Rosângela Rennó (Belo Horizonte MG 1962)
Intermedia artist, photographer.
Rosângela Rennó Gomes graduated in architecture from the Universidade Federal de Minas Gerais - UFMG in 1986, and in visual arts from the Escola Guignard in 1987. In the late 1980s, she created her first works, based on photographs from family albums. Between 1991 and 1993, she was a member of Visorama, a contemporary art study group. In her photographs, objects, videos and installations, the artist addresses questions about the nature of the image. She makes works based on 3 x 4 ID photos produced in popular studios. In 1992, she began the project Arquivo Universal [Universal Archive], a virtual database made up of excerpts from journalistic texts containing references to photographic images. At the same time, she works with photographs obtained from public and private archives, such as the images of prisoners from the former Departamento de Medicina e Criminologia, belonging to the Museu Penitenciário Paulista. She earned her doctorate in art from the Escola de Comunicações e Artes da Universidade de São Paulo - ECA/USP in 1997. She received grants from the Civitella Ranieri Foundation in Umbertide, Italy, in 1995; from the Fundação Vitae in 1998; and from the John Simon Guggenheim Memorial Foundation in New York in 1999. In 2003, the book Rosângela Rennó: [O Arquivo Universal e Outros Arquivos] [The Universal Archive and Other Archives] was published by Cosac & Naify.
Critical Commentary
Rosângela Rennó builds her work by appropriating images and texts by anonymous authors. In 1985, she made the work Hora do Ângelus [The Angelus Hour], combining drawing and photography. She completed her visual arts degree in 1987. From then on, she worked with pieces grouped in series. In the series Conto de Bruxas [Witches' Tale] (1988), she subverts the illustrations of children's stories, giving them a surrealist character. In 1988, she created the series Pequena Ecologia da Imagem [Small Ecology of the Image], in which she appropriated photographs by anonymous authors for the first time. The works in her 1989 solo show, Anti-Cinema - Veleidades Fotográficas [Anti-Cinema - Photographic Whims], at the Sala Corpo de Exposições in Belo Horizonte, were made by manipulating film frames collected from archives.
She moved to Rio de Janeiro in 1989. She began using photographs as material for composing objects and gradually became interested in space. She worked with publications, such as O Grande Livro do Adeus [The Big Book of Farewell] (1989) and Private Eye (1992). She also used photographs in playful works, such as Puzzles (1990). After 1991, she made installations, such as Duas Lições de Realismo Fantástico [Two Lessons in Fantastic Realism] (1991) and Atentado ao Poder [Attack on Power] (1992). Art critic Paulo Herkenhoff notes that, at the time, the artist's subject matter shifted "from conflicts in the private sphere to those in the public or collective sphere".1 Her work is in dialogue with that of artists such as Christian Boltanski (1944) and John Baldessari (1931).
In 1993, she began the project Arquivo Universal. In this series, she replaces images with news reports about photographs. In other installations, she combines image and text, as in In Oblivionem (1994/1995). These are texts that speak of the absent image. Her manipulation of the meanings of writing relates to the work of the American artist Joseph Kosuth (1945). In 1994, she took part in the 22nd Bienal Internacional de São Paulo with the installation Candelária. In the 1996 series Cicatriz [Scar], she works with images collected from the Museu Penitenciário Paulista. Negatives from the same archive are used in the 1998 set Vulgo [Alias]. In 2003, she took part in the Venice Biennale and held a retrospective at the Centro Cultural Banco do Brasil - CCBB in Rio de Janeiro, with works from 1990 to 2003. Among them was the series Bibliotheca (2002), made with images collected from anonymous photo albums. The series was shown that same year at the Museu de Arte da Pampulha in Belo Horizonte and at Galeria Fortes Vilaça in São Paulo.
Notes
1 HERKENHOFF, Paulo. Rennó ou a beleza e o dulçor do presente. In: RENNÓ, Rosângela. Rosângela Rennó. São Paulo: Edusp, 1998. (Artistas da Usp, 9). p. 136.
