MON without Walls – Outdoor Art
3rd edition
A new edition of “MON without Walls – Outdoor Art” has just been unveiled to the public. This time, the outdoor area of the Oscar Niemeyer Museum will house four more grand works: the sculpture Aurum, by artist Rizza Bomfim; the Gallery Stalls, by artists Mavi Morais, Maria Lynch, Atransälien and Yohana Oizumi; the sculpture Avaf (Assume Vivid Astro Focus), and the Interactive Robot by architects Dilva and Orlando Busarello. The curator is Marc Pottier.
Artist
Alexandre Vogler , Artur Lescher , ATRANSÄLIEN, AVAF, Gustavo Utrabo , Narcélio Grud , Maria Lynch, Mavi Morais, Orlando Busarello, Rizza, Rommulo Conceição e Yohana Oizumi
Curatorship
Marc Pottier
Abertura
28 de novembro de 2025, 20h
Exhibition period
From 29 de novembro de 2025
Long term
Location
Parcão (external area)
Plan your visit
FIND OUT MORE ABOUT THE EXHIBITION
Oscar Niemeyer Museum presents a new edition of “MON without Walls”
The Oscar Niemeyer Museum presents a new edition of “MON without Walls – Outdoor Art”. Curated by Marc Pottier, the opening will be on November 28th at 5 pm.
Democratic and inclusive, the project – inaugurated in 2024 – broke the physical limits of the Museum's walls and embraced the population. The initiative has become a permanent invitation for the external public to be inspired and feel encouraged to enter the MON.
In this new edition, four magnificent works are presented to the public. They are: the sculpture "Aurum", by the artist Rizza Bomfim; the Gallery Stalls, by the artists Mavi Morais, Maria Lynch, Atransälien and Yohana Oizumi; the sculpture by Avaf (Assume Vivid Astro Focus), and the "Interactive Robot" by architects Dilva and Orlando Busarello, which evokes the fond memories of a Curitiba from decades ago, when the work had a long presence in the city center, in Osório Square.
By holding a new edition of "MON without Walls – Outdoor Art," the Oscar Niemeyer Museum is increasingly using its outdoor area as a large space for social interaction focused on art.
“When art bursts beyond the exhibition halls, it changes the way we relate to the city,” says the Secretary of State for Culture, Luciana Casagrande Pereira. “The MON without Walls does exactly that: it expands the reach of the Museum and creates new ways for people, works of art, and landscapes to encounter each other.”
“In line with the city's movement to offer more attractions in the central region, we have transformed the area surrounding the Museum into a large cultural space. In this way, we reach more and more people, whether residents or visitors, making the region breathe art,” says the CEO of MON, Juliana Vosnika.
“We understand that art in public spaces provides a variety of interactive activities that a museum exhibition doesn’t always allow,” she comments. “By creating an urban area dedicated to culture, ‘MON without Walls’ allows for many other forms of artistic creative expression,” says Juliana.
The curator explains that MON has always wanted to expand its audience and offer many proposals that can allow the people of Curitiba and Paraná to feel a sense of ownership over the Museum. "That's why the important 'MON without Walls' project was created," says Pottier.
He recalls that the initiative, in its previous edition, brought visitors closer to artists such as Gustavo Utrabo, Mariana Palma, Artur Lescher, RômmuloConceição, Alexandre Vogler, Narcélio Grud, and Joana Vasconcelos.
Marc Pottier also speaks about the project's objectives. “MON works to expand its audience and offer many proposals that can allow the people of Curitiba and Paraná to take ownership of ‘their’ Museum. That's why ‘MON without Walls’ is so important,” he comments.
Images
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Photo: Marcello Kawase
Exhibition Content
More than ever, art in public spaces stands out as one of the best ways to bring art to the public. Inviting artists to create works, facilities, or sculptures using the spaces of gardens, parks, and squares also allows for a variety of interactive activities that a museum exhibition doesn't always permit.
The MON (Oscar Niemeyer Museum) has always sought to expand its audience and offer a wide range of activities that allow residents of Curitiba and Paraná to feel a sense of ownership over "their" museum. This is why the important MON without Walls project was created.
Since the creation of the "MON without Walls – Outdoor Art", the Oscar Niemeyer Museum has brought visitors closer to artists such as Gustavo Utrabo, Mariana Palma, Artur Lescher, Rômmulo Conceição, Alexandre Vogler, NarcélioGrud, and Joana Vasconcelos.
