variable dimensions
Installation – 4 light panels
Photo Filipe BerndtGATO é uma das obras inéditas desta exposição, criada especificamente para o prédio do Sesc Pompeia. É a única obra que está na área externa.
A obra são grandes palavras escritas em caligrafia luminosa, uma em cada cor, uma em cada passarela. Carmela realiza um projeto, que era apenas um desenho de Lina Bo Bardi, arquiteta que projetou o Sesc Pompeia, em que as passarelas aparecem representadas à mão livre. No desenho, a arquiteta pintou com caneta colorida uma das passarelas em amarelo, outra em vermelho, outra em azul e a outra em verde – anotando ao lado as palavras que designam essas cores em italiano: giallo, rosso, blu e verde.
Carmela, então, imaginou, tornar real aquilo que teria sido um esboço da arquiteta.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
variable dimensions
Installation – 4 light panels
Photo Filipe BerndtGATO é uma das obras inéditas desta exposição, criada especificamente para o prédio do Sesc Pompeia. É a única obra que está na área externa.
A obra são grandes palavras escritas em caligrafia luminosa, uma em cada cor, uma em cada passarela. Carmela realiza um projeto, que era apenas um desenho de Lina Bo Bardi, arquiteta que projetou o Sesc Pompeia, em que as passarelas aparecem representadas à mão livre. No desenho, a arquiteta pintou com caneta colorida uma das passarelas em amarelo, outra em vermelho, outra em azul e a outra em verde – anotando ao lado as palavras que designam essas cores em italiano: giallo, rosso, blu e verde.
Carmela, então, imaginou, tornar real aquilo que teria sido um esboço da arquiteta.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
430 m² (aprox)
Objects and strings
Photo Filipe BerndtRODA GIGANTE é uma instalação em grande escala composta por um conjunto de aproximadamente 320 objetos no chão. Cada um dos objetos, fixos no solo, é amarrado com cordas que vão até o telhado. Assim, o todo do ambiente aparece permeado pelas múltiplas cordas entrecruzadas em várias direções, criando, visualmente, uma espécie de trama irregular de muitas cores e espessuras variadas.
A primeira criação desta obra foi em 2019 e é uma das obras reeditadas em 2024 para este espaço do Sesc Pompeia. Foram escolhidos objetos fora de uso ou obsoletos…, que podem ser reconhecidos como fragmentos do que já foram um dia…são utensílios banais: como baldes, tambores, fardos, peças mecânicas, pneus, contrapesos…em suma, uma monstruosa coleção de mercadorias.
Paulo Miyada, curador desta exposição, escreveu que Carmela Gross cria um ambiente que sugere movimento, tensão e suspensão. Ele pergunta: “É uma roda gigante que entretém com sua ilusão de mobilidade, girando e girando sem sair do lugar?”.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
430 m² (aprox)
Objects and strings
Photo Filipe BerndtRODA GIGANTE é uma instalação em grande escala composta por um conjunto de aproximadamente 320 objetos no chão. Cada um dos objetos, fixos no solo, é amarrado com cordas que vão até o telhado. Assim, o todo do ambiente aparece permeado pelas múltiplas cordas entrecruzadas em várias direções, criando, visualmente, uma espécie de trama irregular de muitas cores e espessuras variadas.
A primeira criação desta obra foi em 2019 e é uma das obras reeditadas em 2024 para este espaço do Sesc Pompeia. Foram escolhidos objetos fora de uso ou obsoletos…, que podem ser reconhecidos como fragmentos do que já foram um dia…são utensílios banais: como baldes, tambores, fardos, peças mecânicas, pneus, contrapesos…em suma, uma monstruosa coleção de mercadorias.
Paulo Miyada, curador desta exposição, escreveu que Carmela Gross cria um ambiente que sugere movimento, tensão e suspensão. Ele pergunta: “É uma roda gigante que entretém com sua ilusão de mobilidade, girando e girando sem sair do lugar?”.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
78 drawings - variable dimensions
Silk screen printing on zinc
Photo Filipe BerndtBANDO são 78 desenhos de animais. Cada um deles sugere uma silhueta, um vulto sem detalhes. Na primeira versão deste trabalho, em 2016, o conjunto de 78 desenhos era feito com tinta verde e grafite sobre o papel. Os animais eram situados em meio a campos cinzas de rabiscos de grafite.
Para esta exposição, o Bando foi refeito, os mesmos desenhos foram impressos com tinta verde em cima de chapas metálicas. A diferença é que agora eles aparecem dispostos, lado a lado, num extenso corredor de madeira. São espectros de animais de todos os tipos que nos cercam, à espreita.
As placas de zinco e as pranchas rosa de madeirite, materiais que compõem o corredor, nos lembram dos tapumes e do arranjo precário de tantas construções, nos becos e terrenos baldios de nossas cidades.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
550 × 2150 × 370 cm
13 stairs and red tube lights
Photo Filipe BerndtESCADAS VERMELHAS é uma instalação que foi realizada pela primeira vez em 2012, no Sesc Belenzinho, em São Paulo. Fáceis de carregar e armar, escadas são máquinas simples. Diminui o esforço do corpo para atingir alturas desejadas pelo olhar. Hoje, as escadas viraram, para nós, utensílios corriqueiros e banais.
