Nuno Ramos (São Paulo SP 1960)
Nuno Ramos is a sculptor, painter, draftsman, set designer, essayist and video maker. He studied philosophy at the Faculdade de Filosofia, Letras e Ciências Humanas of the Universidade de São Paulo (FFLCH/USP) between 1978 and 1982. Between 1980 and 1981, he worked as editor of the magazines Almanaque 80 and Kataloki. He began painting in 1983, the year he founded the Casa 7 studio together with Paulo Monteiro (1961), Rodrigo Andrade (1962), Carlito Carvalhosa (1961) and Fábio Miguez (1962). He made his first three-dimensional works in 1986. The following year, he was awarded the 1st Émile Eddé Visual Arts Grant, granted by the Museu de Arte Contemporânea da Universidade de São Paulo (MAC/USP).
In 1992, in Porto Alegre, he presented for the first time the installation 111, which refers to the massacre of inmates at the Casa de Detenção de São Paulo (Carandiru) that took place that year. In 1993 he published the prose book Cujo and, in 1995, the book-object Balada. In 2000, he won the competition held in Buenos Aires for the construction of a monument in memory of those who disappeared during that country's military dictatorship. In 2002, he published the short-story collection O Pão do Corvo [The Raven's Bread]. To compose his works, he uses a variety of supports and materials, working with printmaking, painting, photography, installation, poetry and video.
Critical Commentary
Nuno Ramos begins painting in 1982 at Casa 7, a studio formed with the artists Fábio Miguez (1962), Paulo Monteiro (1961), Rodrigo Andrade (1962) and Carlito Carvalhosa (1961). At that time, his works are figurative and gestural, made with synthetic enamel on paper. His painting is influenced by Julian Schnabel (1951) and Anselm Kiefer (1945). From 1985 onward, he starts using oil paint on canvas. The mass of paint becomes thicker and the forms more abstract. During this period, he gains prestige and visibility. He takes part in the 18th Bienal Internacional de São Paulo (1985) and the 2nd Havana Biennial (1986).
In 1987, he exhibits his first three-dimensional works. He makes sculptures with lime, fabric and wood. These works mark a change in his career: his interest shifts from a figuration associated with expressive gesture to the composition of pieces in which disparate materials are brought into relation. The following year, the surfaces of his paintings swell, overtaken by a thick, colorful mass in which objects of different kinds, such as wood, cloth and wire, are amalgamated. This aggregation of materials projects the surface beyond the limits of the support, turning it into a relief.
In the 1990s, he develops his first installations. In them, too, he brings together materials of different natures. He arranges sculptures, photographic images, texts and other objects within the space. In 1992, he makes 111, in which he addresses the brutality of the massacre of 111 inmates at the Casa de Detenção de São Paulo (Carandiru), which took place that same year. In 1996, he expands the area in which his work is shown and carries out the environmental project Matacão. The artist places stones in open-air pits in the rural area of Orlândia, São Paulo.
At the same time, he makes marble and granite pieces with petroleum jelly, such as Manorá, 1997/1999, and paints ever larger canvases. In 2002, he shows his first film, Luz Negra [Black Light], a tribute to the singer and songwriter Nelson Cavaquinho (1910 - 1986). The following year, he installs large sand pieces at the Museu de Arte da Pampulha - MAP, in Belo Horizonte, and at the Museu do Açude, in Rio de Janeiro.
Critiques
"Gestating, juxtaposing, alluding, duplicating are four ways Nuno Ramos has found to highlight and problematize invention in art. Through them he has built, beyond stylistic variations or more immediate visual appearance, a poetic invariant. The artist has never strayed from a poetics that, wherever it may turn, has always sought to give continuity to the discontinuous and, in that movement, to expose the tension between the two. Thus, when investigating making through gesture, he seeks to continue it as such in painting, despite the insurmountable discontinuity between a gesture and the mark it leaves. Or, when emphasizing making through juxtaposition, he does not create collages of discrete elements, but amalgams or fusions of the most varied things, in which there is a continuous act of aggregation. Likewise, when he alludes to cosmic forces as the creators of the works, he secures a continuity between them and their sensory traces through a skillful counterpoint between the evident and the enigmatic. And when he approaches making through the relationship between model and copy, the different scales gain fluidity and continuity in the play of imagination offered to the viewer. But if the formula 'giving continuity to the discontinuous' sounds abstract - as if it were a mathematical or philosophical problem -, perhaps it is enough, to make it concrete, to look at one of his works, in which any wreckage, fragment or remnant is, in the end, but only in the end, saved from its shipwreck. And perhaps even to experience the unique feeling, proper to art and to little else, that the scraps, the discontinuity and the finitude of life flow into a larger course, uninterrupted and continuous like the succession of generations."