Now it's the public's turn to get to know and interact with the magnificent works of Rizza Bomfim, Mavi Morais, Maria Lynch, Atransälien, Yohana Oizumi, Avaf, and Orlando Busarello.
By creating connections between the outdoor spaces and the exhibition rooms of the Museum, this new project allows for the showcasing of other forms of artistic expression, as well as presenting projects for diverse audiences, including all generations of families. Working outdoors also allows for unlimited dimensions of artworks, routes, and games where everyone is welcome, without time restrictions.
Marc Pottier
Curator
By holding a new edition of "MON without Walls – Outdoor Art," the Oscar Niemeyer Museum is increasingly using its outdoor area as a large space for social interaction focused on art – a gift to the public.
In line with the city's movement to offer more attractions in the central region, we transformed the area surrounding the Museum into a large cultural space. In this way, we reach more and more people, whether residents or visitors, making the region breathe art.
Democratic and inclusive, the project – inaugurated in 2024 – broke the physical limits of the Museum's walls and embraced the population. The initiative has become a permanent invitation for the external public to be inspired and feel encouraged to enter the MON.
In this new edition, four magnificent works are presented to the public. They are: the sculpture "Aurum", by the artist Rizza Bomfim; the "Bancas Galerias", by the artists Mavi Morais, Maria Lynch, Atransälien and Yohana Oizumi; the sculpture by Avaf (Assume Vivid Astro Focus), and the "Interactive Robot" by the architects Dilva and Orlando Busarello, which evokes the fond memories of a Curitiba from decades ago, when the work had a long presence in the city center, in Osório Square.
They now join the collection of works from the first edition, which occupies the outdoor area of the MON and features works by artists such as Gustavo Utrabo, Artur Lescher, Rômmulo Conceição, Alexandre Vogler, Narcélio Grud, and Joana Vasconcelos.
We understand that art in public spaces provides a variety of interactive activities that a museum exhibition doesn't always allow. By creating an urban area dedicated to culture, the "MON without Walls" allows for many other forms of artistic creative expression.
Juliana Vellozo Almeida Vosnika
CEO of the Oscar Niemeyer Museum
GUSTAVO UTRABO
Oscar Niemeyer Museum Collection.
“The Sower” invites reflection on life and the passage of time through an elevated walkway connecting the MON to the garden. Constructed using a modular repetition of the paving pattern designed by Oscar Niemeyer, the work seeks to blur the boundaries between the built environment and the natural world by blending seeds native to Paraná with concrete.
The path leads visitors to the artwork “Around a Tree”, a creation that manifests as a gesture of care. Featuring a metal structure that encircles the trunk, it brings the visitor closer to the tree’s canopy as a sign of respect. The structure is supported by four slender pillars resting on the ground, a reference to a statement by the philosopher Ailton Krenak: that the goal is to tread gently upon the earth.
Usage Guidelines:
● Open access.
● Maximum capacity: 20 people.
● Avoid use on rainy days.
● Climbing the tree is not permitted.
ALEXANDRE VOGLER
Maçaranduba | Artist’s Collection.
Oscar Niemeyer Museum Collection.
“Maca de Guarda” invites the visitor to lie down upon its surface, inclined at a 40 degree angle, with the body facing the sky. The work engages in a dialogue with the playful practice of making snow angels, by spreading one’s arms and legs, a reference that complements the piece’s title.
The term Maleme, drawn from the Afro-Brazilian lexicon, signifies a plea, a request for mercy, or a call for aid directed toward the orixás, specifically the orixá Xangô. The posture of the body, with the solar plexus and legs open and directed upward, suggests an ecumenical and divine orientation.
Usage Guidelines:
● Open access.
● Maximum capacity: 1 person at a time.
NARCÉLIO GRUD
Fiberglass sculpture with PU paint and stainless steel arches
Oscar Niemeyer Museum Collection
The work is conceived as a sculpture and climbing structure, similar to the recreational equipment found in children's play areas and public parks. Featuring a circular composition in which the radius, diameter, and center expand from a globe into interlocking rings, forming a kind of cosmos of planetary orbits, it invites visitors to experience art through new modes of engagement between the public and the sculpture.
