Collector Collecting I by gallery32 gallery32

Collector Collecting

Collector Collecting curated by Maria do Mar Guinle and Isobel Whitelegg

16 October â&#x20AC;&#x201C; 18 November 2009

Gallery 32 â&#x20AC;&#x201C; London

The title of this exhibition was borrowed from a 1997 novel. Tibor Fischer’s The Collector Collector is “the finest novel narrated by a bowl ever written”. The shapeshifting protagonist of the book enters and leaves collections at its own volition. After six and a half centuries of being subject to explanation and speculation, the collector collector turns the tables, telling tales on those who have owned it. In organizing this exhibition, our intention was not only to draw attention to the permanent physical presence of Brazilian artworks in this country. We were also interested in investigating the activity of collecting. In order to entice the collectors collected here to tell their own tales, we asked them three questions, how they began to collect, how they came to collect the works included in this exhibition, and how they perceive the relationship between the work of Brazilian artists, and those of artists of other nationalities within their collections.

Maria do Mar Guinle and Isobel Whitelegg

My father was a Modern architect and urbanist, he believed in the greats of 20th century architecture, Le Corbusier, Frank Lloyd Wright, Mies van der Rohe, so I absorbed something about Modernism from him and the notion of abstraction in art, which I found fascinating. When I went to school, a feature of Eton was that everyone had a room of their own, so you could put pictures up. I took one of my father’s abstract paintings and put it on my wall, to the ridicule of most of my fellow schoolboys. So I found myself defending this abstract work: “No no, it’s not a question of just representing some scene as it appears to the eyes…” and so on, you know. I felt that there was something special about this and I wanted to defend it. So I actually started writing for myself about painting when I was still at school. I can’t really separate my friendships with artists from my liking for their art. For example, when I got to know certain Brazilian artists, it wasn’t because they were Brazilian or that I had any special interest in Brazil at the time; it was because I loved what they were doing. I liked the art they were doing, and I liked them as people. So we became friends. In the strange fluidity of the Sixties I landed a job as art critic of The Times when I was 22. So meeting, let’s say, Brazilian artists, was essential to my formation as a writer on art. It all started very early on. On one trip I made to Paris with Paul Keeler, a French friend of ours took us to visit Sérgio Camargo, who had been living in Paris for some time. He was making his white wood reliefs then, which I liked very much. He spoke a lot about other artists in Brazil. “There’s really something very interesting happening there”, he told us, “and you should get to know it.” He talked about Hélio Oiticica, Lygia Clark and Mira Schendel particularly. And it so happened that the following year, in 1965, I was able to go to the Biennial in São Paulo, representing The Times, to review it. That’s when I met Oiticica, Lygia, and Mira Schendel. Guy Brett, March 2007

Guy Brett’s responses to the questions posed by ‘Collector Collecting’ are answered in the indirect form of excerpts from an interview with Linda Sandino. The full interview is available as a series of recordings at www.vivavoices.org – the online archive of Voices in the Visual Arts (VIVA), an oral history project launched in 2004 by Camberwell College of Arts, University of the Arts London. An edited version of this interview is published in Asbury & Ferreira (Eds.) Transnational Correspondence (Rio de Janeiro: Arte e Ensaios, 2007). Copies of that publication are also available in the UK, on request, from TrAIN, University of the Arts London (www.transnational.org.uk).

Mira Schendel Untitled (transparent notebook), 1971 letraset on paper, bound | 13 x 15cm photo courtesy Guy Brett and Isobel Whitelegg (collected by Guy Brett; not in exhibition) 5

The art of collecting forms an important part of Brígida Baltar’s explorations; in fact, one of the first of her works that I saw was a film showing her gathering mist, and other ephemeral natural elements, into delicately hand-blown flasks – transforming her into a “scientist of the impalpable”. This approach, feminine, frail, rich in poetics, drew me to her work – and in response I felt I had to appropriate one of her “gatherings” myself. Juazeiro forms part of what is known as the brickwork series. Before moving house in 2005, the artist collected a large amount of fine dust from the hard clay bricks that composed her shelter. This substance was then used as means to elaborate new forms, allowing the material a complementary existence. Initially, I started collecting with the desire and hope that I would learn from what I saw. There is however no rule or pattern to what I am drawn to, and by working in a commercial art gallery I am fortunate to have many “encounters”. In recent years I have certainly developed an interest in Brazilian art; the ferment of the scene seems to evoke the very sensuous culture of the country. Serena Cattaneo Adorno, September 2009

BrĂgida Baltar Juazeiro, 2008 brick dust on paper | 74.5 x 54cm photo courtesy Galeria Nara Roesler 7

It’s hard to say when my interest in art started. Obviously I was corrupted early; since childhood I’ve been surrounded by Dad’s collection. My first foray into the dangerously addictive world of buying work myself was in 1995. I purchased a drawing at the opening of Tracey Emin’s “museum” on the Southwark Road. I managed to agree a discount and to make monthly payments over six months. This piece, West Coast, still hangs in my living room. I first saw the work of André Komatsu in April 2008 at MAC-USP in São Paulo. My father, Stuart Evans, and I had been invited by SPArte (the São Paulo Art Fair) to give a talk on collecting. We visited ‘Arte Brasil-Japão, Moderno e Atual’, a group show at the Museum. I was fascinated by a cupboard door leaning against the wall. Cut into the surface of the door was a drawing of a cupboard with a missing door. Dad and I visited Komatsu’s gallery, Vermelho, in São Paulo and ended up buying four pieces for the Lodeveans Collection. Our own cupboard door: Untitled (armário), 2005, from a series of “drawings on junk”, Embutidos, has since travelled to Tokyo and Hiroshima (and will go on to San Francisco) with the touring show ‘When Lives Become Form: Creative Power from Brazil’. We returned to São Paulo this year having agreed that this would be a learning and not a buying exercise. At Vermelho again, Dad beckoned me from across the room and I joined him in front of a wonderful large drawing on “drywall” and agreed that we simply had to have it. We’re looking forward to seeing it again in the exhibition at Gallery 32. My father and I were in truth pretty much totally ignorant of the visual arts in Brazil before we visited in 2008. Like, I’m afraid, many others from Europe, our first impression when walking round modern art museums was “interesting but derivative”. We made the assumption that, because we’d seen a way of painting or making first in Europe, then it must have originated in Europe. So it was that we first thought of Sacilotto as a latterday Bridget Riley until we were confounded by the dates. This was a somewhat humbling experience. We now know a lot more than we did (very much due to the input of our researcher Maria Tidball-Binz) but still consider ourselves to be enthusiastic beginners. We’ve become very interested in the modern and contemporary art of Latin America and have gone on to buy works by a number of artists from Brazil: Luis Braga, Carlos Bevilacqua, Fernanda Chieco, José Damasceno, André Komatsu, Marepe, Milton Marques, Pjota, Luiz Sacilotto. John Evans (Lodeavans Collection), September 2009

André Komatsu PedaçoRetalhoFragmentoAçãoFração, 2006 graphite on concrete | 26 x 39 x 9cm (object), 36.5 x 45 x 19cm (support) photo by Ding Musa, courtesy Galeria Vermelho 9

In the early 1960s in Newcastle-upon-Tyne, my great uncle, Frank Collard took me around museums and galleries. We visited the Laing Art Gallery, the Hatton Gallery and the Stone Gallery. Frank, by then retired, had been an architect working internationally – in 1924 his building for the Japanese Yokahama Specie Bank opened for business on the Bund in Shanghai. In my early teens I talked to Frank about art and design and my day trips with him helped me to learn how artists have a special way of seeing. I think that it was then, when I was quite young, that I began too appreciate how engaging with art could be life enhancing. I did not begin to collect until I was in my thirties. In 1984 I bought a lithograph by David Hockney and, for some time, continued to acquire prints and multiples by mid-career artists. Then, at the end of the 1980s, my collecting took a new direction. I began to get to know a number of young artists, having met them through seeing the things they made in galleries and studios, and to collect their work. In 1990 I visited Tracey Emin in her studio. She advised me not to buy a painting but to look at her monoprint drawings. I bought three, all made on the same day in December 1989. I got to know Anthony Reynolds through my interest in the artists Paul Graham and Mark Wallinger. Anthony talked to me about different artists and drew my attention to works on paper by Lucia Nogueira. In early 1998 I bought a watercolour of a group of frolicking elephants. There was something about this small work, whimsical yet also somehow very rooted physically, that interested me and, a couple of months later, I bought two more paperworks – another somewhat dark and sinister landscape of rabbits and a portrait – an abstracted head of Pinocchio. I did not think of Nogueira as “a Brazilian artist” when I bought these works. Stuart Evans, September 2009

