Upcoming Exhibitions

For the Oscar Niemeyer Museum, art and artists from Paraná play an important role and are always present in exhibitions and in the institution's permanent collection.

Here, visitors will be able to see a cross-section of Curitiba artist Teca Sandrini's work, from the 1960s to the present day. Her exhibition "Eterno Feminino", held by MON, brings together more than 100 paintings, drawings, prints and sculptures. 

With great sensitivity, she portrays women in different ways, in different contexts and times, as well as their feelings, sensations and emotions.

Artists often give clues, through their work, about the way they see life. Teca has always been an attentive observer of the world around her, which is clear, implicitly and explicitly, in her work. 

The result is a vast production, which has already been presented in cities throughout Brazil and the world and is part of various collections. 

Museums are living spaces of knowledge whose mission is to promote a constant dialog between artists and the public. By bringing this artist's exhibition to the locals and to all visitors, MON provides belonging and appreciation of local culture.

Juliana Vellozo Almeida Vosnika
CEO of the Oscar Niemeyer Museum

“Eterno Feminino” is a selection of the work of Curitiba-based artist Teca Sandrini, from the 1960s to the present day, curated by Maria José Justino, on display in Sala 7. The paintings, drawings, engravings and sculptures present three phases of her career: “Polacas”, “Fragmentos” and “Manchas”. The first addresses signs of domestic life by showing women doing their daily chores. In the “Fragmentos” phase, flirting with surrealism and abstraction, the focus is on drawers and chairs. In the most recent phase, “Manchas”, the artist plays with shapes.

This exhibition consolidates Teca Sandrini's preference for painting as an oblique language about reality, a knowledge that speaks through the silence of women, their longings and daydreams. In the various techniques and languages she experimented with, the diagonal structure was always present, which the Baroque saw as the best way to express movement and life. 

Apart from the transition zones, Sandrini has at least three major phases. In POLACAS, the fat, young lady, reclusive inside a square and surrounded on all sides by junk, signs of everyday domestic life, oscillates between the naive and the scathing. They are women immersed in their tasks, in their junk - pots, pans, drawers - in an organized madness. Neither heroines nor victims, just housewives bogged down in routine chores. 

Later, in a flirtation with surrealism, animals intertwine with human beings, who gradually fade away and give way to the object until, finally, they give themselves up. In the saturation of objects, Teca feels the need to empty herself... This is the  FRAGMENTS. phase The woman hides and gives way to drawers and chairs - a place of secrets, safekeeping and waiting. 

A flirtation with abstraction emerges. But not pure abstraction - the emotional side of the expressionist doesn't disappear. She exchanges the female form and the animals for the violence of colors and the concentration on the fragment. 

The galloping difficulty of vision inaugurates MANCHAS phase, in which the artist allows herself to play with shapes. The concrete and the geometric merge with the emotions of life, dressed in stains, spontaneity and expressiveness, approaching all over. Strong colors give way to large stains and, in the lights that go out, white sprouts as light. A new, non-narrative painting emerges. 

Today's Teca is outlined in stains. Apart from the journey through the Marias, which seem to be a concert with all the women of the past, her paintings are reminiscences of life. You have to lose the earthly paradise to truly experience it, said Bachelard. The loss of part of the sight sharpens the gaze and intensifies the desire to see the world. Her painting continues to be the exercise of a profane religion, because it is immersed in the world; ontological, because it is immersed in the immensity of the language of art; intimate - and therefore true. Metaphor of resistance, poetics of the gaze, praise of the hand. 

Oil on canvas
300 x 300 cm (cada 150 x  150) quadríptico
Teca Sandrini collection

Crayon, India ink and oil paint on paper
Variable dimensions
Teca Sandrini collection

Oil on canvas
130 x 160 cm
Teca Sandrini collection

India ink and oil pastel on paper
73 x 105 cm
Teca Sandrini collection

Oscar Niemeyer Museum opens exhibition by artist Teca Sandrini

A cross-section of the work of Curitiba artist Teca Sandrini, from the 1960s to the present day, is brought together in the exhibition "Eterno Feminino", inaugurated by the Oscar Niemeyer Museum (MON). There are 126 paintings, drawings, prints and sculptures, curated by Maria José Justino, which will be in Room 7 from July 3rd at 7pm.

