“Hole in the Sky" is the name of the unprecedented exhibition by the artist Túlio Pinto, held by the Oscar Niemeyer Museum. The 32 sculptures and installations spread across the Olho exhibition space and the Araucária space.

The works in the exhibition, some of them large, bring materials of different valences, materialities, and natures into dialogue, calling into question the categories of order and functionality.

According to the curator of the exhibition, Roberta Stubs: “To move our body between his sculptures and installations is to transit through an interrupted time and space, where the laws of physics, governed here by a different logic, give way to an enchantment in a state of alert”.

“Buraco no Céu” (“Hole in the Sky”) is an image of thought that invites us to cross worlds and open a passageway between often dissonant universes. It is in the power of the in-between worlds that Tulio Pinto's sculptures and installations create a universe of their own, in which a unique system of forces and materials combine in a fragile balance. The risk of falling and chaos is here pushed to the limits of an order calculated to remain borderline. It is on this frontier between order and disorder that the artist establishes a field of tension in which the materiality of steel, stone, glass, concrete, marble, and the body orbit. Exploring the power of the three-dimensional, Tulio Pinto causes these disparate elements to establish a certain complicity among themselves that is surprising due to the tense alliance established between natures with multiple valences. 

Skilled in activating an empathetic force between different materials, the artist shifts the functionality of things, extracts volume from the void, and inserts the performance of time in formalist thinking. Glass bubbles support immense steel beams that cross the space. Iron and marble plates balance among stones, pulleys, and support cables. Scaffolding, ladders, chairs, and tables impose themselves without function. 

To be in front of Tulio Pinto's works is to share a suspended state with solid materialities that seem to float. Moving our body between his sculptures and installations is to transit in an interrupted time and space, where the laws of physics, governed here by another logic, give way to an enchantment in a state of alert since crossed by the imminent fall. 

“Buraco no Céu” appears here as an escape from a collapse that does not take effect precisely because it enacts other laws that betray the certainty of the visible and found other worlds.

“Buraco no Céu" é o nome da exposição inédita do artista Túlio Pinto, realizada pelo Museu Oscar Niemeyer. São 33 esculturas e instalações espalhadas pelo espaço expositivo do Olho e pelos Espaços Araucária 1 e Araucária 2. As obras da mostra, algumas com grandes dimensões, colocam em diálogo materiais de diferentes valências, materialidades e naturezas, colocando em questão as categorias de ordem e funcionalidade. Segundo a curadora da mostra, Roberta Stubs: “Mover nosso corpo entre suas esculturas e instalações é transitar num tempo e espaço interrompido, onde as leis da física, regidas aqui por outra lógica, cedem lugar a um encantamento em estado de alerta”.

Aço corten e vidro soprado
90 x 143 x 147 cm
Coleção artista

Vigas H, vidro soprado e cabos de aço
135 x 400 x 400 cm
Coleção artista

vigas H e vidro soprado
195 x 186 x 34 cm
Coleção artista

Aço corten e mármore
210 x 350 x 270 cm
Coleção artista

The Oscar Niemeyer Museum opens, on June 22, the unprecedented exhibition “Hole in the Sky”, by visual artist Túlio Pinto. Produced by MON, in the Eye space, it brings together 32 sculptures and installations, some of which are large in size, which explore the power of the three-dimensional. The curatorship is by Roberta Stubs.

“Visitors will realize that this show is almost an optical illusion in which the artist promotes an unusual dialogue between materials of different valences. It makes the heavy seem light, the fragile become strong”, says the Museum’s director-president, Juliana Vosnika.

“Marble and steel are side by side, iron beams seem to float and coexist with glass sheets, in an almost poetic construction”, she says. As in a conjuring trick, the audience may feel hypnotized by the set and will probably be led to a reflective gaze. 

According to Juliana, when the artist surprises us with the possibility of balance and harmony between agents of opposite natures, his work fulfills the role, as does the institution that houses it and brings it closer to the public. “One of the functions of art is to instigate and transform people”, she comments.

For the Secretary of State for Culture, Luciana Casagrande, the new exhibition consolidates the Eye as an exhibition space that is increasingly diverse and interesting for the public. “With each exhibition, visitors have a different experience. It is a privilege for the State to have such a noble space and be so democratic at the same time. Now it's Túlio Pinto's turn, an award-winning artist, internationally recognized, to leave his mark here”, she says.

The curator of the exhibition comments that the exhibition “calls us to cross worlds and to open a passageway between universes that are often dissonant”. For her, to be in front of Túlio Pinto's work is to share a state of suspension with solid materialities that seem to float.

“To move our body between his sculptures and installations is to transit through an interrupted time and space, where the laws of physics, governed here by a different logic, give way to an enchantment in a state of alert”, says Roberta.

Steel beams cross the space and glass plates that are balanced between stones and support cables. Standing in front of Túlio Pinto's works is like walking in a hanging garden made up of solid materialities that seem to float in time and space.

Different elements build, among themselves, a certain complicity that surprises due to the tense alliance signed between dissonant natures such as stone, iron, glass, air, marble, and the body. Skilled in creating almost architectural structures, the artist introduces fields of tension that put the categories of order and functionality into question.

Solid and transparent, some works gain an air of opacity when invested due to the risk of falling (or even breaking) that threatens the stability of the different weights and measures that constitute the works. Túlio Pinto surprises with the control he exerts over rigid materialities such as steel, glass, and concrete. A mastery that is given by the strength of the flexibility of materials taken to the limit.

In many works, there is the resistance of the glass stretched to the extreme by the stiffness of the steel. At a glance, it is the air that seems to support the weight of these rigid beams or blocks that float before the eye. By displacing functions and provoking other arrangements, Túlio Pinto's works shave the surface of appearances and introduce doubts and uncertainties in the place of linear thinking.

