more it visually mobilizes the historical elements of its past".
Paulo Sergio Duarte
DUARTE, Paulo Sergio. Cores como vetores de força. In: SUED, Eduardo. Eduardo Sued. São Paulo: Galeria de Arte São Paulo, 1999. p. 6-7.

"Also devoted to constructive questions, Eduardo Sued arrives at constructivism by a path different from Lygia Pape's. He states that Klee, Picasso and Mondrian condition his perception, allowing him to understand freedom in the approach to things in space, which are therefore always open to reassessment. Having reflected since the 1940s on the works of Bauhaus artists, after returning from his European study trip in the mid-1950s he begins, as he puts it, to organize his knowledge. That is why Eduardo Sued does not align himself with the debates of the concretists and neo-concretists of Rio de Janeiro; his direction is a different one, always averse to rules. For Sued, mathematics is a model of clarity of thought and of discipline applied to form, which does not mean, however, that the production of his works is assisted by that same mathematics. In the 1960s Sued produces works he classifies under the name 'dialectical constructivism', in which, as in his pictorial work, he denies the appearances of vision".
Leon Kossovitch e Mayra Laudanna
KOSSOVITCH, Leon e LAUDANNA, Mayra. Abstratos-Concretos. In: GRAVURA: arte brasileira do século XX. São Paulo: Itaú Cultural : Cosac & Naify, 2000, p. 20.

Testimonials

"Color is a formative, fundamental element in my work. The question about the country of light takes me back to considerations prior to the events of modernity, when painting was a docile reflection of nature. Each region has its own luminosity. We know that light is given to us by colors; through them we would then speak of the luminosity of São Paulo, Venice, Madrid, Nice, etc. It would be inconceivable for the luminosity of the North of Brazil, for example, to be interpreted with somber colors. The emergence of the independent painter, from the 19th century onwards, made the question of color and light, and their interrelation, eminently unusual or even disconnected; it frees the artist from any references, consultations or borrowings. He is free to the extent of his work, in the urgency of his making. Therefore, despite the country's strong luminosity, the concern with color depends above all on the artist as the viewer of his own inner world. This allows the artist to imbue apparently arbitrary things or situations with singular lights, being able, for example, to render the colors of Rio through the saturated tones of magentas, greens, blues, yellow-oranges, whites and blacks".
Eduardo Sued
EDUARDO Sued. Entrevista Lúcia Carneiro, Ileana Pradilla. Rio de Janeiro: Nova Aguilar, 1998, (Coleção Palavra do artista) p.55.

Solo Exhibitions

1968 - Rio de Janeiro RJ - Solo, at Galeria Bonino
1970 - Rio de Janeiro RJ - Eduardo Sued: Painting and Collage, at Prisma Galeria de Arte
1974 - Rio de Janeiro RJ - Solo, at Galeria Luiz Buarque de Holanda e Paulo Bittencourt
1982 - Rio de Janeiro RJ - Solo, at Espaço ABC/Funarte, at MAM/RJ
1982 - São Paulo SP - Solo, at Galeria Luisa Strina
1983 - Rio de Janeiro RJ - Solo, at Galeria Thomas Cohn
1984 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1986 - Rio de Janeiro RJ - Solo, at Galeria Thomas Cohn
1987 - Rio de Janeiro RJ - Solo, at Galeria Thomas Cohn
1989 - São Paulo SP - Solo, at Galeria Luisa Strina
1990 - Rio de Janeiro RJ - Solo, at GB-Arte
1992 - Rio de Janeiro RJ - Solo, at Paço Imperial
1993 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1994 - Rio de Janeiro RJ - Solo, at MNBA. Galeria do Século XXI
1995 - Curitiba PR - Solo, at Casa da Imagem
1997 - Rio de Janeiro RJ - Solo, Atelier Finep, at Paço Imperial
1998 - Rio de Janeiro RJ - Eduardo Sued: Paintings 1980-1998, at Centro de Arte Hélio Oiticica
1999 - Rio de Janeiro RJ - Printmaking and Drawings, at Museu da Chácara do Céu
1999 - Rio de Janeiro RJ - Eduardo Sued: Collages, at Galeria Paulo Fernandes
1999 - São Paulo SP - Eduardo Sued: Paintings, Installation, Collages, at Galeria São Paulo
2000 - Rio de Janeiro RJ - Eduardo Sued: Small Format, Paintings, at Galeria Objetos Diretos
2003 - São Paulo SP - Solo, at Marília Razuk Galeria de Arte
2004 - Rio de Janeiro RJ - The Experience of Painting, at CCBB
2005 - São Paulo SP - Solo, at Marília Razuk Galeria de Arte

