The project for the gallery’s façade is by the duo Angela Detanico and Rafael Lain, artists who participated in the 26th Bienal de São Paulo during the same time. 5 vezes 10 graus [5 Times 10 Steps] is an installation exploring proportions and scales.

A white-painted fiberglass and cement fountain was installed in the gallery’s entrance courtyard. The fountain was broken the night after the opening and remained so for the entire period of the exhibition.

Marco Paulo Rolla is known for his performances, paintings and ceramics. On the facade, he istalled Derramamento [Overflow], an installation featuring various objects found on the street, bought at bazaars or given to him by friends.

In the installation, furniture overflows from inside the building as if it were an eruption of everyday life. It is man deteriorating with the accumulation of his need to build, destroy and transform. In consumer society these spaces become cluttered with lost memories. Thus, the rubble symbolizes our ideas that have become part of an overflowing trash.

Presented in the context of the group exhibition “1 Lúcia 2 Lúcias”, where works by Lia Chaia, Leandro da Costa and Fabiano Marques were also presented, Nicolás Robbio proposed a facade intervention based on the Argentine flag. According to the text by curator Cauê Alves: “(…) The sun, which should have been at the center of the country symbol, was shifted and the blue bands, due to the scale, ended up resembling the sky and horizon of a landscape. Alluding to the lack of axis that the country currently finds itself, the self-exiled artist, born in Mar del Plata, did not intend any affirmation of his national identity. The flag interference can be compared to the social and economic dislocation that Argentina finds itself today. Moved to the Vermelho space, the flag acquires several meanings, and can be understood as an effort to strengthen Mercosur or even, if it was the World Cup season, as a reference to the rivalry between the best football teams in America”.

Mirrors were attached to the lower part of the facade and a text was painted by professional lyricists on the upper right.

The exhibition featured individual works by the three artists, who also presented on the opening day a collective work that gave the exhibition its title. “Loose, crossed and together” are the three ways to dance bolero. The proposal used the facade to create an environment for ballroom dancing, including tables, lights and a bar. The artists experimented and proposed the experience of this dance, a language in which the relationship between pairs, the occupation of space and the ability to deal with times and setbacks are at stake, issues that permeated other works in the exhibition.

For the facade that accompanied the exhibition “O Mundo Não Precisa de Você “, Rosana Monnerat installed climbing steps that indicated a path that started on the ground and went around the top of the gallery. Painted in white, the steps normally used in climbing walls were integrated into the white color of the facade.

For this project, the artists proposed removing the various layers of paint and plaster that cover up the gallery’s facade, leaving only its raw bricks on display. In the patio in front of the gallery, white paint was used to draw the mirrored form of the gallery’s facade.