Sérvulo Esmeraldo by Artcurial Beurret Bailly Widmer

Sérvulo Esmeraldo Die europäischen Jahre The European Years 1957–1975

Ausstellung Exhibition 29. November bis 16. Dezember 2016 29 November to 16 December 2016

Beurret & Bailly Schwarzwaldallee 171 4058 Basel Tel +41 61 312 32 00 Fax +41 61 312 32 03 info@beurret-bailly.com www.beurret-bailly.com

Vorwort Preface Es ist uns eine Freude und Ehre, unsere Ausstellungsreihe mit dem brasilianischen Künstler Sérvulo Esmeraldo zu eröffnen. Er ist zugleich Maler und Bildhauer, Zeichner und Graveur, Gestalter von Schmuck und kinetischen Werken, seine Arbeit dementsprechend vielfältig. Von den ersten Gemälden bis zu den Excitables bemerkt man Kontinuität im Schaffen, und es lässt sich erkennen, dass seine Entwicklung Resultat einer immer tiefgründigeren Logik ist. In den letzten Jahren wurden dem Künstler zahlreiche Museums- und Galerieausstellungen in Süd- und Nordamerika sowie in Europa gewidmet. Auch in der Schweiz ist S érvulo Esmeraldo kein Unbekannter, hat er doch während seines langjährigen Aufenthaltes in Frankreich zwischen 1957 und 1975 zahlreiche Male in unserem Land ausgestellt. Unsere Retrospektive ist die erste, die sich mit seinem Schaffen während seiner Jahre in Europa befasst, und ermöglicht, sein Œuvre dieser Periode besser zu verstehen. Die hier gezeigten Arbeiten stammen aus Privatsammlungen und werden erstmalig der Öffentlichkeit präsentiert. Wir hoffen, dass das Publikum ebenso wie wir Freude beim Entdecken eines Werkes haben wird, das den Charakter seines Urhebers widerspiegelt: erfinderisch, originell und frei von Anmassung. It is our pleasure and honour to open our series of exhibitions with the Brazilian artist Sérvulo Esmeraldo. He is, all at once, a painter and a sculptor, a graphic artist and an engraver, a designer of jewelry and of kinetic works, and hence his œuvre is accordingly multifaceted. From his first paintings up to the Excitables you get a sense of continuity throughout his works, and it can be seen that his development is the result of an ever more profound logic. In recent years, numerous museum and gallery exhibitions in North and South America as well as in Europe were dedicated to the artist. Neither is Sérvulo Esmeraldo unknown in Switzerland, as he exhibited numerous times in our country during his many years of residence in France between 1957 and 1975. This, however, is the first retrospective that focuses on the work during his years in Europe, and which enables us to get a better understanding of his output in this period. The works shown here come from private collections and are presented to the public for the first time. We hope that the visitors will enjoy discovering, like us, a work that mirrors the character of its creator: inventive, original and free from pretension. Nicolas Beurret & Emmanuel Bailly

Sérvulo Esmeraldos individuelle Position im Kontext avantgardistischer Kunst

In den letzten Jahren wurden dank grosser Einzelausstellungen in Westeuropa und Nordamerika wegweisende Künstler mit südamerikanischen Wurzeln wiederentdeckt. Dies gilt etwa für Lygia Clark, Julio Le Parc oder Helio Oiticia. In diese Reihe liesse sich Sérvulo Esmeraldo, 1929 in Brasilien geboren und 1957–75 in Paris ansässig, vorzüglich einfügen. Beim Blick auf Esmeraldos Schaffen ist man zunächst ob der Vielseitigkeit seiner Medien und Techniken beeindruckt. So kreierte er unter anderem Plexiglasskulpturen, Objektkästen, Schmuck, Tuschearbeiten auf Papier, Prägedrucke, Holz- und Kupferstiche, Materialbilder und Malereien auf Leinwand, Holz oder Kunststofftafeln. Auch die Sujets, denen sich Esmeraldo zuwandte, scheinen sehr mannigfaltig. Bei genauerer Betrachtung werden jedoch einige stets wiederkehrende Motive und Eigenarten offensichtlich, auf die sich der Künstler über Jahrzehnte hinweg konzentrierte. Neben der generellen Tendenz zu einer reduzierten, auf einfache Formen beschränkten Bildsprache ist seine jahrelang anhaltende Vorliebe für die Linie am augenscheinlichsten – nicht als Einzelelement, sondern in annähernd parallel verlaufenden geraden oder geschwungenen Verbünden, die zum Teil das ganze Bildfeld dynamisch strukturieren. Sichtbar wird dies etwa bei Falaise (um 1963, Kat. Nr. 3), der Gaufrage Ohne Titel (1976, Kat. Nr. 50) bis hin zu diversen Excitables wie E 7119 (Kat. Nr. 29). Diese Präferenz kann bis in Esmeraldos Kindheit zurückverfolgt werden. So faszinierten ihn schon als Bub die konzentrischen Kreise und ihre Überschneidungen, die entstanden, wenn er Kieselsteine in den Teich seiner Grosseltern warf.1 Rückblickend lässt sich somit feststellen, dass schon von frühester Zeit an Esmeraldo eine Faszination für Strukturen, Naturphänomene, Bewegung, Zeit und optische Vibrationen hegte, die auch seine spätere Kunst charakterisieren sollten. Interessanterweise waren dies allesamt Kernbegriffe, die ebenso das Schaffen einiger avantgardistischer Künstler(-Gruppen) der 50er- und 60er-Jahre auszeichneten. So ergeben sich etwa unerwartete Parallelen zur europäischen Kunstbewegung ZERO. Ähnlich Esmeraldo rhythmisierte zum Beispiel auch Heinz Mack die Oberfläche mittels paralleler, m anuell ausgeführter Linien. Und Esmeraldos Gebrauch von Nägeln (Ohne Titel, um 1964, Kat. Nr. 6) oder Feuer (Ohne Titel, 1963, Kat. Nr. 26) findet sich ebenfalls im Schaffen von Günther Uecker beziehungsweise Otto Piene und Yves Klein. Monochrome Tendenzen treten wiederum in seinen Materialreliefs aus den frühen 60er-Jahren deutlich zutage.

