This work is part of a research by Longo Bahia focused on the relationship between the image of communism as a political utopia and images of ruins from a “real” communism, such as the monuments built in the Republic of Yugoslavia between the 1960s and 1980s. The research of the Concrete Communism cycle began to be developed during an artist residency at the Hestia Art Residency & Exhibitions Bureau in Belgrade, Serbia.

“Niemeyer” is part of a series of paintings on art transport crates, based on images of Brazilian brutalist buildings and Yugoslav monuments. The wooden crates are dismantled and then reassembled as planned constructions. The figures are painted in colors ranging from black to white, and the compositions between figure and background.

Untitled – Self-Portraits is a continuation of Carlos Motta’s performative self-portraits created in 1998, in which the artist embodied fictitious characters in staged landscapes. In 2025, Motta revisits this archival and period material, intervening in the original contact sheets by removing the backgrounds and isolating only the body in sequence. This gesture reinforces the body as a site of transformation and resistance, deepening the artist’s exploration of sexual alterity and the construction of dissident identities. The series is part of the collections of the Centre Pompidou, Lara Foundation (Singapore), and MoMA, NY.

In Edgard de Souza’s embroidery, we can observe the artist’s body at work, moving in a simultaneous movement of implosion and explosion, dissolution and evasion. The only figuration among the embroideries are cloud figures, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for images in clouds.

In Edgard de Souza’s embroidery, we can observe the artist’s body at work, moving in a simultaneous movement of implosion and explosion, dissolution and evasion. The only figuration among the embroideries are cloud figures, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for images in clouds.

In Edgard de Souza’s embroidery, we can observe the artist’s body at work, moving in a simultaneous movement of implosion and explosion, dissolution and evasion. The only figuration among the embroideries are cloud figures, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for images in clouds.

In Edgard de Souza’s embroidery, we can observe the artist’s body at work, moving in a simultaneous movement of implosion and explosion, dissolution and evasion. The only figuration among the embroideries are cloud figures, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for images in clouds.

Edgard de Souza’s doodles record the artist’s body movements. They started as pen on paper drawings made during simple challenges like drawing while dancing, while talking on the phone, using two hands at the same time, using the pen until it runs out of ink, being symmetric or avoiding symmetry. Each of these tasks gave rise to graphically or materially different drawings that were imposed on the paper in various ways. They were nevertheless struggles with, or analyses of his body. In his new series, de Souza brings those somehow imprecise drawings to a planned construction, using embroidery on vintage linen. The same sort of “action doodle” is visible, but now they are created in a diametrically opposite manner, bringing a friction between spontaneous and plotted conductions to the works.

Nesta obra, Estevan Davi parte de sua prática iconoclasta para fundir imaginários de diferentes tradições mitológicas e espirituais. A cena apresenta Hermes conduzindo uma carruagem puxada por anjos, enquanto guia Perséfone em seu retorno do submundo à superfície. Ao inverter a lógica tradicional do mito grego — centrando-se não na descida, mas na ascensão — o artista cria uma narrativa simbólica de iluminação e transformação. O Sol, surgindo como um princípio alquímico, torna-se emblema da passagem entre mundos e da renovação espiritual. A obra articula referências ao panteão grego, à iconografia cristã e à filosofia esotérica, evocando uma travessia entre planos que é, ao mesmo tempo, cósmica e interior.

Iván Argote’s work examines our intimate relationships with others, institutions, power, and belief systems. Through affection and humor, he proposes critical perspectives on dominant historical narratives.

The fragmented words in his paintings evoke an iconoclastic gesture aimed at political slogans, which have often incited anger and resentment but here, conversely, suggest union, hope, and tenderness.