Porém, na memória esquecida, no avesso de tudo, são mais do que isso. Nasceram como armas de guerra. Foram da primeira geração de máquinas a levar a luta para além do solo, como as pedras e as flechas. Essa ambivalência era instigante: banalidade e potência a um só tempo – coisa do dia-a-dia e máquina de vida ou morte…
Para compor este trabalho, a artista escolheu 13 escadas industriais disponíveis no mercado, e imaginou lâmpadas fluorescentes brancas acopladas a cada um dos degraus e das traves verticais.
Nesta nova instalação em 2024, as lâmpadas brancas foram substituídas por lâmpadas vermelhas, fazendo reverberar no espaço e nos reflexos do espelho d’água a luminosidade de vermelho intenso.
– Trecho retirado do catálogo “QUASE CIRCO”, produzido pelo Sesc Pomepia, 2024
Enamel paint and primer on stairs — site specific
Photo Filipe Berndt
Enamel paint and primer on stairs — site specific
74 x 138 cm
blue neon and metal frame
Photo edson kumasakaNeons are a constant presence in the work of Carmela Gross.
Her texts and luminous drawings establish links with the visual communication of the streets: the signs, advertisements, billboards and graffities that appear in public spaces.
NÓS [WE], written in light, summons us to collectivity.
varied dimensions
graphite, ecoline and drawing with fixative on Hahnemühle paper 80 gr
Photo Parque LageBand is a set of drawings. They make up a multitude of creatures made of green splotches that evoke animal figures, set amid gray fields of graphite pencil – they form an environment conducive to imaginary projections of various kinds. They surround, like a lurking horde, whoever passes through the room.
– Carmela Gross
Variable dimensions
ropes and hardware
Photo Filipe BerndtX (2021) affronted those who wanted to enter Gross’s exhibition. It was an X of large proportions – incisive –, tensioned with climbing ropes from the wall and fixed to the floor, taking over Vermelho’s courtyard. The visitor had to cross the X to enter the exhibition.
X is an interdiction and a sign of the unknown. Carmela took the symbol from the abstract field and brought it to corporeality.
Variable dimensions
ropes and hardware
Photo Filipe Berndt
342 x 300 cm
orange neon 12 mm, iron structure
Photo Filipe BerndtFONTE LUMINOSA was born from a drawing of a volcano, an eruption of lava, a formless mass that invades all of the viewer’s visual fields, leaking into the surrounding area.
Fire is a force that burns and, tragically, suggests a mirror of the current situation in Brazil, where the government is implementing a suicidal effort that turns the foundations and collective memory of the country into ashes.
collage, Chinese ink on paper
Photo Filipe BerndtThe HEADS installation is made up of 226 black drawings – made with paint stains and tears – that induce the viewer to imagine the “portrayed” heads.
The “portraits” are the results of a process that relies on chance in their creation and, therefore, are imagined faces of figures that do not exist.
4,50 x 6,30 m
neon LED and metal frame Photo MAM Rio
3 x 4 x 3 m
canvas and wood structure Photo Filipe Berndt
60 x 12 x 10 cm
Oil on wood
Photo Filipe BerndtHélice H 21 show the dynamics of color and shape relationships in space, including the viewer as a participant. The manual touch provides the dynamics of the work: the shape expands, and the color dematerializes and pulsates in the air.
10 m x 370m2
Around 300 objects Photo Carmela Gross “RODA GIGANTE is an installation specially designed for the internal space of Farol Santander in Porto Alegre. It consists of a set of about 300 objects that will be displayed on the floor of the main lobby of the building. Each of the objects will be tied by means of ropes to the top of the building's columns and balusters. Thus, the entire free span will be occupied by the strings intertwined in many directions, visually creating a kind of irregular weave of many colors and varying thicknesses. RODA GIGANTE has to do with the precariousness of life in big cities, whether of its inhabitants, or of those who live on the streets. The homeless person or the street vendor, for example, has to improvise ways of living, invent a nomadic and uncertain dwelling every day, among things found, objects and discarded furniture, and recombine them in a fragile balance in any gap of the street, leaning against a wall or under a viaduct. ” (Carmela Gross in an interview for the composition of the exhibition's educational material)
2.4 x 16m and 2.4 x 21.5m
292 LED tubular lamps and metal frame Photo Carmela Gross “This work was designed to be built on two pedestrian walkways, in different streets in the city of Christchurch, New Zealand. One would contain the phrase “REAL PEOPLE” and the other, “ARE DANGEROUS”, * both built with tubes of red fluorescent light. The spatial discontinuity between the two parts of the sentence sought to open up the meaning and elicit multiple readings. On the other hand, when read together and brought together in a statement, the junction came to reflect the rhetoric of fear that dominates and controls many aspects of contemporary life. The second part of the sentence was banned by the local authorities, with the argument that the word "DANGEROUS" itself was dangerous." Carmela Gross
11’24’’
Video. B&W, no sound
Photo ReproduçãoCarmela Gross collected, from newspapers, images of conflicts and confrontations in various countries, as well as images of the fires that consumed Brazilian cultural institutions in this century, to compose the video Luz del Fuego II. The title of the work comes from the artistic name of Dora Vivacqua, who was a Brazilian dancer, naturist, actress and feminist who lived
66,5 x 52,5 cm
12mm flamingo red neon with aluminum composite structure
Photo Vermelho
7 × 5,50 × 1,30 m
Fluorescent light bulbs and metallic easels Photo Kunsthalle Bratislava [...] In O FOTÓGRAFO, [...] on the one hand, the lamps representing the basic unit of drawing give the whole work an almost childish schematic, elementary character. On the other hand, just like with the stamps, this simple gesture, along with the preservation of its spontaneity, is transformed and subverted by becoming mechanical, even industrial, as it is captured with a lot of cables, transformers, reactors, energy, etc. Exhibiting cables and other functional elements is especially important in terms of saving work, because it allows us to place O FOTÓGRAFO in a set of Gross’s works that are in a direct or indirect osmotic relationship with the city. [...] Excerpt from (Some things) we talk about when elaboting on Carmela Gross Jacopo Crivelli Visconti LAB: 2014-2017. Bratislava: Slovenské centrum vizuálnych umení, Kunsthalle Bratislava, 2017, p. 219-220.