Alberto Tassinari
TASSINARI, Alberto. Gestar, justapor, aludir, duplicar. In: TASSINARI, Alberto; MAMMÌ, Lorenzo; NAVES, Rodrigo. Nuno Ramos. São Paulo: Ática, 1997, p. 16-29.
"The time of these works is not the time of succession, which allows things to accumulate. It is rather a porous time, operating within an extended present, repeatedly creating its own suspension and cancelling, one after another, all successive movements. As a result, it is the very process of giving form that is called into question. If in the modern tradition form was largely obtained from a phenomenological conception of matter - which did not prevent it from having a hitherto unknown presence -, and consequently from a constructiveness given in the perceptual relationship itself, in a confrontation in which the resistance of the elements was symmetrical to the subject's power of formalization, we now have something like a pulverization of this nexus by an excessive malleability of matter, which passively thwarts the very attempts at structuring. In a way, the wooden lattice is a theatricalization of this drama."
Rodrigo Naves
NAVES, Rodrigo. Em Pó. In: TASSINARI, Alberto; MAMMÌ, Lorenzo; NAVES, Rodrigo. Nuno Ramos. São Paulo: Ática, 1997, p. 184-185.
"His works respect the delimited fields of artistic practice - they are paintings or sculptures - and even accentuate, albeit obliquely, the difference between the two genres: a recent cycle of sculptures, white and aseptic like a collection of plaster casts, stands in this sense in contrast to the explosion of pictorial matter in the latest paintings. However, firmly as they are installed at the center of an artistic domain, these works reveal a certain unease, an instability, a fragility that is above all physical: in the sculptures, compact matter is replaced by lime powder, always on the verge of crumbling or collapsing on itself; in the paintings, the different materials keep reacting upon one another, they do not stabilize, they do not 'dry'. This congenital restlessness undermines the work as an object. What we see is merely the precarious result of a process, a moment of ecstasy that very nearly breaks. The wet surface of the paintings reveals that the art object, the work as we generally understand it, is not yet finished, and never will be. (...)
For the work to fulfill its promise, it must first of all abolish the certainty that there will be, one way or another, an apparition. It must be able to cancel the wall, the space, the liturgy that sanctify it. These are precisely the problems the avant-garde of the 1960s and 1970s confronted to exhaustion. But several recent works, among them those of Nuno Ramos, show that these questions can be taken up again within the limits of pictorial work without losing their tension. (...) It is thanks to the abandonment of form that Nuno Ramos's paintings make an aesthetic experience possible. The work withdraws from the gaze because the filters through which we organize our vision are abolished. It offers itself defenselessly, and in so doing hides - so concrete that it becomes unreachable. (...) The lime sculptures could not be touched without crumbling, and so became unattainable, as if enclosed in a magnetic field - these paintings cannot even be looked at without the gaze sinking into the body of the picture and getting bogged down. The impossibility of handling, even as a visual strategy, restores an aura, a sacredness, to the work - but a sacredness different from the traditional one: it signals that if art has returned to the galleries, it has returned irreducibly foreign. It is no longer articulated within a hierarchy of values; it suspends them: it is a black hole."
Lorenzo Mammì
MAMMÌ, Lorenzo. Nuno Ramos. In: TASSINARI, Alberto; MAMMÌ, Lorenzo; NAVES, Rodrigo. Nuno Ramos. São Paulo: Ática, 1997, p. 188-189.