Diverse künstlerische Schnittmengen, vor allem ab der zweiten Hälfte der 60er-Jahre, existierten jedoch auch zur Groupe de Recherche d’Art Visuel (GRAV). Beide Seiten etwa nutzten industrielle Materialien wie Kunststoff. Und das Prinzip vom Publikum ausgelöster, unvorhersehbarer Veränderung – von der GRAV unter den Schlagwörtern participation und instabilité proklamiert – charakterisiert gleichfalls Esmeraldos wohl bekannteste Werkgruppe namens Excitables. Diese bestehen aus einsehbaren Kunststoffgehäusen, in denen geometrisch geformte Elemente liegen, die oft in Reihen an Schnüren montiert sind. Reibt der Betrachter am Kasten, lädt sich dieser elektrostatisch auf und die Elemente fangen an, sich autonom zu bewegen. Durch die Position seiner Hand kann der Animator dieses Geschehen beeinflussen. Auf zur GRAV ähnliche Weise machte somit Esmeraldo naturwissenschaftliche Phänomene sichtbar. Es verwundert nicht, dass Esmeraldos Arbeiten von dem GRAVKünstler Julio Le Parc sehr geschätzt wurden.2 Trotz dieser Schnittmengen vertrat Esmeraldo eine durchaus innovative Position mit spezifischen Eigenheiten. Übergeordnet ist die poetische Anmutung aufzuführen, die seinen Arbeiten immanent ist. Dies ist interessanterweise selbst dann noch der Fall, wenn sie auf einer stark reduzierten, nüchternen Formensprache basieren. Ebenso weisen viele Werke Esmeraldos eine vitale und vergnüglich- kindliche Ausstrahlung auf, die er bisweilen mit etwas Narrativem kombiniert. Beispiel dessen ist seine 1966/67 geschaffene Gemäldereihe mit kleinen Kreisformen, die dynamische Konstellationen mit situativem Charakter bilden (Kat. Nr. 13–19). Lassen sich somit innerhalb der Avantgarde zwar Parallelen zu diversen bekannten Künstler(-Gruppe)n finden, so nahm dort Esmeraldo doch immer auch eine individuelle, stets wiedererkennbare Position ein. Dr. Frederik Schikowski, Berlin

1 Sérvulo Esmeraldo, De Foucault a Calder ou da Beleza das Coisas Exatas (1999), zitiert nach Ana Maria Belluzo, Eppur si muove!, in Ana Maria de Moraes Belluzo (Hrsg.), Sérvulo Esmeraldo. pinturas, desenhos, gravuras, esculturas, objetos e excitáveis. Rio de Janeiro, Edições Pinakotheke, 2013, S. 145–150, hier S. 45–146. 2 Gespräch des Autors mit Julio Le Parc, Cachan, Sommer 2013.

Sérvulo Esmeraldo’s individual position within the context of avant-garde art

In recent years, groundbreaking artists with South American roots have been rediscovered, thanks to major solo exhibitions in Western Europe and North America. This has been the case for Lygia Clark, Julio Le Parc, and Helio Oiticia. Sérvulo Esmeraldo, born in Brasil in 1929 and based in Paris from 1957–75, would fit this series perfectly. Looking at Esmeraldo’s œuvre, one is at first impressed by the variety of his media and techniques. He created, for example, plexiglass sculptures, object boxes, jewelry, ink works on paper, embossed prints, wood and copper engravings, material pictures, paintings on canvas, wood or plastic panels. The subjects that Esmeraldo turned towards also seem rather diverse. On closer inspection, however, a number of ever-recurring motifs and qualities that the artist focused on over the course of decades become clear. Besides a general tendency towards a reduced visual language limited to basic forms, his longstanding preference for the line is most apparent – not as a singular element, but in straight or curved groups running virtually in parallel, sometimes dynamically structuring the entire frame. It becomes evident e.g. in Falaise (circa 1963, cat. no. 3), the gaufrage Untitled (1976, cat. no. 50) up to various Excitables such as E 7119 (cat. no. 29). This preference can be traced all the way back to Esmeraldo’s childhood. Even as a boy he was fascinated with the concentric circles and the intersections that would emerge when he threw pebbles into the pond at his grandparents’ home.1 Looking back, it can be said that Esmeraldo fostered a fascination for structures, natural phenomena, movement, time and optical vibrations from very early on, all of which would also characterize his later art. Interestingly, all of these were key concepts that also distinguished the work of several avant-garde (groups of) artists in the 50s and 60s. Sudden parallels to the European art movement ZERO unfold. In a similar way to Esmeraldo, Heinz Mack would rhythmize the surface using parallel lines, executed by hand. Esmeraldo’s usage of nails (Untitled, 1964, cat. no. 6) or fire (Untitled, 1963, cat. no. 26) can also be found in the work of Günther Uecker, or Otto Piene and Yves Klein, respectively. In turn, monochromous tendencies become obvious in his material reliefs from the early 60s. There were also various artistic overlaps, particularly from the latter half of the 60s onwards, to the Groupe de Recherche d’Art Visuel (GRAV). Both of them employed industrial materials such as synthetics. Likewise, the principle of unanticipated change triggered by the public – proclaimed by GRAV under the slogans participation and instabilité – characterizes probably the most famous

group of works by Esmeraldo: the Excitables. These consist of plastic cases that allow for viewing of the geometrically shaped elements inside, often mounted on strings and in rows. When the observer rubs the case, it becomes electrostatically charged and the elements begin to move autonomously. Via hand positioning the animator can influence these events. In a way similar to GRAV, Esmeraldo thus rendered natural-scientific phenomena visible. It is not suprising that Esmeraldo’s works were much appreciated by the GRAV artist Julio Le Parc.2 For all those overlaps, Esmeraldo did adopt an innovative position with specific characteristics. Most importantly, we have to mention the poetic impression that is intrinsic to his works. It is interesting that this is true even when they are based on a greatly reduced and restrained formal vocabulary. Many of Esmeraldo’s works also have a vibrant, amusing, childlike air, which he occasionally combines with some kind of narrative. One example is his series of paintings from 1966/67 with small circular shapes forming dynamic constellations of situational character (cat. no. 13–19). Therefore, even though parallels can be found within the avant-garde to various well-known (groups of) artists, Esmeraldo still consistently occupied an individual, always recognizable position. Dr. Frederik Schikowski, Berlin

1 Sérvulo Esmeraldo, De Foucault a Calder ou da Beleza das Coisas Exatas (1999), quoted in Ana Maria Belluzo, Eppur si muove!, in Ana Maria de Moraes Belluzo (ed.), Sérvulo Esmeraldo. pinturas, desenhos, gravuras, esculturas, objetos e excitáveis. Rio de Janeiro, Edições Pinakotheke, 2013, pp. 145–150, here pp. 145–146. 2 Author’s conversation with Julio Le Parc, Cachan, summer 2013.

