Farnese de Andrade Neto (Araguari MG 1926 - Rio de Janeiro RJ 1996)
Farnese de Andrade Neto was a painter, sculptor, draftsman, printmaker and illustrator. In 1942, he moved to Belo Horizonte, where, between 1945 and 1948, he studied drawing with Guignard (1896-1962) at the Escola do Parque. In 1948, he moved to Rio de Janeiro to be treated for pulmonary tuberculosis. Between 1950 and 1960, he worked as an illustrator for the Suplemento Literário of Diário de Notícias, Correio da Manhã and Jornal de Letras, as well as for the magazines Rio Magazine, Sombra, O Cruzeiro, Revista Branca and Manchete. In 1959, he began attending the Printmaking Studio of the Museu de Arte Moderna do Rio de Janeiro (MAM/RJ), where he specialized in metal engraving under the guidance of Johnny Friedlaender (1912-1992).
During this period, he associated with various artists, among them Rossini Perez (1932), with whom he worked from 1959 to 1961. In 1964, he began making works from discarded materials collected on beaches and landfills. Later, he began using cabinets, oratories, wooden bowls and ex-votos acquired from antique shops and secondhand depots. Old photographs also became part of his production. From 1967, he used polyester resin, incorporating perishable materials into his works. At the 1970 Salão Nacional de Arte Moderna, he received the foreign travel prize, which took him to Spain, where he set up a studio in Barcelona, staying until 1975.
Critical Commentary
Farnese de Andrade studied drawing between 1945 and 1948 with Guignard (1896 - 1962) at the Escola do Parque, today the Escola Guignard, alongside Mary Vieira (1927 - 2001), Amilcar de Castro (1920 - 2002), Mário Silésio (1913 - 1990) and others. In 1950, in Rio de Janeiro, he held his first solo exhibition of drawings. Until 1960, he illustrated numerous newspapers and magazines, such as Rio Magazine, Sombra, O Cruzeiro, Manchete and Revista Branca, as well as the Suplemento Literário of Diário de Notícias, Correio da Manhã and Jornal de Letras. From 1959 to 1961, he studied metal engraving with Johnny Friedlaender (1912 - 1992) and Rossini Perez (1932) at the Museu de Arte Moderna do Rio de Janeiro - MAM/RJ. He made abstract prints, working with regular forms and strong colors. To create the plates, he used materials found on beaches, such as deeply grooved pieces of wood. In 1965, he produced the series of drawings Eróticos [Erotics] and began the Obsessivos [Obsessives].
From 1964, he created objects or assemblages with dolls' heads and bodies, plaster saints and plastic items, all worn by the sea, collected on beaches and landfills. He began buying materials such as glass domes, cabinets, oratories, niches, boxes and religious images in secondhand shops, antique shops and demolition yards. He also frequently used old family portraits, inherited from an uncle who was a photographer, as well as postcards.
In 1967, he began working with polyester resin and is considered a pioneer of the technique in Brazil. Translucent and malleable, polyester serves to encase and thereby, according to the artist, eternalize perishable materials such as plaster figures. He also encased photographs in resin capsules, making them three-dimensional like other materials. In the 1970s, he used wooden bowls as supports for his works, as well as old ex-votos, which he began to collect. Farnese did not plan his works, which emerged spontaneously, between manual gesture and mental elaboration. Charged with eroticism, sensuality and religiosity, they seem steeped in an oppressive atmosphere. They contain personal references, as in Mater (1990), Patêr (1992/1995), Lembranças do Recife [Memories of Recife] (1993/1995), Os Dias Felizes [The Happy Days] (1976/1994) and Araguary - 26/1/1926 (1975/1984). His most recurrent themes relate to the notion of life, fertilization, germination and birth, and also of death, indicated by the fragmentation of bodies, as in Hiroshima 1966-1972 (1970), or by the juxtaposition of several dolls scorched by the heat of a candle, symbolizing those killed by the atomic bomb.
