Geraldo de Barros (Chavantes SP 1923 - São Paulo SP 1998)
Photographer, painter, engraver, graphic artist, furniture designer and designer.
Study Drawing and Painting, from 1945 on the ateliers of Clovis Graciano (1907 - 1988), Yoshiya Takaoka (1909 - 1978) and Colette Pujol (1913 - 1999). In 1946, he took his first photos with a camera built by himself. Initially, he photographs football games on the periphery of São Paulo. Still in this period, he carried out experiments that consist of interference in the negative, such as cutting, drawing, painting, piercing, solarizing and superimposing images. He is one of the founders of Grupo 15, a studio installed in the city center in 1947, where he builds a photographic laboratory. In the same year, he joined Foto Cine Clube Bandeirantes - FCCB, the main core of Brazilian modern photography. In 1948, through the critic Mário Pedrosa (1900 - 1981), he met the Gestalt Theorie. With Thomaz Farkas (1924), in 1949, he created the laboratory and photography courses at the São Paulo Museum of Art of São Paulo Assis Chateaubriand - MASP. He holds the exhibition Fotoformas in 1950, whose title is a reference to Gestalt. His artistic trajectory puts him on the front line of experimental photography. In 1951, with a scholarship from the French government, he goes to Paris, where he studies lithography at the École National Superiéure des Beaux-Arts, and engraving in Stanley William Hayter's studio. (1901 - 1988). Attends the Hochschule für Gestaltung - HFG [School of Forma], in Ulm, Germany, in which he studies graphic arts with OTL Aicher (1922) and meets Max Bill (1908 - 1994), at the time one of the main theorists of concrete art. Returns to São Paulo in 1952, and participates in the group Rupina, alongside Waldemar Cordeiro (1925 - 1973), Luiz Sacilotto (1924 - 2003), Lothar Charoux (1912 - 1987), among others. As of 1954, he works in the area of industrial design and visual communication: founding the Unilabor cooperative and Hobjeto Móveis, for the production of furniture, and Form-Inform, a company that creates brands and logos. In 1966, he participated in the creation of the Rex group, with Wesley Duke Lee (1931), Nelson Leirner (1932), Carlos Fajardo (1941), Frederico Nasser (1945) and José Resende. (1945).
Critical Comment
Geraldo de Barros studies with Clóvis Graciano (1907 - 1988), Yoshiya Takaoka (1909 - 1978) and Colette Pujol (1913 - 1999) from 1945 to 1947, the year in which he founded with the latter Group 15, composed of fifteen painters mostly of Japanese origin. Initially his painting approaches expressionist tendencies, a period that comes into contact with reproductions of works by Paul Klee (1879 - 1940) and Wassily Kandinsky (1866 - 1914), which leads him to be interested in the Bauhaus and for the industrial design.
Stage research in photography in 1946 and the following year he began to attend Foto Cine Clube Bandeirante, the main core of modern photography in Brazil. Geraldo de Barros, together with Thomaz Farkas (1924), German Lorca (1922) and José Yalenti, each with an individual research, question the photograph of amateur and academic pictorialist tradition in Brazil that valued rules of classical composition. His experience investigates the limits of the traditional photographic process by performing interventions directly on the negative, multiple exposures of the same film, overlays, assemblies and cutouts of the enlargements that question the rectangular format of the photograph. In 1949, he organized, with Farkas, the photographic laboratory of the Museum of Art of São Paulo Assis Chateaubriand - MASP, which allows him to research outside the club. From then on, its production approaches formal research in what matters are the rhythms and planes that often project to space beyond the frame. The following year, he held at MASP itself, the anthological exhibition Fotoformas, in which he completely merges engraving, drawing and photography, inaugurating the abstraction in Brazilian photography. Superiéure des Beaux-Arts, in Paris, in Paris, in 1951. In the same year, attends the Hochschule für Gestaltung [upper school] in Ulm, Germany, where Concretist theories of the Swiss Max Bill (1908 - 1994) prevail. This meeting is important for the development of concrete art in Brazil. It obtains the Acquisition Award at the 1st International Biennial of São Paulo. In Brazil, he participates with Anatol Wladyslaw (1913 - 2004), Waldemar Cordeiro (1925 - 1973), Luiz Sacilotto (1924 - 2003) and Lothar Charoux (1912 - 1987) by Grupo Rupina, which marks the beginning of concrete art in Brazil. In contact with the theories of Gestalt, it seeks to establish a structural unity of the work with a rigorous will of ordering regulated by mathematical principles. 1954, when linked to a socialist group, founds with Friar João Batista the Unilabor, a cooperative that manufactures furniture, maintains a school of children's art and a health center. Gradually it moves from artisanal production to an industrial organization. Wins contest for the poster of the 4th Centenary of São Paulo and with Alexandre Wollner (1928) makes a poster for the International Film Festival. Very connected to the design and somewhat away from the painting, in 1957 he founds with Wollner and Rubem Martins, Form-Inform, a design office where he creates several brands and logos. With the end of Cooperativa Unilabor, in 1964, he founded Hobjeto Móveis.