"The complex use of the most diverse materials - paraffin, petroleum jelly, turpentine, felt, paper, wax, linseed, clay, salt, cloth, rope, aluminum sheet, synthetic enamel, marble, glass, pitch - creates a dense mixture thanks to the free arrangement of its constituent elements. The work becomes a kind of active field, through the constant displacement of these elements, suggesting a discontinuous search that advances through difficulties, incompatibilities and oppositions. His works thus reveal themselves as multidirectional experiences, outlining an immense cultural arena in which conflicts are laid bare. On these surfaces, receptive to so many meanings, we cannot say exactly what holds them, what pushes them apart, what amalgamates them - in short, what determines them. This combination of diffuse elements forms a kind of contemporary symphonic poem of dissonant harmonies with rapid changes of rhythm, without any tonal center or thematic structures."
Vanda Mangia Klabin
KLABIN, Vanda Mangia. Apresentação ao catálogo Nuno Ramos. Rio de Janeiro, Centro de Arte Hélio Oiticica, 1999/São Paulo, Museu de Arte Moderna, 2000, p. 6.
Testimonials
"I somewhat confuse what art is with why I am an artist. It is almost a tool, a way of gaining access to something - something that seems truer than something else. And it is about making what you have access to take on a body, so that it is not something that passes, that goes away. Of course you can gain access to many things by doing, dancing, playing soccer. With art you are able to hold that in place, to make it a real thing, something that can be materialized and that also changes over time. Almost a desire to materialize an existential itch, something undefined, an anxiety, a desire, an ambition, a wish to talk about everything, to be the author of something memorable. (...)
Without any clear novelty, art now has a very enigmatic force. The force comes from painting; these are super-Picassian groups, not evolutionary in the least. We have set aside the concern with the path toward the new. Novelty is very confused and hard to locate. Besides that, there is a general interest in something heavy, rough, raw. There is an attempt to break with what would be aesthetic thinking. (...)
In a working group like 'Casa 7', you need to stake out a position, and that creates a number of conflicts. One of them has to do with the question of novelty. Each person ends up using a bit of the other's world, and that is sometimes dangerous, annoying. It causes difficulties, even jealousy. But I believe the work ends up coming out of this great internal competition stronger."
Nuno Ramos
RAMOS, Nuno. Por que sou artista? In: Arte em São Paulo, São Paulo, n. 29, mar. 1985, n. p.
"I put them all together: water, algae, mud, in a vertical puddle like a sculpture, stitched together by its own weight. Pieces of the world (words, mainly words) were reflected there, and the golden color of these reflections gave an untouched impression of reality. The horrible sound of a saw came from inside the puddle and completed the ritual, like a promise (which I awaited, attentive) that it would be knowledge and revelation. It was then, as if it were sweating, that a few drops appeared on its surface and ran down, slowly at first and then in gulps, in a shifting asphyxia that brought the inside to the surface and broke the suspension and paralysis into pieces. And, turned to dirt at my feet, it was a lament for what I had seen and lost."
Nuno Ramos
RAMOS, Nuno. Cujo. Rio de Janeiro, Editora 34, 1993, p. 9.