Withdrawn from the art world, the artist collected his own works, which accumulated in his studio and were constantly recreated, whether by altering the pieces or by revisiting certain themes, such as the Annunciation to the Virgin Mary. For the critic Frederico Morais, his objects are objets trouvés [found objects] that act on our unconscious and seem to be associated with certain memories, but above all form part of an autobiography the artist constructed. They are thus closer to surrealism and metaphysical painting than to Dadaism.
For the historian Rodrigo Naves, the singularity of his work lies in its emotional charge, generated both by the presence of old and rudimentary objects, highly personal, marked by use and time and aged, and by its biographical references. Rather than an assembly of objects and images, his work can be seen as a collage of times, pointing to a past that no longer belongs to us yet still weighs on the present.
The recurrence of the box in his work, in the form of an oratory, cabinet, drawer, wooden bowl or ampoule, could be interpreted as a representation of the unconscious and of the maternal body, something that encloses and separates from the world what is precious or fragile. For the researcher Helouise Costa, photography can be included among these materials as a constitutive element and symbolic receptacle of the artist's anxieties. Inverted, fragmented, detached from its context and diverted from its original function of preserving memory, photography thus serves to reinvent the past. The artist breaks down the boundaries between the visual arts and photography and uses it to construct other narratives, as it suits him.
The poetics of Farnese de Andrade (1926 - 1996), grounded in the unconscious, contrasts with that of other tendencies of the period, such as the constructive one. The artist was sidelined by the generation of the 1960s, considered politically alienated and too subjective. However, his work comes close to the production of the 1980s and 1990s, mainly through the weight of individuality and self-expression it conveys.
Critiques
"Ever since he began working with objects, Farnese has never produced the figurative elements he uses: he does not model or carve, although he may occasionally rework certain natural forms a little, as very recently, when he hollowed out the convexity of canoes to suggest gigantic vaginas. His starting point is that of a kind of archaeologist of the present, or of the recent past, who exhumes an unusual and extremely rich trove. Over the years, the beaches and the sea's refuse have been joined by various other 'suppliers': demolitions, collections of ex-votos, antique shops (where Farnese finds everything: oratories, wooden bowls, furniture, cabinets, curiosities, cannonballs, luxurious liqueur cases, table boxes, ivory pieces, crystal paperweights, statues and whatever else one can imagine), and even an incredible collection of old photographs inherited from an uncle who was, in his day, the most illustrious photographer in the region. Over a long time, sometimes many years - and the dating of the works reveals this - Farnese slowly germinates each piece, working and reworking it ad infinitum, creating clusters of assemblages that are interchanged, until one day the work reveals itself in its entirety (and this, for him, is a kind of discovery). Farnese lets the forms coexist, decides everything very intuitively, by trial and error, by juxtaposition, by comparison - with and through the eye".
Olívio Tavares de Araújo
Araújo, Olívio Tavares de. Andrade, Farnese de. Farnese de Andrade. n. p.
"To create his objects, Farnese collects things on beaches and in the streets or buys them from house demolishers and antique shops, then accumulates them in his home-studio. This interest of his in objects eroded and eaten away by time has much to do with Farnese's peculiar personality, in which introspection, solitude, hypochondria, depression, obsessiveness and a certain morbidity mingle, frequently sliding into a wounded and corrosive humor. These personality traits, together with his origins in Minas Gerais, favor a more attentive and lingering observation of objects, stimulating in him an ability to probe their obscure meanings, to impregnate them with a magical and mysterious aura, thus turning them into receptacles for his desires and premonitions. With his objects, he exorcises ghosts and exercises memory, thus carrying out a kind of existential archaeology".
Frederico Morais
MORAIS, Frederico. Farnese de Andrade. Galeria: Revista de Arte, São Paulo, n. 29, p. 54.