GemĂ¤lde Paintings

SĂŠrvulo Esmeraldo at an exhibition opening in the 1970s

1 Untitled mixed media on panel 33.8 × 48.5 cm

2 Untitled, circa 1963 mixed media on panel 31 × 43 cm

3 Falaise, circa 1963 mixed media on plaster 65.8 × 99.5 cm

4 Untitled, circa 1963 mixed media on panel 44.5 × 45 cm

5 Untitled, 1963 mixed media on wood 23.5 × 25.4 cm

6 Untitled, circa 1964 mixed media on wood 24 × 30 cm

7 Untitled, 1965 mixed media on canvas 16.5 × 24.2 cm

8 Untitled, 1968 oil on canvas 60 × 73 cm

The artist in his bathroom,â&#x20AC;&#x2030;1973

13 Untitled, 1966 oil on canvas 22 × 16 cm

14 Untitled, 1966 oil on wood 33 × 24 cm

15 Untitled, circa 1967 oil on wood 15.5 × 12 cm

16 Untitled, 1966 oil on wood 24 × 33 cm

17 Untitled, 1966 oil on wood 26.5 × 41 cm

20 Untitled, 1968 oil on plastic 64.5 × 50 × 3.5 cm

21 Untitled, 1968 oil on plastic 64.5 × 50 × 3.5 cm

22 Untitled, circa 1970 oil on acrylic box 21 × 21 × 3.5 cm

23 Untitled, circa 1970 oil on acrylic box 21 × 21 × 4 cm

24 Untitled, circa 1970 oil on acrylic box 21 × 21 × 4 cm

25 Untitled, 1969 oil on acrylic box 21 × 21 × 4 cm

Excitables Excitables

«Ein Excitable ist vor allem ein Bild, aber es kann nicht verleugnet werden, dass es auch eine ganz einfache Art von elektrostatischem Gerät ist.»

“Above all, an excitable is a picture but it cannot be denied that it is also a very simple kind of electrostatic machine.”

Sérvulo Esmeraldo, 1976

27 Méthode pratique et illustrée pour construire un excitable précédée d’une notice sur l’électricité statique Volume 8, ColleXtion, Guy Schraenen éditeur, Antwerp, Belgium, 1976

29 E 7119 wood, thread and acrylic 49.5 × 49.5 × 7 cm

30 E 7113A wood, nails and acrylic 50.5 × 50.5 × 8 cm

31 E 7106 wood, aluminium and acrylic h: 22 cm, î &#x203A; 44 cm

32 E 7013 wood, thread and acrylic 60 × 40 × 6.5 cm

33 E 7116 wood, thread, paper and acrylic 50.5 × 50.5 × 8 cm

Skulpturen Sculptures

« Zeitgleich zu der Arbeit an den Excitables hat der Künstler eine Reihe Plastiken entwickelt, die er Analysen der Oberfläche genannt hat. Durch das Bilden kompakter Plexiglas-Blöcke aus abwechselnd schwarz-weissen, aneinandergeklebten Flächen erhält der Bildhauer Linien, die an die Höhenlinien topographischer Karten erinnern.» Einleitung zur Retrospektive von Sérvulo Esmeraldo in der Arte Galerie, Fortaleza, Brasilien, 1985, organisiert von Dodora Guimarães

“In parallel to his work on the Excitables, the artist developed a series of sculptures which he called Analyses of Surface. Creating compact blocks made out of alternating black and white layers glued together, the sculptor obtains lines which are reminiscent of the contour lines in topographic maps.” Introductory text for the retrospective of Sérvulo Esmeraldo at the Arte Galerie, Fortaleza, Brazil, 1985, organised by Dodora Guimarães

The sculpture S 7403 on the terrace at the artist’s house

34 S 7403, 1974 acrylic 22.6 × 29.6 × 29.6 cm

35 Hélice, 1967/2013 acrylic h: 21 cm,  8 cm

36 Réfléchissant, 1972 acrylic and silkscreen 50 × 16 × 4.8 cm

37 Untitled oil on acrylic 89 × 14.5 × 6 cm

38 Untitled acrylic and stainless steel 20 × 25 × 17 cm (variable)

39 Untitled acrylic and stainless steel 16 × 17 × 19 cm (variable)

Zeichnungen Drawings

SĂŠrvulo Esmeraldo drawing in his studio

40 Untitled, 1966 ink on paper 50.5 × 65 cm

41 Untitled sepia on paper 50 × 65 cm

46 Untitled, 1962 ink on paper 48 × 63 cm

47 Untitled, 1964 ink and sepia on paper 50 × 65 cm

48 Untitled, 1963 ink on paper 51 × 67 cm

49 Untitled, 1976/77 gaufrage and ink on paper 65 × 50 cm

50 Untitled, 1976 gaufrage and graphite on paper 65 × 50 cm

Schmuck Jewelry

70 71

Grafik Prints

54 Variations sur une courbe, 1973 portfolio containing 1 gaufrage, 13 original serigraphies and a poem by Jean-Clarence Lambert Ed. Convergence, Perpignan, France 30.5 × 30.5 cm (sheet) 56 Untitled, 1968 burin, gaufrage and gouache on paper 23.5 × 24 cm (image), 55.5 × 38 cm (sheet)

62 Tranparência, 1962 woodcut 34 × 52 cm (sheet)

Humorous photographs of Sérvulo Esmeraldo taken at Didi’s Bar in Canet-Plage around 1970

Werkliste List of works

1 Untitled mixed media on panel signed Esmeraldo bottom towards the middle 33.8 × 48.5 cm 2 Untitled, circa 1963 mixed media on panel signed Esmeraldo bottom right 31 × 43 cm 3 Falaise, circa 1963 mixed media on plaster signed Esmeraldo bottom towards the middle, signed and titled on the reverse 65.8 × 99.5 cm Exhibition: Troisième Biennale de Paris, Musée d’art moderne de la Ville de Paris, 28.9.–3.11.1963. 4 Untitled, circa 1963 mixed media on panel signed Esmeraldo bottom right 44.5 × 45 cm 5 Untitled, 1963 mixed media on wood signed and dated Esmeraldo 1963/31/8 on the reverse 23.5 × 25.4 cm