Túlio Pinto (Brasília, 1974) has a degree in Visual Arts with an emphasis in sculpture from the Federal University of Rio Grande do Sul (UFRGS, 2009). He lives and works in Porto Alegre and Sao Paulo. Among his exhibitions, the following stand out: “13th Mercosul Biennial: Trauma, Dream, Escape” (Porto Alegre, 2022); “Divergent Encounters” (Museum of Contemporary Art of Sorocaba, Sorocaba, 2021); “Glass and Concrete” (Marta Herford Museum, Herford, Germany, 2020); “Momentum” (MARGS – Museu de Arte do the Rio Grande do Sul, Porto Alegre, 2019); “Onloaded: Túlio Pinto” (Phoenix Institute of Contemporary Art – phICA, Phoenix, Arizona/USA, 2015); “Vancouver Biennial” (Vancouver, Canada, 2014); “About Territories, Abisms and Intentions” (Projeto RS Contemporâneo – Santander Cultural Porto Alegre, Porto Alegre, 2013); “CEP: Body, Space and Path” (9th Funarte National Network, 2013); “Salvaje – Digesting Europe Piece by Piece” (Traneudstillingen Exhibition Space, Copenhagen, Denmark, 2012); “Transposition” (Galeria Augusto Meyer – Casa de Cultura Mário Quintana, Porto Alegre, 2012); “New Brazilian Sculpture” (Caixa Cultural Rio de Janeiro, Rio de Janeiro, 2011); among others. His work is part of national and international collections, including Usina de Arte, Pernambuco; Figueiredo Ferraz Institute, Ribeirão Preto; Museum of Contemporary Art of Paraná, Curitiba; Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre; MARGS – Museum of Art of Rio Grande do Sul, Porto Alegre; National Museum of Brasilia; Museum of Art of Ribeirão Preto; Pablo Atchugarry Foundation, Uruguay; Maria Cristina Masaveu Peterson Foundation, Madrid, Spain; Marta Herford Museum, Herford, Germany; Piramidón, Center d'Art Contemporani, Barcelona, Spain. In recent years he has held artist residencies in countries such as Ukraine, Canada, Portugal, the USA, the UK, and Holland.

TULIO PINTO_EN.pdf

“Buraco no Céu" é o nome da exposição inédita do artista Túlio Pinto, realizada pelo Museu Oscar Niemeyer. São 33 esculturas e instalações espalhadas pelo espaço expositivo do Olho e pelos Espaços Araucária 1 e Araucária 2.

As obras da mostra, algumas com grandes dimensões, colocam em diálogo materiais de diferentes valências, materialidades e naturezas, colocando em questão as categorias de ordem e funcionalidade.

Segundo a curadora da mostra, Roberta Stubs: “Mover nosso corpo entre suas esculturas e instalações é transitar num tempo e espaço interrompido, onde as leis da física, regidas aqui por outra lógica, cedem lugar a um encantamento em estado de alerta”.

Buraco no Céu - Túlio Pinto

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The closer an author approaches its own experience, the greater the chances of touching the universal. It is in the space-time of research, teaching, and creation that this encounter between observations, studies, dreams, technique, and imagination, seasoned with a certain dose of inventive daring, is processed. The atelier is the moment-place, without precise geographical or temporal definition, which concentrates the means that facilitate a range of articulated activities, resulting in a performance-object, at the service of creation.

Every exhibition is a special time in the life of the artist in which the authorial work is presented for dialogue with the public; a time to share questions, explore the paths they propose, and, much more than distributing certainties, open space for uncertainties. From the permanent dialogue, contestation, and counterpoint, new questions are born in an endless spiral, eternally in search of more knowledge, meaning, and significance. 

In the case of artist Norma Grinberg, it is a perpetual movement, orchestrated by reason and soul, in which clay is transformed by handwork, tools, chemistry, and fire, subordinated to the artist's sensitivity. In her own words:

“Since that first experience with ceramics, I have continued to make progress in my research work, discovering, in addition to its potential as a material, its applications, and significant developments in art. As an artist, I know that the foundations of 'consistent' production, both in the matter and in meaning and interpretative range, are the freedom and awareness of experimentation. This implies recording and exchanging information between those who share a language (...) I cannot and do not want to avoid the playful and rich role of investigating artistic language, scouring its meanders.”

It is this journey, which goes from the rawest and most primordial matter to the highest dreams, that you are invited to explore and discover.

In the popular saying from Paraíba – “The first artisan was God who, after creating the world, used the clay and made Adam”. Not by chance, the myth of the creation of humans in almost all cultures passes through mud (humus). First, the form from the dust of the earth, then the breath of life.

The history of pottery begins with the discovery of fire, a fundamental element in transforming formless and permeable clay into a resistant and insoluble material. The fire was protected in holes and those covered with clay were the first pots. The ceramic arts accompany human beings since their first steps in prehistory, standing at the interface between the production of objects for everyday use and sculptures of ritual and sacred value. Pots, goddesses, and gods have always walked side by side. 

Nothing is more intense in the ceramic arts than the path from formless to form. As much as the techniques are mastered, there is always a dose of chance and mystery when you have a piece of clay in your hands and start preparing it for modeling. Kneading repeatedly, eliminating air bubbles, and finding the exact consistency are all part of good technique and are also stages of a ritual of preparation for the first clash between creator and creature, in which the main element is the courage to create. 

These propositions are fully represented in “Bichos”, “Humanoides” and “Capselas” by Norma Grinberg. These are works that are, at the same time, a record and a recreation of her experiential universe. Fruit of countless trips through Brazil and the world, it contains impressions about the animals of the Pantanal, references to the native peoples, Gothic arches, sacred constructions, and human figures inspired by the Cycladic archetypes. Elements that, throughout her artistic trajectory, were not always linear, have been decomposing, recomposing, and transmuting into new possibilities, at the mercy of contemporary challenges. Everything changes, and everything can change...

From Formless to Form: The Creation Myths of Humans

The transformation of raw clay into ceramic elements is done by the interaction of the 4 elements: earth, water, fire, and air. For the American Indians, clay participates in a clash between forces of a celestial people against a people of the water, or subterranean world.

In Norma Grinberg's work, the connection between these primordial forces is (re)presented by alternating and overlapping elements stacked in vertical structures, like towers stuck in the earth and whose summit seeks, eternally, to touch the heavens. They are modules that break down, multiply and recompose themselves in symbolic allegories developed throughout the artist's career. The vertical works have been presented in large open spaces and constantly lead us to question the limits between sculpture and the architecture of environments.

The “Humanoides” born around 1994 has since then been transmuting in form and meaning, opening space for an endless range of narratives that go through the myths of the origin of the sociocultural diversity of humans to the contemporary questions that these same characteristics propose to us. 