"Farnese de Andrade is one of those artists who escape the zeal of professional classifiers and labelers. In his family tree we can glimpse famous ancestors such as Joseph Cornell and Kurt Schwitters or, if we wish, some close relatives such as Gastão Manoel Henrique (RJ) or even Jeanete Musatti (SP). But the only point of affinity with all of them is sharing the same compulsion to keep, contain and hold on to things. Farnese's world is more complex. (...) Such disparate influences make Farnese de Andrade's work a universe that is quite complex to read. The keynote of his reasoning may lie in the constant attempt to bring opposing elements together: the doll's head (fetishized and eroticized like Ophelia) and the head of the ex-voto; the oratory, the toolbox or the cabinet in counterpoint to the wooden bowls and gold pans. It is a game of hiding and revealing, an invitation to the viewer's complicit participation. Ideally, the gallery would keep the oratories, boxes and cabinets closed, since the first contact with the intricate system of apparently absurd associations suggested by the artist has the flavor of revelation, sometimes of perverse surprise".
Arlindo Daibert
DAIBERT, Arlindo. Farnese de Andrade, a formação do pensamento. In: ______. Caderno de escritos. Rio de Janeiro: Sette Letras, 1995. p. 126.
"(...) For Farnese de Andrade, the MAM/RJ studio opened countless paths for metal engraving, which multiplied in the 1970s. In the 1960s, printmakers deepened the break with figuration. In this radicalization, Farnese de Andrade, in 1960, produced reliefs in his prints, since he worked the plate with deep bites. In his abstraction there are object-based premises that reach the motifs. Seeking, as he says, a new visual expression for his printmaking, Farnese collects objects left behind by the ebbing tide. Left on the beach, the object is found: refuse. He raises the waste to art; by transposition, he creates prints, not without drawing or concept, as in Composição Abstrata [Abstract Composition], of 1960. The refuse of the shoreline becomes a random ensemble that, as an instant, stages life and death in Farnese. A consumed, discarded object is an index either of what life was or of life itself, since, metaphorically, it is vegetation cultivated by industry. Thus, in his prints or in his objects also built from waste, there is no critique, since Farnese sees refuse as art, in the glimpse in which the ensemble appears aestheticized".
Leon Kossovitch e Mayra Laudanna
GRAVURA: arte brasileira do século XX. Apresentação Ricardo Ribenboim; texto Leon Kossovitch, Mayra Laudanna, Ricardo Resende. São Paulo: Itaú Cultural: Cosac & Naify, 2000. p. 19.
"The box has a fundamental presence in Farnese de Andrade's poetics. It always appears, even when disguised as oratories, cabinets, drawers, wooden bowls, bell jars or ampoules. Each of these forms refers to the same symbolic matrix as a container. In this sense, even photography can be included in this list, since for Farnese de Andrade it does not stand as proof of anything whatsoever, but as a symbolic receptacle of the artist's multiple anxieties. Imprisoned, frozen and decontextualized, the photographic image loses its direct relationship with its referent and becomes capable of composing the most diverse fictions. And it is precisely because he embraces the fictional character of photography that Farnese does not hesitate to kidnap portraits of strangers in order to build his personal narratives with them, whenever that suits him best".
Helouise Costa
COSTA, Helouise. in: ANDRADE, Farnese de. Imagens aprisionadas: a foto-objeto em Farnese de Andrade. Curadoria Helouise Costa. São Paulo: Espaço Porto Seguro de Fotografia, 2000. p.15.
"Farnese, for his part, abhors a vacuum. Everything that has happened remains. And weighs on the present. Nothing can be forgotten or forgiven. His works, rather than being an assembly of objects and images, are in fact a collage of times, which nevertheless always tend to settle in a region of the past to which we will no longer have access. The world of childhood, the prohibitions of adults, immemorial taboos come together in a single space, fuse and unite in such a way that they can never be unraveled. All that remains is to suffer. To brood endlessly over these guilts without atonement, these faults for which we are not responsible but which bend us under their weight".