6 Untitled, circa 1964 mixed media on wood 24 × 30 cm 7 Untitled, 1965 mixed media on canvas signed and dated Esmeraldo 1965 on the reverse 16.5 × 24.2 cm 8 Untitled, 1968 oil on canvas dated 4-I-68 on the reverse 60 × 73 cm 9 Untitled, circa 1963 mixed media on panel signed Esmeraldo bottom right 49.5 × 65 cm 10 Untitled, 1962 mixed media on panel signed and dated Esmeraldo 1962 bottom right 41 × 28.5 cm 11 Untitled, circa 1963 mixed media on panel signed Esmeraldo bottom right 34.8 × 30.5 cm

12 Untitled, 1963 string, gouache and pastel on cardboard signed and dated Esmeraldo 63 bottom right 50 × 65 cm 13 Untitled, 1966 oil on canvas signed and dated Esmeraldo 1966 on the reverse 22 × 16 cm 14 Untitled, 1966 oil on wood signed, inscribed and dated Esmeraldo Rosny-ss-Bois 1966 on the reverse 33 × 24 cm 15 Untitled, circa 1967 oil on wood 15.5 × 12 cm 16 Untitled, 1966 oil on wood signed, inscribed and dated Esmeraldo Rosny-ss-Bois – 1966 on the reverse 24 × 33 cm

17 Untitled, 1966 oil on wood signed, inscribed and dated Esmeraldo Rosny-ss-Bois 1966 on the reverse 26.5 × 41 cm 18 Untitled oil on wood 12 × 15.5 cm 19 Untitled, 1967 oil on wood signed, inscribed and dated Esmeraldo Rosny 1967 on the reverse 12 × 15.5 cm 20 Untitled, 1968 oil on plastic signed and dated Esmeraldo 1968 on the reverse 64.5 × 50 × 3.5 cm 21 Untitled, 1968 oil on plastic signed and dated Esmeraldo 1968 on the reverse 64.5 × 50 × 3.5 cm 22 Untitled, circa 1970 oil on acrylic box 21 × 21 × 3.5 cm 23 Untitled, circa 1970 oil on acrylic box 21 × 21 × 4 cm 24 Untitled, circa 1970 oil on acrylic box 21 × 21 × 4 cm

25 Untitled, 1969 oil on acrylic box signed and dated Esmeraldo 1969 bottom right 21 × 21 × 4 cm 26 Untitled, 1963 paper, cut, burnt and painted, in wooden box signed, inscribed and dated Esmeraldo Paris 1963 on the reverse 20.3 × 10.4 × 5.4 cm 27 Méthode pratique et illustrée pour construire un excitable précédée d’une notice sur l’électricité statique Volume 8, ColleXtion, Guy Schraenen éditeur, Antwerp, Belgium, 1976 28 Foodtainer (1) cardboard, plastic film and paper 22 × 10.5 × 2 cm 29 E 7119 wood, thread and acrylic signed Esmeraldo and titled on the reverse numbered 1/20 – originally intended to be an edition of 20, only one was realised by the artist 49.5 × 49.5 × 7 cm 30 E 7113A wood, nails and acrylic signed Esmeraldo and titled on the reverse numbered 1/20 – originally intended to be an edition of 20, only five were realised by the artist 50.5 × 50.5 × 8 cm

31 E 7106 wood, aluminium and acrylic signed Esmeraldo and titled on the reverse numbered 1/20 – originally intended to be an edition of 20, only one was realised by the artist h: 22 cm,  44 cm 32 E 7013 wood, thread and acrylic signed Esmeraldo and titled on the reverse 60 × 40 6.5 cm 33 E 7116 wood, thread, paper and acrylic signed Esmeraldo and titled on the reverse numbered 1/20 – originally intended to be an edition of 20, only six were realised by the artist 50.5 × 50.5 × 8 cm 34 S 7403, 1974 acrylic signed and dated Esmeraldo 1974 on one side 22.6 × 29.6 × 29.6 cm 35 Hélice, 1967/2013 acrylic signed, dated and numbered Esmeraldo 1967/2013 Paris 9/12 on the reverse h: 21 cm,  8 cm 36 Réfléchissant, 1972 acrylic and silkscreen signed Esmeraldo bottom right, numbered 4/100 bottom left 50 × 16 × 4.8 cm

37 Untitled oil on acrylic 89 × 14.5 × 6 cm 38 Untitled acrylic and stainless steel 20 × 25 × 17 cm (variable) 39 Untitled acrylic and stainless steel signed and inscribed Esmeraldo E/A on one of the acrylic elements 16 × 17 × 19 cm (variable) 40 Untitled, 1966 ink on paper signed Esmeraldo bottom right, dated 1966 on the reverse 50.5 × 65 cm 41 Untitled sepia on paper signed Esmeraldo bottom right 50 × 65 cm 42 Untitled sepia on paper signed Esmeraldo bottom right 50 × 65 cm 43 Untitled ink on paper signed Esmeraldo bottom right 65 × 50 cm 44 Untitled, 1964 charcoal and gouache on paper signed Esmeraldo bottom right, inscribed and dated Le Chambon-surLignon le 3. Avril 1964 on the reverse 50.5 × 65 cm

45 Untitled, 1962 ink on paper signed, inscribed and dated Esmeraldo Paris XI 1962 bottom right 48.5 × 63.5 cm

52 Untitled, 1976 gaufrage and graphite on paper signed Esmeraldo bottom right, dated 1976 bottom left 65 × 50 cm

46 Untitled, 1962 ink on paper signed Esmeraldo bottom right, inscribed and dated Paris 1962 51 Rue Monsieur le Prince VIe on the reverse 48 × 63 cm

53 Untitled, 1976 gaufrage and ink on paper signed and dated Esmeraldo 1976 bottom right 65 × 50 cm

47 Untitled, 1964 ink and sepia on paper signed and dated Esmeraldo 1964 bottom right 50 × 65 cm 48 Untitled, 1963 ink on paper signed and dated Esmeraldo VI 1963 bottom right 51 × 67 cm 49 Untitled, 1976/77 gaufrage and ink on paper signed and dated Esmeraldo 1976/77 bottom right, inscribed DIAGONALE bottom left and A REFAIRE bottom towards the middle 65 × 50 cm 50 Untitled, 1976 gaufrage and graphite on paper signed Esmeraldo bottom right, inscribed XI Estudo bottom left 65 × 50 cm 51 Untitled, 1976 gaufrage and graphite on paper signed Esmeraldo bottom right, dated 1976 bottom left 50 × 65 cm