Usage Guidelines:
● Children under 8 years of age must be supervised by an adult.
● Use by persons over 14 years of age is not permitted.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
JOANA VASCONCELOS
Wrought iron, jasmine plants
Series of 5 unique versions + 5 PAs
Oscar Niemeyer Museum Collection
The sculpture “Té Danzante (PA),” crafted from wrought iron in the shape of a teapot, establishes connections between the natural and the industrial. The iron latticework that gives form to the teapot features patterns characteristic of the fences and balustrades found in various urban and rural landscapes. The work takes the form of a tree sculpture that engages in a dialogue with the principle of complementarity and symbiosis between the natural and the industrial.
Usage Guidelines:
● Open access.
● Maximum capacity: 6.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
● Climbing on the structure is not permitted.
ROMMULO CONCEIÇÃO
Metal, glass, concrete, and polychrome automotive paint
3rd work in the “Dissipative Structures” series | Oscar Niemeyer Museum Collection
Work developed through the “The Little Collector” project
Oscar Niemeyer Museum Collection
The work “Dissipative Structures” consists of two metal structures arranged around a perpendicular axis on a central platform; a glass pane, 3.5 meters in height, traverses the platform and establishes a false plane of symmetry. Produced in iron and concrete, it is assembled in a manner that grants public access, allowing visitors to engage with it based on their own references and experimentation.
Usage Guidelines:
● Children under 8 years of age must be supervised by an adult.
● Maximum capacity: 2 adults or 3 children in the aerial section.
● Maximum load: 200 kg.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
ARTUR LESCHER
Stainless steel and carbon steel
1/5 + 2 AP
Oscar Niemeyer Museum Collection
Work developed through the “The Little Collector” project
Oscar Niemeyer Museum Collection
“Giroscópico” invites the visitor to spin around their own axis, setting their surroundings in motion in an experience that is simultaneously playful and meditative. The work can be understood as a vessel for the body, a kind of “meta-house” from which to observe the world. The circular motion evokes dance and spiritual rituals associated with altered states of mind, while also calling to mind childhood memories.
Usage Guidelines:
● Children under 8 years of age must be supervised by an adult.
● Maximum capacity: 2 adults or 3 children at a time.
● Maximum load: 200 kg.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
NARCÉLIO GRUD
Sound sculptures in fiberglass with PU paint
Oscar Niemeyer Museum Collection
The works in the “Sempre em Pé” series combine various concepts, drawing inspiration from the “Always Standing”/roly-poly toy. Through interactions that generate movement and sonic experiences, the series re-signifies the object and expands its potential uses, creating an environment where discovery and play go hand in hand.
Usage Guidelines:
● Children under 8 years of age must be supervised by an adult.
● Avoid use on rainy days.
Caution when handling the works, avoiding striking people nearby.
DILVA AND ORLANDO BUSARELLO
Carbon steel, stainless steel, concrete, and polychrome paint – synthetic enamel over epoxy
Oscar Niemeyer Museum Collection
The “Interactive Robot” was conceived by architects Dilva and Orlando Busarello. This robot-slide evokes the imagination and cherished memories of the public, serving as a modern reinterpretation of the iconic play structure that stood for decades in Osório Square, in downtown Curitiba. Originally designed in 1971 at the request of then Mayor Jaime Lerner, the project aimed to provide a space for recreation and social interaction for children and families in the city center.
Usage Guidelines:
● Children under 8 years of age must be supervised by an adult.
● Maximum capacity: 1 child at a time on the ladder, 5 children on the upper platform, and 1 child at a time on each "arm" of the slide.
● Maximum load: 300 kg.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
● Climbing on the structure is not permitted.
RIZZA BOMFIM
Brass casting
Rizza Furletti Bomfim Collection
Oscar Niemeyer Museum Collection
The sculpture “Aurum,” by Minas Gerais-based artist Rizza Bomfim, features reflective curves that invite the public to circulate, pass through, and interact. The artist works by intervening in the environment, conceiving her works as urban jewels that adorn not only the body but also the space.
Usage Guidelines:
● On hot days, the structure absorbs heat — Do not touch.
● Climbing on the structure is not permitted.