Lucia Nogueira Untitled, 1990 watercolour, pencil and ink on paper | 38 x 28.5cm photo by JM Alkmim, courtesy Stuart Evans 11

I bought my first work of art – a piece by the American artist Tom Friedman – in New York as a teenager, but I did not start collecting until I began to make a bit of money after graduating. The collection grew organically; an interest in one artist or school leading on to another, crossing geographical and chronological borders. My interest in Brazilian art developed from my fascination with the Bauhaus and post-war American modernism. I found that contemporary Latin American art – in particular sculpture – through its playful use of materials and its sense of movement took arte povera and minimalism and spun it into something new, fun and exciting. The history of modern art is used by the most successful as a springboard, not treated as a burden. Latin American art has thus come to form the major part of my contemporary collection and I try to keep as informed as possible, by trips out there when time allows and by membership of the Latin American Acquisitions Committee of Tate. Marcius Galan – along with fellow Brazilians José Damasceno and Alexandre da Cunha, the Mexican artists Gabriel Orozco and Abraham Cruzvillegas, and the Cuban artist Django Hernandez – is a key component of my Latin American collection and I am happy to show these works, some of which I bought on my first ever visit to Luisa Strina’s gallery in São Paulo. Jack Kirkland, September 2009

Marcius Galan Isolante, 2007 plastic and metal | 60 x 110 x 35cm photo by Edouard Frairpont, courtesy the artist 13

Reflecting on why we started collecting Latin American art about 12 years ago, I think the blame lies with Mexican artist Gabriel Orozco. I can still recall vividly his MoMA show of 1993 in New York. The sheer audacity, the wit, the poetry of it all, especially his oranges – from a French Matissean perspective – were a revelation to me! My husband and I had lived in Mexico; we had both worked and travelled extensively in the rest of Latin America. It has been hugely rewarding for us to focus on the region at a time when a new generation of talented young artists has emerged on the international art scene and we haven’t looked back! Our first significant pieces were by Mexico-based Belgian artist Francis Alÿs. Along with Gabriel Orozco, Damian Ortega, Melanie Smith, Argentine artist Jorge Macchi and Brazilian artists Beatriz Milhazes and Rivane Neuenschwander, he seemed to have captured and sublimated the experience of living in a chaotic megalopolis. This strand of urban art is the main theme of our collection. A second strand is surrealism taken in a broad sense, from Leonora Carrington or Wifredo Lam to the uncanny compositions of Brazilian artists Vik Muniz, Alexandre da Cunha or Tonico Lemos Auad. The third key strand is relational art as inspired by Lygia Clark. My possession of pride is a pairing: an almost didactic Superfície Modulada collage on the point of morphing into the small, early Bicho I place below it (which brings out the artist in me every time I caress it!). Somehow, artists from Brazil now seem to dominate our collection, probably as a result of my unconditional devotion to São Paulo and its Biennial... I came upon Lucia Nogueira’s “cage” by chance at Frieze Art Fair a couple of years ago. I knew of her work through earlier conversations with Anthony Reynolds but zoomed in on this piece without knowing who the artist was. I was instantly attracted by its contrasts: the formal grid, the anti-formal bean bag; native black beans – the whiff of simmering Feijoada? – entrapped by the conventions of modern European life; domesticity as a prison... I normally present this piece alongside two of her watercolours to emphasize its delicate touch and the fragile balance between gravity and levity. I am particularly fond of this work: urban, uncanny, relational, the perfect piece for our collection... Catherine Petitgas, September 2009

Lucia Nogueira Untitled, 1989 wire mesh, organza, beans | 14 x 26 x 15cm photo courtesy Anthony Reynolds Gallery 15

We started collecting after an influential visit to MoMA in 1990; where in a show called ‘High and Low’, we saw Lichtenstein, Oldenburg and Koons for the first time and wanted to know more. Bookshelf II is a work that was bought in October 1999. We bought the work in New York with Tanya Bonakdar. We felt that it fitted perfectly with the collection. This was the first piece of Brazilian art that we acquired and now we have many, many pieces, but the artist’s country of origin was not what made us fall for the work, in fact we were unaware that it was by a Brazilian artist until we read more about it. Anita Zabludowicz (Zabludowicz Collection), September 2009

Sandra Cinto Bookshelf II, 1999 pen on wood | 26 x 27.2 x 18cm photo courtesy the Zabludowicz Collection 17

Collector Collecting:

Brígida Baltar / collected by Serena Cattaneo Juazeiro, 2008 brick dust on paper | 74.5 x 54cm Sandra Cinto / collected by Anita Zabludowicz (The Zabludowicz Collection) Bookshelf II, 1999 staedtler pen on painted wood | 26 x 27.2 x 18cm Lygia Clark / collected by Guy Brett Three untitled works from the series Estruturas de caixas de fósforos (Matchbox Structures), 1964 painted matchboxes | dimensions variable Detanico & Lain / selected by Michael Asbury, courtesy the artists The Waves, 2005 video animation for single monitor | 32 seconds (in loop) Marcius Galan / collected by Jack Kirkland Foco (Focus), 2004 push pins and paint on MDF | 65 x 95cm Fundo Falso (False Bottom), 2004 photograph mounted on wooden box | 50 x 60 x 32cm Isolante (Isolated), 2007 plastic and metal | 60 x 110 x 35cm André Komatsu / collected by John and Stuart Evans (The Lodeavans Collection) Nada (Nothing), 2002, from the series Para Morar 1 (To Live 1) monotype on architectonic board | 61 x 88 cm

PedaçoRetalhoFragmentoAçãoFração, 2006 graphite on concrete | 26 x 39 x 9cm (object), 36.5 x 45 x 19cm (support) Untitled #1, 2009, from the series Soma Neutra (Neutral Addition) drawing on drywall | 185 x 124 x 5 cm Cinthia Marcelle / Collected by this catalogue, courtesy the artist 11 – Durval de Barros, from Museu de Tudo e Depois (Museum of Everything and After), 2004+ drawings on various papers, metal plaques Lucia Nogueira / collected by Catherine Petitgas Untitled, 1989 wire mesh, organza, beans | 14 x 26 x 15cm Lucia Nogueira / collected by Stuart Evans Untitled, 1990 watercolour, ink and graphite on paper | 28 x 37.5cm Untitled, 1990 watercolour, pencil and ink on paper | 38 x 28.5cm Untitled, 1990 gouache and ink on paper | 28.5 x 38cm Nicolás Robbio / collected by visitors to this exhibition, courtesy the artist Untitled, 2009 printed and folded A4 sheets, 21 × 29.7cm Mira Schendel / collected by Guy Brett three untitled monotipias (montypes), 1964 oil on rice paper | each 47 x 23cm

Cinthia Marcelle 11 â&#x20AC;&#x201C; Durval de Barros

11 – Durval de Barros, an explanation The three drawings reproduced here are part of Cinthia Marcelle’s ongoing work Museu de Tudo e Depois (Museum of Everything and Afterwards). The title of this set, 11 – Durval de Barros, is the home address of a private collector named Duda Miranda. Miranda’s private collection was, in fact, opened to the public between 14th May and 21st August 2006, as part of a project by the artists Marilá Dardot and Matheus Rocha Pitta. Visitors were able to collect the keys from the Museu Mineiro, Belo Horizonte. Museum monitors spent the days of the exhibition in Miranda’s house, and a catalogue of her collection, with images of her home, was produced during the project. In an interview with Dardot and Rocha Pitta, Miranda comments: “My collection is simple: I do not buy artworks, I re-make them. For me art is mental, and to some extent, every time I encounter a work and am affected by it, I have it or am possessed (Hélio Oiticia: Bólide Saco 4 Teu Amor Eu Guardo Aqui). Thus I am led to believe that my art is both the artist’s and mine, it is of the world. And this I learned from the art itself, to create is to learn, to learn is to create (Bispo: 434-Como-é-Que Eu-Devo Fazer um Muro). My collection is composed primarily of this learning. Nothing to do with books. To forget that is probably the first step (Beuys: Noiseless Eraser).”

