Maria Bonomi (Meina, Italy 1935)
Maria Bonomi is an artist who works as a record company, sculptor, painter, muralist, curator, costume designer, set designer and teacher. Naturalized Brazilian after her arrival in the country in 1946, she settled in São Paulo, where she began her artistic studies. In 1951, Bonomi studied painting and drawing with Yolanda Mohalyi, and two years later, in 1953, he continued his training with the painter Karl Plattner. The following year, she began to delve into the engraving with the renowned Lívio Abramo. Her artistic trajectory gained prominence with the holding of her first solo exhibition in São Paulo, in 1956, and with the obtaining of a scholarship from the Ingram-Merrill Foundation, which led her to study at the Pratt Institute Graphics Center, in New York. During this period, she also studied engraving with Hans Müller and Art Theory with Meyer Schapiro at Columbia University.
By returning to Brazil, Maria Bonomi continued her artistic development, attending the metal engraving workshop with Johnny Friedlaender at the Museum of Modern Art in Rio de Janeiro (MAM/RJ) in 1959. The following year, he founded the Engravura studio in São Paulo, together with Lívio Abramo, where he worked as an assistant until 1964. during the years 1970, expanded its artistic frontiers by also dedicating itself to sculpture, creating important large panels for public spaces. From his experience as an artist and teacher, Bonomi also contributed significantly to the academic field, defending in 1999 the doctoral thesis entitled "Public Art. Expressive System/Anteriority", at the School of Communications and Arts of the University of São Paulo. (ECA/USP).
His work covers a wide range of expressions, always with an attentive look at the social and cultural issues of Brazil. Maria Bonomi stood out not only as a creator, but also as an important educator and curator, with a legacy that permeates both the visual arts and the theoretical reflection on public art and its insertion in society.
Critical Comment
For Maria Bonomi, working with woodcuts is an experience that offers unlimited possibilities for artistic creation. When exhibiting at the 5th Bienal de Paris, in 1967, in which he receives the first prize, he fights for the engravings to be displayed on walls, and not in counters or windows, such as pages of books, which was usual at the time. Thus, the relationship between the public and the engraving is modified, and also of the artist in the exercise of recording.
The recorder always deals with issues related to the matrix and the printed image: when working wood or metal, the record is different from that obtained on paper. In the matrices are the marks of the artist's relationship with the matter, the impulse and the gestures that create the work. For the label Renina Katz (1926), Maria Bonomi reveals in her works some of these fascinating games from the engraving universe. In 1972, it presents the solombras, transparent and colored, molded in polyester based on wooden matrices. In 1976, he carried out the epigrams, works molten in metal based on clay pieces, in which he produces lines and grooves, exploring full and empty and revealing the essence of the engraver's gesture.
The artist insists, throughout her career, in the large print runs, which allow access to the works by as many people as possible; For that, it also uses lithography. It innovates by producing in large formats (some works more than two meters wide), demonstrating the desire to give greater vigor and aesthetic impact to the engravings. Another important point in his work is the use of color in varied and unexpected tones.
In addition to engravings, the artist continues to produce concrete or metal reliefs, arranged in various public spaces in São Paulo, such as the Mother Church of Salvador, Palácio dos Bandeirantes and at the Metro Jardim Sao Paulo. In these murals, Maria Bonomi starts from the experience as a record company, exploring the graphics resulting from the grooves of the wood engraving. Textures and gestures are transferred to concrete or metal. Problematizing the myth of the single piece, the artist also develops projects in the area of clothing (t-shirts, ties, scarves).
Maria Bonomi is an important presence in the Brazilian engraving scenario. In the words of Lívio Abramo: "Vitality, vehemence, passion, formal boldness are the characteristics of the graphic work of this artist who knew how to convey to her engravings the passion of her feelings and the dense expressiveness of formal synthesis".1
Notes
1 Livio Abramo, text from the catalog Maria Bonomi Xlograbados lithography, Centro de Estudos Brasileiros (Asunción, Paraguay), quoted in Bonomi, Maria. Stylings by Maria Bonomi. Lisbon: Calouste Gulbenkian Foundation, 1994.