"Valuing the production of artists from Paraná, especially women with trajectories as powerful as Teca Sandrini's, is to reaffirm our commitment to the memory, diversity and strength of the art made in Paraná," says the Secretary of State for Culture, Luciana Casagrande Pereira.

"Art and artists from Paraná play an important role and are always present in exhibitions and in MON's permanent collection," says the institution's director, Juliana Vosnika. "By exhibiting this artist, the Oscar Niemeyer Museum is fostering belonging and appreciation of local culture," says Juliana.

The curator explains that the exhibition consolidates Teca Sandrini's preference for painting "as an oblique language about reality, a knowledge that speaks through the silence of women, their longings and daydreams". According to Maria José Justino, "in the various techniques and languages she experimented with, the diagonal structure was always present, which the Baroque saw as the best way to express movement and life".

The exhibition brings together works from three distinct phases in the artist's career: "Polacas", "Fragmentos" and "Manchas". The first addresses signs of everyday domestic life by presenting housewives carrying out routine tasks. "Later, in a flirtation with surrealism and abstraction, the woman hides and gives way to drawers and chairs - a place of secrets, of being kept and of waiting, this is the 'Fragmentos' phase," explains the curator.

The limitations and difficulties of the artist's vision inaugurate the most recent phase of her work, that of "Manchas", in which she plays with shapes. "Concrete matter and geometry merge with the emotions of life, dressed up in stains, spontaneity and expressiveness," says Maria José Justino. "Strong colors give way to large stains and, in the lights that go out, white springs up like light. A new painting emerges, not a narrative," she says. 

With an artistic career spanning more than six decades, Teca Sandrini says that art has made her a citizen of the world. "From life and art I bring loves, colors and perfumes," she says. "I feel that art is like nature, where the visible and the invisible intertwine and narrate reality and memory," she says.

Maria José Justino is a teacher, essayist, curator and art critic. She has a master's degree in Philosophy from PUC-SP, a post-doctorate from the École des Hautes Études en Sciences Sociales (2008) and a doctorate from the University of Paris VIII (1991) in Aesthetics and the Sciences of the Arts. She is a member of the Culture Council of the State of Paraná, at the Oscar Niemeyer Museum (MON) and the Museum of Contemporary Art (MAC). A retired professor from UFPR and Embap, she is the author of more than 70 articles and books, among them: “Mulheres na Arte: Que Diferença Isso Faz?”, “Frans Krajcberg: A Tragicidade da Natureza pelo Olhar da Arte”, and “Modernidade e Pós-modernidade em Hélio Oiticica”.

Teca Sandrini is an award-winning Brazilian artist with works in various national and international collections. She has a degree in Painting from the School of Music and Fine Arts of Paraná, a degree in Drawing from the Faculty of Philosophy of the Pontifical Catholic University of Paraná (PUCPR), and a specialization in Philosophical Anthropology from the Federal University of Paraná (UFPR). He has held solo exhibitions in several Brazilian cities and in other countries such as the United States and Germany. She taught at the Paraná School of Music and Fine Arts and at PUCPR.

Her works belong to important collections such as: Oscar Niemeyer Museum, Collection of the Brazilian American, Cultural Institute, Washington D.C., (USA); Museum of Brazilian Art - Armando Alvares Penteado Foundation, São Paulo; Museum of Contemporary Art of Pernambuco, Olinda (PE); Museum of Contemporary Art of Paraná, Curitiba; Museum of Modern Art of Santa Catarina, Florianópolis; Museum of Art of Goiânia; National Museum of Fine Arts, Rio de Janeiro; and several others.

The Oscar Niemeyer Museum (MON) is a state heritage site linked to the State Secretariat for Culture. The institution houses important references of national and international artistic production in the areas of visual arts, architecture and design, as well as large Asian and African collections. In total, the collection has approximately 14,000 works of art, housed in a space of more than 35,000 square meters, making MON the largest art museum in Latin America.

Exhibition "Eterno Feminino" - Teca Sandrini
Opening: July 3rd, 7pm
Spaces: Room 7
www.museuoscarniemeyer.org.br

Eterno Feminino - Teca Sandrini

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