Group Exhibitions

1953 - Paris (France) - Salon des Travaux Publics, at Galerie Metro Beaux-Arts
1958 - São Paulo SP - Group Print Exhibition with Grassmann, Gruber and Darel
1962 - São Paulo SP - Marcelo Grassmann, Eduardo Sued, Oswaldo Goeldi and Darel, at Galeria Residência
1964 - Rio de Janeiro RJ - Group show, at Petite Galerie
1967 - Rio de Janeiro RJ - 3rd The Face and the Work, at Galeria Ibeu Copacabana
1968 - Brasília DF - Brazilian Printmaking, at Galeria Encontro
1970 - Kraków (Poland) - 3rd International Printmaking Biennial
1970 - Rio de Janeiro RJ - Group show, at Galeria Delaparra
1970 - Rio de Janeiro RJ - Group show, at Galeria Espaço
1970 - San Juan (Puerto Rico) - Bienal de San Juan del Grabado Latinoamericana y del Caribe
1971 - Biella (Italy) - International Printmaking Prize
1971 - Helsinki (Finland) - Brazilian Printmaking Exhibition, at Galeria Pinx
1971 - São Paulo SP - Group show, at Galeria da Collectio
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Galeria da Collectio
1973 - Rio de Janeiro RJ - Four Brazilian Printmakers, at Galeria Grupo B
1973 - Rome (Italy) - Brazilian Graphics Today, at Galeria Casa do Brasil
1975 - Rio de Janeiro RJ - Brazilian Art, at MAM/RJ
1976 - Buenos Aires (Argentina) - 20 Brazilian Artists, at Centro de Arte y Comunicación
1978 - Caracas (Venezuela) - Four Brazilian Artists, at Fundación Eugenio Mendoza
1978 - Rio de Janeiro RJ - 3rd Arte Agora [Art Now]: Latin America, Sensitive Geometry, at MAM/RJ
1981 - Porto Alegre RS - Brazilian Artists of the 1960s and 1970s in the Rubem Knijnik Collection, at Espaço NO Galeria Chaves
1981 - São Paulo SP - 16th Bienal Internacional de São Paulo, at Fundação Bienal
1981 - São Paulo SP - Contemporary Brazilian Artists, at Galeria de Arte São Paulo
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (England) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1983 - Rio de Janeiro RJ - 13 Artists/13 Works, at Thomas Cohn Arte Contemporânea
1983 - São Paulo SP - Imagining the Present, at Gabinete de Arte Raquel Arnaud
1984 - Niterói RJ - Group show, at Galeria de Arte UFF
1984 - Rio de Janeiro RJ - Group show, at Galeria Thomas Cohn
1984 - Rio de Janeiro RJ - Recent Donations 82-84, at MNBA
1984 - Rio de Janeiro RJ - Active Brazilian Painting, at Espaço Petrobras
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1984 - São Paulo SP - Victor Grippo, Hércules Barsotti, Marco do Valle, Eduardo Sued, Carlos Fajardo, at Gabinete de Arte
1984 - Venice (Italy) - 41st Venice Biennale
1985 - Porto Alegre RS - Iberê Camargo: Trajectories and Encounters, at Margs
1985 - Rio de Janeiro RJ - Encounters, at Petite Galerie
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1986 - Brasília DF - Iberê Camargo: Trajectories and Encounters, at Teatro Nacional Cláudio Santoro
1986 - Fortaleza CE - Group show, at Arte Galeria
1986 - Niterói RJ - Order in Question, at Galeria de Artes UFF
1986 - Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art of the 1960s/70s/80s, at Margs
1986 - Rio de Janeiro RJ - Group show, at Petite Galerie
1986 - Rio de Janeiro RJ - Iberê Camargo: Trajectories and Encounters, at MAM/RJ
1986 - São Paulo SP - Group show, at Galeria Luisa Strina
1986 - São Paulo SP - Iberê Camargo: Trajectories and Encounters, at Masp
1987 - São Paulo SP - 19th Bienal Internacional de São Paulo, at Fundação Bienal