Dimensões variáveis
Kraft paper - intervention at Museu da Cidade – Chácara Lane Photo João Nitsche In LISTEN, the work also relates to skin and surface, but visibility and hiding strategies as well. The work was performed for the first time in 2001 for a television project that unveiled the artist’s studio. Carmela then proposed that, instead of having her workshop exposed, she would rather have a new work being shown, so she fully covered her studio with kraft paper. Nothing else could be seen; however, a new environment was created, bathed in an amber light, with new textures and the typical smell of the paper. The kraft paper skin covering the room eventually turned it into a cave, or a stomach, hided the rigid architecture and blurred the hard lines and definitions of the room. Excerpt from CARMELA GROSS’ VAST PRIMER TO FACE THE WORLD Douglas de Freitas Carmela Gross: Arte à mão armada. Textos de Douglas de Freitas e Carmela Gross. São Paulo: Museu de Arte da Cidade – Chácara Lane, 2017 / Rio de Janeiro: Endora Arte Produções, 2017.
114 x 233 x 9,5 cm
LED panel
Photo VermelhoThe panel lit by LEDs, Figurantes (2016), by Carmela Gross, resembles so many other such panels usually found in bars, stores and gasoline stations, bearing advertisements. But here, instead of products and services, the panel presents an extraordinary procession of dubious figures. They are those listed by Marx in The Eighteenth Brumaire of Louis Napoleon (1852), as members of the Society of December 10, consisting of temporary workers, parvenus, ruined heirs, vagabonds and all sorts of shiftless people: pickpockets, ex-cons, swindlers, decadent ruffians and many others… The luminous redemption of this peculiar group of political activists, shown on the LED panel mounted by the artist, reactualizes other groups that came in the wake of that one, and points to so many more which circulate in the contemporary cities.
Variable dimensions
2 parking gates and canvas
Photo Edouard FraipontThe gallery’s Room 1 is occupied by the installation Darlenes (2014), consisting of two parking lot gates. Usually such gates signal to the cars whether they can move forward or not. But not here. These are gates for pedestrians who can approach and manipulate them, if they wish, configuring other meanings.
The mechanical posts are remote-controlled by a device accessible to anyone going past. The movement of raising and lowering the posts unfolds and extends two shapeless swathes of red fabric, drawing a large X in the space. The posts can be moved again to return to their initial position, unmaking the drawing in red. This process can be repeated as many times as one wishes.
29 x 21 cm
Graphite and liquid water color paint on paper
Photo Galeria Vermelho78 drawings displayed side-by-side form an environment suitable for imaginary projections of various sorts. They compose a multitude of animals, made of green splotches that looked like the outlines of animals, situated among grayish fields made of scribbled graphite. They surround, like a lurking horde, whoever is going through the room.
32,5 x 50 cm
Graphite and liquid water color paint on paper
Photo Galeria Vermelho78 drawings displayed side-by-side form an environment suitable for imaginary projections of various sorts. They compose a multitude of animals, made of green splotches that looked like the outlines of animals, situated among grayish fields made of scribbled graphite. They surround, like a lurking horde, whoever is going through the room.
Variable dimensions
Ladders and lamps Photo Sergio Araújo “Prior to working as work appliances, stairs were weapons of war when there was no other conceived method of attack or defense through the air. Facing the walls and moats, the stairs were fragile pieces, but highly mobile just as the stones and arrows, and were the first generation of war machines to take the fight beyond the soil.” Carmela Gross
330 x 200 x 200 cm
Nylon tulle on mobile iron structure
Two Black Women
There is a correlation of A Negra [The Black Woman] with Tarsila’s A Negra [The Black Woman]*, but this correlation has not been previously arranged. They are not related for their formal aspects, nor do they move together in the same space. I have appropriated the name to rethink my work with a historical note. Aready-made work for the title, a kind of temporal duct into our modernism.
A Negra, of my authorship, is an object-assembly in iron and black nylon tulle, set upon wheels, which enable its displacement along the avenue, on the asphalt; I also think of it as an object-image, that mingles with the movement of streets, of cars, of sounds and noises, of building lights, of stores, of ads; it is also an object-desire, that acts with the mutating city of passersby – crossing, wandering, walking, going back and forth, returning.