The “Babel” installation explicitly addresses this issue. According to biblical narratives, wanting to reach God's powers and knowledge, humans built a huge tower of bricks (again, clay as a constituent). They were punished for their boldness with the appearance of many languages, incomprehensible to each other – it was the appearance of differences between peoples. Humans, as well as the “Humanoides” ceramic elements, are the same in terms of structure and, at the same time, so different in terms of colors, positions, influences, and interferences. Humans continue, since biblical times, always in search of an organization that allows them to learn to live together creatively, and this work leads us directly to reflection: what makes us, at the same time, so equal and so different?

Humans and the Link Between Heaven and Earth

“They neither know nor wonder
That dreams rule life 
And that whenever men dream
The world jumps and advances
Like a colored ball 
In the hands of a child”

In times so invaded by pragmatism, it is always good to remember the words of Jules Verne: “What one man can think, another man can do.”

The ceramic elements, in the visions of Norma Grinberg, occupy the three-dimensional space with the lightness and ease of the flight of birds and the dreams of all humans. Contemplating these works asks the imagination to be free to think about the unthinkable and to put the dream back in charge of creative life, whether in the field of science, art, or even the deepest spirituality.

“Voos e Flutuantes” are invitations to transcend the materiality and logic of the possible in search of what moves (even today) in the territory of dreams. They are works that re(-)invent themselves with each installation, elements born free of the perfect and defined form, playful and, for that very reason, able to challenge perception and the senses at each space-time in which they are presented. 

It is from the movement between dream and reality, between the forces of heaven and the forces of earth, mediated by clay, that creation in ceramic arts and life is made. Dreaming is not accurate (exact), but it is accurate (necessary). “Flights and Floats” has no other mission than opening portals to dreams and imagination. 

"From pure sensation to the intuition of beauty, from pleasure and pain to love and the mystical ecstasy and death — all the things that are fundamental, all the things that, to the human spirit, are most profoundly significant, can only be experienced, not expressed. The rest is always and everywhere silence. After silence that which comes nearest to expressing the inexpressible is music." (Aldous Huxley)

Em "Perpétuo Movimento", Norma Grinberg apresenta seu trabalho, pesquisa e experiências no campo da arte cerâmica. O percurso do amorfo à forma mais sofisticada é orquestrado pela razão e pela alma. Neste caminho o barro é transformado pelo trabalho manual, pelas ferramentas, pela química, pelo fogo, subordinados à sensibilidade da artista. São objetos modulares, instalações bi e tridimensionais convidando o público a um diálogo permanente entre a imaginação, o sonho e a materialidade.

An artistic trajectory of decades, which merges with experiences and inspirations collected in a continuous movement between locations and cultures, reaches the public in this unprecedented exhibition held by the Oscar Niemeyer Museum.

Artist Norma Grinberg invites the visitor to dialogue with her ongoing research, which proposes an update of language. Inspired by Concretism, Bauhaus, and Minimalism, she suggests, with her work, the contemporaneity of installations and their developments, such as interventions in architectural space, for example.

Inspired by minimalist and constructivist currents, marked by limited colors, simple geometric shapes, and universal understanding, her sculptures propose the spectator's participation. Works that occupy three-dimensional space, with the lightness and ease of a bird's flight, for example, easily involve those who observe them.

As specialist as she may be in technical processes, the artist visibly does not oppose the inevitable chance that appears in creations. By transforming raw clay into ceramic works of art, she relies on the interaction of the elements earth, water, air, and fire, which, by itself, brings the power of the imponderable.

Recognized and awarded in Brazil and abroad, it mixes in its repertoire different materials such as reinforced mortar, iron, aluminum, sand, wood, and resins, keeping ceramics as the protagonist. In common, works full of originality and contemporaneity lead the public to the perpetual movement of questioning.

MON, as a living and pulsating element, has as its mission to provide transformative experiences by exposing multiple artistic languages. By facilitating the access of its visitors to the great work of Norma Grinberg, it fulfills the important role of raising awareness through art.

Juliana Vellozo Almeida Vosnika
Chief Executive Officer | Oscar Niemeyer Museum

Glazed stoneware ceramics (1153 °C)
Artist’s collection

Norma Grinberg's exhibition is MON's newest achievement

The Oscar Niemeyer Museum (MON) holds the exhibition “Perpétuo Movimento” (“Perpetual Movement”), by Norma Grinberg. The opening will be on July 4th, in Room 3. The curator is Daisy Grisolia.

“An artistic trajectory spanning decades, which merges with experiences and inspirations collected in a continuous movement between locations and cultures, reaches the public in this unprecedented exhibition held by MON”, says the institution's director-president, Juliana Vosnika.

The exhibition includes panels, sculptures, objects, and installations, fruits of Norma's creativity and innovation, reflecting a trajectory of experimentation and aesthetic research in the space. In total, the exhibition has around 30 sets of works produced from her experiences and enchantments around the world.

Inspired by the minimalist and constructivist trends, marked by limited colors, simple geometric shapes, and universal understanding, her sculptures propose a permanent dialogue with the visitor; works that occupy three-dimensional space, with the lightness and ease of a bird's flight, for example, easily involve those who observe them. 

Recognized and awarded in Brazil and abroad, Norma Grinberg mixes different materials in her repertoire, such as reinforced mortar, iron, aluminum, sand, wood, and resins, keeping ceramics as the protagonist.

“MON, as a living and pulsating element, has the mission to provide transforming experiences by exposing multiple artistic languages. By facilitating the access of its visitors to the great work of Norma Grinberg, it fulfills the important role of raising awareness of art”, explains the director-president of the Museum.

Luciana Casagrande Pereira Ferreira, Secretary of State for Culture, says that, as a great appreciator of the visual arts, she is very happy about the fact that MON is hosting an exhibition with works by Norma Grinberg. 

“Certainly, this exhibition will delight and positively impact the spectator. As Secretary of Culture, I believe that once again MON's mission, to exalt the languages of art and design, is made clear in this initiative. Norma's work is a very consistent representation of Brazilian sculpture here and abroad”, says the Secretary of State for Culture.

Norma Grinberg is one of the most prominent national artists in ceramic sculpture. She has awards and honorable mentions and her works are in private collections and national and international museums.

According to curator Daisy Grisolia, “Every exhibition is a special time in an artist's life in which the author's work is presented for dialogue with the public; time to share questions, explore the paths they offer us and, much more than distributing certainties, open space for uncertainties”.

