Roberto Magalhães (Rio de Janeiro RJ 1940)
Roberto de Oliveira Magalhães is a Brazilian visual artist – painter, draftsman, printmaker, sculptor, illustrator, set designer and teacher – recognized as an icon of the "1960s Generation" in Brazil. His artistic career began early, when he worked at his uncle's print shop creating drawings for labels and advertisements. He later went on to design book covers, record sleeves and advertising illustrations. In 1961, he enrolled as a non-degree student at the Escola Nacional de Belas Artes (Enba).
During the 1960s, he took part in several group exhibitions in Brazil and abroad. In 1962, he showed ink drawings at Galeria Macunaíma in São Paulo. In 1964, he held his first solo exhibition of woodcuts at Petite Galerie in Rio de Janeiro, and the following year he received the printmaking prize at the 4th Paris Biennale. In 1967, after winning the foreign travel prize at the 15th Salão Nacional de Arte Moderna (SNAM) with the woodcut Édipo Decifra o Enigma da Esfinge [Oedipus Solves the Riddle of the Sphinx], he moved to Paris. In 1968, he exhibited with Antonio Dias at Galeria Debret, also in Paris.
In the following years, he studied occultism and theosophy and, above all, drew closer to Buddhism, which led him to live for four years at the Meditation Center of the Buddhist Society of Brazil, interrupting his artistic production. In 1975, he resumed his work with solo exhibitions of drawing and painting in Rio de Janeiro and São Paulo, and began teaching at the Museu de Arte Moderna do Rio de Janeiro (MAM/RJ). During the 1980s, he took part in group exhibitions of prints and drawings. In 1992, the Centro Cultural Banco do Brasil (CCBB) in Rio de Janeiro organized a retrospective marking 30 years of his career, the largest ever devoted to his work.
Critical Commentary
Although in tune with the new figurations that came to light in exhibitions such as Opinião 65 and Nova Objetividade Brasileira, Roberto Magalhães built a path of his own, without ties to groups or movements. His constant movement among different techniques (colored pencil, pen and ink, watercolor, lithography, woodcut and oil painting) and a highly personal thematic repertoire make it difficult to place him within trends or schools. In any case, critics speak of "surrealist experiments" close to those of Salvador Dalí, and of affinities between his work and the symbolic compositions of Arcimboldo, the childlike imagination of Paul Klee and even the "soft sculptures" of Claes Oldenburg. Magalhães emphasizes his closeness to mystical experience and esotericism, in an attempt to bring together art, science and philosophy. "Esoteric art", he says, besides being made under "true inspiration", believes in an essential affinity between forms and colors, and seeks to project "eternal truths" through images.
The fantastic realism explored in the 1960s, as in Barco Voador Conduzindo um Esqueleto [Flying Boat Carrying a Skeleton], 1962, coexists with a wide range of symbols and allegories developed in the 1970s, inspired by treatises on esotericism and alchemy and by books on occultism and astrology - Capricórnio [Capricorn], 1970, and A Pedra Filosofal [The Philosopher's Stone], 1973. The existential immersion of this period broadened his research into color and form, regarded as the fruits of an alchemical operation, in Ministro do Inferno [Minister of Hell], 1975, and Homem Devidamente Pintado [Man Duly Painted], 1976. These works already contain the emblematic elements of his oeuvre: distortion of the figure; anthropomorphization of nature; metamorphoses of every kind (mountain-birds, fantastic animals, noses performing acrobatics, humanized machines and buildings, house-cars, etc.). These elements make up compositions marked by humor - at times black humor - in which the artist combines the exploration of childhood memory and the dream world with unusual elements drawn from everyday life and from close observation of cities. Central do Brasil, 1983, 10º Planeta [10th Planet], 1986, and Segunda-Feira [Monday], 1994, are some of these unexpected landscapes. Man-machines, monstrous beings or simple characters from children's comic strips are other well-known creations of his, seen in Mulher do Futuro [Woman of the Future], 1975, Gigante Examinando uma Casa [Giant Examining a House], 1988, and Habitante da Lua [Inhabitant of the Moon], 1994. Identifying distinct phases in Magalhães's work does not prevent the recognition of a personal style built, from the outset, in close dialogue with the techniques and themes of illustration, comics and caricature.