Isobel Whitelegg

everything and after In the process of organising and researching ‘Collector Collecting’, we considered the private collector as well as the privately collected, the activity of collecting as well as the collection itself. The source of the works in this exhibition therefore became as much a focus for thought and discussion as the works themselves. Our intention could be summarised by Cinthia Marcelle’s Museu de Tudo e Depois (Museum of Everything and Afterwards), a series that puts such relations into place with the concisely intricate logic common to her work. Museu de Tudo e Depois is itself a collection of twelve different series: each a set of drawings sketched in situ within the homes of different private collectors. When installed as a whole, these sets are placed alongside twelve brass plaques – engraved with the address of the collection to which each set of drawings relates; the public façade of the private home thus provides the nomenclature for Marcelle’s collection of collectors. In Marcelle’s drawings, artworks are depicted just as they were found – placed in various arrangements amongst the furniture, fittings, utensils and objects common to domestic spaces. To live with an artwork is an experience of a different duration to that of viewing it within the occasional space of the museum or gallery. In losing the character of an event it gains the mutability of a relationship; it enters into the particular poetics of the home. The artwork as encountered within a home may also complicate artists’ habitual use of the everyday object. If anything framed as such by virtue of its location within the proper institution may be taken as art, then modern and contemporary works found within domestic spaces can play with this post-Duchampian logic. The confusion created by losing the artists’ found object in amongst others is one that Marcelle seems to enjoy. Her drawn lines pay attention to everything, levelling the hierarchy between valuable object and everyday thing. Conversely, the appropriation of these domestic spaces (Marcelle’s public presentation of them as a “Museum”) shifts their spatial classification from that of home to that of institution. One work in this exhibition that has moved from street to gallery to house (and back) is Marcius Galan’s Isolante (Isolated). The consistent habitat of this work is now the house of its collector but its origin is as part of a wider series of works drawn from Galan’s observation of different informal methods used to mark out territory in urban spaces. The work shown here is composed of two red plastic crates, placed on their side and connected by a yellow-painted iron band.The solid yellow band is a sculptural depiction of the plastic tape used in the original street-situation observed

by Galan; it is a device common to the series as a whole – and one that becomes analogous to the pictorial frame. Rather than relying on the contingency of location, Isolante always contains its own system of demarcation; wherever it may be placed, it asserts, signals and sets aside its own place. Taken as a whole, as a series, Galan’s Isolante is a taxonomy of street-situations sharing a common function of demarcation. The element of chance that first relates the artist to a found object or situation is overruled by repetition, and seriality is one means by which the practice of an artist may approximate the activity of collecting. In relation to the work of Brígida Baltar, collection is both an explicit motif and a consistent processi. Her translation of brick-dust into the drawing-medium used to produce Juazeiro began with the artist gathering that material from her own home. Glass bottles of differently classified dust were lined up on her shelves, contained and displayed within the walls from which they were collected. This internal conservation began shortly before her departure from this house and marked the beginning of a process that has later allowed her to reserve and reuse the physical fabric of the home that she had to leave behind. André Komatsu’s work is also concerned with the house, as a material and immaterial fabrication, a space designed, constructed and occupied with varying degrees of permanence, and one that (paraphrasing Bachelard) is also a body of images providing its occupant with the illusion of stability. Nada (Nothing) is one of a series of works collectively titled Para Morar (To Live) in which the artist uses architectural plans as his support, scratching and drawing images into the surface, overwriting the project for a house with the unplanned associations that accumulate within occupied spaces. The ghosts of domesticity carried by other works in this exhibition are visible only to a select few, those more accustomed to seeing them in the everyday circumstances of home than the set-apart space of the gallery. Marcelle’s series plays with the public nature of the private collection, and raises the question of whether artworks should be shared with the many, or kept by the few. Her response to this question may be provided by Museu de Tudo e Depois itself, as a public catalogue of private collections that provides a map of their locations. Yet the artworks that her drawings depict seem no closer or further away than those made permanently or temporarily available by the museum or gallery. The ability for a viewer to recognize the works that she has drawn indicates the always already public nature of the private collection. Similarly, the fact that we presumed at all that collectors would lend us their possessions for this exhibition indicates the lingering collective claim that the private ownership of artworks brings with it.

All of the collectors collected here proved to be willing lenders; some frequently invite others to retrieve exhibitions from the contents of their collections. Each, voluntarily or not, has also become the curator of what they have collected. From the moment that casual acquisition slips into serious collection, it becomes necessary to combine, classify and select from that which has been amassed, to make sense of its content and extent, to identify relations and consistencies. The collection itself is something other; it is the “after” brought into being by the “everything”: the creation of a new whole to which each part now necessarily relates, its parameters altered by each new acquisition. As such, to collect is both to consume and to produce. A transformative and productive system of selection and retrieval is at work in Detanico e Lain’s animated film, The Waves, which is one of three works in this exhibition that was not selected from a private collection, but chosen in order to willfully complicate the notion of collecting, and that of ownershipii. To produce this work, the six words (and one grammatical sign) that make up the question ‘What if suddenly nothing else moves?’ are transformed into an index to the pages of the Virginia Woolf novel from which The Waves takes it name. Every incidence of each of these words is catalogued, duplicated and ordered as an animated sequence of photographs, densely retrieving a poem from the existing contents of the book. As a collection expands, so the number of combinations that it is possible to retrieve from within in it multiply. An artist’s own use of seriality rarely extends to the point of apparently exponential growth, but Mira Schendel’s series of monotipias, the monotype drawings on rice paper that the artist produced between 1964 and 1966, are an exception to this rule. Dispersed within private and public collections, the monotipias exist in their thousands. It is a series whose exact scale has only been enumerated vaguely, and one that contains different sets and sub-series; its internal variations relate to the pace and pattern of Schendel’s thought, her observations, movements, and dialogues with others. The monotipias included here were selected from the countable number contained by one private collection, but even the task of choosing three amongst these offered multiple possible combinations. They are works that alter perceptibly when shuffled and shifted into different relationships, when paired, when grouped, when alone. Certain of Schendel’s monotipias also exist amongst the inventory of my own imaginary museum. However many times I might revisit a favourite work in a public museum or a private home, I know that pilgrimage does not compare to possession, and I do, often, judge works according to the criteria of whether or not I could live with them. Others employ the reverse measure; a writer faced with Sandra Cinto’s

“almost unbearably intimate” drawings was moved to quote one of the narrators of Don DeLillo’s Underground: “Sometimes I see (an artwork) so moving I know I’m not supposed to linger. […] Love it and trust it and leave.iii” My own acquisitiveness does not necessarily relate to the monetary value of the things that I desire to collect. Like the irresistible allure of a matchbox, it can simply be a certain intricacy in things, one that can be found within the particularly embossed surface of paper serviette as well as the contours of a precious drawing. Artists themselves use the simplest devices to fulfil this not uncommon desire for ownership, allowing the wider collection of their work by designing objects that can be reproduced en masse. For a 2005 exhibition, Nicolás Robbio attracted a supplementary class of collector by investing as much attention in the design of his exhibition’s invitation as to the works in the exhibition itself; it was an object to be collected and displayed and one that was almost impossible to discard. His contribution to this exhibition takes on the form of an unlimited edition, a drawing designed to be reproduced by printing and copying, and one which changes from one image into another when it is folded just so. The artist may turn collector in the process of accumulating multiple versions of the same found object, whether to investigate the variety contained by the type or – as one may imagine to have been the case with Lygia Clark’s matchbox constructions – to feed the larger idea contained by one example. Collection as the hoarding of raw materials may imply the amassing of objects themselves, or an accumulation of certain impressions – things chosen or remembered for reasons that may not become clear until they enter into the process of being translated into an artwork. Lucia Nogueira’s works, as she stated in a 1992 interview, are the sum of things seen the street and things kept in the studio, those things that are held in mind because they “somehow connect with what you are” and with what you have readiv. A collection does not necessarily imply only the accumulation of material objects. It may, equally, be a gradually formed wish-list of the type guarded by independent curators, private collectors and acquisition committees alike, the contents of the perfect exhibition, the sum total of artists about who you have written or whom you have known, the small set of works that you find yourself incapable of forgetting, those that you imagine yourself living with, those that you wish you owned. Isobel Whitelegg, September 2009 ___________________ i

Earlier works by Baltar include the films Collecting Humidity (1996–2002) and Sea-mist and dew collection (2001).