The figure of Tarsila’s A Negra is territory-color, house-form, body-painting almost throughout the picture. She is the opening wing, the theme song, the female flag holder, and the first dancing master, the highlight and the float, everything at the same time, in the parade of a Brazil that intended to be modern and looked at its roots in lessons from a samba school. But whilst in Tarsila’s anthological work, the black woman features as a body with no clothes, only surface, in my work, the black phantasmatic figure is an empty body, with her tulle garment.
Carmela Gross
August, 2004
* Tarsila do Amaral
A Negra [The Black Woman], 1923
Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, MAC USP
11,20 × 9,60 × 4,65 m
Graphite, iron, mica, foam rubber, grease on paper
3,78 x 2,69 m
6 pieces of painted aluminum Photo Ana Pigosso "a writing with the suggestion of an X (an X marks: here, an X cancels: no). This is a suggestion, the signal not being configured, whose risks, oriented to different spatial senses, are dispersed. Strictly speaking, it is not a question of scratches or painting. Nor is it necessary to speak of an object, despite the fact that the drawing is constructed with metal shafts painted in black and enhanced by the tensions obtained through the ambiguity between the tracing of the hand and the molten material. [...] Moment of concentration, resulting from the superposition of several agglomerated layers. It is the necessary counterpoint to the imaginary webs that entangle man in space". excerpt from "Carmela Gross" - Ana Maria de Moraes Belluzzo in ARTISTAS brasileiros na 20ª Bienal Internacional de São Paulo. São Paulo: Fundação Bienal: Ed. Marca D’Água, 1989
100 x 70 cm each part of 11
off-set on paper
Photo Ana Pigosso“The exhibition Quasars (1983) had an enigmatic name, which according to the artist, meant “sound vibration captured by sound sensors”. Once again we are faced with experiments of the previous decade: off set prints registered apparitional images of inexact immateriality; they are allusive, despite the fact that their inherent indefiniteness did not lead us to the sources form which the artist extracted these forms interfered with by processes up to the graphic printing.”
Excerpt from “Carmela Gross: A Loon in Perspective”, by Aracy Amaral.
Carmela Gross: Hélices. Rio de Janeiro: MAM, 1993. Exhibition catalogue.
21 x 29 cm each part of 3
double sided photocopies mounted on tilting frames made of aluminum and transparent plexiglass
Photo Ana PigossoVia Láctea [Milky Way], from 1979, has its origin in the sonnet XIII from the poem Via Láctea – also known as “Ouvir Estrelas” {To Listen the Stars] –one of the most celebrated works by Brazilian poet Olavo Bilac, exponent of Parnassianism in Brazil.
The set of photocopies mounted in tilting frames bears, on one side of each part of the triptych, an image that refers to the galaxy of which the Solar System is part of and, on the other side of each part, excerpts from the sonnet by Bilac. The poem is placed on grids on the pages, creating a kind of word search puzzle.
60 x 40 cm
Mineral pigmented inkjet print on Hahnemühle Museum Etching 350g
Photo VermelhoI like to think of this work as a drawing. Perhaps a Paleolithic graphism, because it evokes the most primitive way of drawing – a line of paint on an earth surface.
During a strike, I went out with a group of school friends to photograph the outskirts of the city. We decided to stop in an almost deserted area near Santo Amaro, where a newly opened avenue cut through a rugged area among curves, holes and large hills. It was a wall of earth that looked good to
paint. A part of it, with the earth in horizontal bands, worked exactly like a stair, by which one could go up and down freely. I took advantage of that to draw zigzag lines on it, like the steps of a stair.
The observed thing (hill/earth steps) and the drawn thing (lines/scheme), almost on the same scale, resonated with each other. An urban design.
Carmela Gross
Variable dimensions
6 pieces of enameled wood Photo Isabella Matheus The artistic scene during the late 1960s lends itself to conceptual and technical experimentation, even though the government of the civil-military dictatorship restricts freedom of expression in the country. Carmela Gross's journey, initiated in that period, deals with theoretical and formal researches, creating a complex repertoire. The material used in her work, extracted from the original context, serves as a means for observing the artistic process. Her production includes drawings, prints, paintings, sculptures and public interventions. Conceptually, the discussion about the limit of art is found since the first works, such as Nuvens (1967): a set of six pieces of wood painted with industrial material (blue enamel) representing clouds, whose perfection of the shape suggests that it is the replication of a drawing. The connection with pop art in the choice of theme and material is evidenced by repetition in the execution (which does not imply the artist's individual brand) and by criticism of the avidity of the consumer society. Itaú Cultural Encyclopedia
Carmela Gross’s artistic production marks an incisive and critical look at the contemporary city in its political and social dimensions. The common axis, in addition to the diversity of contexts and proposals developed by her, is in the relationship between art work and the city.
The set of operations that involve everything from the conception of the work, through the production process, to the layout in the exhibition place, emphasizes the dialectical relationship between the work and the urban space, between the work and the public/passerby.
Her works seek to engender new artistic perceptions that affirm a critical action and thought and that bring out the semantic charge of the place, be it a public space, an institution or the moment of an exhibition.