Rodrigo Naves
NAVES, Rodrigo. In: ANDRADE, Farnese de. Farnese de Andrade. São Paulo: Cosac & Naify, 2002. p.19.
Testimonials
"I was very young when I was struck by seeing the works of Giorgio Morandi shown in a Special Room at the 2nd Bienal Internacional de São Paulo. I spent the whole day watching that silence, that purity, that perfection emanate from all his works. So I believe that this emotional shock, which I experienced before Morandi's works, is something every creative artist should provide for himself first of all. (...) I know, for example, that my works, through which I suggest a constant between life and death, cause many people a certain repulsion, even though they recognize their aesthetic content and the originality of their creation. That is why, in creating my works, I seek for myself, above all, the impact that the works of certain artists have already given me. I believe every creative artist has this intention: to feel the impact his work causes him - the final result of his act of creation. Because only at the moment one feels the impact does one sense that the work of art is finished. Moreover, artistic creation is a highly personal phenomenon, which is why I admire colleagues who manage to unite sensitivity and culture. In art there are no fixed rules or dogmas (...). The aesthetic object does not depend on the nature and origin of the materials, as long as it is endowed with dignity".
Farnese de Andrade
GRAVURA: arte brasileira do século XX. Apresentação Ricardo Ribenboim; texto Leon Kossovitch, Mayra Laudanna, Ricardo Resende. São Paulo: Itaú Cultural: Cosac & Naify, 2000. p. 124. [a Hugo Auler (14 de outubro de 1976)].
"In 1950, already in Rio, I met Ivan Serpa, an artist I deeply admire, Almir Mavignier and others of the concrete group led by a well-known critic. The theory they poured out (Almir above all) disoriented me so much (I naively truly believed Concretism was the only valid path in art) that I spent several years disoriented, without developing or finding myself... After that experience with Aesthetic Theories, I became wary, and I believe more and more that only the result of research speaks the truth, never the theory about its paths or possibilities".
Farnese de Andrade
ANDRADE, Farnese de. Farnese de Andrade. São Paulo: Cosac & Naify, 2002. p.19 [Depoimento dado a Walmir Ayala, Rio de Janeiro, 1999].
Collections
University of Essex Collection of Latin American Art
Institute of Contemporary Arts, London - London (England)
Museu de Arte Contemporânea da Prefeitura de Niterói - MAC/Niterói - Niterói RJ
Museum of Modern Art, New York - MoMA - New York (United States)
Museu de Arte Moderna do Rio de Janeiro - MAM/RJ - Rio de Janeiro RJ
Museu Nacional de Belas Artes do Rio de Janeiro - MNBA - Rio de Janeiro RJ
Solo Exhibitions
1950 - Rio de Janeiro RJ - Farnese de Andrade: Drawings, at Galeria Le Connaisseur
1966 - Rio de Janeiro RJ - Farnese de Andrade: Objects, at Petite Galerie
1971 - Rio de Janeiro RJ - Solo, at Galeria de Arte Ipanema
1973 - Barcelona (Spain) - Solo, at Sala Gaudí
1976 - Rio de Janeiro RJ - Farnese de Andrade: Objects, at Galeria de Arte Ipanema
1978 - Rio de Janeiro RJ - Farnese de Andrade: Objects, at Galeria de Arte Ipanema
1978 - São Paulo SP - Farnese de Andrade: Objects, at Christina Faria de Paula Galeria de Arte
1985 - São Paulo SP - Solo, at Galeria de Arte São Paulo