AVAF
Wood, steel, EPS, fiberglass, automotive paint, and ropes
Oscar Niemeyer Museum Collection
Located near the Giroscópico, the work “Afenufu vivalulu amulufu fufulufu” is a self-supporting sculpture featuring a slide, a swing, and other elements designed for children's interaction.
Usage Guidelines:
● Open access.
● Maximum number of people: 6 children at a time.
● Intended for use by children aged 3 to 12, accompanied by an adult.
● Jumping, running, or leaping off the sculpture is not permitted.
● Maximum load: 250 kg.
● Avoid use on rainy days.
● On hot days, the structure absorbs heat. Use with caution.
MILLA JUNG
Oscar Niemeyer Museum Collection
With the aim of reconstructing historical knowledge between the image and the observer, the neon sign “Plas Ayiti” illuminates the night and stands out against the urban landscape, a moment in which, symbolically, differences seem to fade away. The work explores the relationships between body and place, between inhabiting and existing within landscapes in constant flux. Originally created for Tiradentes Square in Curitiba and mounted atop the Nossa Senhora da Luz building, this neon project contextualizes the presence of Haitian immigrants in Curitiba, a community that, between 2012 and 2014, established the square as a central meeting point and gave it this name in their own language.
ALFI VIVERN
Oscar Niemeyer Museum Collection
The installation “Passagem,” by the Argentine artist based in Brazil, Alfi Vivern, evokes a passage by his compatriot, the writer Jorge Luis Borges, stating that “we know nothing, but we can imagine that there is an adventure beyond death.”
SERGIUS ERDELYI
Oscar Niemeyer Museum Collection
Standing approximately 5.2 meters tall, this work by artist Sergius Erdelyi commands attention due to its sheer size. It is meticulously crafted from wood, specifically Araucaria angustifolia. Have you ever seen a chair with such unusual proportions?
The “Master’s Chair” (undated) is situated on the lawn, adjacent to the entrance to the rear parking lot. The sculpture sparks the imagination, inviting viewers to create new narratives for this everyday object.⠀⠀⠀⠀⠀⠀
Sergius Erdelyi (1919–2015) was born in the city of Novi Sad, now in Serbia. He was an inventor, entrepreneur, ecologist, philanthropist, and artist. His artistic works include sculptures, paintings, tapestries, and stained glass.
ELIZABETH TITTON
Oscar Niemeyer Museum Collection
What is this “industrial tree”? The work Palmeira (Palm Tree 2007) is part of the In Natura series, comprising 37 tree-shaped sculptures created by the artist using laser-cut metal sheets. The collection was exhibited at the MON in 2007. In this series, Elizabeth Titton unites art and industry, ensuring precision, quality, and new possibilities for sculpture.
Featuring works in bronze, glass, and rusted and polychromed steel, each sculpture fuses art with industry, aiming to create a counterpoint between the industrial process and the artistic intent. The creative process results in a durable piece that reflects the artist’s concern regarding public access to art.
The works evoke the artist's affective memories and mark the development of her experiences with sculpture since the 1970s.
Elizabeth Titton was born in São Paulo (SP) in 1949 and moved to Curitiba in 1957. She holds a degree in Business Administration from the Federal University of Paraná (UFPR) and a degree in Painting from the School of Music and Fine Arts of Paraná, obtained in 1982, where she also served as a professor from 1990 to 2006. She holds a Master's degree in Education from UFPR (2000)
ELIANE PROLIK
Oscar Niemeyer Museum Collection
“Não Pare de Olhar” is part of the series “Não Pare Sobre os Olhos,” created by the artist Eliane Prolik between 2003 and 2004. By appropriating urban signage, the artist encourages reflection on various themes pertinent to civilization, such as freedom, conditioning, automatism, alienation, information, and communication. “Não Pare de Olhar,” specifically, serves as an invitation to read, but to do so without “stopping at the eyes”, that is, to perceive what lies beyond the visible.⠀⠀⠀⠀
Eliane Prolik, born in Curitiba in 1960, holds a degree in Painting with a specialization in 20th century Art History from the School of Music and Fine Arts of Paraná (EMBAP).
FRANCISCO BRENNAND
Oscar Niemeyer Museum Collection
The sculpture “Pássaro Rocca” (2004), by the Pernambucan artist Francisco Brennand, is inspired by the tales “Sindbad the Sailor” and “Abd al-Rahman: The Story of the Roc of the Maghreb,” from the collection One Thousand and One Nights.