1989 - Rio de Janeiro RJ - Geometry without Manifesto, at Gabinete de Arte Cleide Wanderley
1989 - Rio de Janeiro RJ - Rio Today, at MAM/RJ
1989 - São Paulo SP - 20th Bienal Internacional de São Paulo, at Fundação Bienal
1989 - São Paulo SP - Gesture and Structure, at Gabinete de Arte Raquel Arnaud
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - 9th Brazil-Japan Contemporary 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 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1992 - Niterói RJ - Galeria de Arte UFF: 10 Years, at Galeria de Arte UFF
1992 - Rio de Janeiro RJ - 1st On the Way to Niterói: João Sattamini Collection, at Paço Imperial
1992 - São Paulo SP - The 1960s/70s: Gilberto Chateaubriand Collection/Museu de Arte Moderna-RJ, at Galeria de Arte do Sesi
1992 - São Paulo SP - Group show, at Gabinete de Arte Raquel Arnaud
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition Celebrating Unibanco's 70 Years, at Casa da Cultura
1994 - Rio de Janeiro RJ - Precisão [Precision], at CCBB
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1995 - Rio de Janeiro RJ - Unibanco Collection: Exhibition Celebrating Unibanco's 70 Years, at MAM/RJ
1995 - Rio de Janeiro RJ - Contemporary Challenges, at P. A. Objetos de Arte
1995 - Rio de Janeiro RJ - Black and White Salon, at MNBA
1995 - Rio de Janeiro RJ - A Poetics of Reflection, at MNBA
1995 - São Paulo SP - Morandi in Brazil, at CCSP
1996 - Niterói RJ - Contemporary Brazilian Art in the João Sattamini Collection, at MAC/Niterói
1996 - Rio de Janeiro RJ - Geometry-Rio, at Paço Imperial
1997 - Rio de Janeiro RJ - Johnnie Walker Prize, at MNBA. Sala Século XXI - award winner
1998 - Londrina PR - Brazilian Art, at UEL
1998 - São Paulo SP - Highlights of the Unibanco Collection, at Instituto Moreira Salles
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, at Galeria de Arte do Sesi
1999 - Niterói RJ - Mostra Rio Gravura. Banerj Collection, at Museu do Ingá
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Guita and José Mindlin Collection, at Espaço Cultural dos Correios
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Brazilian Modern Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - Rio de Janeiro RJ - Volpi and Sued, at Galeria de Arte Ipanema
2000 - Niterói RJ - Paintings in the João Sattamini Collection, at MAC/Niterói
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2001 - Brasília DF - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at Margs
2001 - Rio de Janeiro RJ - The Image of Sound of Antônio Carlos Jobim, at Paço Imperial
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - Rio de Janeiro RJ - The Spirit of Our Time, at MAM/RJ
2001 - São Paulo SP - The Spirit of Our Time, at MAM/SP
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 - The Image of Sound of Brazilian Pop Rock, at Paço Imperial
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - São Paulo SP - 10 Years of Marília Razuk, at Marília Razuk Galeria de Arte
2002 - São Paulo SP - 28 (+) Painting, at Espaço Virgílio
2002 - São Paulo SP - Geometric and Kinetic, at Gabinete de Arte Raquel Arnaud
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
2003 - Rio de Janeiro RJ - Projeto Brazilianart, at Almacén Galeria de Arte
2004 - Rio de Janeiro RJ - 30 Artists, at Mercedes Viegas Escritório de Arte

Source: Itaú Cultural