Criticism
"The ornament, manifestation of composition as rhythm, exposes the artistic emotion in Maria Bonomi. monumental, memorable compositions of the furrow, which perpetuates. For it is not the figure that matters, it is the rhythmic directions that the furrows build. Bonomi develops the rhythmic games of the dash-sulcus, which is light, pulsatile light, light that builds. insists on exposing the engraving on the wall, the place of the painting, thus contradicting the practice of the display on the table. Thinking about the use, Maria Bonomi interrogates the engraving as to the dimension; however, the rhythmic-geometric composition discusses the dimension of the That the scale, because, even in those printed in small formats, the composition throws the view out of the support.
The furrow is the invasion of matter, made palpable by the resistance that the recorder finds in it and to which it wins. It is here that the emotion of the engraving is best apprehended: in the furrows, Maria Bonomi declares her emotion of recording, the matrix being the essential of the work of the engraver, and the print no more than the derivative of the primitive action. The matrix can be built either in wood or in clay or other material. In turn, the matrix can be passed to the most diverse supports, such as paper, aluminum, polyester, concrete. Going from the table to the wall and from there to the concrete panel implies the use, materialized as the socialization of the work, aimed at the passerby. Like woodcuts, the grooves of the matrices reproduced in the concrete are intended for the hotel lobby. With slats and ropes, Maria Bonomi builds the furrows of the construction of São Paulo, engraving-relief erected at the city's subway station".
Leon Kossovitch and Mayra Laudanna
Kossovitch, Leon; Laudanna, Mayra. Engraving in the 20th Century. In: Engraving: Brazilian Art of the 20th Century. Ricardo Resende. 32.
Testimonies
"One day I entered an exhibition by Lívio Abramo... It was a revelatory, magical event... I entered his exhibition and was extremely impressed with that. It was a revelation of this light, of this intimacy, of these small planes... they were small surfaces that were of enormous importance... It's like you were entering infinite landscapes... That was simultaneously huge and small, it was something of transformation, of magic... I went crazy and went looking for it, asking for work with him. He said he wasn't teaching, that he didn't teach and... , anyway, I started to insist... after all he told me once a week to show up at his house and started to frequent her a lot. (...) Gradually I started these forms, making big boards with vegetables, with flowers... That was around 1956, when he invited me to an exhibition. (...) At this point things started to run, I started to turn around a little alone, ending up with a scholarship in New York, at the Pratt Institute, where I went to work with a Chinese, Seong Moy, and at Columbia University, in a teacher's engraving course Hans Müller (...) was this Chinese who took my color, messing with the possibilities of printing, the papers, giving them another value... My image started to get bigger and I managed to work with it as pure language... But it was still a teaching, instrumentation, of the Lívio (...).
When I returned to Brazil in 1960, Lívio was setting up the Engraving studio and already called me to work as his assistant. That six years after I went looking for him... In 1964 he left (...).
If you consider that the groove can go to any support... , the paper is also not the end. The print says only a part of the emotion of the engraving, which is the matrix (...) The same matrix can be printed, it can be passed to the polyester, it can be passed to the concrete... (...)
The sculpture had come out of the pedestal, the painting had come out of the easel... but the engraving had to be on the table!... It was a big fight of mine. (...) And there's the problem that you can keep the rigor, the spirit of engraving, in the butcher, in the cut, in the emotion... , because otherwise you just start making gigantism... That was my big concern: being able to create for the wall. (...) From the wall I went to the concrete panels due to the social meaning of the distribution. Because if I can have a concrete wall on Avenida Paulista, or somewhere else, in a collective space... , I can sensitize a lot more people to the groove than if I were simply making a little dick..."
Maria Bonomi a Renato p. Dória 1995/1996
Dória. Renato P. The woodcut in Maria Bonomi and Renina Katz, Journal of the History of Art and Archeology. UNICAMP, CAMPINAS, n. 2, p. 306-307, 309, 1995.