In 1966, he participated in the Rex group, with Wesley Duke Lee (1931), Nelson Leirner (1932), Carlos Fajardo (1941), Frederico Nasser (1945) and José Resende (1945), responsible for the first happenings in São Paulo. Its production from the mid-1960s onwards approaches pop trends and the new figuration. In the 1970s, he resumed his research started with concrete art and carried out geometric works based on Formica, which allows its reproduction on a large scale. What interests you is the socialization of art and obtain a series from a project. His works are prototypes built with few shapes, which makes it possible to reproduce perfectly. From the 1980s onwards he returned to photography and works on the Sobras series, in which he makes several graphic interferences on negatives, resuming his research started in the 1940s from leftover photographic material.
Critiques
"Geraldo sees, in certain aspects or elements of the real, especially in the generally hidden details, abstract signs that are fanciful Olympic: lines that like to intertwine with other lines in an alchemy of more or less unforeseen and sometimes occasional combinations, which always end up Composing pleasant formal harmonies.
The composition is, for Geraldo, a duty, he organizes it by choosing it in the million linear segments that he perceives, overlapping negative over negative, modulating the tones of his only colors that are white and the black, reinforcing the paints in his laboratory work so careful and pleasant".
Pietro Maria Bardi
BARDI, Pietro Maria. photoform. In: AMARAL, Aracy (org.). Brazilian constructive project in art: 1950-1962. Rio de Janeiro: MAM, 1977. p. 207. [Text originally published in 1950, in the catalog of the exhibition Fotoforma, held at MASP]
"In 1952, again in São Paulo, he renews his contacts with Cordeiro around the discussions of the preparation of the Manifesto 'Rupture'. Both produce pictures that can be considered geometric abstract and both call concrete art. However, the theoretical foundation behind each of them is different. Mondrian etc.), and his political thinking is guided by the conception of Antônio Gramsci's 'intellectual leader'. universally understandable. (...) He wants to democratize art insofar as he wants the artistic object to be accessible to the masses, seeking to achieve this by creating designs that are projects that can easily be transformed into prototypes of industrial projects and capable of being produced in large numbers". Gabriela Suzana Wilder
WILDER, Gabriela Suzana. Waldemar Cordeiro: avant-garde painter, diffuser, art critic, theorist and leader of the concrete arts movement in São Paulo, in the 1950s. São Paulo: ECA/USP, 1982. (Master). p. 48-49.
"Geraldo de Barros, the figurative painter of tones and highlighted drawing of the group of 15, made in 1948, in the art books, the discovery of Paul Klee (1879-1940), which led him to approach the interior world of the Swiss-German master. This future member of the concrete group would soon be peculiar to the use of different expressive channels: painting, monotype, engraving and photography. who made his passage from figuration to abstraction. His works from the exhibition Fotoforma, at MASP (1950), were placed in the sequence of the frames of Moholy-Nagy and other plastic artists who resized the photograph. (1951-1952), Geraldo de Barros was one of the signatories of the Manifesto of Grupo Rupura. Later, however, he would break with Cordeiro and his leadership. His contribution is to have idealized concrete painting through prototypes, with works that They implied multipliable production (...) Like other members of São Paulo's concretism, they would turn with a decision for 'industrial design', making brands, logos and some posters - including in collaboration with Alexandre Wollner (1928) - between 1952 and 1954. his goals would then be focused on the design of furniture. The collectivist solutions of work to which he aspired to have led him to the foundation of Unilabor. Another industrial organization in which he committed himself was the Form-Inform, before giving rise to the Hobjeto. In the 1960s, he practiced pop painting, a rare excursus among the concretes".
