José Antonio da Silva Jose Antonio da Silva's exhibition, a journey back in time, showcased the artist's rich artistic journey, highlighting his ability to capture rural life that was destined to vanish. His works, genuine historical documents, immortalized the simplicity and poetry of rural life in past Brazil. Paulo Kuczynski's Imaginary Collection In honor of Paulo Kuczynski‘s more than 50 year long career as art dealer. The Instituto Tomie Ohtake invites curator Jacopo Crivelli Visconti to propose an engaging journey through the "Imaginary Collection" of Paulo Kuczynski, bringing together some of the most extraordinary works traded by the gallerist in the last five decades. With over two hundred exhibited works, including names like Alfredo Volpi, José Pancetti, Lasar Segall, Ismael Nery, Frans Krajcberg, Lygia Clark, Wesley Duke Lee, lone Saldanha, Adriana Varejão, Mira Schendel, and Maria Martins, the Imaginary Collection of Paulo Kuczynski aligns different periods and expressions of Brazilian art, allowing unexpected and highly fruitful connections and approximations. Tarsila do Amaral We are about to celebrate 100 years of the Modern Art Week and 200 years of Independence. Are we really modern and independent? This exhibition, which does not intend to answer any of the questions, wants to observe closely, through two works, a moment, this one indeed, decisive and transforming, between the end of the 1920s and the beginning of the 1930s. and in Tarsila's own life did she change the look of our greatest modernist artist? From the bucolic memory of childhood in Landscape with Two Little Pigs to the human suffering depicted in Second Class, only 3 years have passed, and now the vision of the world is different, another painting, by the same artist. Oswaldo Goeldi The Goeldi exhibition, held in 2019, presented a collection of 62 original works by the artist, including woodcuts, drawings and watercolors that reveal the themes typical of his poetic—fishermen, storms, wastelands—, and works from the series A Morte (Death) and A Guerra (War). The collection was put together by Günther and Lygia Pape, and, given their close personal relationship with Goeldi, the choice of works comes layered with meanings and feelings which we can only intuit. In recent decades, many pieces from the collection have been exhibited at museums and biennials, including the “Brazil 500 Years” exhibition. Some of the woodcuts are one-off prints, so there are no other copies of them out there. One such piece is the engraving for which Goeldi won the International Print Prize at the 2nd International Biennial of Mexico. The Oswaldo Goeldi originals acquired by his good friend while the ink was still wet on the Japanese paper, or the India ink on the cotton sheet, reflect the near-miraculous result of the artist’s absolute constancy and dedication to his art. Frans Krajcberg The show Frans Krajcberg: Nature as Studio consisted of 25 works produced between the early 1960s and late 80s, including a painting and sculpture in burnt wood exhibited at the 2016 São Paulo Bienal. There was also a solitary “Ballerina” surrounded by exceedingly rare works from lesser-known phases of his career, such as the “Relevos” (Reliefs), specifically those in minerals glued on plywood panels produced in Ibiza, Spain, in 1961, when the artist was still living between Rio de Janeiro and Paris, and those in pigment and sand on craft paper produced in the 70s, when he decided to settle once and for all in Nova Viçosa, Bahia. Concerning the reliefs in beach sand and minerals on palm leaves, the Rio-based critic Frederico Morais remarked: “Krajcberg didn’t invent the relief, but he was the first to create reliefs out of a direct relationship with nature.” Alfredo Volpi In 2022, we commemorate the centennial of the Modern Art Week and the bicentennial of Independence. But are we really modern or independent? This exhibition, which does not purport to answer either question, aims to examine, through close examination of two works of art, that moment both decisive and transformative that was the end of the 1920s, beginning of the 1930s. How did the turmoil in the world, Brazil and inTarsila’s own life change our greatest modernist artist’s outlook? Only three years separate the bucolic childhood memory captured in Paisagem com dois porquinhos (Landscape with two little pigs) and the human suffering that is stamped all over Segunda Classe (Second-Class), yet the worldview is entirely different, as is the painting and, indeed, the artist. Di Cavalcanti The exhibition showed nine works Di Cavalcanti produced between the 1920s and 40s, all handpicked by Kuczynski over the course of three years combing private collections. While all the chosen works pertain to the most significant period of the painter’s career, which pretty much began with the famous Modern Art Week in São Paulo in 1922, some of them had never been exhibited in public before. The oil painting “Descanso dos Pescadores” (Fishermen at Rest), which the artist gifted to the novelist José Lins do Rego, is a case in point, as was “Bordel” (Brothel), pastel on card, which stands out for its geometric forms. The watercolor “Poeta com Flor” (Poet with Flower), produced as an illustration for an Oswald de Andrade poem published in a magazine, remains something of a mystery. The scenography was by the architect Pedro Mendes da Rocha and the catalogue presentation by the poet Ferreira Gullar. Cildo Meireles Instant enigmas, produced in 2018 by Escritório de Arte Paulo Kuczynski, exhibited previously unseen work by Cildo Meireles, an icon of contemporary Brazilian art, alongside other pieces from the 1970s and 80s, all true to his characteristic blend of the political and the jocular. The catalogue text was by the critic Paulo Venâncio Filho and the exhibition design by the architect Pedro Mendes da Rocha. Hélio Oiticica Em 2006, a galeria realizou a individual HO, de Hélio Oiticica, exibindo dez Parangolés Capa criados em 1979 para o Festival de Recife, quando Oiticica apresentou sua última performance. Paralelamente à exposição, a galeria promoveu o lançamento do catálogo que contou com um texto inédito do crítico britânico Guy Brett: "Buscando inspiração tanto no aristocrático quanto no popular, as Capas do Parangolé são, ao mesmo tempo, mantos e farrapos", escreveu. Trajectory In 2004, after a long period of renovations, the Escritório de Arte reopened with an inaugural collective exhibition that presented works by major modernist artists in a totally reformulated space designed by the studio Pileggi Arquitetura. Oswaldo Goeldi This book is the result of a meticulous study conducted by Noemi Ribeiro, an independent history of art researcher. Here, Noemi pores over the Oswaldo Goeldi works in the Günther and Lygia Pape collection. Günther and Goeldi were close friends, and that friendship echoed in the pieces he chose to buy—a process coated in layers of meaning and feeling at which we can only guess. The artist’s originals, which Pape purchased while the paint was still wet on the Japanese paper, or the India ink on the cotton sheets, reflect the near-miraculous result of Goeldi’s unwavering constancy and dedication to his art.