Individual exhibitions
1956 - São Paulo SP - engravings and monographs, at MAM/SP
1958 - New York (United States) - Individual, at the Roland Gallery of Aenlle
1971 - Munich (Germany) - Individual, at Galerie Buchhloz
1971 - Rio de Janeiro RJ - Maria Bonomi: Xylografias, at MAM/RJ
1972 - São Paulo SP - Solombras M.S.2. Modules, at Galeria Cosme Velho
1975 - Rio de Janeiro RJ - Xylography: Transamazônia-China, at the Bonino Gallery
1975 - São Paulo SP - Individual, at the Cosme Velho Gallery
1975 - Brasília DF - Xylography: Transamazônica-China, at Oscar Seraphico Galeria de Art
1975 - São Paulo SP - Xylography: Transamazônica-China, at the Cosme Velho Gallery
1984 - São Paulo SP - Epigrams, at the Multiple Art Gallery
1986 - São Paulo SP - Individual, In the Multiple Art Gallery
1990 - Curitiba PR - Excavated space: woodcuts by Maria Bonomi, at the Centro Cultural Palacete Leão Junior
1994 - Lisbon (Portugal) - Maria Bonomi: Xylography, José de Azeredo Perdigão Modern Art Center
1999 - São Paulo SP - Maria Bonomi: Records
2000 - São Paulo SP - Maria Bonomi - Records, at the Latin America Memorial
2000 - Skopje (Yugoslavia) - Individual, at the Museum of Contemporay Art
2004 - São Paulo SP - Individual, at Centro Universitário Maria Antonia
Collective exhibitions
1952 - São Paulo SP - collective of students of Yolanda Mohalyi, at MASP
1955 - Neuchâtel (Switzerland) - Arts Primitifs et Modernes Brésiliens, at the Musée d'Ethnographie of Neuchâtel
1955 - São Paulo SP - 3rd São Paulo International Biennial, at the Pavilhão das Nações - Awarded as the youngest exhibitor
1955 - São Paulo SP - 4th Salão Paulista de Arte Moderna, at Galeria Prestes Maia
1956 - São Paulo SP - engravings and monographs, at MAM/SP
1959 - Leverkusen (Germany) - First collective exhibition of Brazilian artists in Europe
1959 - Munich (Germany) - First collective exhibition of Brazilian artists in Europe, at Kunsthaus.
1959 - Paris (France) - 1st Bienal de Paris, at the Musée d'art Moderne de la Ville de Paris
1959 - São Paulo SP - 5th São Paulo International Biennial, at MAM/SP - Acquisition Award
1959 - Vienna (Austria) - First collective exhibition of Brazilian artists in Europe
1959 - Washington (United States) - Pan American Union, At the Smithsonian Institution
1960 - Buenos Aires (Argentina) - 1st Latin American woodcut competition
1960 - Mexico City (Mexico) - 2nd Inter-American Biennial of the Mexico, at the Palace of Fine Arts
1960 - Hamburg (Germany) - First collective exhibition of Brazilian artists in Europe
1960 - Jerusalem (Israel) - 12 Brazilian artists at the Bezale Museum Jerusalen
1960 - Tel Aviv (Israel) - 12 Brazilian artists
1960 - Lisbon (Portugal) - First collective exhibition by Brazilian artists in Europe
1960 - Madrid (Spain) - first collective exhibition by Brazilian artists Europe
1960 - Mexico - 2nd Bienal de México
1960 - Paris (France) - First collective exhibition of Brazilian artists in Europe
1960 - Rio de Janeiro RJ - 9th National Salon of Modern Art, MAM/RJ
1960 - São Paulo SP - 9th Salão Paulista de Arte Moderna, at the Prestes Maia Gallery - Silver Medal
1960 - São Paulo SP - Women's contribution to the plastic arts in the country, at MAM/SP
1960 - Utrecht (Holland) - First collective exhibition of Brazilian artists in Europe
1960 - Washington (United States) - Pan American Union, at the Smithsonian Institution
1961 - Ljubljana - Current Slovenia) - 4th International Engraving Biennial, at the modern Gallerija Ljubljana
1961 - Rio de Janeiro RJ - 1st The face and the work, at the IBEU Copacabana Gallery
1961 - São Paulo SP - 6th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion - Acquisition Award
1962 - Tokyo (Japan) - 3rd International Biennial Exhibition of prints
1963 - São Paulo SP - 7th São Paulo International Biennial, at the Biennial Foundation - Acquisition Award
