michelle jean de castro: expographies by lama.sp

24APR>18MAY2004 transitspaces Bauhaus Dessau Foundation DESSAU, GERMANY

23OCT>06DEC2015 10th Mercosul Biennial biografia da vida urbana Memorial do Rio Grande do Sul

05SEP>04OCT2015 ecos del MoMA Centro Cultural Recoleta BUENOS AIRES, ARGENTINA

26MAY>27JUN2015 identidade latino-americana Galeria Bolsa de Arte SÃO PAULO, BRAZIL

06MAR2015>03MAY2016 art towards architecture lama-sp.org SÃO PAULO, BRAZIL

19AUG>31DEC2014 futebol: urban euphoria in brazil lama-sp.org SÃO PAULO, BRAZIL

06NOV>25NOV2013 10+10 Architekturzentrum Wien VIENNA, AUSTRIA

08JUN>30JUN2010 brésil: l árchitecture en photographie Centre Culturel Français LOMÉ, TOGO

25JAN>02MAR2008 100 photos, 100 works, 100 years Museu da Electricidade LISBON, PORTUGAL

01OCT>04NOV2007 brasília 50 years | niemeyer 100 years Centro Cultural de Cascais CASCAIS, PORTUGAL

michelle jean de castro: expographies

about the author Michelle Jean de Castro (Recife, 1978) is an architect and curator based in São Paulo. She curated 100 photos, 100 works, 100 years | Oscar Niemeyer by Leonardo Finotti (2008), exhibited at the Museu da Electricidade in Portugal. She is the author of Les Kiosques de l’économie parallèle for L’Achitecture d’Aujourd’hui, a project on Microrayons, symbols of Soviet housing. She worked with architects Rafael Viñoly (United States), José Alves Amorim (Portugal), Héctor Vigliecca and Metro Arquitetos (Brazil). In 2011 she opened her own office and today, in addition to projects in the area of architecture, she is responsible for curating exhibitions developed by LAMA.SP, a cultural institution that develops projects at the intersection of visual arts, modern architecture and urban space. The works presented intend not only to show a compilation of varied experiences in the area of scenography and exhibition design, but also to highlight the research and principles that guide the production of the architect. The language adopted does not use the spectacle, nor does it present accessories as scenographic resources, but the discourse is far from neutral either. Common to all projects, the decision to privilege the visitor’s space and visual experience contribute to the identification of the context defined by the curatorship. The graphic elements and the interaction of the images with the space are simply the result of this intention. The exhibitions presented and curatorial concepts are based on the relations between the works themselves, the works with the space and the works with the public. The strategies used intend to define and make use of space as the main support, and the study of the circumstances in which the theme is exposed is always a factor to be explored. The recurrent adaptation of the same content to different contexts transforms each exhibition into something new, as in the exhibits 100 photos, 100 works, 100 years | Oscar Niemeyer by Leonardo Finotti and Oscar Niemeyer revisited or Latinitudes. Furthermore, the connection between the public and the curatorial conception of the exhibition is put on the agenda: this factor determines the cut in the sets of works and the care with the route, sometimes suggested by physical barriers, sometimes by an intuitive direction through the spatial organization.

michelle jean de castro: expographies all the photographs are authored by Leonardo Finotti, except when indicated translation (PT-EN): Themis Scalco graphic design: Beatriz Menezes photo editing: Alex Souza print: Printi, São Paulo SP, Brazil risography cover: Entrecampo, Belo Horizonte MG, Brazil binding: Abrigo de Rabiscos No part of this book may be used or reproduced without prior written permission in any form or by any means, except in the case of small citations incorporated in critical articles or reviews. © copyright 2018 obra comunicação & michelle jean de castro ISBN 978-85-93867-01-9 obra comunicação São Paulo SP, Brazil www.obracomunicacao.com

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michelle jean de castro expographies

1st edition | sĂŁo paulo | lama.sp | 2018

Transit Spaces, 2004 Bauhaus, Dessau, Germany 18 photos in various sizes | printed on mineral pigment on paper Hahnemühle Photo Rag 308g, black frame Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Coordination: Regina Bittner Kay Vöckler Wilfried Hackenbroich Image editing: Alex Souza

This exhibition, which completes Dessau’s Bauhaus Kolleg post-graduate program, features reflections on the construction of the city in a post-Soviet era under the influence of global capitalism. The study exhibited through presentations and iconography examines selected places along the Berlin-Moscow corridor, showing these spaces as case studies of the transformation processes undergone since the opening of the Eastern European market. Finotti’s work explores this new organization of the city and aligns several fragments, constructing a new object from the reality found. In the year 2017, the exhibition was resumed and presented at LAMA.SP as part of the retrospective of the photographer’s 20 years of work. The layout of the images was thought from lines and axes of the photos themselves, which reorganize the way of composing the local reality.