The Waves was informally lent to this exhibition by the curator Michael Asbury; it is a work that he has collected (in memory if not in physical fact) through the process of working with the artists.

iii

Nico Israel, ‘Sandra Cinto’, Artforum, April 2000.

This 1992 interview with Lucia Nogueira by Bill Furlong was recorded for Audio Arts, an innovative audio cassette-magazine established by Furlong in 1973. Audio Arts is archived by Tate Britain. iv

Collector Collecting Artists

Brígida Baltar (1959, Rio de Janeiro) Solo Exhibitions 2009 E agora toda terra é barro, Centro Cultural Banco do Nordeste, Fortaleza, Brazil 2009 E agora toda terra é barro, Museu Vitor Meirelles, Florianópolis, Brazil 2008 Planteando Utopias (with Marta Cali), Museu de Arte Contemporáneo de Bahia Blanca, Argentina 2008 E agora toda terra é barro, Centro Cultural Banco do Nordeste Cariri, Ceará, Brazil 2007 Pó de Casa, Galeria Nara Roesler, São Paulo, Brazil 2007 Entre Paredes, 713 Arte Contemporânea, Buenos Aires, Argentina 2006 Um Céu Entre Paredes/An Indoor Heaven, firstsite, Colchester, UK 2005 Ainda Utopias, Laura Marsiaj Arte Contemporânea, Rio de Janeiro, Brazil 2005 Em Casa, Casa da Ribeira, Natal, Rio Grande do Norte, Brazil Group Exhibitions (2005–2009) 2009 After Utopia, Centro per L’arte Contemporanea Luigi Pecci, Prato, Italy 2009 Projeto Radiovisual, 7ª Bienal do Mercosul-Grito e Escuta, Porto Alegre, Brazil 2008 Otras Flores, Galeria Nara Roesler, São Paulo, Brazil 2008 Contraditório, Sala de Exposiciones Alcalá, Madrid, Spain 2008 Masamerica, Caixa Forum, Barcelona, Spain 2007 Contraditório, Panorama Brasileiro de Arte Contemporânea, MAM-SP, São Paulo, Brazil 2006 Desenho Contemporâneo Brasileiro, MCO Arte Contemporânea, Porto, Portugal 2006 Panorâmica, El Museo Tamayo Arte Contemporâneo, México 2005 Arte Brasileira Hoje, Museu de Arte Moderna, Rio de Janeiro, Brazil 2005 L’autre Amerique, Passage de Retz, Paris, France Selected References Marcelo Campos, E agora toda terra é barro (Cat.), Fortaleza: CCBN, 2008 Luisa Duarte & Marisa Fiorido, Paisagens Sonoras (Folder), Brasília: Caixa Cultural 2008 Moacir dos Anjos, Pó de Casa (Folder), São Paulo: Galeria Nara Roesler, Brazil, 2007 Gloria Ferreira, Meios e Ficções (Cat.), Rio de Janeiro: Centro Cultural da Caixa Rio de Janeiro, 2007 Marcelo Campos, ‘Contraruínas’, Papel das Artes 1 (August 2007) Annabel Lucas (Ed.) Brigida Baltar, Brickworks (Monograph), Colchester (UK): firstsite, distributed by Cornerhouse Publications, 2006 Guy Brett, ‘Topophilia’, in Brigida Baltar, Brickworks (ibid.) Luisa Duarte, ‘Possible Utopias’, in Brigida Baltar, Brickworks (ibid.) Katsuo Susiki, Brazil: Body Nostalgia (Cat.), Tokyo: MOMAT, 2004 Lisette Lagnado, ‘Processo de fabulação’, in Maria Farinha Ghost Crab, Rio de Janeiro: Capacete, 2004 Ricardo Basbaum,’ Brazilian Landscape: one (im)possible image’, Untitled (Summer 2000)

Sandra Cinto (1968, Santo André) Solo exhibitions 2009 Nave (with Albano Afonso), Carpe Diem Arte e Pesquisa, Lisbon, Portugal 2009 Mar que habita em mim me leva para onde eu nunca fui, Galeria Carlos Carvalho Arte Contemporânea, Lisbon, Portugal 2008 Natureza Construída, Casa Triângulo, São Paulo, Brazil 2008 The Difficult Journey after Géricault, Tanya Bonakdar Gallery, New York, USA. 2007 Sob o Sol e as Estrelas Hemisfério Norte, Galeria Carlos Carvalho, Lisbon, Portugal 2007 The Difficult Crossing (Après Géricault), MACUF Museum of Contemporary Art Union Fenosa, La Coruña, Spain 2006 Construção, Casa Triângulo, São Paulo, Brazil 2006 Entrelaçados, Manoel Macedo Galeria de Arte, Belo Horizonte, Brazil 2005 Sandra Cinto, Centre de Création Bazouges la Perouse, France Group Exhibitions (2005–2009) 2009 Nuevas Miradas, Galeria Fernando Padilla, Madrid, Spain 2009 2nd Trienal Poligráfica de San Juan: América Latina y El Caribe, San Juan, Puerto Rico 2008 TRANSactions, The High Museum of Contemporary Art, Atlanta, USA 2008 Blooming: Brazil-Japan, where you are, Toyota Municipal Museum of Art, Toyota, Japan 2007 Entre A Palavra e a Imagem, Museu da Cidade, Lisbon, Portugal 2006 Um Século de Arte Brasileira, Pinacoteca do Estado de São Paulo, Brazil 2005 5ª Bienal do Mercosul, Porto Alegre, Brasil 2005 Civitella Ranieri Foundation, Umbertide, Italy 2005 Dreaming Now, The Rose Art Museum, Waltham, USA Selected References Paul Reis and David Barro (Eds.), Sandra Cinto. A Travessia Difícil (Monograph), Santiago de Compostela: Dardo, 2007 Paulo Reis (Ed.) Sandra Cinto: Construction (Monograph), Santiago de Compostela: Dardo, 2006 Tadeu Chiarelli, ‘O drama de Sandra Cinto’ in Sandra Cinto (Cat.), São Paulo: Casa Triângulo, 2002 Moacir dos Anjos, Sandra Cinto (Cat.), Recife: MAMAM, 2003 Adriano Pedrosa, ‘The Gates of Paradise’, in XXVI Bienal de Pontevedra (Cat.), Pontevedra: Xunta de Galicia/Excma/Diputación Provincial de Pontevedra, 2000 Lisette Lagnado, Sandra Cinto (Cat.), São Paulo: Casa Triângulo, 1998 Ricardo Trevisan (Ed.), Amanhã, hoje: a Casa Triângulo de 1988 a 1995, São Paulo: Casa Triângulo, 1995