1964 - Ljubljana (Yugoslavia - current Slovenia) - International Biennial of Engraving
1964 - Tokyo (Japan) - 4th International Biennial Exhibition of Prints
1964 - Venice (Italy) - 32nd Venice Biennial
1965 - Geneva (Switzerland) - Xylon IV International
1965 - São Paulo SP - 8th São Paulo International Biennial, at the Bienal Foundation - Best National Recorder
1966 - Brasília DF - 3rd Salon of Modern Art of the Federal District - Best National Recorder
1966 - Ribeirão Preto SP - 40 national and foreign prints from the MAC collection, at the Ribeirão Preto School of Visual Arts
1966 - Rio de Janeiro RJ - The Artist and the Machine, at MAM/RJ
1966 - Salvador BA - 1st National Biennial of Plastic Arts
1966 - São Paulo SP - 2nd Exhibition of the Young National Engraving, at MAC/USP
1966 - São Paulo SP - 40 national and foreign engravings of the MAC collection, at MAC/USP
1966 - São Paulo SP - The artist and the machine, at MASP
1967 - Ljubljana (Yugoslavia - current Slovenia) - 7th International Engraving Biennale, at the modern Gallerija Ljubljana - Woodcut Award
1967 - Paris (France) - 5th Paris Biennial - Theodoran Award Engraving
1967 - São Paulo SP - 9th São Paulo International Biennial, at the Bienal Foundation
1968 - Belo Horizonte MG - 23rd Belo Horizonte Fine Arts Salon, at MAP - Grand Prix
1968 - Krakow (Poland) - 2nd International Engraving Biennial
1968 - Ljubljana (Yugoslavia - Current Slovenia) - Ljubljana International Exhibition - Engraving Award
1968 - Piracicaba SP - 40 National Engravings and foreigners from the MAC collection, at ESALQ
1968 - São Paulo SP - First São Paulo Opinion Fair, at the Ruth Escobar Theater
1969 - Geneva (Switzerland) - Xylon IV International
1969 - Ljubljana (Yugoslavia - current Slovenia) - 8th International Engraving Biennial, at the modern Gallerija Ljubljana - Prix d'Achat Acquisition Award, Xilo Mechanicus
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1970 - Geneva (Switzerland) - Xylon IV International
1970 - Nuremberg (Germany) - Colloquium über Visuelle Poesie, at the Institut für Moderrne Kunst Nürnberg
1970 - Olinda PE - 40 national engravings foreigners from the MAC collection, at Mac/Olinda
1970 - Penápolis SP - 40 national and foreign engravings of the MAC collection
1970 - São Paulo SP - A Brazilian engraving, in the Paço das Artes
1971 - Ljubljana (Yugoslavia - Current Slovenia) - 9th International Engraving Biennial, at the modern Gallerija Ljubljana - Acquisition Award in Woodcut
1971 - Nuremberg (Germany) - The engraving of the world: the graphic work of the last 25 years
1971 - São Paulo SP - 3rd Panorama de Arte Brasileiro, at MAM/SP - Best National Recording Award
1972 - Fredrikstad (Norway) - 1st Fredrikstad Engraving Triennial
1972 - São Paulo SP - 4th Brazilian current art panorama, at MAM/SP
1972 - São Paulo SP - Art/Brazil/Today: 50 years later, at the Collectio Gallery
1972 - São Paulo SP - Solombras M. S. 2 Modules, at the Cosme Velho Gallery
1972 - Tokyo (Japan) - 8th International Biennial Exhibition of Prints
1972 - Venice (Italy) - 36th Venice Biennial
1973 - Ljubljana (Yugoslavia - current Slovenia) - 10th International Engraving Biennial, at the modern Gallerija Ljubljana
1973 - São Paulo SP - 12th São Paulo International Biennial, at the Bienal Foundation
1974 - São Paulo SP - 6th Brazilian current art panorama, at MAM/SP
1974 - Tokyo (Japan) - International Biennial Exhibition of Prints
1977 - São Paulo SP - 14th International Biennial of São Paulo, Biennial Foundation
1977 - São Paulo SP - 9th Panorama of Current Brazilian Art, at MAM/SP
1978 - Rio de Janeiro RJ - 18th Art and Ecological Thought, at the Euclides da Cunha Library
1978 - São Paulo SP - The Biennials and Abstraction: the 50's, at the Lasar Segall Museum
1979 - São Paulo SP - 15th São Paulo International Biennial, at the Bienal Foundation
1980 - Rio de Janeiro RJ - Homage to Mário Pedrosa, at the Jean Boghici Gallery