1 Exhibition Transit Spaces at Bauhaus, Dessau, Germany (2004)

Exhibition Transit Spaces at Bauhaus, Dessau, Germany (2004) 2 Exhibition Transit Spaces at LAMA.SP, SĂŁo Paulo, Brazil (2017) 3

100 photos, 100 works, 100 years: Oscar Niemeyer by Leonardo Finotti, 2008 Fundação EDP | Museu da Electricidade, Lisbon, Portugal

through 100 photos, which aim to reveal a new perception of the work of one of the greatest icons of the discipline. The narrative of the exhibition is built upon the relationship between the work of the architect and the photographer. When creating a drawing guided by the horizon line, in which the space is located at the height of Finotti’s own eyes and is punctuated by the caption of the photography, a path has been defined that allows both the understanding of the set of works and the formal singularity highlighted in each image. The 100 photographs vary in size according to the scale of the buildings, providing the connection between the works shown and allowing a visual dynamics to the proposed narrative sequence.

100 photos in several sizes | C-print Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Production: obra comunicação Coordination: Anabela Sousa and João Pinharanda Secretary: Deolinda Ferreira Image editing: Alex Souza Assembly: Preforma – Projectos e Exposições lda, Aires Duarte (illumination) , Augusto Gome (illumination) Print and Finish: L2Spirit – Soluções e Impressão Digital, S.A

The photographer Leonardo Finotti honors Oscar Niemeyer after his 100th birthday, highlighting 100 works of the architect

145 X 217 cm

4 Dimensioning of photographs refer to the scale of the buildings 5 Exhibition 100 photos, 100 works, 100 years | Oscar Niemeyer by Leonardo Finotti at Museu da Electricidade, Lisbon, Portugal (2008)

60 X 90 cm

50 X 75 cm

40 X 60 cm

30 X 45 cm

20 X 30 cm

Diagrams demonstrating the concepts of the exhibition 6 Exhibition 100 photos, 100 works, 100 years | Oscar Niemeyer by Leonardo Finotti at Museu da Electricidade, Lisbon, Portugal (2008) 7

Brésil: L‘Architecture en Photographie, 2010 Centre Culturel Français, Lomé, Togo | Cotonou, Benin 50 photos 65 X 65 cm | C-print Artist: Leonardo Finotti Realization: Ministry of Foreign Affairs and Arnaldo Caiche d’Oliveira Curatorship and Expography: Michelle Jean de Castro Production: LAMA.SP Image Editing: Alex Souza Visual Communication: itemzero | Ruben Dias Press: Gustavo Hiriart Print and Finish: L2Spirit – Soluções e Impressão Digital, S.A

In an initiative of the Brazilian Embassy in Togo and Benin, and a strong working relationship between curator and photographer, the exhibition was conceived as a space that could portray the diversity and vitality of architectural practices in Brazil, driven by the socioeconomic development of the country in the last decade. The visual representation has 50 images of 50 works from 50 different architecture offices with projects in Brazil and abroad that have developed relevant works during the last decade. Each architect is represented by a single work. As the retrospective does not intend to highlight any author or work, all prints were made in the same format and size, 65 X 65 cm. In order to obtain an overview of this architectural production, the selection of the photographs followed the criterion of portraying the variety of authors and the way they represent the different generations. This timeline, which begins with the centennial architect Oscar Niemeyer and up until recently graduated ones, determines the sequence of the images presented.

architect date of birth state year of inauguration

8 Identification of images with graphic design containing: date of birth of the main architect, location (state) of the work and year of inauguration of the work 9 Works with the same dimension, regardless of the orientation of the photograph

External walls with black paint up to existing metal structure h = 3m

internal walls in drywall panels with white paint, h = 2.3m

flow of visitation clockwise. Organization of photographs in chronological order

Model of the room used for the implementation of the exhibition 10 Exhibition Brésil: L’ Architecture en Photographie at Centre Culturel Français, Lomé, Togo (2008) 11