Lygia Clark (1920, Belo Horizonte; 1988, Rio de Janeiro) Exhibitions 1952–1988 (Selected) 1952 Lygia Clark, Galerie do Institut Endoplastique, Paris, France 1954 (with Grupo Frente), Ibeu Gallery, Rio de Janeiro, Brazil 1954 Biennale di Venezia, Venice, Italy 1957 4ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1959 Grupo Neoconcreto, MAM-RJ, Rio de Janeiro, Brazil 1959 5ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1961 6ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1963 7ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1963 Lygia Clark, MAM-RJ, Rio de Janeiro, Brazil 1964 Lygia Clark, Studium Generale Technische Hochschule, Stuttgart, Germany 1964 Movimento II, Galerie Denise René, Paris, France 1965 Lygia Clark, Signals, London, UK 1966 Opinião 66, MAM-RJ, Rio de Janeiro, Brazil 1967 9ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1968 Biennale di Venezia, Venice, Italy 1968 A Casa É o Corpo, MAM-RJ, Rio de Janeiro, Brazil 1977 Projeto Construtivo Brasileiro na Arte: 1950–1962, MAM-RJ, Rio de Janeiro, Brazil 1980 Lygia Clark, Funarte, Rio de Janeiro, Brazil 1983 Imaginar o Presente, Gabinete de Arte Raquel Arnaud, São Paulo, Brazil 1986 Lygia Clark e Hélio Oiticica, Paço Imperial, Rio de Janeiro, Brazil 1987 Lygia Clark, MAC-USP, São Paulo, Brazil 1987 Arte brasileira do século XX, Musée d´Art Moderne de la Ville de Paris, Paris, France Posthumous Exhibitions 1989–2008 (Selected) 1989 Art in Latin America: the modern era 1820–1980, Hayward Gallery, London, UK 1993 Latin American Artists of the Twentieth Century, MoMA, New York, USA 1996 Inside the Visible, ICA, Boston MA. USA 1996 Inside the Visible, Whitechapel Gallery, London, UK 1997 Lygia Clark, Fundacio Antoni Tapies, Barcelona, Spain 1997 Documenta 10, Museum Fridericianum, Kassel, Germany 1998 Lygia Clark, Fundação de Serralves, Porto, Portugal 1998 Lygia Clark, Société des Expositions du Palais des Beaux-Arts, Brussels, Belgium 1998 Lygia Clark, MAC, Marseille, France 2000 The Experimental Exercise of Freedom, MOCA, Los Angeles, USA 2005 50 Jahre/Years: Documenta 1955–2005, Kunsthalle Fridericiaum Kassel, Germany 2005 Lygia Clark: de l’œuvre a l’évènement, Musée des Beaux-Arts, Nantes, France 2006 Lygia Clark: da obra ao acontecimento, Pinacoteca do Estado de São Paulo, São Paulo, Brazil 2007 WACK! Art and the Feminist Revolution, MOCA, Los Angeles, USA 2008 Lygia Clark, CCBB, Rio de Janeiro, Brazil

Selected References Suely Rolnik, ‘The Body’s Contagious Memory; Lygia Clark’s Return to the Museum’, Transversal (January 2007) Suely Rolnik, ‘Molding a Contemporary Soul: The Empty-Full of Lygia Clark”, in The Experimental Exercise of Freedom (Cat.), MOCA, Los Angeles, 2000 Lygia Clark, ‘Nostalgia of the Body’ in October The Second Decade, 1986–1996, Cambridge MA: October Books / MIT Press, 1997 Luciano Figueiredo (Ed.), Lygia Clark, Hélio Oiticica: cartas: 1964–1974, Rio de Janeiro: UFRJ, 1996 Yve-Alain Bois, ‘Lygia Clark’, October 69 (1994) Guy Brett, ‘Lygia Clark: In Search of the Body’, Art in America (July 1994) Guy Brett, ‘Lygia Clark – the borderline of life and art’, Third Text 1 (Autumn 1987) Ferreira Gullar, ‘Uma experiência radical’ in Lygia Clark (Cat), Rio de Janeiro: Funarte, 1980

Detanico & Lain (Angela Detanico, 1974, Caxias do Sul; Rafael Lain, 1973, Caxias do Sul) Solo exhibitions 2009 Espaços de Tempo, Galeria Vermelho, São Paulo, Brazil 2009 Wind Spelling, Galerie Martine Aboucaya, Paris, France 2008 Programme “Satellite” Terrains de jeux ¾, Jeu de Paume, Paris, France 2008 Um dado tempo um dado lugar, Museu de Arte da Pampulha, Belo Horizonte, Brazil 2007 Biennale di Venezia, Venice, Italy 2007 Ano Zero, Galeria Vermelho, São Paulo, Brazil 2006 After Utopia – Pharos Centre for Contemporary Art, Nicosia, Cyprus 2006 flow/wolf, La BF15, Lyon, France 2005 About to say, Galerie Martine Aboucaya, Paris, France Group Exhibitions (2005–2009) 2009 10ª Bienal de la Habana – Integración y resistencia en la era global, Havana, Cuba 2009 Undefined borders for unlimited perceptions, Blindarte Contemporanea , Naples, Italy 2008 28ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 2008 A sombra da Historia/Os contextos que veñen, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain 2007 Re-trait, Fondation d’entreprise Ricard, Paris, France 2007 Encontro entre dois mares (Bienal de São Paulo-Valência), Museo del Carmen,Valencia, Spain 2006 27ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 2006 Sudden Impact , Le plateau/Frac Ile-de-France, Paris, France 2005 On Difference #1, Württembergischer Kunstverein, Stuttgart, Germany 2005 Subversiones diarias, MALBA, Buenos Aires, Argentina

Selected References Michael Asbury (Ed.) After Utopia (Monograph), Nicosia: Pharos, distributed by Cornerhouse Publications, 2007 Joana Neves, ‘What if suddenly nothing else moves?’, Dardo 05, (2007) Lisette Lagnado, ‘Detanico & Lain’ in Jens Hoffmann, Midori Matsui, and Philippe Vergne’ (Eds.), Ice Cream: Contemporary Art in Culture; London; Phaidon, 2007 Anne Dagbert, ‘Angela Detanico et Rafael Lain’, Artpress 337 (Dec. 2007) Ana Paula Cohen & James Trainor, ‘City Report: São Paulo’, Frieze 108 (June 2007) Marek Bartelik, ‘Angela Detanico and Rafael Lain’, Artforum (September 2007) Lisette Lagnado, ‘Angela Detanico et Rafael Lain. Du language partout’, Parachute 118 (April 2005) Portfolio Angela Detanico et Rafael Lain, Mouvement 36-37, (Sept. 2005) Chantal Pontbriand, ‘Eclaits du documentaire’, Mouvement 35, (June 2005)

Marcius Galan (1972, Indianopolis) Solo Exhibitions 2009 Seção Diagonal, Box4, Rio de Janeiro, Brazil 2008 Geometria Informal, Galeria Pedro Cera, Lisbon, Portugal 2008 Área Comum, Galeria Luisa Strina, São Paulo, Brazil 2005 Arquipélago, Galeria Luisa Strina, São Paulo, Brazil 2004 Fundo Falso, Galeria Luisa Strina, São Paulo, Brazil 2001 Sem Título, Temporada de Projetos Paço das Artes, São Paulo, Brazil Group Exhibitions (2005–2009) 2009 Desenhos A:Z, Museu da Cidade, Lisbon, Portugal 2009 Nova Arte Nova, CCBB, São Paulo, Brazil 2008 Color into light, MFAH, Houston, USA 2008 Soziale Diagramme-Planning Reconsidered, Künstlerhaus, Stuttgart, Germany 2008 Looks Conceptual, Galeria Vermelho, São Paulo, Brazil 2008 Contraditório, Sala de Exposiciones Alcalá, Madrid,Spain 2007 Contraditório, Panorama da Arte Brasileira, MAM-SP, São Paulo, Brazil 2007 Most curatorial bienal of the universe, APEXART New York, USA 2006 Geração da Virada 10 + 1, Instituto Tomie Ohtake, São Paulo, Brazil 2006 5ª Paralela, Pavilhão Armando Arruda Pereira, São Paulo, Brazil 2005 Além da Imagem, Curated by Nessia Leonzi, Centro Cultural Telemar, Rio de Janeiro, Brazil 2005 Amazonas: um Estado Sustentável, Palácio do Rio Negro, Manaus, Brazil