Collections
Coleção Museu de Arte Contemporânea de São Paulo
Coleção Museu de Arte Moderna de São Paulo
Coleção Museu de Arte Moderna de Brasília
Coleção Museu de Arte Moderna de Porto Alegre
Coleção Charles Cosac
Coleção Beatriz Bracher
Coleção Dulce e João de Figueiredo Ferraz - Ribeirão Preto, São Paulo
Coleção Escola Panamericana de Artes
Coleção Fernando Altério - São Paulo
Coleção Gilberto Chateaubriand - MAM/RJ
Coleção Isabella Prata
Coleção João Pedrosa
Coleção José Zaragosa
Coleção Karla Camargo
Coleção Marcantonio Vilaça
Coleção Maria Helena e Antonio Carlos Vianna de Barros
Coleção Nacional Engenharia S/A
Coleção Pedro Tassinari Filho
Coleção Raquel Arnaud
Coleção Raymon Louis Rebetez
Coleção Rodrigo Barroso
Solo Exhibitions
1983 - São Paulo SP - Solo, at Sesc Vila Nova
1987 - Rio de Janeiro RJ - Solo, at Funarte
1988 - São Paulo SP - Solo, at MAC/USP
1988 - Rio de Janeiro RJ - Solo, at Funarte
1990 - Amsterdam (Netherlands) - Solo, at Pulitzer Art Gallery
1990 - São Paulo SP - Solo, at CCSP
1990 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1991 - Belo Horizonte MG - Solo, at Gesto Gráfico Galeria de Arte
1991 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1992 - Asunción (Paraguay) - Solo, at Centro de Estudos Brasileiros. Sala Lívio Abramo
1992 - Porto Alegre RS - 111, at Instituto Estadual de Artes Visuais
1992 - Porto Alegre RS - Nuno Ramos: Paintings, at MAC/RS
1993 - São Paulo SP - 111, at Gabinete de Arte Raquel Arnaud
1994 - São Paulo SP - Mounds, at Sesc Pompéia
1995 - New York (United States) - Milky Way, at Brooke Alexander
1996 - Orlândia SP - Matacão (permanent work)
1996 - São Paulo SP - For Goeldi, at As Studio
1996 - Vitória ES - At Times, at Ufes. Galeria de Arte e Pesquisa
1997 - Asunción (Paraguay) - Manorá, at Centro de Estudos Brasileiros
1997 - São Paulo SP - Drowned, at Masp
1997 - Rio de Janeiro RJ - Drowned, at Centro de Arte Hélio Oiticica
1998 - Madrid (Spain) - White Nights, at Arco
1998 - Rio de Janeiro RJ - Fungi, at Museus Castro Maya. Museu da Chácara do Céu
1998 - Rio de Janeiro RJ - Solo, at Funarte
1998 - Rio de Janeiro RJ - Solo, at Paço Imperial, Projeto Atelier Finep
1998 - São Paulo SP - Fungi, at Galeria Camargo Vilaça
1999 - Rio de Janeiro RJ - Solo, at Centro de Arte Hélio Oiticica
2000 - São Paulo SP - Solo, at MAM/SP
2002 - São Paulo SP - Black Light, at Galeria Fortes Vilaça
2002 - São Paulo SP - Solo, at Centro Universitário Maria Antonia
2003 - Belo Horizonte MG - Solo, at MAP
2003 - São Paulo SP - Solo, at CCSP
2004 - Rio de Janeiro RJ - Solo, at Silvia Cintra Galeria de Arte
2004 - São Paulo SP - Death of Houses, at CCBB
Group Exhibitions
1984 - Fortaleza CE - 7th National Visual Arts Salon
1984 - Piracicaba SP - 16th Piracicaba Contemporary Art Salon
1984 - Rio de Janeiro RJ - 7th National Visual Arts Salon, at MAM/RJ
1984 - São Paulo SP - 2nd São Paulo Contemporary Art Salon, at MIS/SP - acquisition prize
1984 - São Paulo SP - 7th National Visual Arts Salon - foreign travel prize
1984 - São Paulo SP - Art in the Street 2
1984 - São Paulo SP - Casa 7 Group and Sérgio Fingermann, at CCSP
1984 - São Paulo SP - Panels, at Paço das Artes
1985 - Rio de Janeiro RJ - 8th National Visual Arts Salon, at MAM/RJ
1985 - Rio de Janeiro RJ - Casa 7: Painting, at MAM/RJ
1985 - São Paulo SP - 12 São Paulo Artists, at Subdistrito Comercial de Arte
1985 - São Paulo SP - 18th Bienal Internacional de São Paulo, at Fundação Bienal
1985 - São Paulo SP - 8th National Visual Arts Salon
1985 - São Paulo SP - Casa 7: Painting, at MAC/USP
1986 - Buenos Aires (Argentina) - 1st Latin American Biennial of Art on Paper, at Museo de Arte Moderno de Buenos Aires - traveling
1986 - Havana (Cuba) - 2nd Havana Biennial
1986 - New Delhi (India) - 6th New Delhi Triennial - 1st prize