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ARTRIO 2023 At last Art Basel Miami Beach 2023, we captivated visitors with the bold expression of Antonio Henrique Amaral. His works, notably the "Bananas" series, provided a striking visual chronicle of the Brazilian Military Dictatorship, pushing boundaries and prompting reflections on artistic resistance. SP-Arte Rotas Brasileiras 2023 For this edition of SP-Arte, we have brought together a collection of works by Aldo Bonadei, a notable representative of Brazilian modernism. Deeply influenced by Italian Novecento and Paul Cézanne, the São Paulo-born painter and his colleagues from the Santa Helena Group, with technical precision, aimed to return to the representation of concrete reality. Throughout his career, however, while not abandoning this pictorial tradition, Bonadei delved into abstraction and ended up exploring the dichotomy between the two aspects, seeking to reconcile them through "hybrid compositions." A Coleção Imaginária de Paulo Kuczynski Launched in 2022, the Instituto Tomie Ohtake visita exhibition program aims to give the general public access to works by established artists that are rarely shown in private collections. Presented under different curatorial interpretations, these exhibitions take advantage of unlikely combinations of artists and works to contemplate new perspectives on an already consolidated history of art. The second edition of the project was based on the Institute's invitation to Jacopo Crivelli Visconti, who proposed a journey through the “A Coleção Imaginária de Paulo Kuczynski". The exhibition brings together some of the most important works that have passed through the sieve of Kuczynski, art dealer and collector, over almost 50 years of activity, a different approach from the first edition of the program, which brought to the Tomie Ohtake Institute works from a single collection (Igor Queiroz). Art Basel Miami 2022 For its first participation in the Art Basel Miami Beach fair, in the Survey sector, from November 29 to December 3, 2022, the gallery presented the project "Volpi & Ione: The brightness of the tempera", proposing a dialogue between the works of the two artists. SP-Arte 2022 In this edition of SP-Arte, Paulo Kuczynski Escritório de Arte presents a selection of modern Brazilian artists, such as Alfredo Volpi, Pancetti and Lasar Segall, as well as works by international artists such as Torres García, Le Parc, Vieira da Silva, Paul Klee, Henry Moore and Jean Arp. Among the works, we highlight a beautiful still life by Giorgio Morandi, a Parisian landscape by Eliseu Visconti and a selection of paintings by Di Cavalcanti, from the 1920s to the 1950s, one of the greatest names in Brazilian modernism and creator of the event that consolidated the movement in the country: the week of modern art of 1922, which completed 100 years in February this year. Volpi Popular This survey exhibition covers five decades of the career of Alfredo Volpi (Lucca, Italy, 1896–São Paulo, 1988) and is framed by the artist’s continuous interest in images, characters, and narratives from Brazilian popular culture. With 96 paintings, the show is divided into seven non-chronological thematic sections: Saints; Portraits; Seascapes; Nautical and Playful Themes; Urban and Rural Scenes; Façades; and Flags and Masts. Clarice Constellation Celebrating the work and legacy of the writer Clarice Lispector (1920-1977), IMS Paulista brings the Constelação Clarice exhibition. An investigation of the author's poetics, curated by Eucanaã Ferraz and Veronica Stigger, the show brings together approximately 300 items, including manuscripts, photographs, letters, records, press materials and other documents. ​ ​To create these interlocutions, the concept of constellation was adopted. Eleven centers present works in different media, created by 26 visual artists working between the 1940s and 1970s. A unique history of Brazilian art is thus combined in the feminine, with works that only Clarice's literary universe allows to gather, proposing a web of relationships capable of generating new and surprising reciprocal readings. Compositions for insurgent times Connecting the museum’s interior and its modernist architecture with the exterior, the exhibition combines artistic projects specially created for the show with works on loan form other private and museum collections, thus offering a reflection on processes and models of articulating life. October 9 through February 6, MAM-RJ. ArtRio 2021 From September 8 to 12, 2021, the Rio de Janeiro art fair wins its 11th edition, with in-person and online formats. Projects for a Modern daily life in Brazil (1920 - 1960) A new exhibition of Brazilian art deco opens on 21/08/2021 at the University of São Paulo’s Museu de Arte Contemporânea, MAC USP. Visitation is from Tuesday to Sunday from 11am. The exhibition, directed by Ana Magalhães, features work by various artists, including Antonio Gomide and Flávio de Carvalho. Di Cavalcanti, Muralist The Tomie Ohtake Institute in São Paulo hosts the exhibition Di Cavalcanti, Muralist, curated by Ivo Mesquita. The exhibition opens on June 2 and runs to August 15, 2021. Collective exhibition Paulo Kuczynski Escritório de Arte invites you to the gallery’s collective exhibition, which features a spectacular stand of bamboos by Ione Saldanha, works by Frans Krajcberg, Mira Schendel, Alfredo Volpi, Franz Weissmann and a selection of ceramics by Pablo Picasso, among other artworks by important artists from Brazil and abroad. Biennial Foundation As part of the program for the 34th São Paulo Bienal - Though It’s Dark, Still I Sing, the Fundação Bienal de