Walter Zanini
ZANINI, Walter, Org. General History of Art in Brazil. Salles, Djalma Guimarães Foundation, 1983. p. 662-663.
"While trying, in his painting, to move away from the traditional naturalist representation, photography, for him, represents not the transcription of the real, but rather the possibility of revealing the invisible in sight, the act of revealing more and more a path towards an art that does not come from the retina.
and is, among all the subjects that call its attention, always in the name of the game of shadow and light that he will be fatally interested, like Brassai, by the fissures, by the roughness, by the graffiti".
Charles Henri Favrod
Favrod, Charles Henri. The Discovery of photography In: BARROS, Geraldo de. Fotoformas: Geraldo de Barros, Photography. São Paulo: Raízes, 1994. p. 7.
"Geraldo de Barros is a world centered man, he has 'the awareness of an impulse that impels him to the use of freedom'; The statement is from the friend Mário Pedrosa, a basic presupposition to the condition of the artist in modern society: 'the spiritual exercise of freedom', freedom that the artist invents and resumes, an inventor of the evidence between art and man. artist ahead of his time. With the singularity of the purest perception, it uses serialization and approaches visual communication and design with the same affective radicalism with which the photo 'discovers', fragments the outdoor pop, reveals the 'Kleen' trait of the engraving; With a Rolleiflex in his hand he discovers the art; His photographic essays reveal an artistic autonomy that erupts the concrete movement around and goes through its later deeds; The enigma of the photograph pointed out by Roland Barthes - 'emblem of similar' - is thus discarded: it deconstructs the significant, eminently imitative image; It seeks to distance itself more and more from its literality and do more than make up analogous feelings; trust in error, in its contribution; explores and dominates chance, in the search for difference; At one point, he leaves the camera and works the light directly on the frame. Its photographic construction reminds Carlos Drummond de Andrade - 'Cristal of time on paper' - and the eminence of the artist's attitude: the ability to innovate.
Geraldo de Barros passes on to the graphic works the notions of error and chance; His lithographs feed on the Readymade stone labels in the Paris studio; in the ink and strong waters, direct allusions to Klee, the soft glimpse, the simple structure, almost astro, fragmented in the metal; The monotypes, a vacant field that is born from the inked surface: living field on paper - when moving is already a stain, mark, dirt, absence to surface in one and various action, path of possible; The thin trace of carbon paper in the affront orthodoxy drawings; Take advantage of the little weight of the paper and its transparency to filter the colors, applying them behind the drawings; Color is the tenderness of time. . .
Geraldo de Barros, at the age of 72, warns: 'It is enough for the work!' And he proclaims, in his good customary rumor, that he will now dedicate himself to the 'leftovers'. The vanguard to take care!”
Sérgio Pizoli
PIZOLI, Sérgio. [text] In: BARROS, Geraldo de. Precursor. Rio de Janeiro: Centro Cultural Banco do Brasil, 1996. P. 10.
Testimations
"(...) photography is for me an engraving process. I defended this thought when I tried to introduce it as an artistic category, at the 2nd International Biennial of São Paulo. I also believe that it is in the 'error', in the exploration and mastery of chance, that photographic creation resides. I was concerned about knowing the technique just enough to express myself, without letting myself be carried away by excessive virtuosity.
(...) I believe that the exaggerated technical sophistication, the cult of technical perfection, leads to an impoverishment of the results, of the imagination and creativity, which is negative for photographic art".
Geraldo de Barros
BARROS, Geraldo de. photography. In: ______. Fotoformas. São Paulo: Roots, 1994. P. 11.