54 Variations sur une courbe, 1973 portfolio containing 1 gaufrage, 13 original serigraphies and a poem by Jean-Clarence Lambert Ed. Convergence, Perpignan, France signed Lambert and Esmeraldo, numbered 4/50 30.5 × 30.5 cm (sheet) 55 AXE 2 artist’s book signed Esmeraldo and numbered 16/30 56 Untitled, 1968 burin, gaufrage and gouache on paper signed and dated Esmeraldo 1968 bottom right, inscribed E/A REHAUSSÉE À LA GOUACHE bottom left 23.5 × 24 cm (image), 55.5 × 38 cm (sheet) 57 Untitled, 1973 gaufrage on paper signed and dated Esmeraldo 1973 bottom right, numbered 1/30 bottom left 24 × 24 cm (image), 56 × 38 cm (sheet)

58 Couple, 1970 burin and aquatint signed, inscribed and dated Esmeraldo Epreuve d’essai avec découpage 1970 and titled on the reverse Ø 43 cm

64 Untitled burin and aquatint signed, inscribed and dated Sérvulo Paris. Fev. 1958 bottom right, inscribed E/A bottom left 28 × 23.5 cm (image), 50 × 33 cm (sheet)

59 Le grand bouclier, 1958 burin and aquatint signed, inscribed and dated Esmeraldo Paris II-1958 bottom right, numbered 8/10 and titled on the reverse 34.5 × 24 cm (image), 56 × 38 cm (sheet)

65 Untitled burin and aquatint signed Esmeraldo bottom right, inscribed essai bottom left 19 × 17 cm (image), 26 × 22 cm (sheet)

60 Untitled burin and aquatint signed Esmeraldo bottom right, numbered 4/15 bottom left 34.5 × 20 cm (image), 51.5 × 38.5 cm (sheet) 61 La chute, 1970 burin signed Esmeraldo bottom right, inscribed essai bottom left, titled and dated 1970 on the reverse 19 × 9.7 cm (image), 38 × 28 cm (sheet) 62 Tranparência, 1962 woodcut signed and dated Esmeraldo 62 bottom right 34 × 52 cm (sheet) 63 Tranparência, 1962 woodcut signed Esmeraldo bottom right, numbered 23/50 bottom left 34 × 52 cm (sheet)

66 New Year’s card, 1972 serigraphy on steel plate signed and dated Esmeraldo 1972, numbered 136/150 on the reverse 14.9 × 14.9 cm 67 Pendant bone h: 6.1 cm 68 Pendant, 1972 steel inscribed and dated Le temps, l’attend, gaîment, au fond de son attente, Noël 1972 h: 4.4 cm 69 Pendant bronze h: 4 cm 70 Pendant bone h: 6 cm 71 Pendant silver h: 8.4 cm

72 Pendant acrylic h: 6.5 cm 73 Necklace bronze h: 17 cm 74 Necklace stone h: 25 cm 75 Pendant, 1967/2012 acrylic h: 4.4 cm

Sérvulo Esmeraldo

Biografie Biography 1929

Born in Crato, Ceará, Brazil

Late 1940s Begins his artistic career as a graphic artist, engraver, and painter in Northeast Brazil, where he attends the open studio of the Sociedade Cearense de Artes Plásticas in Fortaleza. 1951

Moves to São Paulo planning to study architecture, his arrival coinciding fortuitously with the first Bienal de São Paulo. Works at the Empresa Brasileira de Engenharia (EBE) and as an illustrator for the Newspaper Correio Paulistano. Designs his first jewelry.

1957

Presents a series of engravings at a solo exhibition at the Museu de Arte Moderna of São Paulo (MAM). Receives a scholarship soon after from the French Government and moves to Paris to study lithographic printmaking at the École Nationale Supérieure des Beaux-Arts. Learns metal engraving in the studio of Johnny Friedlaender and visits the Bibliothèque Nationale to study Albrecht Dürer’s prints.

1959

Meets Anne Hovelaque, who becomes his first wife. They settle in France for the next 20 years. Lives in close contact with an international community of artists, among them Brazilians, such as Lygia Clark, Sérgio de Camargo, Frans Krajcberg, Arthur Luiz Piza, Flavio Shiró, and Rossini Perez.

1961

Trip to Geneva and Lausanne, where Maurice Bridel, gallery and bookstore owner, buys some of his drawings.

1962

Organizes an exhibition of popular woodcuts from the Brazilian Northeast at the Kunstmuseum Basel which then travels to various cities in Europe. Spends the rest of the year in Brazil. Exhibits works in tempera and fresco at the rectory of the Universidade do Ceará. Begins working on tridimensional and kinetic art.

1963

Meets painter Serge Poliakoff and begins to make engravings for the artist based on gouaches and paintings.

1964

Executes a large panel (1.8 × 9 m) designed by Poliakoff for the Hotel Carlton in Cannes.

1965

His production of sculptures made of metal, wood and plastic increases.

1966

Creates his first Excitable, a series of works he pursues until the end of the 1970s.

1967

Creates circular sculptures with variable programmes, some made of transparent plexiglass, others of metal. In the 2010s these were produced in huge dimensions, made out of Cor-Ten steel. Spends the summer with his family in Brazil, exhibiting in Belo Horizonte, Fortaleza and São Paulo.

1969

Participates with the Latin American group in Paris in protests against torture and dictatorship in Latin America and Brazil.

1970

Participates with an Excitable in the group show La Peau de Lion at the Kunsthaus Zurich.

1972

Publishes Variations sur une courbe edited by a group of collectors in Paris by the name of Convergence. Edition of the Réfléchissant, a plexiglass sculpture with black and white serigraphic circles.

1975

A summer trip to Fortaleza initiates a period of longer sojourns in Brazil and shorter stays in Europe due to the construction of the first of a long series of public monumental sculptures, the Monumento ao Saneamento Básico da Cidade, at the Náutico Beach, in Fortaleza.

1979

Installs his atelier in Fortaleza.

Since 1980

Lives and works in Fortaleza.