Selected References Fabio Cypriano, ‘Contradictory’, Frieze 115 (May 2008) Carla Zaccagnini, ‘Marcius Galan, Galeria Luisa Strina’ (review), in Flash Art (May-June 2008) Felipe Chaimovich, ‘Arquipélago, 2005’ in Andrés I. Martín Hernández (Ed.) Obras Comentadas da Coleção do Museu de Arte Moderna de São Paulo, São Paulo: MAM-SP, 2006 Christy Lang, ‘Fragmentos e Souvenirs Paulistanos Vol.1’ (Review), Frieze 88 (February 2005) Cristiana (Kiki) Mazzucchelli, Fundo Falso (Cat.), São Paulo: Galeria Luisa Strina, 2004

André Komatsu (1978, São Paulo) Solo Exhibitions 2009 Soma Neutra, Galeria Vermelho, São Paulo, Brazil 2007 Quando ramos são subtraídos, Galeria Vermelho, São Paulo, Brazil 2006 Projeto Bolsa Pampulha, Museu de Arte da Pampulha, Belo Horizonte, Brazil 2006 Temporada de Projetos 2006, Paço das Artes, São Paulo, Brazil 2006 VI Mostra do Programa de Exposições, CCSP, São Paulo, Brazil Group Exhibitions (2005–2009) 2009, Vértice, Galeria Millan, São Paulo, Brazil 2009 7ª Bienal do Mercosul – Grito e Escuta, Porto Alegre, Brazil 2009 After Utopia, Centro per L’arte Contemporanea Luigi Pecci, Prato, Italy 2009 When Lives Become Form, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan 2009 After Utopia, Centro per L’arte Contemporanea Luigi Pecci, Prato, Italy 2008 When Lives Become Form, MOT – Museum of Contemporary Art, Tokyo, Japan 2008 4ª Paralela: De Perto e De Longe, Liceu de Artes e Ofícios, São Paulo, Brazil 2008 Seja marginal, seja herói, Galerie GP&N Vallois/Galerie Natalie Seroussi, Paris, France 2008 Quando vidas se tornam forma , Museu de Arte Moderna, São Paulo, Brazil 2008 Oriente/Ocidente, 100 anos da Imigração Japonesa, CCSP, São Paulo, Brazil 2008 Verbo 2008, Galeria Vermelho, São Paulo, Brazil 2008 Arte.Brasil-Japão. Moderno e Atual, MAC-SP, São Paulo, Brazil 2008 Laços do Olhar, Instituto Tomie Ohtake, São Paulo, Brazil 2008 Quando vidas se tornam forma, MAM-SP, São Paulo, Brazil 2006 This is not a love song , Galeria Vermelho, São Paulo, Brazil 2006 Coletiva Programa de Exposições, CCSP, São Paulo, Brazil 2006 Rumos Itaú Cultural Artes Plásticas, Instituto Itaú Cultural, São Paulo, Brazil 2005 Vorazes, Grotescos e Malvados, Paço das Artes, São Paulo, Brazil 2005 Verbo, Galeria Vermelho, São Paulo, Brazil

Selected References ‘André Komatsu’, in Lauren Cornell, Massimiliano Gioni and Laura Hoptman (Eds.), Younger than Jesus: The Directory, New York & London: New Museum & Phaidon Press, 2009 Cauê Alves, André Komatsu: tempo=ação/espaço (Cat.), São Paulo: Paço das Artes, 2006 José Augusto Ribeiro, ‘André Komatsu’, in VI Mostra do Programa de Exposições (Cat.), São Paulo: CCSP, 2006

Lucia Nogueira (1950, Goiânia; 1998, London) Exhibitions 1993–1997 (Selected) 1993 Lucia Nogueira, Ikon Gallery, Birmingham, UK 1994 Lucia Nogueira, Camden Arts Centre, London, UK 1995 Here and Now, Serpentine Gallery, London, UK 1997 Material Culture, Hayward Gallery, London, UK Posthumous Exhibitions 2004–2009 (Selected) 2004 Smoke, Tate Modern, London, UK 2005 Lucia Nogueira: Drawings, The Drawing Room, London, UK 2006 How to Improve the World, Hayward Gallery, London, UK 2006 Lines of Enquiry: Thinking Through Drawing, Kettle’s Yard, Cambridge, UK 2007 Lucia Nogueira, Museu de Arte Contemporanea da Fundação Serralves, Porto, Portugal 2009 Lucia Nogueira – 5 Sculptures, Anthony Reynolds Gallery, London, UK Selected References Adrian Searle (Ed.) Lucia Nogueira (Cat. w/texts by Guy Brett, Tacita Dean, Joao Fernandes, Stella Santacatterina, Adrian Searle, Andrew Wilson), Porto: Fundação de Serralves, 2007 Kettle’s Yard (Org.), Lines of Enquiry: Thinking Through Drawing (Cat. w/text by Barry Phipps), Cambridge: Kettle’s Yard/University of Cambridge, 2006 Tania Kovats (Ed.) The Drawing Book, a survey of drawing: the primary means of expression, London: Black Dog Publishing, 2005 The Drawing Room (Org.), Lucia Nogueira: Drawings (Cat. w/texts by Mary Doyle and Penelope Curtis), London: The Drawing Room, 2005 Sarah Kent, ‘Lucia Nogueira’ in Here and Now (Ex. Cat), London: Serpentine Gallery, 1995

Cinthia Marcelle (Belo Horizonte, 1974) Solo Exhibitions 2009 This Same World Over, Camberwell Space, London, UK 2009 To Come To, Sprovieri Gallery, London, UK 2008 Fonte193/Confronto/Volta ao Mundo, Ikon Gallery, Birmingham, UK 2007 (um caso difícil), Box4, Rio de Janeiro, Brazil 2006 Trajetórias 2006: Fundação Joaquim Nabuco, Galeria Baobá, Recife, Brazil 2005 Unus Mundus: The Concert, Stride Gallery, Calgary, Canada 2005 V Mostra do Programa de Exposições, CCSP, São Paulo, Brazil Group Exhibitions (2005–2009) 2009 Everything, then, passes between us, Kölnischer Kunstverein, Cologne, Germany 2008 Contraditório, Sala de Exposiciones Alcalá, Madrid,Spain 2008 Nova Arte Nova, CCBB, Rio de Janeiro, Brazil 2008 É claro que você sabe do que estou falando? Galeria Vermelho, São Paulo, Brazil 2007 Bienal de Lyon, The History of a Decade that has not yet been named, Lyon, France 2007 10 Dias de Arte Conceitual, MAM, Museu de Arte Moderna, São Paulo, Brazil 2007 Contraditório – Panorama da Arte Brasileira, MAM, São Paulo, Brazil 2006 9ª Bienal de Havana: Dinâmicas de la Cultura Urbana, Havana, Cuba 2006 Arquivo Geral, Centro de Arte Hélio Oicitica, Rio de Janeiro, Brazil 2005 Bienal de Performance: M:ST, Calgary, Canada 2005 V Mostra do Programa de Exposições, CCSP, São Paulo, Brazil 2005 Além da Imagem, Espaço Cultural Telemar, Rio de Janeiro, Brazil Selected References Isobel Whitelegg, This Same World Over (Folder), London: University of the Arts London, 2009 Jochen Volz, ‘Confronto – on the Work of Cinthia Marcelle’ in Stephanie Moisdon & Hans Ulrich Obrist (Eds.), 9th Biennial de Lyon – The History of a Decade that has not yet been named (Cat.), Lyon: Biennial de Lyon, 2008 Moacir dos Anjos, ‘Fonte 193’ in Contraditório (Cat.), Sao Paulo: MAM-SP, 2007 Cristiana Tejo, ‘Narrativas do Devir’, Catálogo Projeto Trajetórias 2003 – 2006 (Cat.), Recife: MAMAM, 2006 Cristiana Tejo, ‘E no fim do caminho tinha...‘, in Andrés I. Martín Hernández (Ed.) Obras Comentadas da Coleção do Museu de Arte Moderna de São Paulo, São Paulo: MAM-SP, 2006 Andrea Lissoni, ‘Performance Generation’ in Work: Art in Progress 17, Trento: Galleria Civica, 2006 Cauê Alves, ‘Entre o Singular e o Universal’, V Mostra do Programa de Exposições (Cat.), São Paulo: CCSP, 2005 Rodrigo Moura, ‘Bolsa Pampulha’ in Livro Bolsa Pampulha 2003 – 2004 (Cat.), Belo Horizonte: Museu Pampulha, 2004 Luisa Duarte, ‘Exposição de Verão’ in Exposição de Verão (Cat.), Rio de Janeiro: Galeria Silvia Cintra, 2004

