Adriano Amaral — Ana Mazzei — Dudu Santos — Gabriel Lima — Hudinilson Jr — Maria Leontina — Philippe Van Snick — Sonya Grassman
Ribeirão Preto, Brazil, 1982 / Lives and works between Lisbon and São Paulo.
Adriano Amaral engages in an alchemic artistic process, employing synthetic and organic compounds as well as video, light and sound. The materials and objects in his work form rare combinations that deny a categorical logic or hierarchy and acts to decontextualize architectural spaces with a sensitivity to the viewer’s physical presence. After finishing his Master’s degree in London’s Royal College of Art in 2014, Adriano took an art residency in De Atelier, Amsterdam in 2016 and was granted the Mondrian Fonds Work Contribution Proven Talent in 2017.
His recent exhibitions include solo projects at Vleeshal Zusterstraat, Netherlands, Bielefelder Kunstverein, Germany, and Galeria Jaqueline Martins in São Paulo, Brazil. Group shows include projects in Sixty Eight Art Institute, Copenhagen, Modern Art Museum, Moscow and Beelden Aan Zee, The Hague - Netherlands. Adriano Amaral is supported by the Mondriaan Fund.
São Paulo, 1980 / Lives and works in São Paulo.
To Ana Mazzei, art, architecture and landscapes construct, in themselves, a fiction that connects them, resulting in installations, settings and objects. Some of the works operate on a smaller scale, such as the series of installations arranged on the floor formed by groups of small shapes made of felt, concrete or wood similar to the architectural models of old cities, amphitheaters or monuments. Beyond the formalist exercises, these floor objects invoke unidentified stories that suggest hidden and impenetrable archetypal structures - they are like pieces and fragments of myths, lives and fictions that are represented in paintings, videos, sculptures and installations. Her works were recently featured in important institutional exhibitions at Padiglione d’Arte Contemporanea - Milan, Cuenca’s International Biennial, São Paulo’s International Biennial, House of Egorn - Berlin, Contemporary Art Centre - Lithuania, Instituto Tomie Ohtake - São Paulo, Parque Lage - Rio de Janeiro, among others.
São Paulo, Brazil, in 1943 / Lives and works in São Paulo.
Dudu Santos is a painter, set designer, illustrator, curator and teacher. Throughout his career, he had individual exhibitions at the Museu de Arte Moderna da Bahia / Solar do Unhão (Salvador, BA) in 1974, Documenta Galeria de Arte (São Paulo, SP) in 1984, Moira Galeria de Arte (Lisbon, Portugal) in 1991, Mônica Filgueiras Gallery of Art (São Paulo, SP) in 1998, Gallery of Art of the House of Brazil (Madrid, Spain) in 1999, among others. He recently presented the exhibitions “Contra o vazio” in 2018 and “Nothing is real but everything is real” in 2016, both in the Jaqueline Martins Gallery (São Paulo, SP). He has also participated in numerous collective exhibitions in galleries and institutions such as the Modern Museum of São Paulo (MASP, São Paulo, SP), National Museum of Fine Arts (Rio de Janeiro, RJ) and Atami Museum of Fine Arts (Moa, Atami (MAC / USP, São Paulo, SP) in 1998 and “Only for the Rare, only for the Crazy” curated by Daniela Name, Jaqueline Martins Gallery (São Paulo, SP) in 2011.
São Paulo, Brazil, 1984 / Lives and works between São Paulo and Paris.
Gabriel Lima’s work addresses itself to the formal qualities of painting, conflating a personal dimension with different positions extracted from historical trajectories as well as with bodies of knowledge that resonate within the discipline and without. Recent projects include solo exhibitions at A Certain Lack of Coherence (Porto, Portugal), Fortes D’Aloia Gabriel (São Paulo, Brazil), Kai Matsumiya (New York, USA) and Union Pacific (London, UK). He also took part recently in group exhibitions at The Approach (London, UK), Ausstellungsraum Klingental (Basel) and Berthold Pott (Cologne, Germany).
São Paulo, Brazil, 1957 - 2013.