São Paulo presents the show Vento (Wind), open to visitation through December 13, 2020, at the Ciccillo Matarazzo Pavilion. Named for Joan Jonas’ 1968 film Wind, the exhibition mainly features immaterial works in audio or video, seeking to emphasize a sense of space and distance rarely experienced by the exhibition-going public. MAM-SP In addition to such emblematic pieces as Nota sobre a morte imprevista (Note on an unexpected death) [see photo], the exhibition "Antonio Dias: derrotas e vitórias” (Antonio Dias: defeats and victories) serves up a collection that spans his entire oeuvre, from the first abstract works from the early 60s to his very last painting. Curatorial text by Felipe Chaimovich. ARTRIO 2023 At Artrio 2023, we showcased 50 exquisite artworks, a captivating journey through the diverse world of art. Each piece, a unique narrative, celebrates creativity's boundless depth. We're thankful for the opportunity to share this treasure with you, as art transcends time and space, touching the human spirit. Looking forward to inspiring more in future exhibitions. José Antonio da Silva First noticed in 1946 by a group of intellectuals during a collective exhibition in the interior of São Paulo, in São José do Rio Preto, José Antonio da Silva had a long career as a painter and draftsman. He exhibited his works in significant national institutions, such as the Pinacoteca do Estado de São Paulo and the Museu de Arte de São Paulo (MASP), as well as in large international events, with the Venice Biennale being one of them. Furthermore, he made a unique contribution to the national discourse by presenting artwork filled with poignant social criticisms and depicting issues that remain relevant to this day, such as deforestation, forest fires, and the unchecked expansion of agriculture in the country. SP-Arte 2023 For SP-Arte 2023, the Paulo Kuczynski Gallery presents a selection of works by Brazilian and international artists, ranging from the dawn of the 20th century with a beautiful painting by Eliseu Visconti, to more recent works from the 1980s such as Burle Marx's "Composição Abstrata" and a lavish tempera with gold leaf by Mira Schendel. Two of the highlights of the booth are Abraham Palatnik's "Objeto Cinético" (1966) and Lygia Clark's "Bicho" (1956/1960). The gallery will also exhibit works by Alfredo Volpi, Almir Mavignier, Amilcar de Castro, Antonio Dias, Bruno Giorgi, Cícero Dias, Cruz Diez, Flávio de Carvalho, Frans Krajcberg, Ismael Nery, Lygia Clark, Maria Leontina, Samson Flexor, Tarsila do Amaral, Vicente do Rego Monteiro, Victor Brecheret and Vieira da Silva. SP-Arte Brazilian Routes Concentrating on the characteristics of forms, planes and colors, the concrete movement, which gained traction in Brazil in the 1960s, plunged the pictorial and sculptural output of the day into the dimension of logic and abstraction. Such figures as Willys de Castro, Mira Schendel, and Sérgio Camargo operated out of the balance and imbalance between image, word, light and shade to create reflections on the nature of order, chaos, and the corporeal vis-à-vis the spiritual. Under the title “Sensible Geometry in Brazilian Art”, the gallery gathers a number of works by major constructivist and concrete artists, emphasizing pieces focused on the expressions and multiple sensibilities generated by forms. Tarsila: the two and the only one Paulo Kuczynski Escritório de Arte is pleased to announce the exhibition Tarsila: the two and the only one. Tarsila do Amaral (Capivari, SP, 1886 – São Paulo, SP, 1973) was a fundamental figure of the Brazilian modernist movement, producing throughout her life a powerful and innovative work, which went through several moments, such as the painting Pau- Brazil, Antropofágica and its social phase. Two important works that are often reproduced in the vast existing bibliography on the artist form the central axis of the exhibition. They are Landscape with Two Little Pigs, from 1929, and Second Class, from 1933. Because they form part of private collections, they were rarely seen by the public, thus constituting a unique opportunity to get in touch with them firsthand. Ione Saldanha - The invented city New solo exhibition by Ione Saldanha on display at MASP. At the heart of Saldanha's work is a concern with a certain representation or invention of the city and architecture, whether real or imagined, hence the title of this exhibition: Ione Saldanha: the invented city. In this context, the artist moved from the initial urban landscapes to progressively abstract architectural constructions, represented in a fluid, delicate and organic way, always bringing the artist's handprint visible on the surface of the paintings, whether two-dimensional or three-dimensional. The Bambus, his most iconic, complex, and truly innovative works, are upright sculptures that evoke popular and vernacular Brazilian culture. Of an anthropomorphic character, they make reference both to the city and the forest, as well as to the subject who inhabits them, acquiring an installation quality, especially when exposed in sets. ​ ​The title of this exhibition is inspired by that of a solo show by the artist entitled Cidade Inventada, held at Galeria Relevo in Rio de Janeiro, in 1962. ArtSampa São Paulo is going to host a new art fair next year. ArtSampa will be directed by Brenda Valansi, partner of the event in partnership with Dream Factory, and is confirmed for the month of March at OCA. The fair, focused on Brazilian art, will have galleries inside Oscar Niemeyer's building, and a series of events held outdoors, in Burle Marx's garden. ArtRio 2021 SP-Arte is back online and onsite, at a new venue, Arca, from October 20 to 24. Avenida Manuel Bandeira, 360 - Vila Leopoldina. Click here and reserve a ticket. 