Ausgewählte Einzelausstellungen Selected solo exhibitions 2016 2015 2014 2013

Sérvulo Esmeraldo: A linha, a luz, o Crato, Universidade Regional do Cariri, Campus Pimenta, Crato, Brazil Sérvulo Esmeraldo Esculturas e Relevos, Galeria de arte Murilo Castro, Belo Horizonte, Brazil Sérvulo Esmeraldo, Sicardi Gallery, Houston, USA, at the Frieze Masters Spotlights section, London, United Kingdom Traço, Volume, Espaço, Galeria Raquel Arnaud, São Paulo, Brazil É pericoloso sporgersi, Armazém da Cultura, Fortaleza, Brazil Sérvulo Esmeraldo, Paulo Darzé Galeria de Arte, Salvador, Brazil O Arquivo Vivo de Sérvulo Esmeraldo, Instituto de Arte Contemporânea, São Paulo, Brazil Sérvulo Esmeraldo, Pinturas, Desenhos, Gravuras, Esculturas, Objetos e Excitáveis, Pinakotheke Cultural, Rio de Janeiro, Brazil Luz, Sérvulo Esmeraldo, Palácio da Abolição, Fortaleza, Brazil 2012 Simples como um triângulo, Galeria Raquel Arnaud, São Paulo, Brazil 2011 Sérvulo Esmeraldo (Retrospective), Pinacoteca do Estado de São Paulo, São Paulo, Brazil 2010 Ocupação do Espaço, Centro Cultural Banco do Nordeste, Fortaleza, Brazil Les Excitables, Festival @rt Outsiders 2010, Maison Européenne de la Photographie, Paris, France 2008 Sérvulo Esmeraldo por Mota Machado – Obras de 40 anos, Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil 2007 Programa Caixa de Adoção de Entidades Culturais, Museu de Arte Contemporânea, Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil Excitables, Sicardi Gallery, Houston, United States Museu de Arte Contemporânea, Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil 2002 Galeria Antônio Bandeira, Fortaleza, Brazil 2001 I Bienal de Artes do Carirí, Galeria do Sesc, Crato, Brazil Múltipla Galeria de Arte, São Paulo, Brazil 1999 Centro Cultural do Abolição, Salão de Abril, Fortaleza, Brazil 1989 Galeria Paulo Figueredo, São Paulo, Brazil Tríade Galeria de Arte, Rio de Janeiro, Brazil 1988 Gravuras (Trajetória 1949/1987), Museu Nacional de Belas Artes, Rio de Janeiro, Brazil Gabinete de Arte Raquel Arnaud, São Paulo, Brazil Galeria Klee, Escritório de Arte Orlando Bessa, Rio de Janeiro, Brazil Gravuras (Trajetória 1949/1987), Museu Nacional de Belas Artes, Salvador, Brazil 1986 Skultura Galeria de Arte, São Paulo, Brazil 1985 Trajetória 1947–1985, ARTE Galeria, Fortaleza, Brazil 1982 Skultura Galeria de Arte, São Paulo, Brazil 1981 Galeria Aktuell, Rio de Janeiro, Brazil 1980 Galeria Ignez Fiúza, Fortaleza, Brazil Jornal “O Povo”, Centro de Convenções, Fortaleza, Brazil 1979 Hotel Quatro Rodas, São Luís, Brazil Centro Venezolano de Cultura, Bogotá, Colombia 1977 Gatsby-Arte, Recife, Brazil Galeria Memória, Belo Horizonte, Brazil Sociedade de Cultura Artística, Crato, Brazil

1976 1975 1974 1973 1971 1969 1968 1967 1966 1964 1963 1962 1961 1960 1957 1956 1951

Gabinete de Artes Gráficas, São Paulo, Brazil Petite Galerie, Rio de Janeiro, Brazil Palácio das Artes, Belo Horizonte, Brazil Correio Braziliense, Hotel Nacional, Brasília, Brazil Gabinete de Artes Gráficas, São Paulo, Brazil Galeria Ignez Fiuza, Fortaleza, Brazil Galerie Paul Bruck, Luxembourg, Luxembourg White Gallery, Lutry, Switzerland Galerie Sanguine, Collioure, France Galeria Ignez Fiuza, Fortaleza, Brazil Galerie 32, Lyon, France Galerie La Pierre de Lune, Canet-Plage, France White Gallery, Lutry, Switzerland Galerie La Pochade, Paris, France Galerie Cosme Velho, São Paulo, Brazil Galerie Maurice Bridel, Lausanne, Switzerland Associação dos Amigos do Museu de Arte Moderna de São Paulo, Brazil Galeria Itatiaia, Belo Horizonte, Brazil Museu de Arte da Universidade do Ceará, Fortaleza, Brazil Galerie Nouvelle Gravure, Paris, France Festival de Viana do Castelo (guest artist), Viana do Castelo, Portugal Galleria Ítalo-Brasiliana, Milan, Italy Galeria A Gravura, Lisbon, Portugal Galleria Il Canale, Venice, Italy Galerie Maurice Bridel, Lausanne, Switzerland Centro de Artes, Ciências e Letras, Campinas, Brazil Museu de Arte Moderna da Bahia, Salvador, Brazil Museu de Arte da Universidade do Ceará, Fortaleza, Brazil Galeria de Arte de Recife, Recife, Brazil Galeria Relevo, Rio de Janeiro, Brazil Galerie Maurice Bridel, Lausanne, Switzerland Galeria Lemac, Recife, Brazil Universidade Federal do Ceará, Fortaleza, Brazil Museu de Arte Moderna de São Paulo, São Paulo, Brazil Clube dos Artistas, São Paulo, Brazil Sociedade de Cultura Artística do Crato, Crato, Brazil

Ausgewählte Gruppenausstellungen Selected group exhibitions 2014 2013 2012

Abstrações na Coleção Edson Queiroz e Coleção Roberto Marinho, Espaço Cultural Unifor, Fortaleza, Brazil Construtivos no IAC – Amílcar de Castro, Willys de Castro, Sergio Camargo e Sérvulo Esmeraldo, Instituto de Arte Contemporânea, São Paulo, Brazil Chus Burès – un dialogue entre l’art et le design, Marlborough Monaco, Monaco, France Dynamo, Un siècle de lumière et de mouvement dans l’art 1913–2013, Grand Palais, Paris, France Fato aberto: O Desenho no Acervo da Pinacoteca do Estado, Pinacoteca do Estado de São Paulo, São Paulo, Brazil 30 × Bienal: Transformações na Arte Brasileira da 1ª à 30ª edição – Bienal de São Paulo, São Paulo, Brazil Impressions – abstractions, master printmakers from Latin America, Sicardi Gallery, Houston, United States Trajetórias – Arte Brasileira na Coleção Fundação Edson Queiroz, Espaço Cultural Unifor, Fortaleza, Brazil Arte Contemporânea Brasileira, dos anos 50 aos dias atuais, Galeria Multiarte, Fortaleza, Brazil 70 × 7 – Salão de Abril (1943–2013), Sobrado Dr. José Lourenço, Fortaleza, Brazil Obsessões da Forma – Esculturas da Coleção do MASP, Museu de Arte de São Paulo, São Paulo, Brazil O Tridimensional no Acervo do MAC: Uma Antologia, opening exhibition at Museu de Arte Contemporânea da USP, São Paulo, Brazil Trienal Poli/Gráfica de San Juan – El Panal/The Hive, San Juan, Puerto Rico Art Basel Miami Beach 2012, Sicardi Gallery Booth H05, Miami, United States