Critiques
"Precise rules, taken as tacit, underlie identity photography: a neutral background, measured lighting, a conventional pose, personal expression granted at most by the hint of a smile. If there are precise rules, it is because identity photography is, in a sense, the mirror opposite of the bourgeois portrait, even though it shares with it the ideology of reflection underlying the photographic operation. Both, with different degrees of objectivity, construct the image of a subject who is at once individual and character, singular and faithful to the conventions of his or her own social group.
It is from these considerations about the portrait, seen as an artifice that returns to the individual a social awareness of himself, that Rosângela Rennó's current research begins. Some years ago she managed to assemble a vast archive of identity photographs taken by anonymous photographers, which gave rise to several artistic operations aimed at deconstructing the photographic code, at presenting identity as non-identity, or rather, at revealing identity as mere appearance, as a fragile sign of a subjectivity that does not let itself be captured so easily.
The subtle game of deconstruction and reconstruction to which Rosângela Rennó subjects her images trouvées allows her to penetrate the fundamental ideology of photography: objectivity and reflection turn out to be products inherent to a social practice, and go far beyond the idea of a homology intrinsic to the apparatus.
The indexical paradigm, deliberately turned into artifice, into critical operation, makes Rosângela Rennó's process of appropriation a continuous confrontation between industry and art, between truth and fiction.
The negation of neutrality and the affirmation of the codes of representation as the construction of an identity and as a symbolic process of vision are its result, the logical conclusion of an investigation aimed from the outset at questioning the concept of identification".
Annateresa Fabris
Fabris, Annateresa. L'indizio negato. In: Biennale di Venezia, 45., 1993. Aperto' 93. p.382.
"In a world marked by an excess of images, Rennó resorts to optional forms of appropriation which, with quotation and pastiche, characterize postmodern photography (Fredric Jameson). Her references to the history of photography have asserted themselves not as a quotation of classic photos but as a critical operation on the procedures and attitudes of a path running from the camera obscura. They may also pass by Nadar's tomb. No longer taking photographs - that is the artist's latest and most coherent choice. Working with negatives found by the thousands. That is her contradictory principle of economy. Historically, Rennó draws close to the experimental 'episteme' of the 1970s. Going back to the more remote legacy of Murilo Mendes's words about the photomontages of Jorge de Lima, another poet: 'A revenge against the restriction of an order of knowledge'.
Rosângela Rennó deals with the saturated history of photography, with its loss of symbolic substance. Wonder has long since given way to banality. Rennó seeks another iconicity, fusing the levels of perception of the image, the corporeality and the symbolic power of photography. Precisely because it involves so many instances, this work becomes a photography outside the code. The gaze travels between the inside of the image and the body of the photograph and, without penetrating the corporeality, acts on the skin of the film (Duas Lições de Realismo Fantástico). The image is no longer reduced to the object of the photograph. It projects itself like an abyss that has become shallow. The loss of depth is compensated somewhere between surface and transparency. If this is still photography, it now also expresses itself through its body. Enlarging the image produces a loss of intimacy, just as a change of position can alter the pathos. The image is now what Rennó has built as an articulation of mechanisms of perception. Accumulated 3x4 photos dissipate singularity and difference (Obituários). They reach a zero degree of expressiveness. They are like the refuse of images, recovered by an operation of semiological eschatology that invents an ultimate possibility for them. The ideality of the pose and identity sink into the same void. In this sea of Others, otherness is rearticulated in an order of corporeality, under a formal organization by proximity of the tones of the negatives, faded over time.
The only threat to these gelatin ghosts would lie in any excess of narrative that replaced the weave of language with the literature of drama, like the installation of a mutant virus of photojournalism. Surviving a merciless irony is a frequent challenge for these figures. Moreover, the expansion of the field disdains a pure status for photography. The artist's appropriation of the photographic fetish, also going beyond anthropology and gratuitousness, bears on an idea of lack precisely where the Subject is constituted. These beings thus seem to live the paradox of experiencing opacity as their only sharpness. They are diaphanous indices of a rarefied memory. What Rosângela Rennó starkly produces are melancholy identities, as if the images were claiming nostalgia for having once been someone.