1986 - Rio de Janeiro RJ - Farnese de Andrade: Objects and Sculptures, at Galeria Anna Maria Niemeyer
1989 - Rio de Janeiro RJ - Farnese de Andrade: Prints, at MNBA
1991 - Curitiba PR - Farnese de Andrade: Prints, at Museu da Gravura
1992 - Rio de Janeiro RJ - Farnese de Andrade: Objects, at Galeria Anna Maria Niemeyer
1996 - Belo Horizonte MG - Solo, at Galeria de Arte Pace
Group Exhibitions
1946 - Rio de Janeiro RJ - Exhibition, at ABI
1952 - Rio de Janeiro RJ - 1st National Salon of Modern Art, at MAM/RJ
1953 - Rio de Janeiro RJ - 4th Still Life Salon, at Theatro Municipal
1961 - São Paulo SP - 6th Bienal Internacional de São Paulo, at Pavilhão Ciccilo Matarazzo Sobrinho
1962 - Amsterdam (Netherlands) - Arte de América y España
1962 - Barcelona (Spain) - Arte de América y España
1962 - Belo Horizonte MG - Two Printmakers from Minas Gerais, at UFMG. Faculdade de Letras
1962 - Bern (Switzerland) - Arte de América y España
1962 - Brussels (Belgium) - Arte de América y España
1962 - Carrara (Italy) - International Marble Biennial
1962 - Curitiba PR - Paraná Salon, at Biblioteca Pública do Paraná - printmaking prize
1962 - Madrid (Spain) - Arte de América y España
1962 - Milan (Italy) - Arte de América y España
1962 - Munich (Germany) - Arte de América y España
1962 - Paris (France) - Arte de América y España
1962 - Rio de Janeiro RJ - 11th National Salon of Modern Art
1963 - Lagos (Nigeria) - Contemporary Brazilian Artists, at Museu de Lagos
1963 - Rio de Janeiro RJ - The Nude as Theme, at Galeria Ibeu Copacabana
1963 - Santiago (Chile) - 1st American Printmaking Biennial
1963 - São Paulo SP - 7th Bienal Internacional de São Paulo, at Fundação Bienal
1964 - Rio de Janeiro RJ - 13th National Salon of Modern Art - printmaking prize
1964 - Rio de Janeiro RJ - 2nd The Face and the Work, at Galeria Ibeu Copacabana
1964 - Rio de Janeiro RJ - The Nude in Contemporary Art, at Galeria Ibeu Copacabana
1964 - Tokyo (Japan) - 4th International Biennial Exhibition of Prints
1965 - Brussels (Belgium) - Brazilian Art Today
1965 - London (England) - Brazilian Art Today, at Royal Academy of Arts
1965 - Santiago (Chile) - 2nd American Printmaking Biennial, at Museo de Arte Contemporáneo
1965 - São Paulo SP - 8th Bienal Internacional de São Paulo, at Fundação Bienal
1965 - Vienna (Austria) - Brazilian Art Today, at Angewandt Kunst
1966 - Bonn (Germany) - Brazilian Art Today, at Sala Beethovenhalle
1966 - Brasília DF - 3rd Federal District Salon of Modern Art - 1st prize in drawing
1966 - Buenos Aires (Argentina) - Contemporary Brazilian Artists, at Museo de Arte Moderno
1966 - Mendoza (Argentina) - Three Brazilian Printmakers, at Galeria Spilimbergo
1966 - Ouro Preto MG - 1st Ouro Preto Salon - 1st prize for Brazilian drawing
1966 - Rio de Janeiro RJ - 4th JB Art Summary, at MAM/RJ
1966 - Rio de Janeiro RJ - Exhibition, at Galeria Cantu
1967 - Rio de Janeiro RJ - Salon of Boxes, at Petite Galerie
1967 - São Paulo SP - 9th Bienal Internacional de São Paulo, at Fundação Bienal - international jury prize and best black-and-white work
1968 - Philadelphia (United States) - Brazilian Printmaking, at Cornell University
1968 - Recife PE - Exhibition, at Ranulpho Galeria de Arte
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, at MAM/RJ
1968 - Venice (Italy) - 34th Venice Biennale
1968 - Venice (Italy) - Two Brazilians in Venice, at Instituto Italiano de Cultura. Piccolla Galeria