34th São Paulo Bienal The São Paulo Art Bienal is back in 2021 with the exhibition It’s Dark But I Sing . The event opens on 04/09/2021 and runs through to 05/12/2021. Visiting hours are Tuesday through Sunday, from 10am, at the Ciccillo Matarazzo Pavilion, Ibirapuera Park. Challenges of Modernity – Gomide-Graz Family in the 1920s and 1930s MAM, Museu de Arte Moderna de São Paulo, presents an exhibition dedicated to Brazilian art deco, with special emphasis on the work of Antonio Gomide, Regina Gomide Graz and John Graz. Curated by Maria Alice Milliet, the exhibition runs from May 25 to August 15, 2021. Visitation is Tuesday through Sunday, from 10am to 6pm. SP-Arte 2021 - Viewing Room The famous São Paulo art fair is back this year! In addition to the onsite event (scheduled for August), SP-Arte 2021 will also have a digital version, running from June 9 to 13, with virtual viewing rooms and stands by galleries from Brazil and abroad. MuBE An exhibition to commemorate the centenary of the birth of Amilcar de Castro will be held between February 27 and May 23, 2021, at the MuBE—Museu Brasileiro da Escultura. Curated by Guilherme Wisnik. ArtRio 2020 The 10th edition of the Rio Art Fair presents a dual experience between October 14 and 18, 2020, at the Glória Marina, and October 14 and 25, online.

Cacá Nobrega e Paulo Kuczynski apresentam José Antonio da Silva ​ ​ Cacá Nobrega e Paulo Kuczynski apresentam José Antonio da Silva Ver mais> Instituto Tomie Ohtake Visit Program "The Imaginary Collection of Paulo Kuczynski" 200 works by 39 artists, curated by Jacopo Crivelli Visconti. Ver more > Individual exhibition from March 12 to May 14, 2022. See more > Tarsila: the two and the only one Tarsila: the two and the only one Oswaldo Goeldi Individual exhibition from November 7th to December 20th, 2019. See more > Individual exhibition from September 4th to October 20th, 2018. See more > Cildo Meireles Enigmas Instantâneos Frans Krajcberg ​ Nature as a studio Individual exhibition from April 5th to June 2nd, 2018. See more > Alfredo Volpi ​ A tribute Individual exhibition from March 30th to May 15th, 2015. See more > Di Cavalcanti ​ Some Unforgettable Solo exhibition from April 23rd to May 28th, 2012. See more > Helio Oiticica ​ Parangolés Individual exhibition from September 30th to November 11th, 2006. See more > Trajectory ​ An Imaginary Collection Collective exhibition celebrating the gallery's reopening in 2004. See more >

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Oswaldo Goeldi Cildo Meireles Frans Krajcberg Di Cavalcanti Alfredo Volpi Hélio Oiticica Tarsila do Amaral The Imaginary Collection of Paulo Kuczynski ​ In honor of Paulo Kuczynski's more than 50-year career, the Tomie Ohtake Institute invites curator Jacopo Crivelli Visconti to propose a thought-provoking journey through the trajectory of Paulo Kuczynski's "Imaginary Collection", bringing together some of the most extraordinary works that have been marketed by the gallerist in the last five decades. "Perhaps the best key to understanding this imaginary collection and the intelligent eye of its creator lies precisely in the immense variety of styles and poetics that allows us to identify both personal preferences and a deep understanding of the evolution of national art," says Crivelli Visconti. With more than two hundred works on display, including names such as Alfredo Volpi, José Pancetti, Lasar Segall, Ismael Nery, Frans Krajcberg, Lygia Clark, Wesley Duke Lee, lone Saldanha, Adriana Varejão, Mira Schendel and Maria Martins, Paulo Kuczynski's Imaginary Collection aligns different periods and expressions of Brazilian art, allowing unexpected and extremely fruitful neighborhoods and approximations.​ ​ Text by Paulo Kuczynski ​ Marchand and collector form an inseparable duo, they are complementary sides of the same game, partners driven by the strength of a single passion - even when momentarily separated by a commercial relationship. ​ If I had already had this feeling for some time, in the process of curating and assembling the current exhibition it intensified. When I asked to borrow the works for the show, at first afraid of possible refusals, I was moved by the generosity of everyone involved. ​ Collecting or selling? How to reconcile these two destinies in a single individual? These are doubts, even dilemmas, with which I have lived in my more than fifty years of profession, throughout which I have tried to be guided by the objectivity immanent to the works, but also by intuition and preferences of a particular nature. In this journey of encounter with the aesthetic experience, there are certainly gaps and incompleteness, perhaps even purposeful, the result of my idiosyncrasies. In any case, I never had the pretension of absolute comprehensiveness or the formation of a totality. ​ The result, in addition to being a panorama of art in the 20th century, is above all the record of a personal cut guid ed by an enthusiastic vocation, whose privilege I shared with my collector friends: passion reinvented giving enchantment to the world. ​ Text by Paulo Ku czynski ​ In 2004, Paulo Kuczynski organized the exhibition Trajetória - Uma coleção imaginária, a gathering of some of the most extraordinary works that had passed through his hands up to that point. Almost twenty years later, the collection is presented here. Some of the works participated in both exhibitions, others did not, and one wonders if they are two different collections or if we are facing the same one. The act of seeing, and the time that