The historicity of language in these photographic bodies takes shape between silence, death, transparency and mirror. The vulgar contingency of the freezing of time, reiterated in physical operations on the body (fading, cuts, cutouts, projections, etc., or the optical distortion of negatives seen edge-on in Amnésia), points to a logic outside the image as well. This new death would dwell on a plain, at a point between the circulation of the symbol and the consumption of the sign. Between the destiny of last things and the epiphany of Being, a circularity of time emerges. Where photography would be the agency of death (Roland Barthes), photographic fragments, temporal excerpts, crumbs of desire reinstate a Presence, and can finally point toward the construction of the Subject".
Paulo Herkenhoff
Herkenhoff, Paulo. Construção do sujeito. Guia das Artes, n.32, p.12-13.
"At first, Rennó's career seemed to be heading toward a kind of lyrical exaltation of the humble, traditionally feminine universe. Initially, the artist expressed herself through family photos appropriated from albums, on which Rennó added inscriptions; soon afterwards through objects in which the still-appropriated photograph acquired a new dimension, a thickness, so to speak, never seen before in this field in Brazil; then the artist began to take over the real exhibition space through installations still produced with appropriated photos. Then another turn: the feminine universe ceased to interest her in particular, or rather, it merged with an interest in a dramatic - and epic - exposition of the human condition at the end of this millennium. A photographer, a 'sculptor', an 'installation artist'? Where to place, how to classify Rosângela Rennó's work? For those who already had difficulty identifying the artist and her work in the middle of the last decade, today that aim seems hopelessly impossible. Alongside her photos, at the beginning of this decade the artist began appropriating captions of photographs printed in mass-circulation publications, thwarting and preventing any classification: after all, a photographer who does not photograph, a writer who does not write, showing her work on the visual arts circuit? The fact is that Rosângela Rennó's poetics has broken once and for all with the boundaries between photography, the visual arts and literature, entering a territory prior to any established aesthetic mode: the proper and original territory of art".
Tadeu Chiarelli
TRIDIMENSIONALIDADE na arte brasileira do século XX. Apresentação Ricardo Ribenboim; colaboração Annateresa Fabris, Tadeu Chiarelli; texto Annateresa Fabris, Fernando Cocchiarale, Tadeu Chiarelli, Celso Favaretto. São Paulo: Itaú Cultural, 1997. p.176.
"The image today is a tool of inattention. The more images we manage to devour, the more images we end up forgetting. While our capacity to store seems very elastic, active memory retains only a limited amount of information. The rest goes into the common grave of oblivion. Rosângela Rennó comes to inspect this cemetery and its dead.
Since her first works, her aim has not been to add images to our aesthetic repertoire, but to appropriate an existing anonymous repertoire that should have served as someone's affective memory, without the viewer being able to identify whose. The exercise proposed is precisely the one we perform when trying to clear the fog from a memory long exiled: what did that face really look like?
Photographic anonymity remained an issue throughout a body of work that has gone through family albums, 3x4 portraits, newspaper and archive images, and texts referring to photography. But instead of identifying, Rosângela's works erase the difference between people, precisely by elaborating the techniques of massification. Nothing identifies one model more than another: they are all interchangeable, as in Rosângela's games.
The social dimension of photographic anonymity is a constant concern of the artist, who points to the institutional mechanisms that dissociate memory and image. Instead of people, Rosângela presents our acquired habit of dealing with types. Characteristic of our inattentive memory, we end up forgetting the vision however much we insist: the forgetting of the established ways of keeping our official memory".
Felipe Chaimovich
Catálogo da exposição Sexta Bienal de la Habana - el individuo y su memoria (Paris: Association Française d'Action Artistique, 1997)
Testimonials
"There is an abyss between the emulsion and the celluloid of the photographic negative. To plunge into this abyss is to illuminate the images that history (written by the victors) forgot to show".