Acerves
Pinacoteca do Estado de São Paulo/Brazil Collection - São Paulo SP
Archivio della Nuova Scrittura - Milan (Italy)
Pirelli/Masp Photo Collection - São Paulo SP
Fonds d'Art Contemporain de L'Etat de Genève (Switzerland)
Fonds d'Art Contemporain de la Ville de Genève (Switzerland)
Bienal Foundation of São Paulo - São Paulo SP
Curitiba Cultural Foundation - Curitiba PR
Max Bill Foundation - Zurich (Switzerland)
Patricia Phelps de Cisneros Foundation - Caracas (Venezuela)
Itaú Cultural Institute - São Paulo SP
Ludwig Museum - Cologne (Germany)
Musée d'Art Contemporain de Grenoble (Switzerland)
Musée de Grenoble L'Elysée - Lausane (Switzerland)
Museum of Image and Sound - MIS/SP - São Paulo SP
São Paulo Museum of Contemporary Art - MAC/USP - São Paulo SP
São Paulo Assisi Art Museum Chateaubriand - MASP - São Paulo SP
São Paulo Museum of Modern Art - MAM/SP - São Paulo SP
Rio de Janeiro Museum of Modern Art - MAM/RJ - Rio de Janeiro RJ
Itamaraty Museum - Brasília DF
Union de Banques Suisses
Individual exhibitions
1947 - São Paulo SP - Individual, at the Municipal Theater
1950 - Rio de Janeiro RJ - Fotoformas, at MEC/RJ
1950 - Salvador BA - Fotoformas, at MEC/BA
1950 - São Paulo SP - Fotoformas, at MASP
1952 - São Paulo SP - Individual, at MAM/SP
1954 - São Paulo SP - Individual, at MAM/SP
1965 - Buenos Aires (Argentina) - Individual, at the Museo de Arte Moderno
1965 - São Paulo SP - Individual, at Atrium Art Gallery
1977 - São Paulo SP - Geraldo de Barros: 12 years of painting 1964 to 1976, at MAM/SP
1986 - Rio de Janeiro RJ - Individual, at the Thomas Cohn Gallery
1986 - São Paulo SP - Individual, at the gallery Millan
1987 - Glarus (Switzerland) - Individual, at Galeria Tschudi
1989 - Campinas - Games, NA - Unicamp Art Gallery
1989 - São Paulo SP - Individual, MAM/SP
1990 - Lausanne (Switzerland) - Geraldo de Barros: Retrospective of photographs, in the Musée de l'Elysée
1990 - Rio de Janeiro RJ - Games, in the MAM/RJ
1990 - São Paulo SP - Individual, at MAM/SP
1990 - São Paulo SP - Dice games, at MAM/SP
1991 - Milan (Italy) - Dice games, at Mercato Del Sale
1991 - São Paulo SP - Geraldo de Barros: The artist's space when young, in the Paço das Artes
1993 - Lausanne (Switzerland) - Geraldo de Barros: Peintre et photographie, Musée de l'Elysée
1993 - São Paulo SP - Individual, at Casa das Rosas
1994 - São Paulo SP - Geraldo de Barros: Photographer, at MIS/SP
1995 - São Paulo SP - Fotoformas, at Galeria Camargo Vilaça
1996 - Campinas SP - Geraldo de Barros and Concretism, at Itaú Cultural
1996 - Curitiba PR - Drawings of Light, at the Engraving Museum
1996 - Curitiba PR - Geraldo de Barros: Fotoformas, at the Cultural Foundation of Curitiba. Solar do Barão
1996 - Geneva (Switzerland) - Geraldo de Barros: Photographs, at Alexandre Mottier Gallery
1996 - Rio de Janeiro RJ - Geraldo de Barros: Precursor, at CCBB
1998 - Houston (United States) - Individual, at Sicardi Sanders Gallery
1998 - São Paulo SP - Geraldo de Barros: tribute, at MIS/SP
Collective exhibitions
1946 - Rio de Janeiro RJ - 52nd National Salon of Fine Arts, at the MNBA - Silver Medal
1946 - São Paulo SP - 10th Salon of the Plastic Artists Union, at the Prestes Maia Gallery
1947 - Rio de Janeiro RJ - 53rd National Salon of Fine Arts, at the MNBA - Honorable Mention
1947 - São Paulo SP - 19 painters, at the Prestes Maia Gallery