1969 - New York (United States) - Brazilian Printmakers, at Art Gallery
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art - domestic travel prize
1969 - Rio de Janeiro RJ - 7th JB Art Summary, at MAM/RJ
1970 - Rio de Janeiro RJ - 19th National Salon of Modern Art, at MAM/RJ - foreign travel prize
1971 - Rio de Janeiro RJ - 20th National Salon of Modern Art
1971 - Rio de Janeiro RJ - Exhibition, at Galeria Mayline
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Galeria Collectio
1973 - Carrara (Italy) - International Marble Biennial
1974 - Barcelona (Spain) - South American Artists, at Sala Gaudí
1975 - Porto Alegre RS - Exhibition, at Galeria do IAB/RS
1975 - São Paulo SP - 7th Panorama of Current Brazilian Art, at MAM/SP
1976 - Brasília DF - Exhibition, at Galeria Oscar Seraphico
1978 - São Paulo SP - 1st Latin American Biennial of São Paulo, at Fundação Bienal
1978 - São Paulo SP - The Object in Art: Brazil in the 1960s, at MAB/Faap
1982 - Penápolis SP - 5th Noroeste Visual Arts Salon, at Fundação Educacional de Penápolis. Faculdade de Filosofia, Ciências e Letras de Penápolis
1983 - Rio de Janeiro RJ - 6th National Visual Arts Salon, at MAM/RJ
1984 - Rio de Janeiro RJ - Recent Donations 82-84, at MNBA
1984 - Rio de Janeiro RJ - Wood, Material of Art, at MAM/RJ
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 Cláudio Santoro
1985 - Rio de Janeiro RJ - Galeria Ibeu Copacabana 25 Years: 1960-1985, at Instituto Brasil-Estados Unidos
1985 - São Paulo SP - 16th Panorama of Current Brazilian Art, at MAM/SP
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1990 - Curitiba PR - 9th Curitiba City Printmaking Show, at Museu da Gravura
1991 - Curitiba PR - Museu Municipal de Arte: Collection, at Museu Municipal de Arte
1992 - Belo Horizonte MG - Icons of Utopia, at Fundação Palácio das Artes
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 - São Paulo SP - The 1960s/70s: Gilberto Chateaubriand Collection - MAM/RJ, at Galeria de Arte do Sesi
1993 - Rio de Janeiro RJ - Erotic Art, at MAM/RJ
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1994 - Lisbon (Portugal) - Beyond Taprobana: The Human Figure in the Visual Arts of Portuguese-Speaking Countries, at Sociedade Nacional de Belas Artes
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1995 - Erfurt (Germany) - Configura 2
1995 - Lausanne (Switzerland) - Rio: Mysteries and Frontiers, at Musée de Pully
1995 - Rio de Janeiro RJ - Beyond Taprobana: The Human Figure in the Visual Arts of Portuguese-Speaking Countries, at MAM/RJ
1995 - Rio de Janeiro RJ - Rio: Mysteries and Frontiers, at MAM/RJ
1996 - Belo Horizonte MG - Consolidation of Modernity in Belo Horizonte, at MAP
1996 - Rio de Janeiro RJ - Rio: Mysteries and Frontiers, at MAM/RJ
Posthumous Exhibitions
1997 - Curitiba PR - The Contemporary Art of Printmaking, at Museu Metropolitano de Arte de Curitiba
1997 - Goiânia GO - Brazilianness: A Selection of Brazilian Artists, at Galeria de Arte Marina Potrich
1997 - Porto Alegre RS - Exhibition of the Caixa Collection, at Conjunto Cultural da Caixa
1997 - Porto Alegre RS - Parallel Exhibition, at Museu da Caixa Econômica Federal
1997 - Rio de Janeiro RJ - The House and Mind of Farnese, at Rua Paulo de Frontin, 575
1997 - São Paulo SP - Exhibition of the Caixa Collection, at Conjunto Cultural da Caixa
1997 - São Paulo SP - Three-Dimensionality in 20th-Century Brazilian Art, at Itaú Cultural