Gross participated in the São Paulo Biennial in 7 editions, the Moscow Biennial of 2007, and the 5th Mercosur Biennial. The artist has permanent public works in Paris, São Paulo, Porto Alegre, Curitiba, and Laguna. She was a highlight in the Radical Women exhibition, which, between 2017 and 2018, occupied the Hammer Museum in Los Angeles, the Brooklyn Museum in New York, and the Pinacoteca do Estado de São Paulo, bringing together 127 artists and collectives from 15 countries.
Her work is part of permanent collections such as Culturgest (Lisbon); MoMA (New York); MAC USP (São Paulo); Museum of Modern Art (São Paulo); Pinacoteca do Estado de São Paulo (São Paulo); Aloísio Magalhães Museum of Modern Art (Recife); Museum of Fine Arts (Houston); Banco de la República Art Collection (Bogotá).
Carmela Gross’s artistic production marks an incisive and critical look at the contemporary city in its political and social dimensions. The common axis, in addition to the diversity of contexts and proposals developed by her, is in the relationship between art work and the city.
The set of operations that involve everything from the conception of the work, through the production process, to the layout in the exhibition place, emphasizes the dialectical relationship between the work and the urban space, between the work and the public/passerby.
Her works seek to engender new artistic perceptions that affirm a critical action and thought and that bring out the semantic charge of the place, be it a public space, an institution or the moment of an exhibition.
Gross participated in the São Paulo Biennial in 7 editions, the Moscow Biennial of 2007, and the 5th Mercosur Biennial. The artist has permanent public works in Paris, São Paulo, Porto Alegre, Curitiba, and Laguna. She was a highlight in the Radical Women exhibition, which, between 2017 and 2018, occupied the Hammer Museum in Los Angeles, the Brooklyn Museum in New York, and the Pinacoteca do Estado de São Paulo, bringing together 127 artists and collectives from 15 countries.
Her work is part of permanent collections such as Culturgest (Lisbon); MoMA (New York); MAC USP (São Paulo); Museum of Modern Art (São Paulo); Pinacoteca do Estado de São Paulo (São Paulo); Aloísio Magalhães Museum of Modern Art (Recife); Museum of Fine Arts (Houston); Banco de la República Art Collection (Bogotá).
Carmela Gross
1946. São Paulo, Brasil
Lives and works in São Paulo
Solo Shows
2024
-Carmela Gross. Boca do Inferno – Fundação Iberê Camargo – Porto Alegre – Brasil
– Carmela Gross. Quase Circo – Sesc Pompéia – São Paulo – Brasil
2023
– A Negra – Projeto Clareira – Museu de Arte Contemporânea (MAC USP) – São Paulo – Brazil
– Carimbos – Instituto de Arte Contemporânea (IAC) – São Paulo – Brazil
2022
– Iracemas – Instituto de Arte Contemporânea ((IAC) – São Paulo – Brazil
– Bando – Projeto Escândalo – Parque Lage – Rio de Janeiro – Brazil
2021
– fendas, fagulhas [cracks, sparks] – Vermelho – São Paulo – Brazil
– Vulcão – Museu de Arte Moderna (MAM Rio) – Rio de Janeiro – Brazil
2019
– Carmela Gross. Projeto Escada – Galeria Virgílio – São Paulo – Brazil
– Carmela Gross. Roda Gigante – Santander Cultural – Porto Alegre – Brazil
2018
– Real People are Dangerous – Auroras – São Paulo – Brazil
2017
– Carmela Gross: The Photographer – Kunsthalle Bratislava – Bratislava – Slovakia
2016
– Um, Nenhum, Muitos – Galeria Vermelho – São Paulo – Brazil
– Arte à mão armada – Chácara Lane – Museu da Cidade – São Paulo – Brazil
– Instalação da artista Carmela Gross na Capela do Morumbi – Capela do Morumbi – São Paulo – Brazil
2014
– Carmela Gross – Projeto Parede – Museu de Arte de Moderna (MAM SP) – São Paulo – Brazil
2013
– Escadas – Casa França-Brasil – Rio de Janeiro – Brazil
2012
– Serpentes – Galeria Vermelho – São Paulo – Brazil
– Escadas – SESC Belenzinho – São Paulo – Brazil
– La Carga – Museo Experimental El Eco – Mexico City – Mexico
2010
– Carmela Gross: Um Corpo de Ideias – Estação Pinacoteca – São Paulo – Brazil
2009
– Arte à Mão Armada – Galeria Cilindro – Campina Grande – Brazil
2008
– SE VENDE – Matadero – Madrid – Spain
2007
-Uma Casa – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– O Fotógrafo – Escola da Cidade – São Paulo – Brazil
2006
– Arte Passageira – Centro Universitário Mariantonia – São Paulo – Brazil