2011 2010 2009 2008 2007 2006 2005 2004

Itaú Contemporâneo – Arte no Brasil 1981–2006, Paço das Artes, Belo Horizonte, Brazil Asis, Cruz-Diez, De Barros, Esmeraldo, Le Parc, Tomasello, Soto, Sicardi Gallery, Houston, United States Correspondência (with Alex Nicolaeff), Centro Cultural dos Correios, Fortaleza, Brazil 20 Obras – 10 Artistas, Sobrado Dr. José Lourenço, Fortaleza, Brazil Marked Pages II: Drawings, Sicardi Gallery, Houston, United States Itaú Contemporâneo – Arte no Brasil 1981–2006, Itaú Cultural, São Paulo, Brazil O(s) Cinético(s), Instituto Tomie Ohtake, São Paulo, Brazil O MAM [na OCA], Coleção Museu de Arte Moderna de São Paulo, Oca, São Paulo, Brazil Cinqüenta 50, Museu de Arte Moderna de São Paulo, São Paulo, Brazil Anomalie, digital_arts # 5://Brasil, Festival @rt outsiders 2005, Maison Européenne de la Photographie, Paris, France O Lúdico na Arte, Itaú Cultural, São Paulo, Brazil Pour un Art Concret, Espace de L’Art Concret, Donation Albers-Honneger, Mouans-Sartoux, France Gesto e Expressão: o abstracionismo informal nas coleções do MAM, Museu de Arte Moderna de São Paulo, São Paulo, Brazil 2003 Entre Tempos – Arte Contemporânea, Mostra Cariri das Artes, Juazeiro do Norte et Crato, Brazil Imagética, Novo Museu de Curiba, Paraná, Brazil 2002 Parque das Esculturas do Novo Museu de Curitiba (currently Museu Oscar Niemeyer), Curitiba, Brazil 2001 Arte Construtiva no acervo da Pinacoteca do Estado de São Paulo, São Paulo, Brazil 2000 Mostra do Redescobrimento: Brasil + 500, Fundação Bienal de São Paulo, São Paulo, Brazil (touring exhibition) Poéticas do Processo, Arte Conceitual no acervo do Museu de Arte Contempoânea, MAC USP, FIESP, São Paulo, Brazil Investigações: A Gravura no Brasil no século XX, Instituto Cultural Itaú, São Paulo, Brazil 1999 Viva Brésil, Galerie 1900–2000, Paris, France Cotidiano / Arte: A Técnica, Instituto Cultural Itaú, São Paulo, Brazil 1998 Museu de Arte Contempoânea de Londrina, Londrina, Brazil Visto Assim do Alto Mais Parece o Céu no Chão, XVI salão Nacional da Funarte, Museu de Arte Moderna, Rio de Janeiro, Brazil 1997 Ar, Paço Imperial, Rio de Janeiro, Brazil A Tridimensionalidade na Arte Brasileira, Instituto Cultural Itaú, São Paulo, Brazil 1996 Exposição Internacional de Esculpturas ao Ar Livre, Porto Alegre, Brazil Arte e Espaço Urbano, V Fórum Brasília de Artes Visuais, Brasília, Brazil 1995 D’après Dürer : Gravadores Cearenses, Centro Cultural da Abolição, Fortaleza, Brazil 1994 Bienal Brasil Século XX, Fundação Bienal de São Paulo, Brazil, (touring exhibition) 1989 10 Escultores, Gabinete Raquel Arnaud, São Paulo, Brazil 1987 Em Busca da Essência, XIX Bienal Internacional de São Paulo, São Paulo, Brazil A Gravura Brasileira, Rumo ao Abstracionismo, Museu Nacional de Belas Artes, Rio de Janeiro, Brazil 1986 I Exposição Internacional de Esculturas Efêmeras, Fortaleza, Brazil Esmeraldo / Krajcberg, Arte Galeria, Fortaleza, Brazil 1985 Panorama da Arte Tridimensional Brasileira, Museu de Arte Moderna, São Paulo, Brazil Destaque da Arte Contemporânea Brasileira, Museu de Arte Moderna, São Paulo, Brazil 1984 Geometria 84, Galeria Paulo Figueredo, São Paulo, Brazil Art Pará, Fundação Rômulo Maiorana, Belém, Brazil 1982 Um Século de Eculturas no Brasil, Museu de Arte de São Paulo, São Paulo, Brazil 1981 Panorama da Arte Atual Brasileira (Escultura), Museu de Arte Moderna, São Paulo, Brazil 1979 Collection Marius Rey, CNAC, Paris, France 1975 De Alexandris, Morandini, Esmeraldo, Sircana, Studio F22, Palazzolo s/Oglio, Italy 1974 L’Idée et la Matière, Galerie Denise René, Paris, France Prospectiva 1974, Museu de Arte Contemporânea, São Paulo, Brazil 1973 Semaine Latino-Américaine de Paris, CEFRAL, Paris, France 1972 L’Art de la Multiplication, Maison des Arts et Loisirs, Montbéliard, France 2000 ans d’orfèvrerie française, du Gallo-romain au Pop Art, Paris, France and Venice, Italy René Bertholo, Lourdes Castro, Sérvulo Esmeraldo, Raymond Guidot, Musée d’art et d’industrie, Saint-Etienne, France Créations et Techniques, Galerie Christofle, Paris, France 1971 Panorama da Arte Atual Brasileira, Museu de Arte Moderna – MAM, São Paulo, Brazil La Gravure d’Amérique, Geneva, Switzerland Coordonnées Nouvelles, Musée des Beaux-Arts, Nantes, France