“In the case of Norma Grinberg, it is a perpetual movement, orchestrated by reason and the soul, in which clay is transformed by manual work, by tools, by chemistry, by fire, subordinated to the artist’s sensitivity”, says the curator 

Norma defines this process as follows: “Since that first experience with ceramics, I have continued to make progress in my research work, discovering, in addition to its potential as a material, its applications and significant developments in art. As an artist, I know that the foundations of 'consistent' production, both in the matter and in meaning and interpretative range, are the freedom and awareness of experimentation. This implies records and exchanges of information between those who share a language (...), I cannot and do not want to dodge the playful and rich role of a researcher of artistic language, scouring its intricacies”.

In the exhibition “Perpétuo Movimento”, the public will have the opportunity to explore and learn about this journey, which goes from the rawest and most primordial matter to the loftiest dreams.

AP_FOLDER_DIGITAL_EN_NORMA.pdf

Em Perpétuo Movimento Norma Grinberg, apresenta seu trabalho, pesquisa e experiências no campo da arte cerâmica. O percurso do amorfo à forma mais sofisticada é orquestrado pela razão e pela alma. Neste caminho o barro é transformado pelo trabalho manual, pelas ferramentas, pela química, pelo fogo, subordinados à sensibilidade da artista. São objetos modulares, instalações bi e tridimensionais convidando o público a um diálogo permanente entre a imaginação, o sonho e a materialidade.

Perpetual Movement - Norma Grinberg

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Learn more about this exhibition on the Google Arts & Culture platform.

By holding the exhibition “O Feminino na Obra de Victor Brecheret” (“The Feminine in the Work of Victor Brecheret”), the Oscar Niemeyer Museum presents its public with an inspiring set that allows not only contemplation but reflection.

The purpose of art is to express feelings, thoughts, and convictions using aesthetic values. That is what happens in this potent exhibition, where the viewer can find more than 100 works by Brecheret, such an important name in the national and international scene of visual arts.

There are sculptures and drawings that alternate materials and techniques, such as bronze and marble, pen and ink, produced over decades. His work is characterized by drawing with few lines, clear and light. Feminine images take shape from a few lines.

In this incredible selection of works, we have the privilege of finding the last one made by the artist, in 1955: the bronze sculpture “Retrato de Marisa” (“Portrait of Marisa”), a unique opportunity for contemplation.

As the largest art museum in Latin America in a built-up area, MON houses important references of national and international artistic production in its respected collection of more than 14,000 works. Famous for its immense free span and the iconic Eye building, it is a unique space, a sculptural work by the homonymous architect, which holds significant exhibitions, such as Brecheret. 

In a constant search to become more and more alive and active, nationally and internationally, MON offers one more great accomplishment. Exhibitions such as this justify our incessant quest to bring more and more visitors to this enjoyment of knowledge, beauty, and reflection promoted by the Museum. 

Juliana Vellozo Almeida Vosnika 
Director-President | Oscar Niemeyer Museum

The Victor Brecheret Institute (IVB) is very pleased to present the exhibition “O Feminino na Obra de Victor Brecheret” (“The Feminine in the Work of Victor Brecheret”), in partnership with the Oscar Niemeyer Museum (MON) and which has its theme women through Victor Brecheret's creativity.

This exhibition is an important part of the artist's work, featuring a selection of sculptures dedicated to the female gender, which comprises more than three decades of inspiration and careful execution.

The exhibition is of great temporal coverage. It presents pieces from the period from 1918 to 1955, highlighting the various phases and trends of his career.

The sculptures are from different periods and different materials, such as marble, stone from France, plaster, granite stone rolled by the sea, patinated bronze, and polished bronze. Eighty drawings accompany the sculptures and help the audience to understand the initial steps of artistic creation.

The artist not only looks for the figure, surfaces, volumes, and composition but, above all, those resulting from his dedicated and intense creativity, which, by molding the material, makes it emanate the feminine soul and the symbolic, historical, and aesthetic values of the universal woman.

On display are, among others, significant works from the time when the sculptor gained prominence at the School of Paris when he conquered his definitive space in world sculpture.

The repertoire of this exhibition, in its richness and diversity, built around the figure of women, is extremely revealing of the high quality of Brecheret's art, which, combined with perception and sensitivity, allows those who see it to delve in-depth and extension into the feminine soul.

In this way, the IVB (Victor Brecheret Institute) fulfills its main mission, significantly contributing to the dissemination and understanding of Brecheret's life and work. 

Once again, this exhibition demonstrates the richness of readings and understandings that Victor Brecheret's sculptural work offers researchers, scholars, collectors, students, and the general public.

It is important to register the seriousness and competence of the people and entities involved in the realization of this exhibition, to which the Victor Brecheret Institute would like to express its greatest gratitude.

Sculptures of the naked female body date back to prehistoric times, as a totem and fetish. In Classic Antiquity, a sculpture of female or male nudes was considered the perfect representation of human beings, as well as in the Renaissance and Neoclassicism.

The vanguards, Cubism and Futurism, infused the human body with machinery, transforming it into volumes and planes. In the 1920s, Art Déco mixed tubist geometry with Eastern influences, among others, elements present in “Mulher Ajoelhada” (“Kneeling Woman”), in polished bronze. In the 1930s and 1940s, his sculptures showed greater naturalism, under a discreet geometric discipline and greater sensuality, as in the bronzes “Mulher Reclinada” (1930s) (“Reclining Woman”) and “Adolescente Reclinada” (1940s) (“Reclining Adolescent”).

In the beginning, the artist made strong allegories, women who catalyzed the dramatic tension. In the phase of the School of Paris, he addressed the mythological theme of the “Três Graças” (“Three Graces”) or “Carites”, a symbol of harmony. He created a modern and innovative version, like allegories of the three human races. At a time when racist theories were expanding, Brecheret proposed harmony and equality between them, uniting the three allegories shoulder-to-shoulder in a central axis. At the same time, he created another “Três Graças”, in polished bronze, a rare abstract geometric composition. In the 1950s, he resumed the same theme and technical solution but used organic and primitive forms covered with incisions evoked in indigenous art. With the same orientation, he made “Filha da Terra Roxa” (“Daughter of the Red Land”), c. 1947-1948, and “A Índia Escondida por um Grande Peixe” (“The Indian Woman Hidden by a Big Fish”), c. 1948, from the Pedras Series; he represented the myth of the dolphin that reveals the sacred feminine that generates life, carving incisions in the granite, which complete the marks of erosion of the sea. Achieving a high degree of monumentality, the bronze “Morena” (1951) (“Brunette”) symbolizes the women of the original people of the Brazilian land. In the previous decade, integrating the urban landscape of the city of São Paulo, the two monumental buildings “Graça I” (“Grace I”) and “Graça II” (“Grace II”) marked the presence of women in the city.