– O Fotógrafo – SESC Ribeirão Preto – São Paulo – Brazil
– SUL – Instituto Tomie Ohtake – São Paulo – Brazil
2004
– Bleujaunerougerouge – Intervenção Arquitetônica – École René Binet – Paris – France
– AURORA – Galeria Olido – São Paulo – Brazil
– Um azul um amarelo dois vermelhos – Espaço Cultural Marcantonio Vilaça – Brasília – Brazil
2003
– Carmela Gross – Museu de Arte Moderna Aloísio Magalhães (MAMAM) – Recife – Brazil
– HOTEL – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
2001
-Alagados e Monumentos – Celma Albuquerque Galeria de Arte – Belo Horizonte – Brazil
2000
– Alagados – Centro Universitário Mariantonia – São Paulo – Brazil
– Projeto Parede – Museu de Arte Moderna (MAM) – São Paulo – Brazil
1999
– Espaço Aberto – Oficina Cultural Oswald de Andrade – São Paulo – Brazil
– Projéteis – Paço das Artes – São Paulo – Brazil
– Comedor de Luz- Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
1998
– 300 Desenhos – Instituto de Artes da UFRS – Porto Alegre – Brazil
1997
– Feche a Porta e Projeto para a Construção de um Céu – Centro Cultural São Paulo (CCSP) – São Paulo – Brazil
1995
– Carmela Gross – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– Facas – Museu de Arte Moderna (MAM) – São Paulo – Brazil
1994
– Facas – Centro Cultural Banco do Brasil (CCBB) – Rio de Janeiro – Brazil
- Facas – European Ceramics Work Centre – Hertogenbosch – The Netherlands
– Larvas – Galeria Ido Finotti – Universidade Federal de Uberlândia – Uberlândia – Brazil
– Hélices – Museu de Arte de Ribeirão Preto – Ribeirão Preto – Brazil
1993
– Hélices – Galeria de Arte da Universidade Federal Fluminense – Niterói – Brazil
– Hélices – Museu de Arte Moderna [MAM RJ] – Rio de Janeiro – Brazil
1992
– Desenhos – Museu de Arte Moderna [MAM ] – São Paulo – Brazil
– Pinturas – Galeria São Paulo – Brazil
– Instalação – Capela do Morumbi – São Paulo – Brazil
1990
– Objetos – Galeria São Paulo – São Paulo – Brazil
1989
– Objetos Bestas – Galeria Eaço Capital – Brasília – Brazil
1988
– Pintura/Objeto – Museu de Arte do Rio Grande do Sul – Porto Alegre – Brazil
– Pintura/Objeto – Galeria São Paulo – São Paulo – Brazil
1987
– Pintura/Desenho – Museu de Arte Contemporânea (MAC USP) – São Paulo – Brazil
1986
– Quasares – Eaço Latino-Americano – Paris – France
– Pinturas – Galeria Luiza Strina – São Paulo – Brazil
1984
– Pinturas – Montagens – Cartazes – Galeria Luisa Strina – São Paulo – Brazil
1983
– Quasares – Museu de Arte Moderna (MAM RJ) – e no Centro Cultural São Paulo (CCSP) – Brazil
1982
– Projeto para a Construção de um Céu – Brazilian-American Cultural Institute – Washington – USA
1980
– Carimbos – Espaaço N.O. – Porto Alegre – Brazil
1978
– Carimbos – Gabinete de Artes Gráficas – São Paulo – Brazil
1977
– Desenhos – Gabinete de Artes Gráficas – São Paulo – Brazil
Group Shows
2023
– Veredas Festival de Arte Contemporânea (2ª edição) – Online exhibition
– Pedra Viva: Serra da Capivara – O Legado de Niède Guidon – Museu Brasileiro da Escultura e Ecologia (MUBE) – São Paulo – Brazil
– Chão da praça: obras do acervo da Pinacoteca – Pinacoteca Contemporânea – São Paulo – Brazil
– Eu enterrei meu umbigo aqui – Galeria Marco Zero – Recife – Brazil
– Tridimensional: entre o estético e o sagrado (Um recorte da coleção Vera e Miguel Chaia) – Arte 132 Galeria – São Paulo – Brazil
2022
– 34a Bienal de São Paulo Itinerâncias – LUMA Arles – Arles – France
– Dentro de ti – Quadra – São Paulo – Brazil
– Vivemos prá isso – Galpão Vermelho e Ateliê397 – São Paulo – Brazil
– A Barganha – coleção moraes-barbosa – São Paulo – Brazil
– Horizontes Moventes – Boa Vista – Brazil
– Histórias Brasileiras – Museu de Arte de São Paulo Assis Chateaubriand (MASP) – São Paulo – Brazil
– Lugar comum – Museu de Arte Contemporânea (MAC SP) – São Paulo – Brazil
– Contar o tempo – Centro Universitário Maria Antonia (USP-SP) – São Paulo – Brazil
2021
– Da Letra à Palavra – Museu Judaico – São Paulo – Brazil
– 34a Bienal de São Paulo. Faz escuro mas eu canto – Pavilhão Ciccillo Matarazzo – São Paulo – Brazil
– Janelas para dentro – Casa Míllan – São Paulo – Brazil
– 1991-2021: Arte Contemporânea Brasileira na Coleção Andrea e José Olympio Pereira – Centro Cultural Banco do Brasil (CCBB) – Rio de Janeiro – Brazil