1987 - Belém PA - Arte Pará Salon, at Museu do Estado do Pará
1987 - Paris (France) - Modernity: Brazilian Art in the 20th Century, at Musée d'Art Moderne de la Ville de Paris
1988 - Leverkusen (Germany) - Brazil Now, at Museum Morsbroich
1988 - São Paulo SP - The 1980s, at Arco Arte Contemporânea Galeria Bruno Musatti
1988 - São Paulo SP - Tribute to Carlos Ziccardi, at Galeria Subdistrito
1988 - São Paulo SP - MAC 25 Years: Recent Acquisitions and Donations, at MAC/USP
1988 - São Paulo SP - Modernity: 20th-Century Brazilian Art, at MAM/SP
1988 - Stuttgart (Germany) - Brazil Now, at Galerie Landesgirokasse
1989 - Hannover (Germany) - Brazil Now, at Sprengel Museum
1989 - Jaú SP - Jaú and Art: A Commitment
1989 - São Paulo SP - 10 Artists, at Atelier Fortunato
1989 - São Paulo SP - 20th Bienal Internacional de São Paulo, at Fundação Bienal
1990 - Brasília DF - Brasília Visual Arts Award, at Museu de Arte de Brasília
1990 - São Paulo SP - Annual Visual Arts Exhibition Program, at CCSP
1991 - Belo Horizonte MG - Brazilian Metal Structures, at Galpão Embra
1991 - Caracas (Venezuela) - Brasil: la nueva generación, at Fundación Museo de Bellas Artes
1991 - Cuenca (Ecuador) - 3rd Cuenca International Biennial
1991 - Curitiba PR - 80/90 Three-Dimensional Forms: The Organic Question, at Museu Municipal de Arte
1991 - São Paulo SP - BR/80. Brazilian Painting of the 1980s, at Itaugaleria
1992 - Paris (France) - Latin American Artists of the Twentieth Century, at Centre Georges Pompidou
1992 - Rio de Janeiro RJ - 10 São Paulo Artists, at MAM/RJ
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - São Paulo SP - The Seduction of Volumes: The Three-Dimensional Works of the MAC, at MAC/USP
1992 - São Paulo SP - Brazilian Contemporary Art, at MAC/USP
1992 - São Paulo SP - João Sattamini/Subdistrito, at Casa das Rosas
1992 - São Paulo SP - Four Artists from the Marcantônio Vilaça Collection, at Casa das Rosas
1992 - São Paulo SP - Week of the Week, at Theatro Municipal
1992 - Seville (Spain) - Latin American Artists of the Twentieth Century, at Estación Plaza de Armas
1993 - Cologne (Germany) - Latin American Artists of the Twentieth Century, at Kunsthalle Köln
1993 - New York (United States) - Latin American Artists of the Twentieth Century, at MoMA
1993 - Porto Alegre RS - Anti Body, at Margs
1993 - São Paulo SP - Brazilian Art in the World, a Trajectory: 24 Brazilian Artists, at Dan Galeria
1993 - São Paulo SP - Poetics, at Gabinete de Arte Raquel Arnaud
1994 - São Paulo SP - 22nd Bienal Internacional de São Paulo, at Fundação Bienal
1994 - São Paulo SP - Contaminated Photography, at CCSP
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - Group Sculpture Show, at Espaço Namour
1995 - Curitiba PR - 11th Curitiba City Printmaking Show, at Fundação Cultural de Curitiba. Solar do Barão
1995 - Londrina PR - Brazilian Art: Confrontations and Contrasts, at Pavilhão Internacional Octávio Cesário Pereira Júnior
1995 - São Paulo SP - The 1980s: The Stage of Diversity, at Galeria de Arte do Sesi
1995 - Venice (Italy) - 46th Venice Biennale
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - São Paulo SP - Brazilian Contemporary Art: Recent Donations/96, at MAM/SP
1996 - São Paulo SP - Group show, at Galeria Camargo Vilaça
1996 - São Paulo SP - Excess, at Paço das Artes
1997 - Belém PA - 16th Arte Pará Salon, at Museu do Estado do Pará. Palácio Lauro Sodré
1997 - Belém PA - Arte Pará: Frontiers, at Museu de Arte de Belém
1997 - Mexico City (Mexico) - Así está la Cosa: instalación y arte objeto en América Latina, at Centro Cultural Arte Contemporáneo
1997 - Ciudad Bolívar (Venezuela) - 5th Guayana National Art Biennial, at Museo de Arte Jesús Soto