The relationship between women and men is a rare theme, appearing in the early 1930s, in “O Beijo” (“The Kiss”), a remarkable sculpture. With volumes of powerful plastic expression, it configures a passionate couple, with stylized naturalistic forms. It instills a romantic atmosphere in the gentle inclination of the male figure towards the female. “O Beijo”, in polished bronze, is another version of the same theme, in which there is a fusion between the feminine and masculine, forming an oval geometric solid. 

In the 1920s, Brecheret was in Montparnasse, where he experienced the lively atmosphere of the neighborhood, several dance halls, and cabarets. He attended Swedish and Russian Ballet performances. “Dançarina” (“Dancer”), from the 1920s, in polished bronze, from the series “Dançarinas”, presents the machinist view of the body, an effect of rhythmic, elegant gliding, accentuated by the position of the hands in arabesques and the feet in pointe of an Oriental dance. 

At that time, the woman figure was also related to music. Brecheret performed several “Tocadoras de Guitarra” (“Female Guitar Players”), a fashionable instrument in American bands. “A Tocadora de Guitarra”, in polished bronze, is a typical example of the mechanism of the female body, an architecture of geometric bodies that fit together like gears in a machine.

Portraits, and sculptures related to individual commemoration, are numerous in Brecheret's work. “Despertar da Glória” (“Awakening of Glória”), c. 1923, is an idealized portrait of Simone Bordat, the sculptor's bride, in her years in Paris. In the early 1930s, his growing fame at exhibitions won him several important commissions. An example is “O Retrato da Marquesa Soriano de La Gandara” (“The Portrait of the Marquesa Soriano de La Gandara”), created in the half body, in the Art Deco style, with smooth and synthetic volumes, endowed with a subtle and serene introspection. From the same period, “Máscara de Jovem” (“Young Person's Mask”), c. 1930-1934, bronze, is a synthetic composition with a smooth and tranquil expression. The posthumous portrait, “Dama Paulista” (Lady from São Paulo) (Olívia Guedes Penteado), 1934, represents the artist’s patron, as a reclining and graceful figure participating in the banquet of life, according to the Etruscan myth. In “Retrato de Juranda” (“Portrait of Juranda”), c. 1939, the sculptor portrayed the young wife, capturing the youthful character, with a cheerful expression, modeling a naturalistic and poetic interpretation. In the series of portraits of beautiful women from the 1940s, an example is “Itacy Pellegini”, c. 1943. His last work was a female portrait, that of her niece, “Retrato de Marisa” (“Portrait of Marisa”), from 1955. In this work, one can find the qualities of so many portraits made: purity, clarity of volumes, simplicity, and plastic strength of forms under rigorous ordering.

The feminine and religious theme in Brecheret's sculpture appears from its early stage. The bronze “Soror Dolorosa”, from 1920, was inspired by the book of poems of the same name by Guilherme de Almeida. The dramatic and tense composition, quite modern, places the mystic woman's head face to face, contemplating the face of the sacrificed Christ. In the 1920s, in Paris, the artist developed a more intense production of religious art, which was praised by critics. The favorite theme was the Virgin Mary, as in “Fuga para o Egito” (“Escape to Egypt”), in polished bronze. The Art Deco figurines are stylized and elegant. In the 1950s, he returned to religious art and composed several works with the theme of the Virgin and Child, such as “Virgem com o Menino” (“Virgin with the boy”). The composition is synthetic, the volumes are rustically defined, and the details are through incisions, with figures of animals and graphics. “Virgem da Anunciação” (“Virgin of the Annunciation”), from 1955, one of his last sacred works, composed of the young Virgin and the Archangel Gabriel, takes up the delicacy and elegance of the Madonnas of the 1920s. The feminine theme was treated with simplicity, according to a very spiritual perspective. Of particular note is the monumental “Portadora de Perfume” (Madeleine aux Parfums - Carrier of Perfume)”, from 1924, which stood out at the Autumn Salon that year in Paris.

They constitute the majority. As a powerful image, the female figures occupy the sheet of paper by themselves. Sometimes they share spaces on the page with other figures in different postures.

The oldest, from the 1930s, made with graphite pencil, has a static presentation, like classic goddesses. In the 1940s and 1950s, Brecheret's drawings changed, infusing a naturalistic dynamic into female bodies.

It encodes a type of woman with a slim waist, high breasts, undulating and generous hips. The treatment of her face is of no importance, but the sensual elements of her body; also, the limbs like the hands and feet are not shown. In some drawings, the female figure is associated with an element of interest, such as a bird in the hands

Another very recurrent preferred theme in the drawings is female backs. The posterior part of the female body is shown in light and sinuous postures.

In some cases, the back curves sensually, highlighting the fleshy volumes at the base of the spine. In other backs, the arms are elevated or away from the trunk.

It is noteworthy that the vision of naked female backs was a visual and literary erotic motif quite common among the Greeks.

The drawings of nude figures in profile or three-quarters show movement. The disposition of the body parts denotes the triggering of an action. The poses are elegant and seem to float in mid-air. As the artist does not develop the finishes (feet, hands, and heads), some images seem to come out of the sheet of paper – upwards or sideways.

The reclining female nudes, among Brecheret's drawings, have a special presentation – when alone they occupy the entire longitudinal extension of the page. There is an undeniable monumental value in these compositions of the great female nudes that populate the history of art and that the artist realized in sculptures.

The figure is powerful: her breasts are high, her head is thrown back, an erotic signal of pleasure. Fluid and fine lines design the slender waist, which precedes the large curves of the hips and sinuous thighs.

The rare drawings that show woman in romantic relationship with man are enigmatic. They create poetic and soft love situations – therefore, idyllic. Interestingly, two of them present situations of a love triangle between two women and a man.

A bride and groom walk hand in hand, exchanging rapt glances; in the background, a female figure can be seen with a painful tilt of her head. There is a sensuality subtly present with the nakedness of male and female bodies.