1970 1969 1968 1967 1966 1965 1963 1962 1961 1960 1959 1957 1956 1951 1950

V Festival De Due Mondi, Spoleto, Italy La Peau de Lion, Kunsthaus Zürich, Zurich, Switzerland Exposition du livre-objet, II Festival International du Livre de Nice, Nice, France Plastiques et Art Contemporain, Europlastique-Eurocaoutchouc, Paris, France Six Latin American Countries, Nottingham, United Kingdom Contemporary Engravers, Oregon State University, Corvallis, United States Arts graphiques du XX siècle, Palais de l’Europe, Menton, France Dorny, Esmeraldo, Guitet, Piza, Musée des Beaux-Arts, Nantes, France VII Biennale de peinture, dédiée à Marc Chagall, Menton, France XIV Triennale di Milano, Milan, Italy II Biennale Internazionale della Grafica, Florence, Italy Graveurs de Paris, Madrid, Spain Artistes Latino-américains de Paris, France Exposicíon de La Habana, Havana, Cuba VI International Graphics Exhibition, Krakow, Poland Grands et Jeunes d’aujourd’hui, Paris, France VII Bienal Internacional de São Paulo, São Paulo, Brazil Troisième Biennale de Paris, Musée d’Art Moderne de la Ville de Paris, Paris, France Arte de América y Espanã, Palacio de Exposiciones del Retiro, Madrid, Spain Salon Le Trait, XXXIV Exposition de la Société des Graveurs et des Lithographes, Musée d’Art Moderne de la Ville de Paris, Paris, France Graveurs Brésiliens, Galerie Valérie Schmidt, Paris, France Salon de Mai, Musée d’Art Moderne de la Ville de Paris, Paris, France VI Bienal Internacional de São Paulo, São Paulo, Brazil Galerie La Hune (Esmeraldo, Krasno, Trotzig), Paris, France Galerie Le Fanal (Berghauer, Esmeraldo, Smerk), Paris, France Jeune Gravure Contemporaine, Musée National d’Art Moderne, Paris, France Salon Le Trait, XXX Exposition de la Société des Graveurs et des Lithographes, Salle Balzac, Paris, France V Bienal Internacional de São Paulo, São Paulo, Brazil V International Graphics Exhibition, Krakow, Poland VI Salão Paulista de Arte Moderna, São Paulo, Brazil V Salão Paulista de Arte Moderna, São Paulo, Brazil VII Salão de Abril, Fortaleza, Brazil VI Salão de Abril, Fortaleza, Brazil

Auszeichnungen und Preise Distinctions and awards 2016 1996 1991 1985 1984 1982 1977 1974 1969 1967 1956 1955 1951 1950

Artista homenagiado, Artes Plásticas Marcantonio Vilaça Award Gold medal, Bárbara de Alencar, Crato, Brazil Sculpture Award, Salão de Abril, Fortaleza, Brazil Sereia de Ouro, Fortaleza, Brazil (Sculpture prize) BNB Award for Visual Arts, Fortaleza, Brazil Award of the VI Panamerican Sculpture Exhibition, Curitiba, Brazil Highest award for sculpture, Unifor Plástica, Fortaleza, Brazil Highest award for sculpture, Arte Pará, Belém, Brazil Sculptor of the year, Associação Paulista de Críticos de Artes, São Paulo, Brazil Gold medal, Accademia di Belle Arti, Italy Fondation Woolmark Award, Paris, France Mention of Honour, Grabado Latino-american, Havana, Cuba Highest award, Salão Nacional de Artes Plásticas, Fortaleza, Brazil Silver medal, Salão Paulista de Arte Moderna, São Paulo, Brazil Aquisition Award, Salão Paulista de Arte Moderna, São Paulo, Brazil Bronze medal, Salão Paulista de Arte Moderna, São Paulo, Brazil Aquisition Award, Salão Paulista de Arte Moderna, São Paulo, Brazil Mention of Honour, VII Salão de Abril, Fortaleza, Brazil Mention of Honour, VI Salão de Abril, Fortaleza, Brazil

Öffentliche Sammlungen Public collections Banco do Nordeste do Brasil, Fortaleza, Brazil Biblioteca Estadual de São Paulo, São Paulo, Brazil Biblioteca Nacional, Rio de Janeiro, Brazil Bibliothèque Nationale de France, Cabinet des Estampes, Paris, France Bolsa de Valores Regional, Fortaleza, Brazil Espace de l’Art Concret, Donation Albers-Honneger, Mouans-Sartoux, France Fundação Calouste Gulbenkian, Lisbone, Portugal Governo do estado do Ceará, Fortaleza, Brazil Graphicstudio, USF Institute for Research in Art at the University of South Florida, Tampa, United States Itaú cultural, São Paulo, Brazil Kunstmuseum Basel, Basel, Switzerland Maison Européenne de la Photographie, Paris, France Musée d’Art Contemporain, Skopje, Macedonia Musée d’art moderne de Saint Etienne Métropole, Saint Etienne, France Cincinnati Art Museum, Cincinnati, United States Musée Rath, Geneva, Switzerland Museo de la Solidaridad Salvador Allende, Santiago, Chile Museo Nacional de Bellas Artes de la Habana, Havana, Cuba Museu da Gravura, Curitiba, Brazil Museu de Arte Contemporânea da USP, São Paulo, Brazil Museu de Arte Contemporânea, Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil Museu de Arte da Universidade Federal do Ceará, MAUC, Fortaleza, Brazil Museu de Arte de Londrina, Londrina, Brazil Museu de Arte de São Paulo, MASP, São Paulo, Brazil Museu de Arte Moderna da Bahia, MAM, Salvador, Brazil Museu de Arte Moderna de São Paulo, MAM, São Paulo, Brazil Museu de Arte Moderna do Rio de Janeiro, MAM, Rio de Janeiro, Brazil Museu de Arte Vicente Leite, Crato, Brazil Museu Nacional de Belas Artes, MNBA, Rio de Janeiro, Brazil Museu Oscar Niemeyer, Curitiba, Brazil Novo Museu, Curitiba, Brazil Peggy Guggenheim Collection, Venice, Italy Pinacoteca do Estado de São Paulo, São Paulo, Brazil Prefeitura Municipal, Fortaleza, Brazil Secretaria da Cultura do Estado do Ceará, Brazil

Impressum Imprint Redaktion/Editing Beurret & Bailly, Basel Fotos/Photos Moritz Herzog, Basel S./p. 2: photo © Léonard de Selva S./p. 8: photo © Léonard de Selva S./p. 32, Nr./no 35: photo © Gentil Barreira Fotografia S./p. 32, Nr./no 36: photo © Frank White S./pp. 44/45: photo © Marius Rey Übersetzung/Translation Peter Gebert, Berlin Gestaltung/Graphic design elfzwei graphic design, Berlin Druck/Print DBS print, Vevey