Critiques
"Of this quasi-group formed by Antonio Dias, Carlos Vergara, Roberto Magalhães and Rubens Gerchman - whose activity began in Rio right at the start of the 1960s and whose affinities were then concentrated on the return to figuration, under the critical influence of a certain blend of surrealism, magical realism and pop art - Roberto Magalhães was perhaps the one who remained most interested in developing, calmly and consistently, step by step, the same core of problems of form and content established from the outset. While Dias and Gerchman, after Nova Objetividade Brasileira and settling abroad, turned to the realm of the conceptual, though always on the critical plane of contemporaneity, and while Vergara multiplied his research with poor or noble materials, also taking an interest in the direct participation of the viewer in the work-proposal, Magalhães wished for nothing more, over a little more than a decade of work, especially in drawing and printmaking, and now in painting, than to unfold his natural inclination toward the fantastic ('Art is a magical power and only magicians have access to it' or 'Art is touching the Divine', in his own words), (...)"
Roberto Pontual
PONTUAL, Roberto. Arte/Brasil/hoje: 50 anos depois. São Paulo: Collectio, 1973.
"What Roberto Magalhães offers today as paintings are delicate visual surprises, poetic licenses with everyday scenes and changes in the scale of the world. There is a gentle irony and a nostalgic reflection on power and strength, on the laws of the universe and on the hierarchy of forms - for what pleases him most is to invert the rules and norms of representing nature. (...) In his most recent works, he set aside the allegorical character of his scenes to concentrate on human heads or on scenes of a fantastic everyday. His houses twist, flowers and animals take on a strange appearance, descriptions of the most banal activity grow into another dimension. What makes him an exceptional artist is that his choices are very precise. The characters are distorted as in old vignettes and surrounded by hallucinatory elements, but all this paraphernalia is rigidly controlled. There is a geometric organization of space and an alteration of the laws of vision carried out with the assurance of someone who knows exactly what effect he intends. It is thanks to this control that Roberto Magalhães has managed, over 25 years of work, to stay clear of any affiliation or identification with an artistic tendency. (...)"
Casimiro Xavier de Mendonça
SÃO Paulo - Rio - Paris. Apresentação de Marie-Odile Briot. Textos de Isaac Ortizar et al. São Paulo: Montesanti Galleria, 1987.
"(...) Roberto Magalhães interprets the exactness of his woodcut in a tactile way, for he also caresses the wood, distancing himself from the concepts of what he calls 'expressionism', so powerful at the beginning of the 1960s. Introduced to figuration from another angle, that of advertising, it is nevertheless not the comic book that lies on the horizon of his figures, and the same is true of his paintings and drawings. On the contrary, by valuing the cut-out in the woodcut, he anticipates the comic strips that adopt the same approach of flat, cut-out figures. These produce the same laughter that, in the early 1960s, breaks loose from Roberto Magalhães's prints, whose drawings, however, simulate chiaroscuro and relief, distancing themselves from the woodcuts. The humor in the print of the fall of Troy reveals the rhetorical-graphic procedures that produce it. The famous talking self-portrait spits out its speech sideways but, lacking a speech balloon, relates to the comic book in an uncertain way and to the angel of Simone Martini's Annunciation in a most certain way, despite the difference in genres. The artist-character who speaks in this way is conceived, like the figures of Troy, as a hybrid, and thus as an aggregation of heterogeneous beings.
Valuing quotation, Roberto Magalhães neither follows pop stylistic features nor analyzes or describes the setting of the scene, which, reduced to the action of the characters, unfolds as comedy, erudite in the rhetorical moves through which it plays on the ambiguity of parts and whole, but also on the juxtaposition of hybrids. The woodcuts of the 1960s can stage, as we have seen, the epic dimension of the taking of Troy, with its reptilian horse, its mechanically articulated bodies and, everything on the plane, without chiaroscuro, as a play of aggressively geometrized cut-outs. Humor, in Roberto Magalhães, is parodic, textually; it is so graphically as well, in the inept caricatures of figures stiffened by rivets and loose because the rivets fix nothing. The implausibility of bodies in other genres is exposed as satirical plausibility in Roberto Magalhães".
Leon Kossovitch e Mayra Laudanna
GRAVURA: arte brasileira do século XX. Apresentação Ricardo Ribenboim; texto Leon Kossovitch, Mayra Laudanna, Ricardo Resende; design Rodney Schunck, Ricardo Ribenboim; fotografia da capa Romulo Fialdini. São Paulo: Itaú Cultural: Cosac & Naify, 2000, p. 8.