May 7, 1997
"The intervention at the Museu Penitenciário came about through the long work of recovering a set of glass negatives from its collection. The precarious state of conservation of the photographic material, the lack of any system for filing the images that would allow them to be consulted, the complete inexperience of the staff responsible for the collection and, above all, the urgency of saving part of the country's penitentiary history led me to draw up and offer ACADEPEN a project to clean and rehouse those negatives. The project would serve as a starting point for establishing a true Penitentiary Museum, through a partnership between the artist and the State. The undertaking, initially based on aesthetic principles, also became a political action. The inertia and stagnation of what in prison jargon is simply 'the system' and its ramifications showed me the true dimension of what the artist's political stance can be. The contemporary artist is qualified and authorized to discuss, to speak out about, to open paths in, and to move through territories that are not necessarily artistic, especially institutional ones".
Rosângela Rennó
SEMANA DE ARTE DE LONDRINA (6. : 2000: Londrina, PR), MOREIRA, Maria Carla Guarinello de Araujo (coord.). Possíveis imagens: [fotografia contemporânea]. Apresentação Maria Carla G. de Araujo Moreira; curadoria Angela Magalhães, Nadja Peregrino; texto Nadja Peregrino, Angela Magalhães. Londrina: Universidade Estadual de Londrina, 2000. p.37.
Solo Exhibitions
1985 - Belo Horizonte MG - Solo, at Itaugaleria
1989 - Belo Horizonte MG - Anti-Cinema - Photographic Whims, at Sala Corpo de Exposições
1991 - São Paulo SP - Identity at Play, at CCSP
1991 - São Paulo SP - Identity at Play, at Pavilhão da Bienal
1992 - Rio de Janeiro RJ - Identity at Play, at Funarte. Galeria Macunaíma
1994 - Rio de Janeiro RJ - Humors, at Galeria de Arte do Ibeu Copacabana
1994 - Rio de Janeiro RJ - Fantastic Realism, at Galeria de Arte do Ibeu Madureira
1995 - Amsterdam (Netherlands) - In Oblivionem (no landScape), at De Appel Foundation
1995 - São Paulo SP - Hippocampus, at Galeria Camargo Vilaça
1996 - Los Angeles (United States) - Scar, at The Museum of Contemporary Art
1997 - Valencia (Spain) - Solo, at Galeria Luis Adelantado
1998 - New York (United States) - Vulgo [Alias], at Lombard Freid Gallery
1998 - Recife PE - Solo, at Fundação Joaquim Nabuco
1998 - São Paulo SP - Blind Wall (One Hundred Portraits), at MAM/SP
1998 - São Paulo SP - Vulgo [Alias], at Galeria Camargo Vilaça
1999 - Sydney (Australia) - Vulgo [Alias], at Australian Centre for Photography
2000 - Lisbon (Portugal) - Solo, at Galeria Módulo
2000 - Londrina PR - Scar / Landscape, at Galpão da Folha de Londrina
2001 - Madrid (Spain) - Solo, at Galeria Juana de Aizpuru
2001 - Rio de Janeiro RJ - Solo, at Laura Marsiaj Arte Contemporânea
2001 - São Paulo SP - Solo, at Instituto Tomie Ohtake
2002 - Belo Horizonte MG - Solo, at MAP
2003 - New York (United States) - Daily Mirror, at Lombard-Freid Fine Arts
2003 - Rio das Ostras RJ - Solo, at CCBB
2004 - São Paulo SP - Solo, at CCSP
Group Exhibitions
1984 - Belo Horizonte MG - 1st Fundação Clóvis Salgado Visual Arts Salon, at Fundação Clóvis Salgado. Palácio das Artes
1984 - Belo Horizonte MG - Escola Guignard: 40 Years of Art, at Itaú Cultural
1985 - Belo Horizonte MG - Drawings and Other Intoxications, at Galeria do IAB/MG