1948 - Rio de Janeiro RJ - 54th National Salon of Fine Arts, at the MNBA - Bronze Medal
1949 - Rio de Janeiro RJ - 55th National Salon of Fine Arts, at the MNBA - Silver Medal
1949 - São Paulo SP - Exhibition of the Group 15, at IAB/SP
1950 - Salvador BA - Bahia National Modern Art Salon - Honorable Mention
1951 - Paris (France) - Salon de Photographie à Paris et à Nantes
1951 - São Paulo SP - 1st São Paulo International Biennial, at the Trianon Pavilion - Acquisition Award
1952 - Lion (France) - Cercle d'Art Photographique
1952 - São Paulo SP - Grupo rupture, at MAM/SP
1953 - São Paulo SP - 2nd São Paulo International Biennial, at the State Pavilion - Acquisition Award
1954 - Bern (Switzerland) - Gravure Brésilienne, Kunstmuseum
1954 - Geneva (Switzerland) - Gravure Brésilienne, at the Musée Rath of Genève
1954 - Goiânia GO - Exhibition of the National Congress of Intellectuals
1954 - São Paulo SP - 3rd Salão Paulista de Arte Moderna, at the Prestes Maia Gallery
1954 - Zurich (Switzerland) - Gravure Brésilianne, at Kunstgewerbemuseum
1955 - Brazil - Arts Primitifs et Modernes Brésiliens
1955 - France - Arts Primitifs et Modernes Brésiliens
1955 - São Paulo SP - 3rd São Paulo International Biennial, at the Pavilion of Nations
1955 - São Paulo SP - 4th Salão Paulista de Arte Moderna, at the Prestes Maia Gallery - Big Silver Medal
1955 - Switzerland - Arts Primitifs et Modernes Brésiliens
1956 - Paris (France) - Salon of May, at the Palais de Tokyo
1956 - São Paulo SP - 1st National Exhibition of Concrete Art, at MAM/SP
1956 - Venice (Italy) - 28th Venice Biennale - Acquisition Award
1957 - Buenos Aires (Argentina) - Modern Art in Brazil, at the Museum of Modern Art
1957 - Lima (Peru) - Modern Art in Brazil, Lima Art Museo
1957 - Rio de Janeiro RJ - 1st National Exhibition of Concrete Art, at MAM/RJ
1957 - Rosário (Argentina) - Modern Art in Brazil, at the Municipal Museo de Bellas Artes Juan B. Castagnino
1957 - Santiago (Chile) - Modern Art in Brazil, at the Contemporary Art Museum
1960 - Zurich (Switzerland) - Konkrete Kunst, Helmhaus
1965 - São Paulo SP - Geraldo de Barros and Nelson Leirner, at Atrium Art Gallery
1965 - São Paulo SP - Proposals 65, at MAB/FAAP
1966 - São Paulo SP - Discovery of America, at Rex Gallery & Sounds
1966 - São Paulo SP - Flash Back, at Rex Gallery & Sounds
1966 - São Paulo SP - Rex Gallery: Inaugural Exhibition, at Rex Gallery & Sons
1967 - Rio de Janeiro RJ - New Brazilian Objectivity, at MAM/RJ
1967 - São Paulo SP - 9th São Paulo International Biennial, at the Bienal Foundation - Itamaraty Award
1968 - Rio de Janeiro RJ - The Brazilian artist and mass iconography, at Esdi
1971 - São Paulo SP - Brazilian furniture, at Masp
1976 - São Paulo SP - The young design of the 40s, at Pinacoteca do State
1977 - Rio de Janeiro RJ - Brazilian constructive project in art: 1950-1962, at MAM/RJ
1977 - São Paulo SP - The groups: The 40's, at the Lasar Museum Segall
1977 - São Paulo SP - Brazilian constructive project in art: 1950-1962, at the Pinacoteca do Estado
1978 - Mexico City (Mexico) - 1st Muestra de la Photography Latinoamericana Contemporanea, at the Museo de Arte Moderno
1978 - São Paulo SP - The Biennials and Abstraction: the 50s, at the Lasar Segall Museum
1979 - São Paulo SP - 15th Bienal São Paulo International, at the Bienal Foundation