accumulates between the moment we stand in front of a canvas or a sculpture for the first time, and all the times we return to it, feeling what it tells us, are central elements in the interaction with any work of art. The idea of seeing something again weeks, months, years or even decades later permeates the project of this exhibition, if we think that what makes the works gathered here belong to Paulo Kuczynski's imaginary collection is precisely the fact that, at some point, they were looked at by him. ​ An intelligent and affectionate gaze characterizes Kuczynski's relationship with the works he is enchanted by, which he has discovered and rescued from all kinds of places and contexts, actively contributing to writing what we now call the history of Brazilian art. The exhibition begins with some extraordinary paintings by Eliseu Visconti, produced at the turn of the 19th to the 20th century, and concludes with a group of tiles by Adriana Varejão, from 2008. In the distance, both chronological and stylistic and conceptual, between these two sets, much of the art produced in Brazil throughout the 20th century fits. It is a journey not without leaps and ruptures, but fascinating for the way movements and poetics are linked, attracting each other, sometimes even contradicting each other. The sets of works are disparate, some broad, others more concise, but each one brings something special, giving clues to the understanding of the whole. ​ Perhaps the best key to understanding this imaginary collection lies precisely in the immense variety of styles and poetics that allows one to identify both personal preferences and a deep understanding of the evolution of national art. And so Visconti's pieces can coexist with Varejão's, Leonilson's works with those of Ione Saldanha, Pancetti with Tarsila, Anita with Nery, Di with Portinari, Vicente do Rego Monteiro with Lasar Segall, Bandeira with Kracjberg, Volpi with Sergio Camargo and Willys de Castro, Sacilotto, Maria Martins and Vieira da Silva with Waldemar, Wesle _ Instituto Tomie Ohtake Endereço: Rua Coropé, 88 - Pinheiros, São Paulo - SP, 05426-010 Abertura ao público: 20 de maio, das 11h às 16h Período da exposição: de 23 de maio a 13 de agosto de 2023 Dias e hoários de visitação: de terças a sábados, das 11h00 às 20h00

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Oswaldo Goeldi Cildo Meireles Frans Krajcberg Di Cavalcanti Alfredo Volpi Hélio Oiticica Tarsila do Amaral José Antonio da Silva, presentation: ​ It was during a year-end gathering of friends and colleagues in the art market that the idea of organizing a solo exhibition for the artist José Antonio da Silva was born. Throughout the conversation, names deserving of a fresh perspective in the art market and whose place in Brazilian art history needed revisiting were discussed. Among the names mentioned, José Antonio da Silva emerged, an artist that, in the opinion of all those present, deserved a new wave of visibility. ​ First noticed in 1946 by a group of intellectuals during a collective exhibition in São José do Rio Preto, in the interior of São Paulo, José Antonio da Silva had a long career as a painter and draftsman. He had already exhibited his works in important national institutions, such as the Pinacoteca of the State of São Paulo and the São Paulo Museum of Art (MASP), as well as at major international events, with the Venice Biennale being one of them. Furthermore, he made an unparalleled contribution to national thought through his artwork, presenting works full of powerful social criticisms and portraying themes that are still relevant today, such as deforestation, forest fires, and the unbridled expansion of agriculture in the country. ​ There is no doubt that José Antonio da Silva deserves to be featured in a weighty exhibition that accounts for the breadth of his production and the richness of his imagination. It should be a beautiful and impactful display showcasing the works from his prime, allowing a new generation of collectors to admire and delve into the magical universe painted by this artist. ​ By presenting our collections of the artist's works side by side, we believe that we have gathered a significant and representative body of his work, developed between the 1940s and 1970s. This catalog, meticulously prepared with great care, aims to serve as a reference and a record of José Antonio da Silva's important artistic legacy. ​ Cacá Nóbrega and Paulo Kuczynski. ​ The Splendor of Rural Life: ​ The pictorial work of José Antonio da Silva developed during the accelerated transition between rural and urban life in the São Paulo interior in the post-World War II period. This environment is deeply ingrained in his emotional, formative, and existential experiences, from which he never distanced himself. The powerful imagery of his canvases first piqued the interest of intellectuals concerned with the problems of art, for without a modern and urban sensibility, one could not truly appreciate and admire the artist's work. The "discovery" of his work, so to speak, is credited to three intellectuals associated with São Paulo modernism: Paulo Mendes de Almeida, Lourival Gomes Machado, and João Cruz Costa. Without them, he would likely remain unknown or restricted to the status of a local artist. The rural life he painted, which was condemned to vanish, was gradually absorbed by urban or semi-urban expansion, not only due to people's migration in search of new horizons but also because of the inexorable spread of new lifestyles—the so-called "progress." José Antonio da Silva bestowed extraordinary artistic dimensions upon the aspects of this simple rural life, which