A couple of dancing, a light amorous entertainment, erotic by the nakedness of the bodies, softened by the arabesque hand gestures and half-closed eyes, denoting the intensity of the inner emotion.

Several drawings address the sacred feminine according to the figuration of holy women, related to his production of sacred art, linked to the Catholic religion.

He admired the medieval statuary of churches in 1920s Paris. Drawings with the theme “Fuga para o Egito” (“Escape to Egypt”), from the second half of the 1920s, refer to this phase.

Generally, Mary is drawn as a mother who protects her child, either under the stylized lines of art deco in the Parisian period, while she is drawn with organic shapes and with small symbols of primitivism in the indigenous art phase of the 1940s and 1950s.

Several drawings by Brecheret bring the duality of the sacred and the profane, which is, images of female nudes alongside sacred figures. At first sight, one may think of an opposition, the image of a naked woman, and the sacredness of holy figures. A deeper analysis, in which the two elements appear to be intimate, may reveal another understanding.

The essence of the artist's thinking about women follows the prehistoric archetype of sacredness, which is inherent in the image of the naked woman, a theme that is present in all of his drawing production. For example, one can observe the drawings of nude figures around the Crucified Christ, as well as the striking composition of the tonsured monk who looks with fervor and devotion at the small female nude that raises and brings the palm next to itself.

“O Feminino na Obra de Victor Brecheret” (“The Feminine in the Work of Victor Brecheret”) presents sculptures and drawings that alternate between different materials and techniques, such as bronze and marble, pen and ink and fountain pen, produced over decades by this essential artist on the national and international scene. Curated by Daisy Peccinini, it unites more than 100 works, with sculptures related to the eternal feminine, symbolism of the Earth, the Great Mother, the goddess Gaia, Geia, of the Greeks. Brecheret's works are characterized by drawing with few lines, clean and light, female images that take shape from a few strokes.

The exhibition presents the art of Brecheret, related to the eternal feminine. In the artist's psyche, moods, feelings, intuitions, the ability to love, and sensitivity to nature take shape in his works.

The small, medium, and large sculptures in this exhibition are predominantly female nudes related to the feminine symbolism of the Earth, the great Mother, and the goddess Gaia – Geia, from the Greeks, the primordial and latent element of unlimited generative potentiality. 

In different materials and belonging to different moments of his artistic path, they trigger a special invitation to experience not only the aesthetics of forms, in the material presence of female bodies, but also to capture the soulful atmosphere of the works that their creator imprinted on the material. 

Meanings are multiple, from the focus on the female body to allegories, portraits, love, rhythm, music, and sacred figures. They establish an extremely strong dialogue between the bodies, between the pieces and the visitor, offering the pleasure of the sensitive, triggered by their physical presence, in the same space. Walking around the sculptures creates visual, emotional, and sensitive sensations of form, light, and color, adding to the contemplation of meaning. 

Brecheret's drawings are presented in the condition of their uniqueness, as an autonomous expression of artistic creation, independent of the exhibited sculptures. The 80 drawings, for the most part, date from the last decades of his life (1935-1955), predominating the years 1940-1950. They are the initial materialization of the idea. 

He drew continuously, almost compulsively, without models. The female bodies retain a natural and light sensuality, and are structured employing a few, clear and long strokes, made in graphite, pen, and ink; few have crosshatching. Grouped into seven sets, the drawings allow the eye to perceive its intense need to create forms.

Sculptures and drawings contain latencies, intangible emanations of the female archetype, coming from the artist's psyche.

Bronze
341 x 100 x 87 cm
Pinacoteca de São Paulo Collection

Bronze
38 x 13 x 17 cm 
Private Collection

Graphite on paper
33 x 22 cm
Private collection

Bronze
47 x 77 x 33 cm 
Private Collection

Lady from São Paulo (Olivia Guedes Penteado), 1934

Bronze
75 x 17 x 14 cm
Private Collection

Fountain pen on paper
32,5 x 22,5 cm
Private collection

Reclining Nude, Posing for Two Sculptors and Greek Temple in the Background, 1950s

Carrara marble
75 x 41 x 31 cm 
Museum of Brazilian Art – MAB FAAP collection

Portrait of the Marquise Soriano de la Gandara, early 1930s

Bronze
37 x 15 x 13 cm
Private Collection

Fountain pen on paper
30 x 21 cm
Private Collection

The Oscar Niemeyer Museum (MON) is holding the exhibition “O Feminino na Obra de Victor Brecheret” (“The Feminine in the Work of Victor Brecheret”), which can be seen in Room 1 from the 22nd of September. Curated by Daisy Peccinini, the exhibition presents more than 100 works by this important name in the national and international scene of visual arts.

“The purpose of art is to express feelings, thoughts, and beliefs through aesthetic values. That's what happens in this potent exhibition”, says MON's director-president, Juliana Vosnika. “Exhibitions like this justify our relentless quest to bring more and more visitors to this enjoyment of knowledge, beauty, and reflection promoted by the Museum.”

Culture Secretary Luciana Casagrande Pereira Ferreira sees each exhibition as a journey that helps build MON as one of the most important cultural institutions on the continent. “This perspicacity in bringing together different languages, times, and proposals enriches the institution's history. Now, it's the turn of the great master Victor Brecheret to charm and seduce the spectator's eye. The state of Paraná welcomes this new cut of its works with great honor”, says the secretary.

The exhibition “The Feminine in the Work of Victor Brecheret” features sculptures and drawings that alternate materials and various techniques, such as bronze and marble, pen and ink, produced over decades. His works are characterized by drawing with few lines, clean and light. Feminine images take shape from a few lines.

In this incredible selection of works, we have the privilege of finding the last one created by the artist, in 1955: the bronze sculpture “Retrato de Marisa” (“Portrait of Marisa”), a unique opportunity for contemplation. Also part of the set is the portrait “Juranda Brecheret”, the sculptor's wife, at the time of their wedding.

The curator talks about the exhibition, which features Brecheret's art related to the eternal feminine. “In the artist's psyche, moods, feelings, intuitions, the ability to love and sensitivity to nature take shape in his works,” says Daisy.

According to her, the small, medium, and large sculptures in this exhibition are predominantly female nudes related to the feminine symbolism of the Earth, the Great Mother, the Greek goddess Gaia, Geia, the primordial and latent element of an unlimited generating potential.