1985 - Belo Horizonte MG - Photographs, at Itaú Cultural
1986 - Belo Horizonte MG - Dolls & Puppets, at Palácio das Artes
1986 - Belo Horizonte MG - 9th National Visual Arts Salon: Southeast, at Fundação Clóvis Salgado. Palácio das Artes
1986 - Curitiba PR - 7th Brazilian Drawing Show, at MAC/PR
1986 - Recife PE - 39th Pernambuco Visual Arts Salon - Empresa Cautos Acquisition Prize
1987 - Belo Horizonte MG - Ten Women Photographers, at Grande Galeria do Palácio das Artes
1987 - Belo Horizonte MG - 19th Belo Horizonte National Contemporary Art Salon, at MAP
1987 - Recife PE - 40th Pernambuco Contemporary Art Salon, at Galeria Metropolitana Aloísio Magalhães
1988 - Belo Horizonte MG - 20th National Art Salon - Hoechst do Brasil Acquisition Prize
1988 - Ribeirão Preto SP - 13th Ribeirão Preto Visual Arts Salon, at Casa da Cultura de Ribeirão Preto - 2nd prize
1988 - Rio de Janeiro RJ - Light, Color & Experimentation, at Funarte. Galeria do Infoto
1989 - Belo Horizonte MG - Elective Affinities, at Centro de Arte Corpo
1989 - Belo Horizonte MG - Fundamental Operations - The Sum of Differences, at Grande Galeria do Palácio das Artes
1989 - São Paulo SP - 7th São Paulo Contemporary Art Salon - Fotoptica Prize
1990 - São Paulo SP - 4 Eyes, at Galeria Casa Triângulo
1990 - São Paulo SP - Iconographers, 14 Photographers Today, at MAM/SP
1990 - São Paulo SP - Objects, at Galeria Casa Triângulo
1990 - São Paulo SP - Four Eyes, at Galeria Casa Triângulo
1991 - Belo Horizonte MG - Environmental Montages, at Centro Cultural da UFMG
1991 - Ribeirão Preto SP - 16th Ribeirão Preto Art Salon - City of Ribeirão Preto Acquisition Prize
1991 - São Paulo SP - Appropriations 91, at Paço das Artes
1991 - São Paulo SP - Visual Arts Exhibition Program, at CCSP
1992 - London (England) - Turning the Map - Images from the Americas, at Camerawork Gallery
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Eco-Sensorial: Urban Extractivism, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Macunaíma Project, at Funarte. Centro de Artes
1992 - São Paulo SP - Annual Visual Arts Exhibition Program 91, at Fundação Bienal
1993 - Belém PA - 2nd Pará Contemporary Art Salon - acquisition prize
1993 - Brasília DF - A Look at Joseph Beuys, at Fundação Athos Bulcão
1993 - New York (United States) - Space of Time: Contemporary Art from the Americas, at Americas Society
1993 - Rio de Janeiro RJ - 13th National Visual Arts Salon, at Ibac/Funarte - acquisition prize
1993 - São Paulo SP - The Presence of the Ready-Made: 80 Years, at MAC/USP
1993 - São Paulo SP - Brazilian Contemporary Art - Image Distribution Project, at MAC/USP
1993 - São Paulo SP - Five, at Galeria Casa Triângulo
1993 - São Paulo SP - Sandwich Man, at Praça Ramos de Azevedo
1993 - São Paulo SP - In the Absence of Truth, at Galeria Casa Triângulo
1993 - Venice (Italy) - Aperto'93: Emergenza, at 45ª Biennale di Venezia
1993 - Washington (United States) - Ultramodern: The Art of Contemporary Brazil, at National Museum of Women in the Arts
1994 - Belo Horizonte MG - Guignard: 50 Years of an Art School, at Galeria Vidyã
1994 - Brasília DF and São Paulo SP - Brasília Revisited, at Galeria Athos Bulcão do Teatro Nacional and at MIS/SP
1994 - Frankfurt (Germany) - The Thickness of Light, at Fotografie Forum
1994 - Havana (Cuba) - 5th Havana Biennial
1994 - Lisbon (Portugal) - Beyond Taprobana: The Human Figure in the Visual Arts of Portuguese-Speaking Countries, at Sociedade Nacional de Belas Artes