seemed limited and even dismissed. It is with modernity that the so-called "primitive artists" acquire value, become recognized, appreciated, and are inserted into the history of art, as was the case with the famous Douanier Rousseau, a painter greatly admired by Picasso. Just as in expressionism, the "primitive" is only valued if it's authentic. It's something that can't be adulterated, copied, or falsified; extreme conviction gives value to the work. This explains José Antonio's admiration for Van Gogh, one of his favorite painters. Not by chance, his appreciation occurred concurrently with that of Volpi and by the same individuals, the same group of intellectuals and collectors, some of whom are still active today—a convergence, like many others, between the modern and the "primitive." José Antonio da Silva's painting is a mode of representation that corresponds to the simplicity of life. However, it is not a simplification. In his works, the world is in constant action, alive, in a circular motion. In his paintings, one scene follows another, almost without interruption. It's the visual inventory of his rural existence that made him a painter and fulfilled his existence. It's not just the precise observation of the subject from within, but the original and imaginative solutions that stand out in his works. Each of his canvases presents itself entirely, whether it's a landscape, still life, or portrait. From there, a lively, animated, varied world arises from which José Antonio was an attentive observer, commentator, and preserver. Lifestyle, habits, landscape, work, religiosity—all these elements left an imprint on his work. Even his name encapsulates the truth of his painting—a genuinely rural, Paulista, and Brazilian name. He painted his world, the one that was disappearing before the relentless march of progress: the mud-and-stick house, the ox cart, popular celebrations, primitive farming, and everything else that was referred to as the "countryside." José Antonio da Silva painted it all; not one. ​ The popular everyday life is what fits into his paintings; he didn't intend to go beyond that. The artist knew how to open new directions and how to repeat himself without becoming boring. The world appears uninterrupted in his canvases. They convey a diverse animation, distinct from the insipid life of the metropolis, more varied, and, one could say, more fun. José Antonio da Silva could effortlessly transition from common subjects, such as the portrayal of a flower vase, to subjects of which he was the sole recorder. However, it's the shared worldview that characterizes all his art. In other words, it's not merely a record but a recreation of lived existence. Not content with being a painter, he also devoted himself to writing. This blend of simplicity and ambition characterizes José Antonio da Silva's work and persona, and it is reflected in his books and paintings. "I am a painter of rural life," he said; the essence of the artist resided in what he painted. He was indeed a painter, but his work is also the poetry of rural life. ​ Animals, as expected, are present and recurring in many of his paintings, those typical of rural surroundings: the ox (The Oxen, 1952), the dog, the omnipresent vulture, and the menacing snake (Snake and Dog, 1949). Life unfolds in the small houses, a tiny urban nucleus situated between the city and the countryside. Festivals (St. John's Festival, 1960), the circus (At the Circus, 1960), and religious faith (The Miracle of Saint Genevieve, 1949) coexist alongside everyday toil (Milking, 1948; The Woodcutter, 1953; The Herd, 1956). Sometimes bucolic, sometimes lyrical, the representations on the canvases offer no room for nostalgia. Occasionally, a simple landscape, the forest and a river (Untitled, 1948), emits a magical atmosphere as if it conveys the intimate life of nature. In other instances, the tragic battle between the forest and agriculture, deforestation (Clearing, 1949), still done manually to make way for planting (Coffee Plantation, 1971; Cornfield, 1961) — these are the significant moments of rural life that José Antonio managed to endow with splendor. Nevertheless, the "rural life" he painted was condemned to disappear. It can be asserted that, in a way, José Antonio da Silva's painting blossomed with the end of the rural culture, which his art also authentically documented — even if the artist didn't perceive it as necessary to record and preserve, it eventually happened. José Antonio da Silva began painting as an adult, likely motivated by intuition (due to a lack of formal art education), and yet, he created an incomparable body of work. He had limited means, but he extracted the maximum from them. He entirely framed the subject and from that entirety, he began observing the details arranged and figured with care. This unique combination is one of the indistinguishable characteristics of his work, whether it's a landscape, a flower vase, or a portrait. His worldview aligned with traditional genres, and not the other way around. Nothing escaped the artist, and yet, he repeated the same theme multiple times with unforeseen variations — part of the painter's calling, which he embraced somewhat excessively, as some have claimed; he, himself, even abused false modesty. As a recognized painter, he could expand and display his ego without the natural shyness of a countryman. José Antonio da Silva called himself a "painter of rural life," which he truly was, without realizing he went even further, much beyond the circumstances that might have limited him. Modern eyes recognized in this artist the plastic inventiveness of great painting.