1998 - Belo Horizonte MG - Three-Dimensionality in 20th-Century Brazilian Art, at Itaú Cultural
1998 - Brasília DF - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
1998 - Curitiba PR - Exhibition of the Caixa Collection, at Conjunto Cultural da Caixa
1998 - Niterói RJ - Mirror of the Biennial, at MAC/Niterói
1998 - Penápolis SP - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
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 - Exhibition of the Caixa Collection, at Conjunto Cultural da Caixa
1998 - São Paulo SP - Brazilian Art in the Collection of the Museu de Arte Moderna de São Paulo: Recent Donations 1996 - 1998, at MAM/SP
1998 - São Paulo SP - Frontiers, at Itaú Cultural
1998 - São Paulo SP - Solo, at Nova Galeria
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1999 - Rio de Janeiro RJ - Everyday/Art. Object 1960s/90s, at MAM/RJ
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Brazilian Modern Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - Salvador BA - 60 Years of Brazilian Art, at Espaço Cultural da Caixa Econômica Federal
1999 - São Paulo SP - Everyday/Art. Object 1960s/90s, at Itaú Cultural
2000 - Belo Horizonte MG - Ars Brasilis, at Minas Tênis Clube. Galeria de Arte
2000 - Colchester (England) - Outros 500: Highlights of Brazilian Contemporary Art in UECLAA, at Art Gallery - University of Essex
2000 - Niterói RJ - Sattamini Collection: From Materials to Internal Differences, at MAC/Niterói
2000 - Rio de Janeiro RJ - Brazilianness, at Centro Cultural Light
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Ars Erótica: Sex and Eroticism in Brazilian Art, at MAM/SP
2000 - São Paulo SP - Art and Eroticism, at Galeria Nara Roesler
2000 - São Paulo SP - Between Art and Design: MAM Collection, at MAM/SP
2000 - São Paulo SP - Imprisoned Images: The Photo/Object in Farnese de Andrade, at Espaço Porto Seguro de Fotografia
2000 - São Paulo SP - Investigations: Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - The Angels Are Back, at Pinacoteca do Estado
2000 - São Paulo SP - Psychoanalysis and Modernism, at MAM/SP
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: Brazilian Contemporary Art, at Margs
2001 - São Paulo SP - Paths of Form, at Galeria de Arte do Sesi
2002 - Brasília DF - Solo
2002 - Brasília DF - JK - An Aesthetic Adventure, at Conjunto Cultural da Caixa
2002 - Niterói RJ - The Recent MAC Collection, at MAC/Niterói
2002 - Niterói RJ - Sattamini Collection: Sculptures and Objects, at MAC/Niterói
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC/Niterói
2002 - Porto Alegre RS - Appropriations and Collections, at Santander Cultural
2002 - Rio de Janeiro RJ - Andar com Fé... [Walking with Faith...], at Galeria Sesc Copacabana
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - São Paulo SP - Uncanny, at MAM/SP
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 - The Genres of Art: Still Life in Contemporary Art, at MAM/SP
2003 - Niterói RJ - Appropriations: Short Circuit of Participatory Experiences, at MAC/Niterói
2003 - São Paulo SP - MAC USP 40 Years: Contemporary Interfaces, at MAC/USP
2004 - São Paulo SP - Photography and Sculpture in the MAM Collection - 1995 to 2004, at MAM/SP
2004 - São Paulo SP - New Acquisitions: 1995 - 2003, at MAB/Faap
2005 - Rio de Janeiro RJ - Objects, at CCBB
2005 - São Paulo SP - Objects, at CCBB
Source: Itaú Cultural