Testimonials
"I worked at an advertising company. I did layouts and final artwork. (...) But even before that, I designed labels for cachaça, wine and so on. (...) I did a lot of book covers and illustrations. (...) Advertising gave me an objective view of these graphic things, of printing. (...)
I read a lot of popular science books - something I really like, along with science fiction. That was my kind of reading, more geared toward science. At that time, people made prints with a basically expressionist approach. It was the school of Goeldi, of the expressionist woodcut. But I began to engrave, perhaps by intuition, using a different process. Some people criticized me and said that wasn't woodcut. That wasn't how a woodcut was made. But I ask: wasn't it carved in wood? (...) It was woodcut. I would make a drawing on paper, grid the paper and transfer the drawing to the wood. Or else I drew directly on the wood, with brush and India ink, you see? I made the drawing on the wood. I drew what would be the positive. At the time, people thought that was heresy, that that was not how one engraved.
So I did the studies on paper, with India ink. Everything drawn with the spontaneity the brush gives. From there, I transferred it faithfully to the wood, to the woodblock. And in doing so I suppressed the expressionist characteristics of the printmaking of the time. Back then nobody did that, understand? So it really was like heresy to engrave that way; you couldn't. It was forbidden.
At the School, people were shocked and told me it wasn't done that way, that I couldn't. But I kept going. Though it wasn't everyone, just a few more traditionalist minds.
I started attending the Escola Nacional de Belas-Artes - that is, I took the entrance exam and didn't pass, but even so I started attending and getting to know the artists and the students. That was when I attended the printmaking studio, with Adir Botelho. It was there that I saw there was something called woodcut, you see? And you carved the wood with a gouge and printed it. (...)
Yes, the School was always more tied to academic forms. But I learned a lot there, because it was my first contact with artists. Before that, I worked alone. The contact was very good for me, not only the human contact but also the techniques, of drawing, of painting. (...)
Enba was a great place in every sense. Later, the freedom to attend the School came to an end during the dictatorship. They started throwing bombs at the school's door. People became very frightened and then they really closed it off. Anyone who was not a student could not get in, and the climate of camaraderie disappeared. (...)
I took part in group exhibitions right there at the Escola Nacional de Belas-Artes, in a gallery that today is a room, just at the entrance on the right. And my prints began to sell. And since the editions were of twenty each, I sold several times over. So I could already make a living from art.
My work as an advertising draftsman helped my working process a great deal. I learned a lot of graphic and printing technique, drawing techniques for reproduction. I would often take a drawing, pieces of drawings, and put them together into a larger drawing, which was also another heresy, wasn't it? I kept joining them and forming something that I thought made a good print. I started to get excited because the result was very good. (...)"
Roberto Magalhães - Sesc Tijuca, 4 de setembro de 1986 e 3 de agosto de 1997
GRAVURA: arte brasileira do século XX. Apresentação Ricardo Ribenboim; texto Leon Kossovitch, Mayra Laudanna, Ricardo Resende; design Rodney Schunck, Ricardo Ribenboim; fotografia da capa Romulo Fialdini. São Paulo: Itaú Cultural: Cosac & Naify, 2000, p. 56.