Continue Glauco Rodrigues (1929 - 2004) Glauco Rodrigues began painting in 1945, as an autodidact. After a brief period of training in Bage with painter José Moraes, Rodrigues received a scholarship to attend the National Fine Arts School in Rio de Janeiro for three months. Between 1951 and 1954 he participated in several engraving collectives in Bage and Porto Alegre, where his aim was to express through drawing and engraving the rural character and traditions of southern Brazil, an objective that defined his practice. In 1958 he settled in Rio de Janeiro where he worked as a graphic designer, an illustrator and later as the director of the popular Senhor magazine. Between 1962 and 1965 Rodrigues lived in Rome, a period during which he adopted an abstract vocabulary. After participating at the 1964 Venice Biennale (the so-called ‘pop Biennale’), Rodrigues returned to a figurative lexicon under the umbrella of Brazilian new figuration. In Rio de Janeiro, he took part in the exhibition Opinao ’66 at the Museum of Modern Art. The Song of Solomon – Concha Shell 1967 (from the series Concha Shell) belongs to a body of work that Glauco Rodrigues developed in the mid-1960s, which humorously dealt with themes related to Brazilian national identity, as a means of questioning the socio-political context that erupted following the military coup of 1964. The Song of Solomon appropriates the logo of the Shell Corporation in the depiction of a woman, with her breasts exposed, in a sensual pose – a subtle allusion to Brazil’s economic relationship with the USA. By equating Shell’s economic presence with a sexualised image, Rodrigues activated a mockery of Brazilian culture, prone to exploitation and associated with pleasure and female sensuality, a recurrent theme throughout his practice. Working with a bright palette, canvas, plastic objects and discarded materials, Rodrigues represented aspects of Brazilian visual culture as portrayed by the mass media, as methods of questioning the tension between Brazilian politics and the exponential growth of consumer culture.

Continue Hélio Oiticica (1937 - 1980) Hélio Oiticica is a Brazilian Neo-Concrete artist whose work ranges from abstract geometric paintings to large-scale site specific works. His most famous installations, Tropicalia and Eden (1967), Oiticica aims to create a counter-capital, filled with references to Brazilian life through the favelas and the perception of how bodies move in samba through his Penetrables structures. The works exemplify the artist’s interest in how visitors should participate with art and create culture on their own terms. “The museum is the world,” he once remarked. “It is the everyday experience.” Born on January 26, 1937 in Rio de Janeiro, Brazil, Oiticica studied painting under Ivan Serpa at the Brazilian Museum of Modern Art. In 1959, Oiticica became involved in the Neo-Concrete movement alongside artists like Lygia Clark and Franz Weissman . Although the group disbanded a mere two years later, it shaped the future of Conceptual Art and heavily informed the rest of the artist’s career. He would later go on to be one of the founders of a Tropicalia movement, consisting of visual and non-visual artists whose staunch opposition to Brazil’s dictatorship at the time heavily informed their works. Oiticica died on March 22, 1980 at the age of 42 in Rio de Janeiro, Brazil. Today, his works are held in the collections of the Tate Modern in London, the Hirshhorn Museum in Washington D.C., and The Museum of Modern Art in New York, among others.

Oswaldo Goeldi Cildo Meireles Frans Krajcberg Di Cavalcanti Alfredo Volpi Hélio Oiticica Tarsila do Amaral Instant Puzzles . Cildo Meireles Cildo Meireles Cildo Meireles is an internationally-renowned Brazilian sculptor and painter who creates objects and installations that immerse the observer directly into a complete sensorial experience. Much of his work plumbs such themes as the military dictatorship in Brazil and the country’s dependence on the global economy. ​ The Exhibition ​ Instant enigmas, produced in 2018 by Escritório de Arte Paulo Kuczynski, exhibited previously unseen work by Cildo Meireles, an icon of contemporary Brazilian art, alongside other pieces from the 1970s and 80s, all true to his characteristic blend of the political and the jocular. The catalogue text was by the critic Paulo Venâncio Filho and the exhibition design by the architect Pedro Mendes da Rocha. ​ ​ Instantaneous Enigmas Paulo Venâncio Filho In the work of Cildo Meireles, objects, like his installations, consti- tute a special typology. They were always part of his artistic prac- tice, though very often eclipsed by the large-scale installations. Even so, the objects have their own dimension, on a par with the installations, of which they are generally summaries, soft cores, compact reductions. Historically, the object has been negatively construed—neither sculpture nor painting. However, this initial and sidelining characterization does not take the trouble to define the object for what it is, only for what it is not. With the object there arises a new and specific entity, heteroclitic, polymorphic, hetero- geneous. It has become a category in its own right, albeit one that admits of only brittle definition, constantly changing across time and space, from artist to artist, from whom it demands no special skill or training. It can easily be mistaken for any old thing—having no place of its own, just about anywhere will do. This is the territory in which Cildo’s objects operate. Objects are not fussy about materiality. No manner of material is scorned; all are welcome, possible and plausible. In general, ob- jects are small in size, though they act upon and modify the space they occupy. Left on the floor, stuck to the wall, placed on a table or a