1994 - Madrid (Spain) - Cocido y Crudo, at Museo Nacional Centro de Arte Reina Sofía
1994 - San Francisco (United States) - Contemporary Brazilian Photography: A Selection of Photographs from the Collection of Joaquim Paiva, at Yerba Buena Center for the Arts
1994 - São Paulo SP - 22nd Bienal Internacional de São Paulo, at Fundação Bienal
1994 - São Paulo SP - Mirrors and Shadows, at MAM/SP
1994 - São Paulo SP - Contaminated Photography, at CCSP
1995 - Belo Horizonte MG - Rochelle Costi, Rosângela Rennó and Mabe Bethonico, at Itaugaleria
1995 - Curitiba PR - 11th Curitiba City Printmaking Show, at Solar do Barão
1995 - Curitiba PR - Engraved Object, at Museu da Gravura Cidade de Curitiba
1995 - Curitiba PR - Brasília Revisited - Brasília Neu Gesehen, at MAC/PR
1995 - Porto Alegre RS - Brasília Revisited - Brasília Neu Gesehen, at Casa de Cultura Mario Quintana
1995 - Belo Horizonte MG - Brasília Revisited - Brasília Neu Gesehen, at Centro Cultural da UFMG
1995 - Berlin (Germany) - Brasília Revisited - Brasília Neu Gesehen, at Haus der Kulturen der Welt
1995 - Enschede (Netherlands) - Obsessions: From Wunderkammer to Cyberspace, Foto Biennale Enschede, at Rijksmuseum Twenthe
1995 - Miami (United States) - Space of Time: Contemporary Art from the Americas, at Center for the Fine Arts
1995 - Rio de Janeiro RJ - Beyond Taprobana: The Human Figure in the Visual Arts of Portuguese-Speaking Countries
1995 - Rio de Janeiro RJ - Mirrors and Shadows, at CCBB
1995 - Rio de Janeiro RJ - Contemporary Brazilian Photography, at CCBB
1996 - Caracas (Venezuela) - Sin Fronteras/Arte latinoamericano Actual, at Museo Alejandro Otero
1996 - Copenhagen (Denmark) - 96 Containers: Art Across the Oceans, Langelinie
1996 - Eindhoven (Netherlands) - Public Works, at Van Abbemuseum
1996 - Frankfurt (Germany) - Prospect 96, Frankfurt Kunstverein
1996 - London (England) - Novas Travessias: Recent Photographic Art from Brazil, at The Photographers Gallery
1996 - Portland (United States) - Pushing Image Paradigms: Conceptual Manoeuvres in Recent Photography, at Portland Institute for Contemporary Art
1996 - Rio de Janeiro RJ - Transparencies, at MAM/RJ
1996 - São Paulo SP - Modernity and Contemporaneity in the Visual Arts, at CCSP
1996 - São Paulo SP - Artist's Gold, at Galeria Casa Triângulo
1996 - São Paulo SP - 4th Studio Unesp Sesc Senai of Image Technologies, at Sesc Pompeia
1997 - Belo Horizonte MG - Mabe Bethônico, Rochelle Costi and Rosângela Rennó, at Itaú Cultural
1997 - Berlin (Germany) - Die Anderen Modernen, at Haus der Kulturen der Welt
1997 - Caracas (Venezuela) - Hacer Memoria, at Museo Alejandro Otero
1997 - Mexico City (Mexico) - Así Está la Cosa: arte objeto e instalaciones de Latinoamérica, at Centro Cultural Arte Contemporáneo
1997 - Curitiba PR - Contemporary Printmaking, at Museu Metropolitano de Arte de Curitiba
1997 - Havana (Cuba) - 6th Havana Biennial, at Centro de Arte Contemporáneo Wifredo Lam
1997 - Johanesburgo (South Africa) - 2nd Johannesburg Biennale
1997 - Kwangju (South Korea) - 2nd Kwangju Biennale
1997 - Porto Alegre RS - 1st Bienal de Artes Visuais do Mercosul, at Aplub, Casa de Cultura Mário Quintana, DC Navegantes, Edel, Usina do Gasômetro, Instituto de Artes da UFRGS, Fundação Bienal de Artes Visuais do Mercosul, Margs, Espaço Ulbra, Museu de Comunicação Social, Reitoria da UFRGS and Theatro São Pedro