Solo Exhibitions
1962 - Rio de Janeiro RJ - First solo exhibition of drawings, at Funarte. Galeria Macunaíma
1964 - Rio de Janeiro RJ - Solo, at Petite Galerie
1965 - Belo Horizonte MG - Solo, at Galeria Morada
1965 - Rio de Janeiro RJ - Solo, at Petite Galerie
1966 - Houston (United States) - Solo, at Kiko Gallery
1967 - Rio de Janeiro RJ - Solo, at MAM/RJ
1968 - Paris (France) - Solo, at Galeria Debret
1975 - Rio de Janeiro RJ - Roberto Magalhães: Works from the Gilberto Chateaubriand Collection, at Petite Galerie
1975 - Rio de Janeiro RJ - Roberto Magalhães: Works from the Gilberto Chateaubriand Collection, at Galerie Maison de France
1975 - São Paulo SP - Solo, at Galeria Arte Global
1978 - Rio de Janeiro RJ - Solo, at Galeria Saramenha
1980 - Rio de Janeiro RJ - Solo, at Funarte
1981 - Rio de Janeiro RJ - Solo, at Galeria de Arte Sigaud
1983 - São Paulo SP - Solo, at Galeria Arte Global
1984 - Rio de Janeiro RJ - Roberto Magalhães: Paintings and Screenprints 1980-1984, at Galeria Saramenha
1987 - Rio de Janeiro RJ - Solo, at Gabinete de Arte Cleide Wanderley
1987 - Rio de Janeiro RJ - Solo, at Galeria Investiarte
1987 - Rio de Janeiro RJ - Solo, at Galeria Saramenha
1987 - Rio de Janeiro RJ - Solo, at Petite Galerie
1988 - London (England) - Solo, at Embaixada do Brasil na Inglaterra
1991 - Rio de Janeiro RJ - Solo, at GB Arte
1992 - Rio de Janeiro RJ - Solo exhibition of drawings, at Galeria Sarraceni
1992 - Rio de Janeiro RJ - Roberto Magalhães: Drawings and Paintings, at CCBB
1992 - Rio de Janeiro RJ - Roberto Magalhães: Drawings, at Galeria Sarraceni
1994 - Rio de Janeiro RJ - Solo, at Museus Castro Maya. Museu da Chácara do Céu
1995 - Guadalajara (Mexico) - Roberto Magalhães: Woodcuts, at Museo de Las Artes de La Universidad de Guadalajara
1995 - Rio de Janeiro RJ - Line and Matrix, at Instituto Cultural Villa Maurina
2001 - Rio de Janeiro RJ - Solo, at Instituto Moreira Salles
2001 - São Paulo SP - Solo, at Instituto Moreira Salles
2006 - São Paulo SP - Roberto Magalhães: Painting and Drawing, Valu Oria Galeria de Arte
2010 - São Paulo SP - Solo, James Lisboa Escritório de Arte
2012 - Rio de Janeiro RJ - Who I Am, Where I Come From and Where I Am Going, Paço Imperial
Group Exhibitions
1963 - Bonn (Germany) - Brazilian Art Today
1963 - Brussels (Belgium) - Brazilian Art Today
1963 - São Paulo SP - 1st Young National Drawing Exhibition, at Faap - acquisition prize
1963 - Vienna (Austria) - Brazilian Art Today
1964 - Belo Horizonte MG - 1st Young National Drawing Exhibition, at MAP
1964 - Philadelphia (United States) - Brazilian Printmakers, at The Print Club
1964 - Paris (France) - Salon Comparaisons, at Musée d'Art Moderne de la Ville de Paris
1964 - Ribeirão Preto SP - 1st Young National Printmaking Exhibition
1964 - Rio de Janeiro RJ - 13th National Salon of Modern Art
1964 - Rio de Janeiro RJ - 2nd JB Art Summary, at MAM/RJ
1964 - São Paulo SP - 1st Young National Printmaking Exhibition, at MAC/USP - acquisition prize
1964 - Tokyo (Japan) - 4th International Biennial Exhibition of Prints
1965 - Barcelona (Spain) - Ocho Grabadores Brasileños, at Galeria René Metras
1965 - Belo Horizonte MG - 1st Young National Printmaking Exhibition, at MAP
1965 - Curitiba PR - 1st Young National Printmaking Exhibition, at Secretaria do Estado de Educação
1965 - Florianópolis SC - 1st Young National Printmaking Exhibition, at Masc
1965 - London (England) - Brazilian Art Today, at Royal Academy of Arts
1965 - Paris (France) - 4th Paris Biennale, at Musée d'Art Moderne de la Ville de Paris - printmaking prize
1965 - Rio de Janeiro RJ - 14th National Salon of Modern Art, at MAM/RJ
1965 - Rio de Janeiro RJ - 3rd JB Art Summary, at MAM/RJ
1965 - Rio de Janeiro RJ - Opinião 65, at MAM/RJ
1965 - São Paulo SP - 2nd Young National Drawing Exhibition, at MAC/USP
1965 - São Paulo SP - 8th Bienal Internacional de São Paulo, at Fundação Bienal