The Annunciation series, by Meia, draws from classical painting themes such as the “Annunciation”, “Laocoön”, and “Vanitasä. On thick layers of encaustic, Meia engraves the images using drypoint and tints them with diluted oil paint.
The classical images are reworked through contemporary records that do not reproduce their traditional ideals but instead divert party photographs toward the symbolic field of the original themes, creating strangeness within the recognizable.
The Three Graces represent, in Greco-Roman mythology, goddesses symbolizing beauty, joy, and abundance. Traditionally depicted as three nude female figures intertwined in gestures of dance or affection, they appear in works by artists such as Botticelli, Raphael, and Rubens, embodying ideals of harmony and sensual delight.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artists alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist?s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist?s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist’s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

“O que me levou a fazer a série Cerimônia do adeus foi minha própria lembrança das documentações de casais de noivos, ao sair da igreja. Muitos álbuns familiares tinham uma fotografia dos noivos dentro do carro, como a última imagem da cerimônia. Meu pai, por exemplo, fotografou uma das minhas tias dentro do carro agitando a mão ao dizer adeus pela janela em meados da década de 1950 e usei essa imagem pela primeira vez em 1988. Esta última foto simboliza de alguma forma, o fim do ritual de passagem e ocorre em quase toda documentação de casamento no Brasil e em Cuba, principalmente após a Segunda Guerra Mundial. Pelo menos em nossos respectivos países, os carros sempre representaram vidas novas e prósperas, relacionadas com a maneira de viver americana. Quando fui a Cuba pela primeira vez, em 1994, para participar da 5a Bienal de Havana, visitei um estúdio fotográfico e recebi quilos de negativos de séries de retratos de casamento. Todo o ritual foi documentado exatamente da mesma maneira – na frente do espelho, no sofá, o casal que assina o livro, o adeus dentro do carro. A repetição das poses me surpreendeu muito e eu decidi fazer uma série de retratos de casais dentro do carro, que eu finalmente apresentei na seguinte Bienal de Havana, em 1997. O que também me interessou era algo que era muito maior do que a cena enquadrada: ninguém pode escapar de uma ilha usando um carro. A representação simbólica do adeus ao antigo e consequente acolhimento do novo parece ser quebrado ou estranho. Além disso, esses carros específicos — modelos americanos da década de 1950, reminiscência da era pré-Revolução — significavam tudo o que o sistema político cubano queria negar ou combater, mesmo assim, eles permaneceram fortes símbolos de uma mudança de vida.”

– Rosângela Rennó, 1997

“What motivated me were my own memories of seeing wedding couples inside cars, as the last photograph of the ceremony. Many family albums had one. This last shot somehow symbolizes the end of the passage ritual and occurs in almost all-wedding documentation in Brazil and in Cuba, mostly after the Second World War. My father, for example, photographed one of my aunts inside the car agitating the hand as saying goodbye through the window in the mid-1950s and I used this image for the first time in 1988. At least in our respective countries, cars always represented new and prosperous lives, connected with the American way of living. When I went to Cuba for the V Havana Biennial, in 1994, I visited a photo studio and got kilos of negatives of wedding series of portraits. The whole ritual was documented exactly the same way – in front of the mirror, on the sofa, the couple signing the book, the farewell inside the car. The repetition of the poses amazed me a lot and I decided to do a series on portraits of couples inside the car, which I finally presented in the next Havana Biennial, in 1997. What also interested me was something that was much further of the framed scene: no one can escape from an island using a car. The symbolic representation of the farewell to the old and consequently the welcoming of the new seems to be broken or awkward. In addition, those specific cars — American models from the 1950s, reminiscence of the pre-Revolution era — meant everything that the Cuban political system wanted to deny or combat but, even so, they remained strong symbols of a life changing.”

– Rosângela Rennó, 1997

Entangled Roots is a new series of embroidered textile works that explore the hidden architectures of connection beneath the earth’s surface. Each piece captures the moment when two root systems intersect—whether by chance, intention, or necessity—forming layered compositions of encounter and interdependence.

Through the act of embroidery on cotton canvas, Tania Candiani renders these subterranean networks as a tactile cartography of entanglement. Thread becomes both material and metaphor: a human gesture that echoes the intricate exchanges among plants, fungi, and soil. These works visualize communication beyond language, mapping a living web where natural, non-human, and sonic systems intertwine.

In Entangled Roots, the root becomes a line, a stitch, a signal—quietly articulating the profound interconnectedness of all life.