The creature, which, in the sculpture, takes on a sinuous form extending from its nests, is depicted in these narratives as a gigantic being, capable of lifting an elephant, that protects its territory from invaders. The Venetian explorer Marco Polo also mentioned the bird in his writings, and it is believed that the now-extinct Aepyornis (elephant bird) served as the basis for this mythological species.
In addition to the Museum, other versions of the glazed ceramic piece can be found at the Oficina Francisco Brennand, in subway stations in São Paulo, and in buildings throughout Recife.
Francisco Brennand (1927–2019) was born in Recife (PE) and began his artistic training in 1942, when he received modeling lessons from Abelardo da Hora (1924–2014). In 1971, Brennand began restoring an old brickworks owned by his father, located near Recife, transforming it into a studio and permanent exhibition space: the Oficina Francisco Brennand.
EDUARDO FROTA
Oscar Niemeyer Museum Collection
The installation by Ceará born artist Eduardo Frota brings together seven pieces, each 2.84 meters in height. In addition to piquing curiosity, the works invite visitors to engage their senses amidst the voids and the cyclical rhythm. The structures are composed of wooden plywood rings, joined together with glue and pins.
The “Cones” reveal contrasts in size and form; they are constructed from wooden plywood rings, joined by glue and pins. From a distance, they appear light and small; however, upon drawing closer, one can perceive their monumentality in the details.
Eduardo Frota was born in Fortaleza (CE) in 1959. He moved to Rio de Janeiro in 1978, where he began his art studies, attending the Escolinha de Arte do Brasil and the Oficina do Corpo de Artes Visuais at Parque Lage. In 1986, he earned a degree in Art Education from the Faculdades Integradas Bennet. He specializes in large scale sculpture, creating works such as cones and spools made of wood. He lives and works in Fortaleza.
ELVO BENITO DAMO
Oscar Niemeyer Museum Collection
“Interferência Ecológica” is part of a series of sculptures initiated by the artist Elvo Benito Damo in the 1970s, utilizing wood, iron, and cement as their mediums. These sculptures served as a critique of deforestation and the destruction of nature.
Since its invention over five thousand years ago, the wheel has symbolized progress. In this work, however, it symbolizes the clash between wood and metal, and the consequences of that very progress.
The sculpture was created in 1985 at the invitation of São Paulo-based architect Roberto Luiz Gandolfi, intended to adorn the façade of the Citibank Building (1984), where it remained until 2019.
Elvo Benito Damo was born in Caçador (SC) in 1948. After moving to Curitiba in 1971, he earned degrees in Painting and Drawing Education from the School of Music and Fine Arts of Paraná and was a student of Francisco Stockinger (1919–2009). He has directed the Free Sculpture Studio at the Cultural Foundation of Curitiba since 1976. His works can also be seen in public spaces throughout Curitiba (PR), such as the sculptures of Chief Tindiquera, located in Tingui Park and in front of the Curitiba Cathedral, and the Monument to the Centenary of Italian Immigration in Santa Felicidade.
FRANCISCO BRENNAND
Oscar Niemeyer Museum Collection
The sculpture by Pernambuco-born artist Francisco Brennand is one of the highlights of the MON’s reflecting pool. Crafted from glazed ceramic and measuring approximately 4 meters in length and 2 meters in height, the work has previously been exhibited on the lawn, in the reflecting pool, and within the interior spaces, and is part of the Museum’s permanent collection.
Francisco Brennand (1927–2019) began his career in painting, but it was through his father's influence that he discovered ceramics. The creative process of ceramics is meticulous, with the firing, one of the crucial stages in shaping the sculptures, forming an intimate relationship of creation. His pieces, such as Serpente (Serpent), act as a kind of "guard" for his "citadels," establishing their presence at both the MON and the Oficina Francisco Brennand in Recife, as well as in other locations throughout Brazil.
Virtual exhibition
MON is alongside major museums in Brazil and around the world on the Google Arts & Culture platform. Visit our exhibitions in virtual format.
Find out more about this exhibition on the Google Arts & Culture platform.
Access virtual exhibition
Exhibition Attributes
Physical space
Freedom of movement
Physical Stimulus
Possibility of interaction
Visual stimulus
Natural light