1965 - São Paulo SP - Proposta 65, at MAB/Faap
1966 - Buenos Aires (Argentina) - Contemporary Brazilian Artists, at Museo de Arte Moderno de Buenos Aires
1966 - Philadelphia (United States) - Contemporary Brazilian Printmakers, at Cornell University
1966 - Ribeirão Preto SP - 40 Brazilian and Foreign Prints from the MAC Collection, at Escola de Artes Plásticas de Ribeirão Preto
1966 - Rio de Janeiro RJ - 15th National Salon of Modern Art
1966 - Rio de Janeiro RJ - 1st Salão de Abril [April Salon], at MAM/RJ
1966 - Rio de Janeiro RJ - 4th JB Art Summary, at MAM/RJ
1966 - Rio de Janeiro RJ - Opinião 66, at MAM/RJ
1966 - Rio de Janeiro RJ - Pare [Stop], at Galeria G4
1966 - São Paulo SP - 40 Brazilian and Foreign Prints from the MAC Collection, at MAC/USP
1966 - São Paulo SP - 8 Artists, at Atrium
1967 - Rio de Janeiro RJ - 5th JB Art Summary, at MAM/RJ
1967 - Rio de Janeiro RJ - Nova Objetividade Brasileira [New Brazilian Objectivity], at MAM/RJ
1967 - Santiago (Chile) - 3rd American Printmaking Biennial, at Museo de Arte Contemporáneo
1967 - São Paulo SP - 1st Young Contemporary Art, at MAC/USP
1968 - Campo Grande MS - 28 Artists from the Collection of the Museum of Contemporary Art of the University of São Paulo, at Diário da Serra
1968 - Paris (France) - Toys, at Galeria Saint-Luc, at USP. Esalq
1969 - Fortaleza CE - 28 Artists from the Collection of the Museum of Contemporary Art of the University of São Paulo, at Centro de Artes Visuais Raimundo Cela
1969 - Rio de Janeiro RJ - 9 Printmakers, at Galeria Usaid
1970 - Olinda PE - 40 Brazilian and Foreign Prints from the MAC Collection, at MAC/Olinda
1970 - Penápolis SP - 40 Brazilian and Foreign Prints from the MAC Collection
1972 - Rio de Janeiro RJ - Exhibition, at MAM/RJ
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Galeria da Collectio
1973 - Rio de Janeiro RJ - International Avant-Garde, at Galeria Ibeu Copacabana
1974 - Campinas SP - Panorama of Brazilian Drawing, at MACC
1974 - Campinas SP - 9th Campinas Contemporary Art Salon, at MACC
1974 - Rio de Janeiro RJ - Brazilian Draftsmen, at Galeria Maison de France
1975 - Rio de Janeiro RJ - Communication According to Visual Artists
1977 - Belo Horizonte MG - 5th Global Winter Salon, at Fundação Palácio das Artes
1977 - Brasília DF - 5th Global Winter Salon
1977 - Rio de Janeiro RJ - 5th Global Winter Salon, at MNBA
1977 - Rio de Janeiro RJ - Identification of Artist - a book, at EAV/Parque Lage
1977 - São Paulo SP - 5th Global Winter Salon, at Masp
1979 - São Paulo SP - 15th Bienal Internacional de São Paulo, at Fundação Bienal
1981 - Porto Alegre RS - Brazilian Artists of the 1960s and 1970s in the Rubem Knijnik Collection, at Espaço NO Galeria Chaves
1981 - Rio de Janeiro RJ - Nuchy Group Show, at Nuchy Galeria de Arte
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (England) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - Rio de Janeiro RJ - Universe of Football, MAM/RJ
1982 - Rio de Janeiro RJ - What House Is This of Brazilian Art
1983 - Rio de Janeiro RJ - 6th National Visual Arts Salon, at MAM/RJ
1983 - Rio de Janeiro RJ - Brazilian Self-Portraits, at Galeria de Arte Banerj
1984 - Curitiba PR - 6th Curitiba City Printmaking Show. Woodcut in the History of Brazilian Art, at Casa Romário Martins
1984 - Ribeirão Preto SP - Brazilian Printmakers of the 1950s/60s, at Galeria Campus-USP-Banespa
1984 - Rio de Janeiro RJ - Woodcut in the History of Brazilian Art, at Funarte. Centro de Artes
1984 - Rio de Janeiro RJ - Active Brazilian Art, at Galeria Maison de France
1984 - Rio de Janeiro RJ - Active Brazilian Painting, at Espaço Petrobras
1984 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães and Rubens Gerchman, at Galeria do Centro Empresarial Rio
1984 - Rio de Janeiro RJ - Long Live Painting, at Petite Galerie
1984 - São Paulo SP - Brazil Drawing, at Fundação Clovis Salgado. Palácio das Artes