1997 - Curitiba PR - Contemporary Printmaking, at Museu Metropolitano de Arte de Curitiba
1997 - Guayana (Venezuela) - 5th Guayana National Art Biennial
1997 - São Paulo SP - 3rd United Artists: Light, at Casa das Rosas
1997 - São Paulo SP - Diversity of Contemporary Brazilian Sculpture, on Avenida Paulista - organized by Ministério da Cultura/Itaú Cultural
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 - Niterói RJ - Mirror of the Biennial, at MAC/Niterói
1998 - Penápolis SP - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
1998 - Ribeirão Preto SP - The Dimensions of Contemporary Art, at Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi
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 - São Paulo SP - Canibáliafetiva, at A Estufa
1998 - São Paulo SP - Frontiers, at Itaú Cultural
1998 - São Paulo SP - To Sail Is Necessary, at CCSP
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1999 - Rio de Janeiro RJ - Rio Printmaking Show: Modern Brazilian Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - São Paulo SP - Figures, at MAM/SP
1999 - São Paulo SP - Why Duchamp?, at Paço das Artes
2000 - Curitiba PR - 12th Curitiba Printmaking Show. Marks of the Body, Folds of the Soul
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Niterói RJ - Paintings in the João Sattamini Collection, at MAC/Niterói
2000 - São Paulo SP - Brazilian Sculpture: From the Pinacoteca to the Jardim da Luz, at Pinacoteca do Estado
2000 - São Paulo SP - End of the Millennium: The 1990s at the MAM, at MAM/SP
2000 - São Paulo SP - Investigations. The Artist's Work, at Itaú Cultural
2001 - Barra Mansa RJ - The Hedonist Gaze, at UBM
2001 - Oxford (United Kingdom) - Experiment Experiência: Art in Brazil 1958-2000, at Museum of Modern Art
2001 - Recife PE - Políticas de la Diferencia: arte iberoamericano fin de siglo, at Centro de Convenções de Pernambuco
2001 - Rio de Janeiro RJ - The Image of the Sound of Antônio Carlos Jobim, at Paço Imperial
2001 - Rio de Janeiro RJ - Blind Mirror: Selections from a Contemporary Collection, at Paço Imperial
2001 - Rio de Janeiro RJ - The Spirit of Our Time, at MAM/RJ
2001 - São Paulo SP - Blind Mirror: Selections from a Contemporary Collection, at MAM/SP
2001 - São Paulo SP - The Spirit of Our Time, at MAM/SP
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Brasília DF - Fragments to Their Magnet, at Espaço Cultural Contemporâneo Venâncio
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 - Porto Alegre RS - Violence and Passion, at Santander Cultural
2002 - Rio de Janeiro RJ - 1st Rio Contemporary Art Show, at MAM/SP
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
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 - Open Opera: Celebration, at Casa das Rosas
2002 - São Paulo SP - Paralela, at a warehouse at Avenida Matarazzo, 530
2002 - São Paulo SP - Rotativa Phase 2, at Galeria Fortes Vilaça
2002 - Toronto (Canada) - Ultrabaroque: Aspects of Post-Latin American Art, at Art Gallery of Ontario
2003 - São Paulo SP - 2080, at MAM/SP
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
2003 - São Paulo SP - Marcantonio Vilaça - Contemporary Passport, at MAC/USP
2003 - Vila Velha ES - The Salt of the Earth, at Museu Vale do Rio Doce
2004 - Rio de Janeiro RJ - Brazilian Contemporary Art in Rio Collections, at MAM/RJ
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Chateaubriand Collection, at MAM/RJ
2004 - Rio de Janeiro RJ - Where Are You, Geração 80?, at CCBB
2004 - São Paulo SP - Affinities and Diversities, at Avenida Roque Petroni Jr., 630
2004 - São Paulo SP - Contemporary Art in the Municipal Collection, at CCSP
2004 - São Paulo SP - Contemporary Art: An Open History, at Gabinete de Arte Raquel Arnaud
2004 - São Paulo SP - Summer Bazaar, at Galeria Fortes Vilaça
Source: Itaú Cultural