1997 - Porto Alegre RS - Political Strand, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Rio de Janeiro RJ - Identity/Non-Identity: Current Brazilian Photography, at Centro Cultural Light
1997 - San Diego (United States) - InSite 97
1997 - Tijuana (Mexico) - InSite 97
1997 - São Paulo SP - 25th Panorama of Brazilian Art, at MAM/SP
1997 - São Paulo SP - Identity/Non-Identity: Current Brazilian Photography, at MAM/SP
1997 - São Paulo SP - Intervals, at Paço das Artes
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 - Copenhagen (Denmark) - The Garden of the Forking Paths, at Kunstforeningen
1998 - Houston (United States) - Contemporary Brazilian Photography from Joaquim Paiva Collection, at Barbara Davis Gallery at Pennzoil Place
1998 - New York (United States) - Contemporary Brazilian Photography from Joaquim Paiva Collection, at Consulado Geral da Argentina
1998 - Las Palmas de Gran Canaria (Canary Islands, Spain) - Transatlántico, at Centro Atlántico de Arte Moderno
1998 - Linz (Austria) - Archiv X, at Offenes Kulturhaus
1998 - Niterói RJ - 25th Panorama of Brazilian Art, at MAC/Niterói
1998 - Penápolis SP - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
1998 - Recife PE - 25th Panorama of Brazilian Art, at Mamam
1998 - Rio de Janeiro RJ - The Image of Sound of Caetano Veloso, at Paço Imperial
1998 - Rio de Janeiro RJ - The 1990s - Gilberto Chateaubriand Collection, at MAM/RJ
1998 - Rio de Janeiro RJ - Reflective Horizon, at Centro Cultural da Light
1998 - Rio de Janeiro RJ - Kidnapped Images, at MAM/RJ
1998 - Rio de Janeiro RJ - 16th National Visual Arts Salon, at MAM/RJ
1998 - Salvador BA - 25th Panorama of Brazilian Art, at MAM/BA
1998 - São Paulo SP - 24th Bienal Internacional de São Paulo, at Fundação Bienal
1998 - São Paulo SP - Camargo Vilaça Bis - 46, at Galeria Camargo Vilaça
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1999 - Caracas (Venezuela) - Contemporánea - Adquisiciones 1994-1998, at Museo Alejandro Otero
1999 - Stockholm (Sweden) - The Garden of the Forking Paths, at Edsvic & Kultur
1999 - Helsinki (Finland) - The Garden of the Forking Paths, at Helsinki City Art Museum
1999 - Graz (Austria) - Der Anagrammatische Körper, at Neue Galerie
1999 - Mürzzuschlag (Austria) - Der Anagrammatische Körper, at Kunsthaus Muerz
1999 - Madrid (Spain) - A Vueltas con los Sentidos, at Pabellón de Caballerizas da Casa de América
1999 - Rio de Janeiro RJ - The Image of Sound of Chico Buarque, at Paço Imperial
1999 - São João da Boa Vista SP - 2nd Fernando Furlanetto Photography Week, at Teatro Municipal
1999 - São Paulo SP - 80 Years of Art in Brazil, at MAM/SP
2000 - Buenos Aires (Argentina) - Brasil: plural y singular, at Museo de Arte Moderno de Buenos Aires
2000 - Curitiba PR - Curitiba Printmaking Show. Marks of the Body, Folds of the Soul
2000 - Curitiba PR - New Trends, at Casa Vermelha
2000 - Guadalajara (Mexico) - America Foto Latina: la fotografía en el arte contemporáneo, at Museo de Las Artes de La Universidad de Guadalajara
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Lisbon (Portugal) - A Whole Ocean to Swim, at Culturgest
2000 - Londrina PR - Possible Images: Contemporary Photography, 6th Londrina Art Week
2000 - Rio de Janeiro RJ - The Image of Sound of Gilberto Gil, at Paço Imperial
2000 - Rio de Janeiro RJ - Brasil + 500 Rediscovery Exhibition. Letter of Pero Vaz de Caminha, at Museu Histórico Nacional