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - First Works, at Galeria Maison de France
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Belo Horizonte MG - The Collector's Portrait: A Collection of Self-Portraits, at Cemig Espaço Cultural Galeria de Arte
1985 - Brasília DF - Brazilianness and Independence, at Teatro Nacional Cláudio Santoro
1985 - Rio de Janeiro RJ - The Figure Today, at Galeria Ibeu Copacabana
1985 - Rio de Janeiro RJ - Calligraphies and Scriptures, at Funarte. Galeria Sérgio Milliet
1985 - Rio de Janeiro RJ - Encounters, at Petite Galerie
1985 - Rio de Janeiro RJ - Opinião 65, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Small Spaces, at GB ARTe
1985 - Rio de Janeiro RJ - Old Habit: Brazilian Drawing, at EAV/Parque Lage
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1986 - Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art of the 1960s/70s/80s, at Margs
1986 - Rio de Janeiro RJ - Transavantgarde and National Cultures, at MAM/RJ
1987 - Paris (France) - Modernity: 20th-Century Brazilian Art, at Musée d'Art Moderne de la Ville de Paris
1987 - Paris (France) - São Paulo-Rio-Paris, at Galerie 1900-2000
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro RJ - São Paulo-Rio-Paris, at Montesanti Galleria
1987 - São Paulo SP - Modernity: 20th-Century Brazilian Art, at MAM/SP
1987 - São Paulo SP - The Craft of Art: Painting, at Sesc
1987 - São Paulo SP - São Paulo-Rio-Paris, at Galeria Montesanti Roesler
1988 - Rio de Janeiro RJ - Hedonism: Gilberto Chateaubriand Collection, at Galeria Edifício Gilberto Chateaubriand
1988 - Rio de Janeiro RJ - The Eternal Is Ephemeral, at Petite Galerie
1988 - São Paulo SP - 63/66 Figure and Object, at Galeria Millan
1989 - São Paulo SP - Collection, at Galeria de Arte São Paulo
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Curitiba PR - 9th Curitiba City Printmaking Show, at Museu da Gravura
1990 - Rio de Janeiro RJ - Spring 90, at Galeria H. Stern
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1991 - Paris (France) - Six Latin American Artists, at Galeria 1900-2000
1991 - Rio de Janeiro RJ - Mário Pedrosa, Art, Revolution and Reflection, at CCBB
1991 - São Paulo SP - What Are You Doing Now, Generation 60?: Young Contemporary Art of the 1960s Revisited, at MAC/USP
1992 - Paris (France) - Diversité Latino Americaine, at Galerie 1900-2000
1992 - Porto Alegre RS - Mário Pedrosa, Art, Revolution and Reflection, at Centro Municipal de Cultura
1992 - Rio de Janeiro RJ - Art Printmaking in Brazil: A Proposal for a Mapping, at CCBB
1992 - Rio de Janeiro RJ - 1st On the Way to Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1992 - São Paulo SP - The 1960s/70s: Gilberto Chateaubriand Collection/Museu de Arte Moderna - RJ, at Galeria de Arte do Sesi
1993 - João Pessoa PB - Woodcut: From Cordel to the Gallery, at Funesc
1993 - Rio de Janeiro RJ - Erotic Art, at MAM/RJ
1993 - Rio de Janeiro RJ - Emblems of the Body: The Nude in Brazilian Modern Art, at CCBB
1993 - Rio de Janeiro RJ - The Paper of Rio, at Paço Imperial
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition Celebrating Unibanco's 70th Anniversary, at Casa da Cultura
1994 - Rio de Janeiro RJ - 100 Years of Football Art, at MNBA
1994 - Rio de Janeiro RJ - Football and Art, at Rio Design Center
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, MAM/RJ
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - The New Travelers, at Sesc Pompéia
1994 - São Paulo SP - Landscapes, at Galeria de Arte São Paulo
1994 - São Paulo SP - Poetics of Resistance: Aspects of Brazilian Printmaking, at Galeria de Arte do Sesi
1994 - São Paulo SP - Woodcut: From Cordel to the Gallery, at Metrô
1995 - Beijing (China) - Paper from Brazil: Contemporary Art, at Palácio dos Trabalhadores
1995 - Rio de Janeiro RJ - The New Figuration - 1960s, at Galeria Jean Boghici
1995 - Rio de Janeiro RJ - Unibanco Collection: Exhibition Celebrating Unibanco's 70th Anniversary, at MAM/RJ