1981 - Ribeirão Preto SP - Collective of Engravings, at Itaugaleria
1982 - Penápolis SP - 5th Salon of Visual Arts of the Northwest, at the Educational Foundation of Penápolis. Faculty of Philosophy, Sciences and Letters of Penápolis
1983 - Ljubljana (Yugoslavia - Current Slovenia) - 15th International Engraving Biennial, at the modern Gallerija Ljubljana
1984 - Curitiba PR - 6th Exhibition of the Engraving City of Curitiba. The woodcut in the history of Brazilian art, at Casa Romário Martins
1984 - Ourinhos SP - Homage to the art of engraving in Brazil, in Itaugaleria
1984 - Porto Alegre RS - Engravings: a trajectory in time. at Cambona Center of Arts
1984 - Ribeirão Preto SP - Brazilian engravers 50s/60s, at the Campus-USP-Banespa Gallery
1984 - Rio de Janeiro RJ - The woodcut in the history of art Brazilian, at Funarte. Sérgio Milliet Gallery
1984 - Rio de Janeiro RJ - Recent donations 82 - 84, at MNBA
1984 - São Paulo SP - Art at Rua 2
1984 - São Paulo SP - Epigrams: Maria Bonomi, Biombos: Haron Cohen, at the multiple art gallery
1984 - São Paulo SP - Tradition and rupture: synthesis of Brazilian art and culture, at the Biennial Foundation
1985 - Ljubljana Slovenia) - 16th International Engraving Biennial, at the modern Gallerija Ljubljana
1985 - São Paulo SP - 100 works Itaú, at Masp
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1986 - Curitiba PR - 7th Collection of the National Engraving Museum - Casa da Gravura, at the Guido Viaro Museum
1986 - Fredrikstad (Norway) - Trienal da Fredrikstad engraving
1986 - Havana (Cuba) - 2nd Havana Biennial
1986 - Rio de Janeiro RJ - Seven decades of Italian presence in Brazilian art, at the Imperial Palace
1987 - Campinas SP - 1st International Engraving Biennial, at MACC
1987 - São Paulo SP - 18th Panorama of Current Brazilian Art, at MAM/SP - Woodcut Award
1988 - Lisbon (Portugal) - Pioneers and disciples, at the José de Azeredo Perdigão Modern Art Center
1988 - Rio de Janeiro RJ - 2nd Geometric Abstraction, at Funarte. Arts Center
1988 - São Paulo SP - MAC 25 years: Acquisitions and recent donations, at MAC/USP
1988 - São Paulo SP - The rhythms and forms: contemporary Brazilian art, at Sesc Pompéia
1988 - Tokyo (Japan) - Tokyo Biennale at the Hakone Museum
1989 - Copenhagen (Denmark) - The rhythms and forms: contemporary Brazilian art, at the Charlottenborg Museum 1989 - Fredrikstad (Norway) - 9th Triennial of the Engraving of Fredrikstad, at the Municipal Library
1989 - Ljubljana (Yugoslavia - current Slovenia) - 18th International Engraving Biennial, at the modern Gallerija Ljubljana
1989 - Rio de Janeiro RJ - Brazilian engraving: 4 themes, at EAV/Parque Lage
1989 - São Paulo SP - 20th São Paulo International Biennial, at the Bienal Foundation
1990 - Curitiba PR - 9th Engraving Exhibition City of Curitiba, at the Engraving Museum
1990 - Paris (France) - Voyage au monde du papier au Travers des Biennales Brésiliennes, at the Grand Palais
1990 - São Paulo SP - The multiple in the view of Baravelli, Marcello Nitsche, Maria Bonomi, Norberto Nicola, Peticov and Vlavianos, At the multiple art gallery
1991 - São Paulo SP - Citizenship: 200 years of the Declaration of Human Rights, at Sesc Pompéia
1991 - São Paulo SP - What makes you now Generation 60?: Young contemporary art from the 60s Revisited, at MAC/USP
1991 - São Paulo SP - Records and impressions: seminal artists, at Casa das Rosas
1992 - Curitiba PR - 10th Mostra da Engraving Cidade de Curitiba/Mostra América, at the Museum of Engraving
1992 - Rio de Janeiro RJ - Art engraving in Brazil: Proposal for a mapping, in the CCBB
1993 - João Pessoa PB - woodcut: from cordel to the gallery, in Funesc
1993 - São Paulo SP - 2nd Exhibition of Italian-Brazilian Artists in São Paulo, at the Fiat Cultural Space
1993 - São Paulo SP - 3rd International Studio of Image Technologies, at SESC Pompéia