Brecheret's drawings are presented on condition of their singularity, as an autonomous expression of artistic creation, independent of the sculptures on display. Most of the 80 drawings date from the last decades of his life and constitute the initial materialization of the idea. “Sculptures and drawings contain latencies, intangible emanations of the female archetype, originating from the artist's psyche”, concludes the curator.

The exhibition “The Feminine in the Work of Victor Brecheret” is a partnership between the Oscar Niemeyer Museum and the Victor Brecheret Institute (IVB).

The Feminine in the Work of Victor Brecheret

Find out more about this exhibition on the Google Arts & Culture platform.

A chair. A chair like any other chair in any other Brazilian public institution. A chair like public school chairs, like public jail chairs. A chair like the chairs at Colônia Juliano Moreira, whose gates Arthur Bispo do Rosário crossed, on January 25, 1939, to live in the hospital for most of his life. A chair embodied in the creative universe of one of the most expressive Brazilian artists of the 20th century, in the most poignant response to the madness committed by Brazilian society in all asylum spaces in the country. 

Throughout his life, this former sailor, former boxer, former "Light" employee, and user of the mental health system diagnosed as paranoid schizophrenic presented us, through objects, installations, assemblages, embroidery, and writing, an extremely organized and hierarchical dreamlike world. His cell at Núcleo Ulisses Vianna became a studio and research space, where he stubbornly defended his work, as he saw it as his mission to catalog “all the material existing in the Land of Men” to save it on Judgment Day. Through a simple blue thread, torn for years in an act of subversion and lucidity against the asylum prison, he started a work whose only time frame seems to have been his vision, a few days before Christmas 1938. “Time is an empty space”, says Stella do Patrocínio, who also lived for years incarcerated in Colônia Juliano Moreira, in her chatter. However, it is in this time/space that Arthur Bispo do Rosário left us when he died on July 5, 1989, a work that the more time passes, the more timeless is.

At the Oscar Niemeyer Museum, the impact of this work is also reflected in the embroidery, poems, photographs, installations, and videoperformances of the contemporary artists invited to take part in this exhibition, creating a dialogue with the work of Arthur Bispo do Rosário and with the territory of the former psychiatric hospital. 

And we can't forget to ask: How to face and explain the genius work of Arthur Bispo do Rosário, created in a mental hospital system that saw, as a rule, the exclusion of the individual, given our fragile capacity to understand and respect the slightest difference?

The answer to this question is perhaps lost among the extremes to which human rationality itself took us in the 20th century, at a point between the great scientific, technological, and medical revolutions and the most frightening brutalities we have been able to reach: the sensitivity of a gaze that simply lifted a chair a few inches off the ground.

Guilherme Gontijo Flores 
O que eu guardo me guardo aqui
2023

o que se empilha aqui é só um mapa
que vai ficar ligeiramente bem 

maior que o mundo um mapa-mundi não
um mapa-mundo pra fazer um mundo-

mapi e aqui fazer cruzar aqui
votos destroyers misses mais a miss

universo e mais aquela carrada 
de bois e bois mais ruas e cidades

países e pessoas e pedaços
de ruas e cidades e países

e pedaços de coisas nomes coisas
como países e pessoas dias

dias e dias neste mapa um mapa
guarda dias um mapa de pessoas

uma faixa de fichas arquivadas
manto de escombros pelo mato adentro

um mapa-lista mapa-lastro mapa-
colônia-engenho-jacarepaguá

empregos números e tempos mapa
de tempo vivo rastro dessas formas

mapa de cola forte quase mala 
de mão universal dúvida e deus

coisas e bois onde aportar depois 
ruas misses pedaços e países

com ilhas ilhas e ilhas bois e dias 
aqui se empilha e vai caber o mundo

Guilherme Gontijo Flores 
O que se empilha aqui é só um mapa
2023

Poema: O que se empilha aqui é só um mapa

“The mentally ill are like hummingbirds, as they never land and remain two meters from the ground.”

All my dead were standing around in a circle

None of them had a face. They were recognizable 

by their body language and by what they said

in the silence of their clothes, beyond fashion 

None of them had a face. What they were saying 

it remained, stopped, suspended in the hall, a dense, 

In dialogue with the “Caixa dos Escolhidos” (“Box of the Chosen”)and the countless file cabinets created by Arthur Bispo do Rosário, “Comunhão” (“Communion”), by Eduardo Hargreaves, investigates the relationship between the photographic image and memory. The “máquinas de esperar” (“waiting machines”) that make up the installation provide the viewer with a reflection on spaces that still inhabit our landscapes, resonating coexistence from a period of artistic residence at the Bispo do Rosário Contemporary Art Museum, located in the former Colônia Juliano Moreira.  

The mute and cloistered faces arranged circularly at the Oscar Niemeyer Museum, are not remembered through the photographs. Faced with the coldness of the photos archived in the records of admission to the asylum system, where individualities were erased and reduced to simple numbers or Someone's last name, many of these people are probably inscribed in the work of Arthur Bispo do Rosário, preserved by an affectionate gaze, making them survive through art architecture and project conceived to erase lives.

By inviting the spectator to take a position on the stage of an arena, from where a silent audience is watching him, Eduardo Hargreaves invites us to give a new meaning to these non-images, building an identity for these faces from unique memories, radically unsharable and, however, intrinsic to the collective memory of any civilizing process.

There was no time, when I was taking in the brightness and light, 

The brightness went out, everything was in darkness,

They made an effort to catch the brightness and the light.

As in Stella's talk, a shipwrecked woman clinging to the verb, the works of Rick Rodrigues, Marlon de Paula and Fernanda Magalhães emerge from the sensitive gaze of the artists on the territory of the Colônia Juliano Moreira. From the poetry present in Rick Rodrigues’ embroidery and in the series “Alumbramentos” ("Dazzlements"), by Marlon de Paula, to the viscerality of “Barcas” ("Boats"), by Marlon de Paula, and “A Natureza da Vida” ("A Natureza da Vida"), by Fernanda Magalhães, the works portray a territory that is being reborn thanks to the extraordinary commitment of the Bispo do Rosário Contemporary Art Museum. Continuously integrating employees and former users of the mental health system into their artistic processes, the artists traverse the crossroads of documentary, fabulation and performance that permeate their creations and inhabit the former asylum territory with the desire to make these new worlds visible and rebuild, unveiling voices that need to be heard and bodies that need to be seen. 