Copper, one of the pillars of the Peruvian economy, is the starting point for the investigations of Ximena Garrido-Lecca. In the series Shape Memory Alloys, the artist reinterprets this material in dialogue with traditional Andean techniques such as weaving. The work evokes a mat, replacing threads with copper wires, creating tensions between craftsmanship and industrial extraction. It alludes to Cerro de Pasco — a mining city marked by extreme pollution — reflecting on the social impacts of mineral exploitation and Peru’s place in the global economy.

This series is emblematic of Garrido-Lecca’s investigation into the role of copper in Peru’s economy, where this natural resource is extracted and exported as raw material for the technology industry. The works incorporate abstract symbols based on modernist corporate logos used by various industrial sectors and corporate entities. By applying these geometric elements to a traditional weaving technique, Garrido-Lecca questions the relationship between these images — associated with the engines of modernization and the global economy — and their possible connections to pre-Columbian abstraction.

Carrazeda+Cariri is a project based, until now, on 5 series of painted photo-based portraits of men. Each series was painted by one ‘photopainter” from the North-est region of Brazil, most of them from the Cariri region. The portrayed men, however, have never been to Brazil; they live in a remote part of Portugal, in a village called Carrazeda de Ansiães.

The “photopainting” — a traditional technics in portrature — is about to disappear because of the lack of photographic material in distant areas of Brazil. Even knowing the digital and ‘realistic’ portrait, the simple man from Cariri seems to prefer the ‘derived image’ — colorized, retouched and manipulated — even done through Photoshop, in the lack of the traditional photographic paper. The manually or digitally painted portrait means the ideal representation of the human figure, somewhat the cristalization of a precise and precious moment: the aura of eternity given by the painting’s supremacy over the photograph.

The painting can be made in many ways, from a simple retouching that immitates humble women’s make-up to a painting over the whole photographic surface. However, they are always immortal, popular icons in every house in Cariri, next to the religious icons so adored in the North and Northeast of Brazil.

The choice of the portrayed men carries an ironic aspect. The 18 portraits of each series in Carrazeda+Cariri project were ‘born’ from Internet photos, taken from blogs and websites of the Carrazeda de Ansiães region, in Portugal. There’s a severe lack in women to be wed to the local men, who are mostly poor small farmers and workmen. The women seem to rebel against the humble life, limited to the crops, and leave the village, searching for new perspectives or young candidates to become husbands.

Portraying those 18 men represents crystalizing a unique and terminal situation, or a social disfunction that apparently has no escape, just like the hand-painted photographic portraits in Cariri.

After all, in Cariri every artisan paints the portraits differently, multiplying the aesthetic possibilities in each portrait (and each portrayed man…), turning it into a “singular plural”. It is as if Cariri answered to Carrazeda with a provocation on celibacy, on social disfunction and to the limit situation of the ending of portrait.

Rosângela Rennó, 2009

Corpos Celestes celebrates the 20th anniversary of the Helvetica Concentrated system (developed by the duo in collaboration with Jiří Skála in 2004).
The series was presented in the duo’s solo exhibition at the Centre Pompidou in 2024 as part of the celebrations for their nomination for the Prix Marcel Duchamp.
Each piece in the series writes the name of a star concentrically using the Helvetica Concentrated system, merging text and three-dimensionality.

Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.

Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.

While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.

Meia’s practice is grounded in research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.

His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal.

The Islands of Carmela Gross act in the field of drawing in the artist’s production, where two concepts are key:

1- The drawing that outlines, drafts concepts, thinks forms, notes, cut and engenders territories, formulates hypotheses, questions and experiences strategies.

2- The drawing that projects, builds, defines areas, composes, maps, measure distances and order operations for the manufacture and / or production of pieces, in their formal characteristics and in their interaction with the places.

Ribeiro explored, in her work, the contact between materials and their transformations throughout the creative process. The construction of the works involved different stages, where bodies are structured and articulated with one another.
Elements produced in her studio, combined with works created in specialized workshops, create a journey between the ensemble and the autonomy of the elements. In her work, each material carries its original condition and the cultural meanings it acquires.