1979 - Venice (Italy) - Venezia' 79: LA Fotografia, at Comune di Venezia
1981 - São Paulo SP - 16th International Biennial of São Paulo, at Fundação Bienal
1982 - São Paulo SP - From Modernism to Bienal, at MAM/SP
1982 - São Paulo SP - Design in Brazil: History and Reality, at Sesc Pompéia
1984 - Campinas SP - Geraldo de Barros and Hermelindo Fiaminghi, at the Unicamp Art Gallery
1984 - São Paulo SP - Geometry 84, at Paulo Figueiredo Art Gallery
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian art and culture, at the Bienal Foundation
1985 - Atami (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1985 - Belo Horizonte MG - Geometry today, at MAP
1985 - Kyoto (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1985 - Rio de Janeiro RJ - 7th Brazil-Japan Fine Arts Exhibition
1985 - Santo André SP - 13th Santo André Contemporary Art Salon, at the Municipal Palace
1985 - São Paulo SP - 7th Exhibition of Fine Arts Brazil-Japan, at the Brazil-Japan Foundation
1985 - Tokyo (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1986 - São Paulo SP - 17th Panorama of Current Brazilian Art, at MAM/SP
1986 - Venice (Italy) - 42nd Bienal de Venice
1987 - Rio de Janeiro RJ - 1st Geometric Abstraction: Concretism and Neoconcretism, at Funarte. Arts Center
1987 - São Paulo SP - 1st Geometric Abstraction: Concretism and Neoconcretism, at MAB/FAAP
1987 - São Paulo SP - The plot of taste: another look at everyday life, in the foundation Bienal
1987 - São Paulo SP - The biennials in the MAC collection: 1951 to 1985, at MAC/USP
1988 - São Paulo SP - 63/66 Figure and object, in the gallery Millan
1988 - São Paulo SP - MAC 25 years: Acquisitions and recent donations, at MAC/USP
1989 - São Paulo SP - Galeria São Paulo Collection, at the São Paulo Art Gallery
1989 - São Paulo SP - Exhibition, at the Art Office Raquel Arnaud
1991 - São Paulo SP - 21st São Paulo International Biennial, at Fundação Bienal
1991 - São Paulo SP - Constructivism: Poster Art 40/50/60, at MAC/USP
1992 - Denmark - Latinamerica' 92
1992 - São Paulo SP - 2nd Pirelli Collection/Masp of Photographs, at MASP
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - João Pessoa PB - Xylograph: Cordel à Galeria, at the Espaço Cultural da Paraíba Foundation
1993 - São Paulo SP - 1st International Photography Month, at Sesc Pompéia
1993 - São Paulo SP - Ticket for modernity, at Espaço Arte Morumbi Shopping
1993 - São Paulo SP - MASP at Morumbi Shopping, at Shopping Morumbi
1994 - San Francisco (United States) - Contemporary Brazilian Photography: a selection of photographs from the collection of Joaquim Paiva, at the Center for the Arts Yerba Buena Gardens
1994 - São Paulo SP - Bienal Brasil Século 20th, at the Bienal Foundation
1994 - São Paulo SP - Xylograph: do Cordel to the gallery, on the subway
1995 - Rio de Janeiro RJ - Contemporary Brazilian photography, at the CCBB
1996 - Cologne (Germany) - Neuerwerbungen Photosammlung, at the Ludwig Museum
1996 - Lausanne (Switzerland) - Collection Musées Suisses, at the Musée de l'Elysée
1996 - New York (United States) - Brazil: The Thinking photography at the Rochester Institute of Technology. College of Imaging Arts and Sciences. School of photographic arts and sciences. MFA - Gallery
1996 - Rio de Janeiro RJ - Constructive trends in the MAC USP collection: construction, measurement and proportion, in the CCBB