Nicolás Robbio (1975, Mar del Plata) Solo Exhibitions 2009 Partida, Marz Galeria, Lisbon, Portugal 2009 + que a mis ojos, invaliden 1, Berlin, Germany 2008 Indirections, Pharos Centre for Contemporary Art, Nicosia, Cyprus 2008 Por Puntos, Galería Nueveochenta, Bogotá, Colombia 2007 Quase como Ontem, Galeria Vermelho, São Paulo , Brazil 2007 Avalanche, Kunsthaus Bethanien, Berlin, Germany 2007 Nicolás Robbio, Invaliden 1, Berlin, Germany 2007 Porque junio no tiene 31 dias, Galeria Ruth Benzacar, Buenos Aires, Argentina 2005 Maio, Galeria Vermelho, São Paulo, Brazil 2005 Hecho en Cuba, Colegio San Alejandro, Havana, Cuba 2005 Only Icebergs Travel Adrift, firstsite, Colchester, UK 1998 Bajo el Asfalto, Osde, Mar del Plata, Argentina Group Exhibitions (2005–2009) 2009 Panorama Brasileiro de Arte Contemporânea, MAM-SP, São Paulo, Brazil 2009 O Amanhã De Ontem Não É Hoje, Fundação Serralves, Porto, Portugal 2009 ‘Desenhos (drawings) A-Z,’ Museu da Cidade, Lisbon, Portugal 2008 28ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 2008 I/legítimo: Dentro e Fora do Circuito, MIS, São Paulo, Brazil 2008 4ª Paralela: De Perto e De Longe, Liceu de Artes e Ofícios, São Paulo, Brazil 2008 É claro que você sabe do que estou falando? Galeria Vermelho, São Paulo, Brazil 2008 Looks Conceptual, Galeria Vermelho, São Paulo, Brazil 2008 Idéias em Trânsito para Circulação Balanceada e Sobrevivência, MACA, São Paulo, Brazil 2008 Quase Cinema, Fundação Joaquim Nabuco, Recife 2008 Provas de Contato, Galeria Vermelho, São Paulo, Brazil 2008 Reação em Cadeia, CCSP, São Paulo, Brazil 2008 Verbo, Galeria Vermelho, São Paulo, Brazil 2007 Desenho é um verbo, Porta 33, Madeira Island, Portugal 2007 Gabinete de desenhos, MAM-SP, São Paulo, Brazil 2006 Geração da Virada – 10 + 1, Instituto Tomie Ohtake, São Paulo, Brazil 2006 Paradoxos – Rumos Itaú Cultural 2005–2006, Itaú Cultural, São Paulo, Brazil 2006 Doações/Aquisições, MAM-SP, São Paulo, Brazil. 2006 Sem Título, 2006. Comodato Eduardo Brandão e Jan Fjeld, MAM-SP, São Paulo, Brazil 2005 Subversões Diárias, MALBA, Buenos Aires, Argentina 2005 Vorazes, Grotescos e Malvados, Paço das Artes, São Paulo, Brazil 2005 Dezenhos: A-Z, Galeria Porta 33, Funchal, Portugal 2005 Viés, Galeria Vermelho, São Paulo, Brazil

Selected References Isobel Whitelegg, Indirections (Folder), Nicosia: Pharos, 2008 Luisa Duarte, Nicolás Robbio (interview) in Em Vivo Contato – Guide to the 28ª BSP, São Paulo: FBSP, 2008 Adriano Pedrosa, ‘Nicolás Robbio, Quase como Ontem’ (review); Artforum, Summer 2007 Lisette Lagnado, ‘Nicolás Robbio’ in Jens Hoffmann, Midori Matsui, and Philippe Vergne (Eds.) Ice Cream: Contemporary Art in Culture, London: Phaidon 2007 Carla Zaccagnini, Sobre repetições e as singularidades, Galeria Vermelho, São Paulo, 2007 Miguel Chaia, ‘Arte de Maio’, in Maio, (Folder), São Paulo: Galeria Vermelho, 2005 José Augusto Ribeiro, ‘Nicolás Robbio, Maio’ (review), Art Nexus (May 2005) Mabel Llevat Soy, ‘Impresiones’ in Hecho en Cuba, Havana: Proyecto Batiscafo, 2005 Isobel Whitelegg, Nicolás Robbio, Colchester: firstsite papers, 2005

Mira Schendel (1919, Zurich; 1988 São Paulo) Exhibitions, 1950–1988 (Selected) 1950 M. Hargesheimer, Auditorio do Correio do Povo, Porto Alegre, Brazil 1951 1ª Bienal de São Paulo, São Paulo, Brazil 1954 Mira: pinturas, MAM-SP, São Paulo, Brazil 1955 3ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1963 7ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1964 Mira Schendel: óleos e desenhos, Galeria Astréia, São Paulo, Brazil 1965 Exposicao de desenho e gravura, Sociedade Nacional de Belas Artes, Lisbon, Portugal 1965 Propostas 65, FAAP, Sao Paulo, Brazil 1965 8ª Bienal Internacional de Sao Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1965 Soundings two, Signals Gallery, London, UK 1966 Mira Schendel, MAM-RJ, Rio de Janeiro, Brazil 1966 Mira Schendel, Signals, London, UK 1966 Desenhos de Mira Schendel, Galeria Buchholtz, Lisbon, Portugal 1967 Technische Hochschule, Stuttgart, Germany 1967 9ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1968 Lisson 68, Lisson Gallery, London, UK 1968 solo exhibition, Gramholt Galleri, Oslo, Norway 1968 solo exhibition, St. Stephan Gallerie, Vienna, Austria 1968 Biennale di Venezia, Venice, Italy 1969 10ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1969 solo exhibition, Gallerie bei Minoritensaal, Graz, Austria 1972 Através, Galeria Ralph Camargo, São Paulo, Brazil 1973 The Avant-Garde Works by Mira Schendel, Brazilian-American Cultural Institute, Washington, USA