In his work, Estevan Davi adopts an iconoclastic approach, reinterpreting symbols and representations of ancient civilizations. His methods condense timeless elements linked to art history, re-signifying myths, legends, and beliefs from different cultures and periods.

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

The works in this series mix hand-made wool, cotton, and palm fiber ropes, intertwined with copper strips. The pieces are based on early computer systems, technologies that, in their initial stages, utilized artisanal and manual techniques in their fabrication.
Weaving practices significantly influenced the origins of information storage in computers, and women played a crucial role in the development of these technologies.
The works aim to subvert notions of the patriarchal origins of knowledge, as well as the universal bias towards the supremacy of Western knowledge, which rejects other forms of understanding and relating to the world, highlighting the influence of textiles on the development of science.

Edgard de Souza’s sculpture is part of a series in cast bronze, developed by the artist since 2000. The silhouette references a mirrored male figure, based on the artist’s own body, at a reduced scale. At first glance, his sculptures suggest continuous movements. Upon closer examination, however, they reveal fragmented actions. The impossible poses evoke both drive and introspection, as well as dismemberment and the fusion of bodies.

By integrating filters, rephotography, projections, and narrative sequences, Claudia Andujar expanded the possibilities of photography in the visual arts. Her work anticipated debates on image and subjectivity, the expansion of photography in the exhibition space, and the relationship between sound and image. More than a documentary photographer, Andujar used photography to question and push the boundaries of the medium itself.

In Plano Atrativo [Attractive Plan], Komatsu articulates relationships between control and force. Barbed wire, a symbol of restriction, and coins, an expression of value and power, form an interdependent structure.
Inspired by geometric tapestries, the artist creates a visually harmonious pattern that, up close, reveals its tension: the allure of money confronts the danger of wire.

Marcelo Cidade draws from the appropriation and disuse of everyday cleaning tools to critique the precarization and consumption of labor and the worker.

The series Tríades by Chiara Banfi explores the intersection between geometry, music, and symbolism, investigating the deep structural connections between harmonic patterns and geometric forms. By examining these relationships, the artist seeks to reveal the correspondences between musical harmony, sacred geometry, and its connection to universal archetypes.

Untitled – Self-Portraits is a continuation of Carlos Motta’s performative self-portraits created in 1998, in which the artist embodied fictitious characters in staged landscapes. In 2025, Motta revisits this archival and period material, intervening in the original contact sheets by removing the backgrounds and isolating only the body in sequence. This gesture reinforces the body as a site of transformation and resistance, deepening the artist’s exploration of sexual alterity and the construction of dissident identities. The series is part of the collections of the Centre Pompidou, Lara Foundation (Singapore), and MoMA, NY.

Tectônicas were produced after years of accumulating materials in Cadu’s studio. The slices revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. Currently, a new block is being formed since the second half of 2020, constituting a system
periodically restarted.

In this series of paintings on concrete, Iván Argote explores the construction and formation of historical and cultural narratives through slogans, artifacts, and monuments. Instead of a history written by the “winners,” Argote presents a collection of reassembled artifacts from an archaeology that prioritizes affection and resistance.

This series by Dora Longo Bahia is based on female spies whose main profession wasn’t “being a spy”. They were public people – actresses, singers, sportswomen, media stars, socialites – who worked undercover to help their countries or their causes.

The portraits are framed on steel frames and presented over old maps from The National Geographic Magazine that show – painted red – the countries involved in the conflicts in which the female spies acted.

Presented over the maps there are also painting of a weapon used at the time of each specific conflict framed in steel and a silkscreen on steel based on a documentary image produced at the time by a war photographer.

In Tentativa de apagar o cotidiano [Attempting to erase the quotidian], artist Marcelo Cidade (1979) establishes a daily practice of painting on local newspapers. The artist seeks to erase the news and images of the periodicals, leaving in evidence geometric traces. Lines of different colors, sizes and shapes emerge, and graphics lose their original function by arranging themselves in new patterns.