1996 - São Paulo SP - 4th Studio UNESP SESC SENAI of technologies of Images, at Sesc Pompéia
1996 - São Paulo SP - Brazilian art: 50 years of history at the MAC/USP collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Desexp(l)os(ign)istion, at Casa das Rosas
1996 - São Paulo SP - The world of Mario Schenberg, at Casa das Rosas
1997 - Grenoble (France) - Exposition d'èté: Collections 1950-1955, at the Musée de Grenoble
1997 - São Paulo SP - Computer Support Art, at Casa das Rosas
1998 - Houston (United States) - 7th FotoFest 1998
1998 - São Paulo SP - The art of exhibiting art, at MAM/SP
Posthetic exhibitions
1998 - São Paulo SP - Constructive Art in Brazil: Adolpho Collection Leirner, at MAM/SP
1998 - Texas (United States) - The Joaquim Paiva Collection, FotoFest 1998
1999 - Cologne (Germany) - Geraldo de Barros: Fotoformas, at the Museum Ludwig
1999 - Paris (France) - International Contemporary Art Fair
1999 - Rio de Janeiro RJ - Constructive Art in Brazil: Adolpho Leirner Collection, at MAM/RJ
1999 - São Paulo SP - 50's and its involvements, at Jo Slaviero Art Gallery
1999 - São Paulo SP - Enigmas, at the Brito Cimino Gallery
1999 - São Paulo SP - Photocollectionism, at Galeria Luisa Strina
1999 - São Paulo SP - Photographs, at the Brito Cimino Gallery
1999 - São Paulo SP - Individual, at the Brito Cimino Gallery
1999 - São Paulo SP - Parallèle, at Brito Cimino Gallery
1999 - Seattle (United States) - Photography of Hope at Benham Studio Gallery
1999 - Wolfsburg (Germany) - Brasilianische Fotografie 1946 bis 1998, at the Kunstmuseum Wolfsburg
2000 - Basel (Switzerland) - Messe Basel 2000, at the Galerie Eric Frank
2000 - Campinas SP - Geraldo de Barros: leftovers 1996-1998, at Itaú Cultural
2000 - Lausanne (Switzerland) - Sobras, at the Musée de l'Elysée
2000 - Lisbon (Portugal) - 20th century: Art of Brazil, at the José de Azeredo Perdigão Modern Art Center
2000 - Madrid (Spain) - Heterotopias: Medio Siglo Sin Lugar 1918-1968, at the Museo Nacional Reina Sofía Art Center
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Messe Basel 2000, at the Brito Cimino gallery
2000 - São Paulo SP - The role of art, at the SESI Art Gallery
2000 - São Paulo SP - São Paulo: From Vila to Metrópole, at the Masp Prestes gallery Maia
2000 - Valencia (Spain) - From La Anthropophagia to Brasilía: Brazil 1920-1950, in Ivam. Center Julio Gonzáles
2001 - Belo Horizonte MG - Constructed realities: from pictorialism to modern photography, at Itaú Cultural
2001 - Campinas SP - Built realities: from pictorialism to modern photography, in Itaú cultural
2001 - Rio de Janeiro RJ - The spirit of our time, at MAM/RJ
2001 - São Paulo SP - Brazilian Art Museum: 40 years old, at MAB/FAAP
2001 - São Paulo SP - O Spirit of our time, at MAM/SP
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2002 - Rio de Janeiro RJ - Artephoto, at CCBB
2002 - Rio de Janeiro RJ - Caminhos do Contemporânea 1952-2002, at the Imperial Palace
2002 - Rio de Janeiro Janeiro RJ - Parallels: Brazilian art from the second half of the 20th century in context, Collección Cisneros, at MAM/RJ
2002 - São Paulo SP - The line as a structure of the form, at MAM/SP
2002 - São Paulo SP - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2002 - São Paulo SP - CidadeProjeto / CidadeExperiência, at MAM/SP
2002 - São Paulo SP - da Antropofagia to Brasília: Brazil 1920-1950, at MAB/FAAP