Multimedia artist Hudinilson Urbano Jr was one of the pioneers of Xerox art in Brazil. In 1975 he enrolled in the Fine Arts course at the Fundação Armando Álvares Penteado (FAAP-SP) where he studied until 1977. He then began experimenting with multiple artistic expressions such as drawing, painting, mail-art, graffiti, Xerox art, performance and urban interventions. The male human body is a recurrent theme in his oeuvre. In 1979 he founded the group 3nós3 with artists Rafael França (1957 – 1991) and Mário Ramiro (1957). Together, they carried out urban interventions in São Paulo’s urban landscape until 1982. His work is also part of important public collections such as MoMA - New York, USA, Reina Sofia Museum - Madrid, Spain, MAGA Museo d’ARTE GALLARATE, Varese - Lombardia, Italy, MALBA Constantini Museo de Arte Foundation - Buenos Aires, Argentina, MASP - São Paulo, Brazil, Pinacoteca do Estado - São Paulo, Brazil and Museum of Contemporary Art, USP - São Paulo, Brazil. In 2017 the work of Hudinilson Jr was presented at important collective exhibitions such as Stories of Sexuality, MASP - São Paulo, Copyart in Brazil - 1970-1990, University of San Diego and The Matter of Photography in Americas, Stanford University.
São Paulo, Brazil, 1917 / Rio de Janeiro, Brasil, 1984.
A painter and engraver, her work starts to draw critics attention with a series of still lifes, starting in 1949, in which is possible to perceive a reflection on cubism. In these works, the autonomous pictorial space is not concerned with the representation of reality, but instead begins to impose itself as the figures become more and more synthetic. Through the development of her painting, she arrives at geometric abstraction in the mid-1950s, based on the purification of figurative elements. Naturally, the artist is affected by the discussion about abstraction in Brazil, and by her experience abroad, where she is influenced by the constructive movement and European abstract painting. The “constructive” phase of Maria Leontina, which lasts until 1961, is considered by many critics as the moment of greatest singularity in Leontina’s career. Remaining on the fringes of Brazilian constructive movement, the artist develops a peculiar “sensitive geometry,” in which the rigidity of the line and the mathematical rigor of composition are replaced by an intuitive ordering and imprecise geometric forms.
Philippe Van Snick
Gent, Belgium, 1946 / Lives and works in Brussels.
Artist Philippe Van Snick is one of the precursors of conceptual art in Belgium in the early seventies. Fascinated by the conceptual art of that time, Van Snick started to examine patterns in cosmic logic and in daily life which led him to develop formulas and cipher codes that would later result in the use of his decimal colour system and the concept of duality in various forms. Van Snick considers painting to be much more than just the painted surface. The forms, objects and colors he uses never stand alone. They are intimately related to the space in which they are situated and the physical experience of the viewer. His practice includes painting, public art, sculptures, work on paper and editions. Van Snick lives and works in Brussels and has been shown at the 48th Venice Biennale and at numerous institutions, including the Musée d’art contemporain de Montréal; Centre National d’art Contemporain de Grenoble; and Museum Leuven. His work is held in the collections of MoMa, (NY); MU.ZEE, (BE); M HKA, (BE); S.M.A.K, (BE); De Bruin- Heijn (NL); among others private and corporate collections in Europe, USA and Japan.
Burgas, Bulgaria, 1933 / São Paulo, Brazil, 1997.
Writer and engraver. Daughter of German painter and Hungarian trapeze artist, she arrived at Brazil in 1950, touring the country with a wrestling troupe. In 1952, she works at the Oxumaré Gallery in Salvador. In that year, she met the designer Marcelo Grassmann, they got married and started living in São Paulo. Around 1962 she began to paint; however, she shows her work very rarely.
“There are artists whose production, independent of their personal will, defy established truths not because they are revolutionary or innovative. Sometimes because they seem distant from the historical process. Sonya Grassmann is one such artist. His work is the result of an imaginary missing time references, demands of the century and even the typical concerns of mass society. Sonya’s universe is vaguely medieval. These images remind us of a Middle Ages past, seen from large balconies of idealized castles. Everything is private, organized and heavy with an atmosphere full of intentions. These intentions can be romantic, morbid or expectant. Something is about to happen“.