pedestal, hung from the ceiling, they don’t really care. They are also products, and so frequently merge into the universe of prod- ucts, even if they are not readymades. In their origin, they are ob- jects of desire: in principle, an object is something to be had, like any other product. As such, they aim to infiltrate the private, sub- jective sphere of the viewer through the closest possible proximity, both visual and tactile. Unitary or composed of parts, the object is an entity in and of itself. Belonging as it does to the ambit of things familiar, useful, ready to hand, the dimension the object acquires is more than just concrete and spatial, as the space it constructs is physical and imaginary, strange and indefinite. It signals a new form of consumption, a still utopian appropriation of things, possibly extendable to all objects, under the auspices of a gratuitous and general belonging. The object opens up to all possibilities, including self-annulment and opposi- tion— Anulação por adição ou oposição (Annulment by Addition or Oppo- sition) is the title of one of Cildo’s objects. It may, indeed, annul itself comically through deformation, as in Rodos (Squeegees). ​ If the spatiality of Cildo’s large installations envelopes us in its sensorial impact, his objects require extreme concentration, as if stuck before an enigma that, if left unresolved, will bar our prog- ress. More than that: we are imprisoned by their latent will to free up some novel, unknown, surprising possibility. It is then that we see that Cildo’s thinking unfolds through and with these objects. He wants to reason with things, with the concrete, everyday, close-to- hand world. He wants to observe it, balk at it, contemplate it into uncanniness. In so doing, bland objects become remarkable, odd, misshapen and displaced. Mutable, deformable, shapeshifting, they wrap themselves in situations, known and unknown relations, all at once. Drawings, for example, can metabolize into object by an ironic stutter of homonyms—Pastel de pastéis (Pastel Pastel). In Value impaired—bills gathered on the ceiling, coins pooled on the floor—a constant leitmotif carries over from countless oth- er works. Nothing is more recurrent in Cildo’s art than bank notes. It’s a sort of type-object in his work, ever-present throughout, as in the now-classic Zero cruzeiro. If the artwork is an asset, then every artwork is, allegorically, currency, potential legal tender. Conflating the work and the bill is to place one inside the other, make art “dis- appear” into cash. The object is, therefore, a sort of instantaneous enigma, a quick-fire schema built out of humdrum things, as in Razão e loucu- ra (Reason and Madness)—a bamboo bow, chain, lock and key—an epigrammatical, economical formulation. While the object certainly contains a dose of insanity, it is wrought of the most precise ratio- nality. In other words, make no mistake: it’s Reason and Madness, not Reason or Madness. Having this infinite variety of objects at his disposal is like hav- ing the world as a set of categories to which the object submits: hu- mor, irony, allegory, critique. The object is the site of innumerable combinatory operations. It comes from a long and illustrious tra- dition that began with Duchamp, among others, and morphed its way through surrealism, constructivism, the non-object, the spe- cial-object, among others. Cildo’s object is a possible combination of exlusionary elements. And yet that is all it is, an object, simple as that, with no trace of any other reality, idea or concept. It is founded in the here and now, and radically so. What these objects reveal is an intense imaginative charge and a precise conceptual limit. We might call them “parascientific”, imaginatively laden and precise in their formulation. They never go beyond the strictly necessary, the poetic of the work is rigorously “controlled”. Cildo’s attention roams about, anti-Duchampsianly; encountering here and there something that catches its attention, but the object never disconnects from, or dissolves in, an idea. And, out of the existing objects, others will be proposed, beyond those that are already there, in the world. It’s the object that does the “proposing”: the wand-like rods in Desaparecimentos (Disap- pearances) suggest an act of magic—which, symbolically, has the power to make things appear and disappear. Naturally, the handker- chief could “vanish” from the cane and reveal the “secret” of the trick. The sequence of disappearance (and reappearance) is cine- matographic, exposed in each of its frames-per-second: beginning, middle, end and back again; the awakening of the object from its inert condition. Cildo’s objects, generally commonplace, workaday things of no apparent value, approach the readymade and threaten tangency, only to veer away, leaving it behind, caught up in their slipstream. One might say they propose to “disappear with” the readymade. When the end of the age of the object, the usual broker between subject and world, finally draws near, these works will remain as testaments to the imaginative potential—increasingly muted in our day—of the things that lie in our midst, near to hand. ​ Texto Cildo

Continue Aldo Bonadei (1906 - 1974) Aldo Cláudio Felipe Bonadei, widely known as Aldo Bonadei (São Paulo June 17th, 1906 — São Paulo, January 16th, 1974) was a Brazilian painter. As a member of the Grupo Santa Helena he was distinguished for his erudition. His varied interests made him develop work in poetry, fashion and theater. Bonadei was culturally important in the 1930s and 1940s, when modern art was being consolidated in Brazil. He was a pioneer of the abstract art in that country. In the end of the 1950s, he worked as costume designer for Nydia Lícia & Sérgio Cardoso company, and in two films by Walter Hugo Khoury.