2002 - São Paulo SP stock photos, photos of the collection of the Museum of Modern Art of São Paulo, at MAM/SP
2002 - São Paulo SP - Geometrics and Kinetics, at the Art Cabinet Raquel Arnaud
2002 - São Paulo SP - Grupo Rupturing: Revisiting the Inaugural Exhibition, at Centro Universitário Maria Antonia
2002 - São Paulo SP - Modernismo: from the week of 22nd to Sérgio Milliet Art Section, at CCSP
2002 - São Paulo SP - Paralela, Shed located at Avenida Matarazzo, 530, São Paulo
2002 - São Paulo SP - Parallels: Brazilian art from the second half of the 20th century in Context, Colección Cisneros, at MAM/SP
2002 - São Paulo SP - Visions and Alumbramentos: Brazilian contemporary photography from the Joaquim Paiva collection, at OCA
2003 - Brasília DF - Brazilian art in the collection Fadel: From the restlessness of the modern to the autonomy of language, at the CCBB
2003 - Brasília DF - ARTFOTO, at CCBB
2003 - Mexico City (Mexico) - Cuasi Corpus: Arte Concreto Y Neoconcreto of Brazil: Una Selection del Acervo del Museo de Arte Moderna de São Paulo and La Colección Adolpho Leirner, at the Museo Rufino Tamayo
2003 - Rio de Janeiro RJ - Gallery Lurixs Contemporary Art: Inaugural Exhibition, at Galeria Lurix Contemporary Art
2003 - São Paulo SP - The Art Behind Art: Where Artworks Stayed and How They Travel, at MAM/SP
2003 - São Paulo SP - The Subversion of means, at Itaú Cultural
2003 - São Paulo SP - Art and Society: a controversial relationship, at Itaú Cultural
2003 - São Paulo SP - MAC USP 40 years: Contemporary interfaces, at MAC/USP
2004 - Porto Alegre RS - Olho Vivo: the art of photography, at Santander Cultural
2004 - Rio de Janeiro RJ - Tudo é Brasil, at Paço Imperial
2004 - São Paulo SP - As Bienais: a look at Brazilian production 1951/2002, at the Bergamin gallery 2004 - São Paulo SP - Photography and sculpture in the MAM collection - 1995 to 2004, at MAM/SP
2004 - São Paulo SP - Paper Office, at CCSP
2004 - São Paulo SP - The price of seduction: from corset to silicone, at Itaú Cultural
2004 - São Paulo SP - Tudo é Brasil, at Itaú Cultural
2004 - São Paulo SP - Brazilian version, at the Brito Cimino gallery
2005 - Belém PA - Salão Arte Pará, at the Romulo Maiorana Foundation
2005 - Porto Alegre RS - Mercosul Visual Arts Biennial
2005 - Rio de Janeiro RJ - ArteContemporânea, at Mercedes Viegas Contemporary Art
2006 - Rio de Janeiro RJ - Geraldo de Barros, at Lurixs: Contemporary Art
2006 - São Paulo SP - Veracidade, MAM/SP
2006 - São Paulo SP - Painting - Painting and Method: Projections from the 50s, at the Tomie Ohtake Institute
2006 - São Paulo SP - Concrete '56: The root of the form, MAM/SP
2006 - São Paulo SP - MAM Na Oca, at OCA
2006 - São Paulo SP - Brasiliana MASP: Modern Contemporary, at MAM/SP
2007 - São Paulo SP - Itaú Contemporary: Art no Brazil, at Itaú Cultural
2007 - São Paulo SP - Fragments: Modernism of Brazilian Photography, Galeria Bergamin
2007 - São Paulo SP - 70s - Art as Quetão, at Instituto Tomie Ohtake
2007 - Uberlândia MG - Veracity: Photographs from the MAM collection, at the University Museum of Art
2007 - São Paulo SP - Cut and paste | CTRL_C CTRL_V, at SESC Pompéia
2008 - São Paulo SP - Fotoformas and its banks, at Centro Universitário Maria Antonia
2008 - São Paulo SP - Rupture, front and resonances, in the gallery Berenice
Source: Itaú Cultural