10+10, 2013 AzW architekturzentrum wien 18 photographs 60 x 90 cm and 2 photographs 60 x 40 cm | anti-reflective matte metacrylate Artist: Leonardo Finotti Realization: Ministry of Foreign Affairs Susan Kleebank Evandro Didonet Curatorship and Expography: Michelle Jean de Castro Production: LAMA.SP Exhibition Text: Fernando Serapião André Correa do Lago Image Editing: Alex Souza Visual Communication: itemzero | Ruben Dias Press: Gustavo Hiriart Print and Finish: Leutner Bildwerkstatt GmbH

12 Exhibition 10+10 at AzW, Vienna, Austria (2013)

“The exhibition 10 + 10: Casas Modernistas e Contemporâneas do Brasil establishes a parallel between two distinct periods of Brazilian architectural production, presenting a selection of ten modern and ten contemporary houses, among which are some of the most significant residences built by architects working in the country. [...] This kind of virtual encounter between the past and the present intends to understand the contemporaneity from the contrast with the modern movement, considered as the most significant moment of the Brazilian architectural culture.” Excerpt taken from the text Diálogos Cruzados by Fernando Serapião, for the exhibition catalogue The line drawing that cuts the space mirroring the two times aims to allow the visitor to establish relationships between the selected works, confronting, through the photographer’s eyes, architectures that apparently would not be placed side by side. The plan is completed with two perpendicular paths that not only direct the route, guaranteeing the whole understanding of the narrative, as well as serving as a shield and protection. The concept of this design is finalized in the elevation, where the lines are transformed into planes tightened by steel cables that rise and make the works float on the pile of publications, reinforcing the idea of a parallel line that defines the correlation of these historical period

Assembly diagram and exhibition flow 13 Blue print for assembly 14 Cut with assembly specifications 15

Oscar Niemeyer revisited (not held) MAM, São Paulo, Brazil 100 photos in several dimensions | C-print Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Bárbara Morais

Idealized proposal in 2013 to roam the exhibition 100 photos, 100 works, 100 years | Oscar Niemeyer by Leonardo Finotti, for the Museum of Modern Art of São Paulo. Based on principles similar to those at the EDP Foundation, where the horizon line and the scales of buildings define the organization, the content is now presented in a single line facing the Ibirapuera Park. The project seeks an alternative use of the museum and exhibits the works facing the external area, inviting spectators to a spontaneous visit to the architect’s work of the park buildings. From this new proposition, the narrative is reviewed and the selection and organization of the works are defined in order to occupy exactly the proposed space, accentuating the relation between exhibition, museum and park as protagonists. The proposal to invite not only the specific public that visits the museum, but also the users of the park, serves to reinforce the space experience as an integral part of the collective culture.

16 Assembly proposal with MAM façade

Representation of the organization of works on the faรงade 17

Futebol: Urban Euphoria in Brazil, 2014 LAMA.SP, São Paulo, Brazil 10 photographs 60 X 90 cm and 5 photographs 100 X 150 cm | mineral pigment in Hahnemühle paper Photo Rag 308g Artists: Ed Viggani | Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Lars Müller Production: LAMA.SP Kátia Harumi Gondo Exhibiton Text: Luis Antônio Jorge Image Editing: Alex Souza Visual Communication: Item Zero | Ruben Dias Press: Gustavo Hiriart Photography Prints: 60 x 90 - Leutner Bildwerkstatt GmbH 100 x 150 - Go image

The exhibition that inaugurates the LAMA.SP space presents the same theme through the eyes of two photographers. “Among the works of Finotti and Viggiani, we have, substantially, a difference of distances or proximity between registers and referents. From seeing from a distance to sharing the experience of playing or rooting together, in the center of events, we go through a dissonant narrative, where we learn that gaps, hiatuses, emptinesses between things preserve the promise of poetry and of dribbling in the predictable city, in the destiny of things, in the determinism of life and in the fortunes of the game”. Excerpt taken from the text Entre dois olhares, by Luis Antônio Jorge, for the exhibition catalogue The design and the concepts explored start from the dynamics of the works. In Finotti, it’s acknowledged, in the view from above, the relationship between the fields and the city, but although there is a particular expression in each photo, the power of the exhibition is given in the complementation and comparison of associations. The strategy of exhibiting is the same of the game in which the unit, although it exists with the ball, just completes the narrative in the set. In Viggiani, where the scale changes, movement is an indispensable attribute. The surprise of what comes next and of the unexpected demand not only a different presentation from what is traditional, but also the distance from the other elements. Justification for using the projector on the white wall.