– Amilcar de Castro, Diálogos Contemporâneos: Matéria-Linha – Museu Brasileiro da Escultura e Ecologia (MUBE) – São Paulo – Brazil
2020
– Connecting Currents. Contemporary Art at the Museum of Fine Arts – Museum of Fine Arts – Houston – USA
– Decategorized Artists From Brazil – Fundación ArtNexus – Bogotá – Colômbia
– Pinacoteca: Acervo – Pina_Luz – Pinacoteca do Estado de São Paulo – São Paulo – Brazil
– Luzes da Memória – Instituto de Arte Contemporânea (IAC) – São Paulo – Brazil
– Farsa – Sesc Pompéia – São Paulo – Brazil
– Vídeo_MAC – Museu de Arte Contemporânea (MAC) – São Paulo – Brazil
– Bienal 12 Online – Bienal do Mercosul – Porto Alegre – Brazil
– Clube de Colecionadores de Fotografia do MAM – 20 anos – Museu de Arte Moderna (MAM SP) – São Paulo – Brazil
– Dupla Central na Biblioteca Mário de Andrade – Biblioteca Mário de Andrade – São Paulo – Brazil
2019
– SEGUNDA-FEIRA, 6 DE JUNHO DE 2019 – Galeria Vermelho – São Paulo – Brazil
– Arte Naïf – Nenhum museu a menos – Parque Lage – Rio de Janeiro – Brazil
– O ano em que vivemos em perigo – Museu de Arte Moderna (MAM SP) – São Paulo – Brazil
– Passado/Futuro/Presente: Arte contemporânea brasileira no acervo do Museu de Arte Moderna de São Paulo – Museu de Arte Moderna de São Paulo (MAM SP) – São Paulo – Brazil
2018
– Mulheres na coleção do MAR – Museu de Arte do Rio [MAR] – Rio de Janeiro – Brazil
– Invenção de Origem – Estação Pinacoteca – São Paulo – Brazil
– Exceção – Espaço Cultural Casa do Lago – Unicamp – Campinas – Brazil
– AI-5 50 ANOS. Ainda não terminou de acabar – Instituto Tomie Ohtake – São Paulo – Brazil
– Mulheres radicais: arte latino-americana, 1960–1985 – Pinacoteca do Estado – São Paulo – Brazil
– Arte tem gênero? Mulheres na Coleção de Arte da Cidade – Centro Cultural São Paulo (CCSP) – São Paulo – Brazil
– Brasile. Il coltello nella carne – Padiglione di Arte Contemporanea (PAC) – Milan – Italy
– Radical Women: Latin American Art, 1960–1985 – Brooklyn Museum – New York – USA
– #iff2018 – Instituto Figueiredo Ferraz (IFF) – Ribeirão Preto – Brazil
– A Vastidão dos Mapas – Palacete das Artes – Salvador – Brazil
2017
– Potência e Adversidade. Arte da América Latina nas coleções em Portugal – Museu de Lisboa – Lisbon – Portugal
– ON ANAM. Where are we going? – Es Baluard Museu d’Art Modern i Contemporani – Palma de Mallorca – Spain
– Radical Women: Latin American Art, 1960-1985 (Pacific Standard Time: LA/LA) – Hammer Museum – Los Angeles – USA
– Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo – Phoenix Art Museum – Phoenix – USA
– São Paulo não é uma cidade, invenções do Centro – Sesc 24 de Maio – São Paulo – Brazil
– Here the border is you – ProyectosLA (Pacific Standard Time: LA/LA) – Los Angeles – USA
– Metrópole: experiência Paulistana – Estação Pinacoteca – São Paulo – Brazil
– OSSO Exposição-apelo pelo amplo direito de defesa de Rafael Braga – Instituto Tomie Ohtake – São Paulo – Brazil
– A vastidão dos mapas. Arte contemporânea em diálogo com mapas da Coleção Santander – Museu Oscar Niemeyer – Curitiba – Brazil
– Pedra no Céu: Arte e a Arquitetura de Paulo Mendes da Rocha, Museu Brasileiro de Escultura e Ecologia – São Paulo – Brazil
2016
– Coletiva – Galeria Vermelho – São Paulo – Brazil
– The Winter of Our Discontent – Galerie Martin Janda – Vienna – Austria
– Os muitos e o um: a arte contemporânea brasileira na coleção de José Olympio e Andrea Pereira – Instituto Tomie Ohtake (ITO) – São Paulo – Brazil
– Clube da Gravura: 30 anos – Museu de Arte Moderna (MAM) – São Paulo – Brazil
– Brasil, Beleza?! – Museum Beelden aan Zee – Den Haag – The Netherlands
2015
– Uma coleção particular: Arte contemporânea no acervo da Pinacoteca – Pinacoteca do Estado – São Paulo – Brazil
– Retrospectiva. 25 anos do Programa de Exposições CCSP – Centro Cultural São Paulo (CCSP) – São Paulo – Brazil
2014
– Matéria do Mundo: Projeto Arte e Indústria – MAC Ibirapuera – São Paulo – Brazil
– Afetividades Eletivas – Centro Cultural Minas Tênis Clube – Belo Horizonte – Brazil
– Iberê Camargo: século XXI – Fundação Iberê Camargo – Porto Alegre – Brazil
– A serpente no imaginário artístico – Museu Afro – Brasil – São Paulo – Brazil
– Contemporary Art: Selections from the Museum’s Collection – The Museum of Fine Arts – Houston – USA
– Verbo 2014. Mostra de Performance Arte (10ª ed.) – Galeria Vermelho – São Paulo – Brazil