1995 - Rio de Janeiro RJ - The Color of Rio, at Espaço Cultural dos Correios
1995 - Rio de Janeiro RJ - Theater Makes Art, at Rio Design Center
1995 - Rio de Janeiro RJ - Opinião 65: 30 Years, at CCBB
1995 - Rio de Janeiro RJ - Representations of the Feminine, at Rio Design Center
1995 - Rio de Janeiro RJ - Black and White Salon, at MNBA
1995 - Rio de Janeiro RJ - To Draw, at Galeria de Arte Toulouse
1995 - São Paulo SP - Children of Abaporu, at Galeria de Arte do Brasil
1996 - Belo Horizonte MG - Traveling Impressions, at Palácio das Artes
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - Rio de Janeiro RJ - 1st Sesc Printmaking Salon. Roberto Magalhães, at Galeria de Arte Sesc Tijuca
1996 - Rio de Janeiro RJ - 4 Masters of Brazilian Printmaking, Galeria Sesc Copacabana
1996 - Rio de Janeiro RJ - Reila Gracie, Roberto Magalhães, Antonio Dias, at Paço Imperial
1997 - Rio de Janeiro RJ - Air: Exhibition of Visual Arts, Toys, Objects and Models, at Paço Imperial
1998 - Niterói RJ - Mirror of the Biennial, at MAC/Niterói
1998 - Rio de Janeiro RJ - The Image of the Sound of Caetano Veloso, at Paço Imperial
1998 - Rio de Janeiro RJ - The 1960s/70s: Gilberto Chateaubriand Collection, at MAM/RJ
1998 - Rio de Janeiro RJ - O Bonequinho Viu: 60 Years 1938-1998, at CCBB
1998 - Rio de Janeiro RJ - Thirty Years of '68, at CCBB
1998 - São Paulo SP - Highlights of the Unibanco Collection, at Instituto Moreira Salles
1998 - São Paulo SP - O Bonequinho Viu: 60 Years 1938-1998, at Museu da Casa Brasileira
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, at Galeria de Arte do Sesi
1999 - Niterói RJ - Rio Printmaking Show. Banerj Collection, at Museu do Ingá
1999 - Rio de Janeiro RJ - Rio Printmaking Show. Brazilian Modern Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - São Paulo SP - The Resacralization of Art, at Sesc Pompéia
2000 - Rio de Janeiro RJ - Brazilianness, at Centro Cultural Light
2000 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães, Rubens Gerchman, at GB ARTe
2000 - Rio de Janeiro RJ - Situations: Brazilian Art of the 1970s, at Fundação Casa França-Brasil
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Investigations: Brazilian Printmaking, at Itaú Cultural
2001 - Brasília DF - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Brazilian Contemporary Art, at Margs
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2002 - Niterói RJ - Collection on Paper, at MAC/Niterói
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC/Niterói
2002 - Passo Fundo RS - Prints: Paulo Dalacorte Collection, at Museu de Artes Visuais Ruth Schneider
2002 - Porto Alegre RS - Prints: Paulo Dalacorte Collection, at Museu do Trabalho
2002 - Rio de Janeiro RJ - 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
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES
2003 - Rio de Janeiro RJ - Autonomy of Drawing, at MAM/RJ
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
2006 - São Paulo SP - Football and Art, Espaço Cultural Vivo
2006 - São Paulo SP - 2nd Contemporary Nuclei, Valu Oria Galeria de Arte
2007 - São Paulo SP - The 1970s - Art as Question, Instituto Tomie Ohtake
2008 - São Paulo SP - MAM 60, Oca
2008 - Madrid (Spain) - 27th ARCO, Instituto Feria de Madrid
2008 - Osasco SP - 44th Expo Arte FIEO, Unifieo
2009 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini and MAC Niterói Collections, Museu de Arte Contemporânea
2010 - São Paulo SP - 41st Chapel Art Show, Escola Maria Imaculada - Chapel School
2010 - São Paulo SP - 6th SP-Arte, Fundação Bienal
2010 - Brasília DF - 2nd Brasília Art Biennial
2010 - Rio de Janeiro RJ - Genealogies of the Contemporary, Museu de Arte Moderna
2011 - São Paulo SP - Collection Cutouts, Galeria Ricardo Camargo
2011 - São Paulo SP - 7th SP-Arte, Fundação Bienal
2011 - Brussels (Belgium) - Extreme Printmaking, Centre de la Gravure et de l'Image Imprimée La Louvière
Source: Itaú Cultural