1993 - São Paulo SP - works for illustration of the literary supplement: 1956 - 1967, at MAM/SP
1993 - Washington (United States) - Ultramodern: The Art of Contemporary Brazil, at The National Museum of Women in the Arts
1994 - São José dos Campos SP - 1st São José dos Campos Engraving Biennial
1994 - São Paulo SP - Flags: 60 artists honor the 60 years of USP, at MAC/USP
1994 - São Paulo SP - Bienal Brasil Século 20, at the Bienal Foundation
1994 - São Paulo SP of the State
1994 - São Paulo SP - The new travelers, at Sesc Pompéia
1994 - São Paulo SP - Poetics of the Resistance: aspects of Brazilian engraving, at the SESI Art Gallery
1994 - São Paulo SP - Woodcutting: From Cordel to the Gallery, in the Metro
1995 - Curitiba PR - 11th Exhibition of the Engraving City of Curitiba, at the Cultural Foundation of Curitiba. Solar do Barão
1995 - Ljubljana (Slovenia) - 21st International Engraving Biennial, at the modern Gallerija Ljubljana
1995 - São Paulo SP - Projeto Contacto, at Galeria SESC Paulista
1995 - Yokoyama (Japan) - The Hanga: Kanegawa International Prints Festival
1996 - Belgrade (Yugoslavia) - 4th Graphic Art Biennial, at The Cvijeta Zuzoric Art Pavilion
1996 - Rio de Janeiro RJ - 1st Brahma Recyclete, in the Botanical Garden
1996 - Santo André SP - 24th Salão de Arte Contemporânea de Santo André, in the Paço Municipal
1996 - São Paulo SP - 4th Studio UNESP SESC SENAI of Image Technologies, at SESC Pompéia
1996 - São Paulo SP - Contemporary Brazilian Art: Recent Donations/96, at MAM/SP
1996 - São Paulo SP - Bandeiras, at the SESI Art Gallery
1996 - São Paulo SP - Ex Libris/Home Page, at the Paço das Artes
1996 - São Paulo SP - Women artists in the MAC collection MAC/USP
1996 - São Paulo SP - 1st OFF Bienal, at MUBE
1997 - Barra Mansa RJ - Contemporary traits: Homage to Brazilian engraving, at the Centro Universitário de Barra Mansa
1997 - Cadaqués (Spain) - 17th International Mini Print, at Taller Galeria Fort
1997 - Curitiba PR - The contemporary art of engraving, at the Metropolitan Museum of Art of Curitiba
1997 - Curitiba PR - Engraving City of Curitiba
1997 - Ettore Le Donne (Italy) - Postal Art: Art-Green
1997 - Gabrovo (Bulgaria) - 13th Biennial International of Humor and Satire in the arts
1997 - Irving (United States) - Contemporary Brazilian Prints, at the University of Dallas. Haggar Art Gallery
1997 - Kagawa (Japan) - 12th International Graphic Art Exhibition, at the Sakaide Museum of Art
1997 - Kharkiv (Ukraine) - 4th Block International of Graphics and Poster
1997 - Ljubljana (Slovenia) - International Engraving Biennial
1997 - Gabrovo (Bulgaria) - Bienal de Humor e Sátira
1997 - Cadaqués (Spain) - 17th International Mini Print
1997 - Ettore Le Donne (Italy) - Postal Art: Art-Green
1997 - Poland - Triennale 1997 International Print Triennial Society
1997 - Odessa (United States) - Contemporary Brazilian Prints, at the Gallery at the University of Texas of the Permian Basin
1997 - Plan (United States) - Contemporary Brazilian Prints, at the Collin County Community College. Spring Creek Art Gallery
1997 - São Paulo SP - Art Electromedia (Virtual Exhibition in Electronic Panels)
1997 - Toyama (Japan) - 5th International Poster Triennale
1997 - Wichita Falls (United States) - Contemporary Brazilian Prints, at the Midwestern State University Art Gallery
1998 - Abilene (United States) - Contemporary Brazilian Prints, at Abilene Christian University Shore Art Gallery
1998 - Baton Rouge (United States) - Contemporary Brazilian Prints, at the Louisiana State University
1998 - Berlin (Germany) - 2nd panorama of Brazilian art, at Caco Zanchi Art Gallery
1998 - Campinas SP - The great art of engraving, at the Croqui Gallery
1998 - City of Mexico (Mexico) - 11th Ibero-American Art Biennial, at the Museo del Palacio de Bellas Artes
1998 - Jacareí SP - Women's Labels: A tribute to Edith Behring, in Vila Cultural - Pátio dos Rails