In the Conforto series, Edgard de Souza elevates cushions to the status of sculpture. Meticulously handmade by the artist, they are removed from their original context, becoming misaligned or austere. Edgard’s work emerges from a period marked by the fear of the AIDS pandemic in the 1980s, a context that provokes a clash in his practice between impulses of withdrawal and wildness. This withdrawal manifests in different ways, one of them through a surrealist lens, where life and desire emerge from the comfort of everyday objects. His sculptures explore fundamental human emotions, oscillating between tragedy and ecstasy.

Meia’s practice is grounded in research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.

His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal.

“This series investigates the herbs used by healers, as well as the prayers they say when they bless people. It is at the intersection between object-image-herb and writingprayer-voice that the work sustains the simplicity of popular traditions as fundamental importance to our constitution.”
Andre Vargas

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

In the Mamarracho series, scribbles are drawn, digitized, enlarged a thousand times, and then applied onto white canvases. Black lines traverse the surface of the canvas, extending onto the wall through wooden pieces, transforming these works into hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos can be interpreted in various ways: as an exploration of painting, where the gesture overflows the canvas, challenging Greenbergian norms; as an investigation of gesture, where a simple, intimate mark undergoes multiple digital and manual construction processes; or as a commentary on the De Stijl movement, since the Mamarrachos relate to the video Retouch (2008), in which, through a fictional action for the camera, Argote appears to be spray-painting over two Piet Mondrian paintings at the Centre Pompidou.

De Stijl sought to break away from traditional art concepts and create a non-representational visual language, structured around a limited set of basic compositional elements, such as the relationship between horizontal and vertical lines, dimensional variations, contrasts in luminosity, and the use of primary colors. The Mamarrachos exist precisely within this investigation of representation, where the most trivial sign of drawing—the scribble—becomes a monumental representation of itself.

The new works in the Mamarrachos series introduce a more direct dialogue with architectural space. Some compositions appear to have been cut in a way that allows them to fit into corners or ceilings, once again breaking away from the conventional place of painting. For ARCO Madrid, Argote proposes a composition in which pieces from the series construct a space within the spaces traversed by the Mamarrachos.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

Bells is a series of bronze pieces bearing statements from Iván Argote’s practice and inspired by his vision of politics, one marked by tenderness.

With bronze branches linking the letters together, these works imitate portals—preventing entry but allowing one to look through.

Bells is a direct continuation of the artist’s previous works, in which he painted, engraved, or cut out statements that are both political and sentimental across various media, including concrete, textile, paper, and billboards.

“Urihi-a” is one of Claudia Andujar’s most emblematic images and reflects her experimental approach in fieldwork through the use of different lenses, cameras, and films— in this case, infrared.
In 1970s Brazil, this type of film was widely used by the military dictatorship as a surveillance tool and to map the natural resources of the Amazon, enabling the exploitation of the territory through aerial surveys.
In Andujar’s work, however, infrared film takes on a poetic dimension, translating her sensitive gaze on the Yanomami culture and environment.

This series documents the Reahu feasts, the complex Yanomami funerary and intercommunity alliance ceremonies, marked by specific rituals and an abundance of food. To produce the photos, attempting to relate what she saw to the mystical dimension present in the rituals, Andujar developed photographic experiments in São Paulo, using flashes, lanterns, and infrared films, which she later applied in the forest. The images translate the spiritual universe, giving concrete form to an abstract world. “By interpreting with images, and not with words as anthropology and journalism did, Andujar also offered a new layer of meanings,” says Thyago Nogueira, curator of Andujar’s retrospective The
Yanomami Struggle.

This series documents the Reahu feasts, the complex Yanomami funerary and intercommunity alliance ceremonies, marked by specific rituals and an abundance of food. To produce the photos, attempting to relate what she saw to the mystical dimension present in the rituals, Andujar developed photographic experiments in São Paulo, using flashes, lanterns, and infrared films, which she later applied in the forest. The images translate the spiritual universe, giving concrete form to an abstract world. “By interpreting with images, and not with words as anthropology and journalism did, Andujar also offered a new layer of meanings,” says Thyago Nogueira, curator of Andujar’s retrospective The
Yanomami Struggle.