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Just Between Us, at Paço das Artes
2000 - São Paulo SP - End of the Millennium: The 1990s at the MAM, at MAM/SP
2000 - São Paulo SP - New Work, at MAC/USP
2000 - São Paulo SP - 2nd Expanded Territory, at Sesc Pompeia
2001 - Campinas SP - Displacements of the Self: The Digital and Pre-Digital Self-Portrait in Brazilian Art 1976 - 2001, at Itaú Cultural
2001 - Madrid (Spain) - El Final del Eclipse: el arte de América Latina en la transición al siglo XXI, at Fundación Telefonica
2001 - Oxford (England) - 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 - 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 - Bienal 50 Years: A Tribute to Ciccillo Matarazzo, at Fundação Bienal
2001 - São Paulo SP - 10th Pirelli/Masp Photography Collection, at Masp
2001 - São Paulo SP - Blind Mirror: Selections from a Contemporary Collection, at MAM/SP
2001 - São Paulo SP - Photography/Non-Photography, 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
2001 - Washington (United States) - Virgin Territory: Women, Gender, and History in Contemporary Brazilian Art, at National Museum of Women in the Arts
2002 - Barra Mansa RJ - Sidaids, at Galeria de Arte Sesc Barra Mansa
2002 - Brasília DF - Fragments to Their Magnet, at Espaço Cultural Contemporâneo Venâncio
2002 - Fortaleza CE - Ceará Rediscovers Brazil, at Centro Dragão do Mar de Arte e Cultura
2002 - Londrina PR - Are They or Aren't They Prints?, at Museu de Arte de Londrina
2002 - Porto Alegre RS - Appropriations and Collections, at Santander Cultural
2002 - Rio de Janeiro RJ - Culture in Times of AIDS, at MNBA
2002 - Rio de Janeiro RJ - Artefoto, at CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - The Book: Object of Art, at Centro Cultural Candido Mendes
2002 - Rio de Janeiro RJ - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Colección Cisneros, at MAM/RJ
2002 - São Gonçalo RJ - Sidaids, at Sesc São Gonçalo
2002 - São Paulo SP - 20 Artists / 20 Years, at CCSP
2002 - São Paulo SP - Photographs in the Collection of the Museu de Arte Moderna de São Paulo, at MAM/SP
2002 - São Paulo SP - Appropriated Images, at MAM/SP
2002 - São Paulo SP - Paralela, at a warehouse at Avenida Matarazzo, 530
2002 - São Paulo SP - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Colección Cisneros, at MAM/SP
2002 - São Paulo SP - Rotativa Phase 2, at Galeria Fortes Vilaça
2002 - São Paulo SP - Visions and Illuminations: Contemporary Brazilian Photography from the Joaquim Paiva Collection, at Oca
2003 - Brasília DF - Artefoto, at CCBB
2003 - Goiânia GO - 3rd Sérgio Motta Cultural Prize, at MAC/GO
2003 - Niterói RJ - Sidaids, at Galeria de Arte Sesc
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES
2003 - São Paulo SP - Printmaking Is Doing Fine, Thank You: Historical and Contemporary Brazilian Printmaking, at Espaço Virgílio
2003 - São Paulo SP - The Subversion of Media, at Itaú Cultural
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - My Friends, at MAM/SP
2003 - São Paulo SP - Rosângela Rennó, at Galeria Fortes Vilaça
2003 - Venice (Italy) - 50th Venice Biennale, at Arsenale e Giardini della Biennale
2004 - Madrid (Spain) - ARCO/2004, at Parque Ferial Juan Carlos I
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 - São Paulo SP - Photography and Sculpture in the MAM Collection - 1995 to 2004, at MAM/SP
2005 - São Paulo SP - The Body in Contemporary Brazilian Art, at Itaú Cultural
Source: Itaú Cultural