1975 Mira Schendel, Visuelle Konstruktinen und Transparente Texte, Studiengalerie, Stuttgart, Germany 1975 Mira Schendel datiloscritos, mandalas, paisagens, Gabinete de Artes Gráficas, São Paulo, Brazil 1978 Mira Schendel: desenhos, no Gabinete de Artes Gráficas, São Paulo, Brazil 1978 Biennale di Venezia, Venice, Italy 1981 Mira Schendel, Galeria Luisa Strina, São Paulo, Brazil 1981 16ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1983 Mira Schendel, 65 Desenhos, 2 Droguinhas, 1 Trenzinho, 1 Quadro de 1964 e a Série Deus-Pai do Ocidente, Galeria Thomas Cohn, Rio de Janeiro, Brazil 1983 Solo exhibition, Galeria Luisa Strina, São Paulo, Brazil 1985 Mira Schendel: Coleção Theon Spanudis, MAC/USP, São Paulo, Brazil 1985 Mira Schendel: pinturas recentes, Paulo Figueiredo Galeria de Arte, São Paulo, Brazil 1987 19ª Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1987 Mira Schendel: obras recentes, Paulo Figueiredo Galeria de Arte, São Paulo, Brazil 1987 Mira Schendel: obras recentes, Gabinete de Arte Raquel Arnaud, São Paulo, Brazil 1987 Mira Schendel, Coleção Theon Spanudis, MAC-USP, São Paulo, Brazil Posthumous Exhibitions, 1989–2009 (Selected) 1989 Mira Schendel, Desenhos e Objetos, Paulo Figueiredo Galeria de Arte, São Paulo, Brazil 1989 Mira Schendel, cadernos, gravuras e xerox, Paulo Figueiredo Galeria de Arte, São Paulo, Brazil 1989 Mira Schendel, MAC-USP, São Paulo, Brazil 1989 I Ching, Sala Mira Schendel Livrana Letrativa, São Paulo, Brazil 1990 Mira Schendel, MAC/USP, São Paulo, Brazil 1994 22ª Bienal de São Paulo (Sala Especial Mira Schendel), Pavilhão Ciccillo Matarazzo, São Paulo, Brazil 1995 Mira Schendel, MAC/USP, São Paulo, Brazil 1995 Mira Schendel, The Drawing Center, New York, USA 1996 No Vazio do Mundo, Galeria de Arte do Sesi, São Paulo, Brazil 1997 Mira Schendel a Forma Volátil, no Centro de Artes Hélio Oiticica 2001 Galerie Nationale du Jeu de Paume, Paris, France 2002 Mira Schendel, Galeria André Millan, São Paulo, Brazil 2004 Mira Schendel Continuum Amorfo, Museo Tamayo Arte Contemporâneo, Mexico City, Mexico 2007 Doumenta 12, Museum Fridericianum, Kassel, Germany 2009 Tangled Alphabets (Mira Schendel & Leon Ferrari), MoMA, New York, USA 2009 Mira Schendel: Monotypes and Other Works, Stephen Friedman Gallery, London, UK Selected References Geraldo de Souza Dias, Mira Schendel: do espiritual à corporeidade (Monograph), São Paulo: Cosac & Naify, 2009 Isobel Whitelegg, ‘Mira Schendel, Towards A History of Dialogue’ in Asbury & Ferreira (Eds.),Transnational Correspondence (Rio de Janeiro: Arte & Ensaios, 2007) Isobel Whitelegg, ‘Mira Schendel, Ontological Landscape’, Dardo 06 (Oct-Nov 2007) Vilem Flusser, ‘Mira Schendel’, in Bodenlos: uma autobiografia filosófica, São Paulo: AnaBlume, 2006

Guy Brett, ‘Mira Schendel’, in Carnival of Perception, London: Iniva, 2004 Sonia Salzstein, ‘Mira Schendel: The Immersion of the Body in Thought’, in The Experimental Exercise of Freedom (Cat.), MOCA, Los Angeles, 2000 Isobel Whitelegg, Vilem Flusser & Mira Schendel (MA Thesis), Dept. of Art History, University of Essex, 2000) Sonia Salzstein (Ed.), Mira Schendel: no vazio do mundo, Editora Marca d’Agua, São Paulo, 1996 Vilem Flusser, ‘Indagações sobre a origem da língua’, O Estado de São Paulo (1967.04.29, suplemento literário) Guy Brett, Kinetic Art, the Language of Movement, Studio Vista/Reinholt, London & New York, 1968 Amaral, Aracy, ‘Mira Schendel, Os Cadernos’, in arte e meio artistico: entre a feijoada e o x-burguer, São Paulo: Nobel, 1982

Maria do Mar Guinle holds a B.A. from Tufts University and a post-graduate diploma in history of art from the Courtauld Institute. She works with curatorial and advisory projects focusing mainly on Brazilian contemporary art. Her most recent exhibitions were in April 2009: ‘Terres et Cieux’, Brígida Baltar and Sandra Cinto, and ‘Fazendo Estrelas’, Albano Afonso and Emanuel Lagarrigue. She lives and works in Paris where she continues to work with Brazilian artists. ‘Paper Trail: 15 Brazilian Artists’, at Allsopp Contemporary, was her first exhibition in London in April 2008. ‘Collector Collecting’, co-curated with Isobel Whitelegg is her first partnership with Gallery 32.

Isobel Whitelegg is a Research Fellow, and core member of the TrAIN Research Centre, at the CCW Graduate School of the University of the Arts London. Her published writing has focused on the retrieval of exhibition histories, including research on the Signals London gallery (‘Signals Echoes Traces’ in Guy Brett & Luciano Figueiredo (Eds.), Oiticica in London; London: Tate Publishers, 2007 and ‘Londres al habla: Signals, el boletín de Signals London, 1964–1966’ in Andrea Giunta (Ed.) Metropolis de papel, revistas y redes internacionales en la modernidad artística latinoamericana, Buenos Aires: Biblos Press, 2009 and the Bienal de São Paulo (‘The Bienal de São Paulo Unseen/Undone, 1969/81’ in Afterall #22; Antwerp-London-Los Angeles: Autumn 2009. Exhibitions she has recently curated in collaboration with artists from Brazil include ‘Indirections’, Nicolás Robbio (Nicosia: Pharos Centre for Contemporary Art, 2008-09) and ‘This Same World Over’, Cinthia Marcelle (London: Camberwell Space, 2009). She is currently co-convening an international research forum on Transnational Latin American Art at the University of Texas at Austin, and is a member of Conceptualismos del Sur (a network of artists, curators and writers engaged in recovering artistic practice that took place under political repression). She completed her BA at Winchester School of Art before specializing in modern and contemporary Latin American Art in the Department of Art History & Theory, University of Essex. While completing her PhD there she was a curatorial advisor to the University’s collection of modern and contemporary Latin American art. As a post-doctoral Research Fellow she focused on the presence and critical reception of artists from Latin America in sixties and seventies Britain.

Acknowledgements The curators would like to thank: Akio Aoki (Galeria Vermelho), Ruy Amaral, Moacir dos Anjos, Michael Asbury, Guy Brett, Serena Cattaneo, Angela Detanico, John Evans, Margaret Evans, Stuart Evans, Marcius Galan, João Guarantani, Jack Kirkland, Rafael Lain, Cinthia Marcelle, Miriam Metliss, Ginie Morysse (Zabludowicz Collection), Elizabeth Neilson (Zabludowicz Collection), Carlos Pachá, Bel Pedrosa, Catherine and Franck Petitgas, Nicolás Robbio, Anthony Reynolds, Maria Stathi (Anthony Reynolds Gallery), Maria TidballBinz (Lodeavans Collection), Anita Zabludowicz.

Image credits: Brígida Baltar (p.7), courtesy Galeria Nara Roesler Sandra Cinto (p.17), courtesy the Zabludowicz Collection Marcius Galan (p.13), photo by Edouard Fraipont, courtesy the artist André Komatsu (p.9), photo by Ding Musa, courtesy Galeria Vermelho Cinthia Marcelle (pp.24-29), courtesy the artist Lucia Nogueira (p.15), courtesy Anthony Reynolds Gallery Lucia Nogueira (p.11), photo by JM Alkmim, courtesy Stuart Evans Mira Schendel (p.5), courtesy Guy Brett and Isobel Whitelegg

Ministry of External Relations Celso Luiz Nunes Amorim Minister of External Relations Samuel Pinheiro Guimarães Secretary General of External Relations Ruy Nunes Pinto Nogueira Undersecretary General for Cooperation and Trade Promotion Eliana Zugaib Director of the Cultural Department José Mário Ferreira Filho Head of the Division for Cultural Promotion

Embassy of Brazil in London Carlos Augusto R. Santos-Neves Ambassador Carlos Pachá Head of the Cultural Section Published by the Embassy of Brazil in London for the exhibition ‘Collector Collecting’ 16 October – 18 November 2009 edited by Isobel Whitelegg catalogue design João Guarantani © texts: the authors Gallery 32 32 Green Street | London | W1K 7AT +44(0)20 7399 9282 | www.brazil.org.uk/gallery32