– Experimentando Espaços 2 – Museu da Casa Brasileira – São Paulo – Brazil
– 140 Caracteres – Museu de Arte Moderna (MAM SP) – São Paulo – Brazil
– Vertigo – SIM Galeria – Curitiba – Brazil
2013
– Tomie Correspondências – Centro Cultural dos Correios – Rio de Janeiro – Brazil
– Escavar o Futuro – Fundação Clóvis Salgado – Belo Horizonte – Brazil
– 30 X Bienal: Transformações na Arte Brasileira da 1ª à 30ª edição – Pavilhão da Bienal – São Paulo – Brazil
– Universo Póliédro – Museo Valenciano de la Ilustración y la Modernidad (MUVIM) – Valência – Spain
– Tomie Correspondências – Instituto Tomie Ohtake – São Paulo – Brazil
2012
– Da Seção de Arte ao Prêmio Aquisição: a gênese do Gabinete do Desenho – Gabinete do Desenho – São Paulo – Brazil
– 64ª Salão Paranaense [artista convidada] – Museu de Arte Contemporânea do Paraná – Curitiba – Brazil
– Da próxima vez eu fazia tudo diferente – Pivô / COPAN – São Paulo – Brazil
– Percursos Contemporâneos – Museu de Arte Contemporânea de Sorocaba – Sorocaba – Brazil
– Expansivo – Galeria Vermelho – São Paulo – Brazil
– O tridimensional no acervo do MAC: uma antologia – Museu de Arte Contemporânea (MAC USP) – São Paulo – Brazil
2011
– Contra a Parede – Galeria Vermelho – São Paulo – Brazil
– Exposições no Mariantonia – Centro Universitário Maria Antonia – São Paulo – Brazil
– 748.600 – Santander Cultural – Recife – Brazil
– 748.600 – Paço das Artes – São Paulo – Brazil
– Zona Letal – Eaço Vital – Museu de Arte Contemporânea de Elvas – Museu Municipal de Tavira/ Palácio da Galeria – Elvas – Portugal
2010
– Paisagem incompleta – Palácio das Artes – Belo Horizonte – Brazil
– Por aqui – formas tornaram-se atitudes – SESC Vila Mariana – São Paulo – Brazil
– Transição / From Now On…. – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– Um dia terá que ter terminado 1969/74 – Museu de Arte Contemporânea (MAC USP) – São Paulo – Brazil
– Ponto de Equilíbrio – Instituto Tomie Ohtake – São Paulo – Brazil
– TEKHNE – Fundação Armando Alvares Penteado (FAAP) – São Paulo – Brazil
2009
– Os Mágicos Olhos das Américas – Museu Afro Brasil – São Paulo – Brazil
– 5a. Bienal Vento Sul – Curitiba – Brazil
2008
– Real People Are Dangerous – SCAPE 2008 Christchurch Biennial of Art in Public Space – Christchurch – New Zeland
– Arte Contemporânea Brasileira – Estação Pinacoteca- São Paulo – Brazil
– A Última Casa – A Última Paisagem – Galeria Matias Brotas – Vitória – Brazil
– Alguns Aspectos do Desenho Contemporâneo – SESC Pinheiros – São Paulo – Brazil
2007
– II Bienal de Arte Contemporânea – Moscow – Russia
– Encuentro entre dos Mares: Bienal São Paulo-Valência – Valência – Spain
– Não Existem dois elefantes iguais – Fundação Vera Chaves Barcellos – Porto Alegre – Brazil
– Anos 70: Arte como Questão – Instituto Tomie Ohtake – São Paulo – Brazil
– Olhar Seletivo – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– Transparências – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
2006
– Paralela 2006 – Pavilhão Armando Arruda Pereira – Parque do Ibirapuera – São Paulo – Brazil
– Desenho Contemporâneo – Galeria Saraiva Queiroz e Sala Alternativa – Uberlândia – Brazil
– A Cidade para a Cidade – Centro Cultural São Paulo (CCBB) – São Paulo – Brazil
– Gravura em Metal – matéria e conceito – Fundação Iberê Camargo – São Paulo – Brazil
– Clube de Gravura: 20 anos – Museu de Arte Moderna (MAM SP) – São Paulo – Brazil
– Manobras Radicais – Centro Cultural Banco do Brasil (CCBB) – São Paulo – Brazil
– MAM [na] OCA – Oca – Parque do Ibirapuera – São Paulo – Brazil
2005
– Karakoy Pedestrian Exhibition 2 – Istanbul – Turkey
– L’Autre Amerique Art Contemporain du Brésil – Passage de Retz – Paris – France
– Entregravuras – Museu de Arte de Santa Catarina – Florianópolis – Brazil
– Trajetórias – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– 5ª Bienal do Mercosul – Porto Alegre – Brazil
2004
– LUZIA – Centro Universitário SENAC – São Paulo – Brazil
– Conversa Contemporânea – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– Arte Contemporânea no Ateliê de Iberê Camargo – Centro Universitário Maria Antonia – São Paulo – Brazil
– Arte Contemporânea: Uma História em Aberto – Gabinete de Arte Raquel Arnaud – São Paulo – Brazil
– Fashion Passion – 100 Anos de Moda