1998 - Aalst (Belgium) - 2nd Panorama of Brazilian Art, at Caco Zanchi Art Gallery
1998 - Maracaibo (Venezuela) - 3rd Barro de América, at the Maracaibo Art Center Lia Bermúdez
1998 - Rio de Janeiro RJ - Thinking graphic: the engraving of language, in the Imperial Palace
1998 - Santo André SP - Ler Bonomi and Aldir yesterday and Today, at the Municipal Palace
1998 - São Paulo SP - The Art of Sculpture in the Conjunto Nacional, in the Conjunto Nacional
1998 - São Paulo SP - Impressions: the art of Brazilian engraving, at the Banespa-Paulista Cultural Space
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrixes and engravings, at the SESI Art Gallery
1998 - São Paulo SP - 3rd Bienal do Barro de América: on the essence, 7 horizons of man, in the Latin America Memorial
1999 - Rio de Janeiro RJ - Rio Engraving Show. Armando Sampaio Collection: Brazilian engraving, at the Calouste Gulbenkian Arts Center
1999 - Rio de Janeiro RJ - Rio Engraving Show. Guita and José Mindlin Collection, at the Correios Cultural Space
1999 - Rio de Janeiro RJ - Exhibition Rio Engravura. Brazilian modern engraving: Collection National Museum of Fine Arts, in the MNBA
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving. Maria Bonomi and Renina Katz: recent engravings, at the National Historical Museum
1999 - São Paulo SP - The Ressacralization of Art, at Sesc Pompéia
1999 - São Paulo SP - Latin American Yearbook of Plastic Arts, at the Latin America Memorial
1999 - São Paulo SP - daily life/art. Consumption - Metamorphosis of Consumption, at Itaú Cultural
1999 - São Paulo SP - United Artists: Travel of Identities, at Casa das Rosas
2000 - Mexico City (Mexico) - 12th Ibero-American Biennial of Art, at the Palace of Bellas Artes de la Ciudad de México
2000 - Colchester (England) - Other 500: Highlights of Brazilian Contemporary Art in Ueclaa, at Art Gallery - University of Essex
2000 - Rio de Janeiro RJ - O Bardi dos Artistas, at Espaço Cultural dos Correios
2000 - São Paulo SP - Audi Eletromídia de Arte (4th Virtual Exhibition on Electronic Screens)
2000 - São Paulo SP - Investigations. The Brazilian engraving, at Itaú Cultural
2000 - São Paulo SP - Maria Bonomi, Regina Katz: Effectiveness, at the Multiple Art Gallery
2000 - São Paulo SP - O Bardi dos Artistas, at the Latin America Memorial. Galeria Marta Traba
2000 - São Paulo SP - The role of art, in the SESI Art Gallery
2001 - Brasília DF - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at Margs
2001 - Santo André SP - 1st Engraving Biennial of Santo André
2001 - São Paulo SP - 7 APAP artists, at the Oswald de Andrade Cultural Workshop
2001 - São Paulo SP - Art Hoje, at Arvani Arte
2001 - São Paulo SP - 4th Bienal Barro de América, at the Latin America Memorial
2001 - São Paulo SP - 10 poetics, at A Hebraica
2002 - Rio de Janeiro RJ - Caminhos do Contemporânea 1952-2002, in Paço Imperial
2002 - São Paulo SP - Metropolis Collection of Contemporary Art, at the Pinacoteca do Estado
2002 - São Paulo SP - Open Opera: Celebration, at Casa das Rosas
2002 - São Paulo SP - Quem Faz As Bienais, at the Multiple Art Gallery
2003 - Rio de Janeiro RJ - BrazilianArt Project, at Almacén Galeria de Arte
2003 - Rio de Janeiro RJ - Treasures of the box: Brazilian modern art in the Caixa collection, in the cultural complex da Caixa
2003 - São Paulo SP - The engraving goes well, thank you: the Brazilian historical and contemporary engraving, at Espaço Virgílio
2003 - São Paulo SP - A xylograph, at the Augusta Art Office 664
2003 - São Paulo SP - Israel and Palestine: two states for two peoples, at Sesc Pompéia
2003 - São Paulo SP - MAC USP 40 years: Contemporary interfaces at MAC/USP
2004 - Campinas SP - Metropolis Collection of Contemporary Art, at the CPFL Cultural Space
2004 - São Paulo SP - Song of the Always, at the Latin America Memorial
2004 - São Paulo SP - Grupo Guanabara, Masp
Source: Itaú Cultural