The Nature of Life, Pavilion 10, where Arthur Bispo do Rosário lived,
Colônia Juliano Moreira, 2016

I dreamed of immersing in this place. In 2002, I visited the Colônia Juliano Moreira and the pavilions that housed Arthur Bispo do Rosário. I felt the need to perform there and more than a decade passed before the opportunity was realized. I was invited to participate in the program of the exhibition “Das Virgens em Cardumes e da Cor das Auras” (“On the Virgins in Shoals and the Color of Auras”), with the project Grassa Crua in Artistic Residency at the Bispo do Rosário Museum. Among the activities of the project, I looked for the moment to fulfill the dream in Bispo's cells. The performance “A Natureza da Vida” (“The Nature of Life”) consists of actions carried out in different places. These are actions in parks, squares, and other public places, where I am photographed, usually naked, discussing the standards imposed on our abject and dissident bodies. A body that occupies spaces by positioning itself and making itself present and visible. What drives the work is the proposition I make as an activator of the work, in the agency of looks and places, bringing meaning to each action, in the passage and sensations of my body in that moment-place. In the cells of Pavilion 10, a lot of energy is concentrated. Taking those photographs, which I had waited so long for, was tough. A shiver in the body, that very dirty and wet floor, the large pavilion with living spaces such as the entrance passage, the patio, the cells, the dining hall, and the cells with their latrines on the floor. The skin-walls with some inscriptions gave us clues of so many pains ingrained in the place and the bars on the windows explicitly spoke to me of the violence of a very close past and of what was announced as bad omens with the air of that moment. Discomfort, many emotions, being there naked, stripped of any artifice, skin-body in direct contact with the place, absorbing so much suffering and also feeling that place where, even with everything that was happening, Bispo produced his wonderful art that means so much to me, just as it brought me the emotions of other artists who passed through there, such as Stella do Patrocínio, Arlindo Oliveira, Patrícia Ruth and many others that I was getting to know up close. All of this pierced my skin and struck straight to the heart. This is how these images of the performance appeared, photographed by the artists who accompanied me on this experience. 

The Nature of Life by Fernanda Magalhães

Arthur Bispo do Rosário, Antônio Bragança, Eduardo Hargreaves, Fernanda Magalhães, Guilherme Gontijo Flores, Leonardo Lobão, Marlon de Paula, Paulo Nazareth, Rick Rodrigues and Stella do Patrocínio.

With over 100 works, the exhibition "Sonoridades de Bispo do Rosário" ("Sounds of Bispo do Rosário") held by the Oscar Niemeyer Museum puts the legacy of this renowned artist in dialogue with artists whose creative processes were influenced by Bispo do Rosário.

Works like installations, objects, collages, assemblages, and banners, characteristic of Arthur Bispo do Rosário, interact with the visual work of Antônio Bragança, Stella do Patrocínio, Leonardo Lobão, Paulo Nazareth, Marlon de Paula, Rick Rodrigues, Eduardo Hargreaves, Fernanda Magalhães and Guilherme Gontijo Flores.

By holding the exhibition “Sonoridades de Bispo do Rosário” (“Sounds of Bispo do Rosário”), the Oscar Niemeyer Museum proposes to the spectator a deep reflection on what art is and its transformative role.

Posthumously celebrated and recognized in Brazil and abroad, in an unusual process, absent from academic training, Bispo do Rosário produced from unusual materials, transforming his genius into surprising installations, comparable to the works of Marcel Duchamp in showing that art is possible also from the simplicity of everyday objects.

His creations, so relevant and up to date in this 21st century, were not made in a studio, but inside a psychiatric institution. Driven by inner strength and by his intense creativity and originality, he broke paradigms and presented great semantic power.

Hundreds of national and international exhibitions made over the last decades around his work show the incredible scope of his work. Bispo do Rosário has been the subject of books, films, and theater plays.

Evoking the sound and poetic aspects of the artist's work, the various objects, installations, collages, assemblages, and banners present here dialogue with the visual, performance, and poetic work of other artists that are part of the exhibition, making the impact of their legacy on the contemporary art scene clear.

Bispo do Rosário's unique artistic work has allowed him to transcend barriers and offer a new perspective on reality, exactly what we believe to be one of the most important roles of art.

Juliana Vellozo Almeida Vosnika
Chief Executive Officer
Oscar Niemeyer Museum

Com mais de 100 obras, a exposição "Sonoridades de Bispo do Rosário" realizada pelo Museu Oscar Niemeyer coloca o legado do renomado artista em diálogo com artistas que tiveram seus processos criativos influenciados por Bispo do Rosário.

Collection Museu Bispo do Rosário Arte Contemporânea 

Com mais de 100 obras, a exposição "Sonoridades de Bispo do Rosário" realizada pelo Museu Oscar Niemeyer coloca o legado do renomado artista em diálogo com artistas que tiveram seus processos criativos influenciados por Bispo do Rosário. Obras como instalações, objetos, colagens, assemblages e estandartes, características de Arthur Bispo do Rosário, dialogam com a obra visual de Antônio Bragança, Stella do Patrocínio, Leonardo Lobão, Paulo Nazareth, Marlon de Paula, Rick Rodrigues, Eduardo Hargreaves, Fernanda Magalhães e Guilherme Gontijo Flores.

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Pátio das Esculturas

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Hole in the Sky

Perpetual Motion

The Feminine in the Work of Victor Brecheret

Sounds

Serguei Eisenstein

Africa

Canvas

MON without Walls

Poty, Between Two Worlds

Asia: the Land, the Men, the Gods

I am a Patron

The Magic World of Ningyos

Pátio das Esculturas

Espaço Niemeyer

Hole in the Sky

Perpetual Motion

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Pátio das Esculturas

Espaço Niemeyer

Hole in the Sky

Perpetual Motion

The Feminine in the Work of Victor Brecheret

Sounds

Serguei Eisenstein

Africa

Canvas

MON without Walls

Poty, Between Two Worlds

Asia: the Land, the Men, the Gods

I am a Patron

The Magic World of Ningyos

Pátio das Esculturas

Espaço Niemeyer

Hole in the Sky

Perpetual Motion

Online exhibition

Past exhibitions

ExhibitionPolicy

SEE WHAT'S ON

Receive news

Oscar Niemeyer Museum

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Policy