18 Explanatory diagrams for the organization of the images in tactical schemes 19 Longitudinal cut for installation of the exhibition

adhesiveness FUTEBOL URBAN IN LEONARDO FINOTTI

adhesiveness EUPHORIA BRAZIL

Projection area photos by Ed Viggiani

ED VIGGIANI

prints 60X90 cm anti-reflective matte plexiglass

prints 100X150 cm Epson enhance paper prints 100X150 cm Epson enhance paper

Exhibition organization scheme 20 Cross section for the installation of the exhibition 21

22,24 Exhibition Futebol: Urban Euphoria in Brazil at LAMA.SP, São Paulo, Brazil (2014) 23 Exhibition Leonardo Finotti: do caos ao LAMA at Oficina Cultural, Uberlândia, Brazil (2017)

Latinitudes, 2015 05|06 - 15|07|2018 Casa Canto, Florianópolis, Brazil 11|08 - 12|10|2017 MUnA, Uberlândia, Brazil 06|15 - 08|12|2017 Museo Zorrilla, Montevideo, Uruguay 08|20 - 10|02|2016 Galerie 94, Baden, Switzerland 10|04- 12|06|2015 10ª Bienal of Mercosul, “Mensagens de uma Nova América”, Memorial do Rio Grande do Sul, Porto Alegre, Brazil 05|09 - 04|10|2015 XV Bienal BA | Centro Cultural Recoleta, Buenos Aires, Argentina 27|05 - 25|06|2015 Galeria Bolsa de Arte, São Paulo, Brazil 72 photos, several dimensions | direct UV printing on the ACM, frame in Imbuia wood Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Production: LAMA.SP Image Editing: Alex Souza Press: Gustavo Hiriart Photo prints: Camera Press

25 Schematic installation of the exhibition 26 Exhibition Identidade Latino-Americana at Galeria Bolsa de Arte, São Paulo, Brazil (2015)

This series is an offshoot of an exhibition originally presented at the MoMA in New York and aims to offer a visual reading of a fertile period in modern architecture showing a generation of Latin American architects, while revealing the state and the change of their works through time. The construction of the narrative is structured through sets of architectural works of a city, configuring in a line the realizations that share a common denominator (latitude), separated in time and space. The exhibition in SĂŁo Paulo, which derives from the one presented at MoMA by Finotti, is also the result of concepts already tried in previous exhibitions of the artist. The horizon line that runs through all the surfaces continually leads us to a walk, a journey without pauses. The direction, however, is the individualâ&#x20AC;&#x2122;s choice, and can be guided by the indication of the corresponding latitude, from north to south or vice versa.

The drawing is the result of the process used to relate architectural objects, resulting in a kind of architecture by itself. Ecos del MoMA is another example of how each circumstance and spatiality influence the final object and therefore change the exhibition, the course changes, the set is no longer the same and the story has to be retold. What we see are reverberations of other exhibitions, and just as the echoing sound changes every time it reaches a surface, so does the narrative. The few changes proposed for the room consisted in the placement of panels that allowed the continuation and linearity that is promoted by the relation between the photographic works and the consequent continuity of the narrative of the exhibition.

The variation of the scales and the close distance between the photographs end up transforming the works into a new object.

Exhibition Ecos del MoMA at Centro Cultural Recoleta, Buenos Aires, Argentina (2015) 27

28 Exhibition Leonardo Finotti: do LAMA ao caos at MUnA, UberlĂ˘ndia, Brazil (2017) 29 Exhibition Leonardo Finotti: Latinitudes at Museo Zorrilla, Montevideo, Uruguay (2017)

Exhibition at X Bienal do Mercosul, Biografia da vida urbana Life at Memorial of Rio Grande do Sul, Porto Alegre, Brazil; curatorship by GaudĂŞncio Fidelis (2015) 30 Exhibition Leonardo Finotti: Latin America Collection at Galerie 94, Baden, Switzerland (2016) 31

Art Towards Architecture, 2015 LAMA.SP, São Paulo, Brazil Site-specific installation on canvas siding and 12 photographs 150 X 100 cm | siding canvas on direct UV printing on ACM Artists: Mayo Bucher | Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Igor Nussbaumir Production: LAMA.SP Image Editing: Alex Souza Press: Gustavo Hiriart Assembly: HILTI FAE- fachada, arquitetura e engenharia Support: HILTI, Pro-Helvetia and Switzerland General Consulate

32 Site-specific installation on the façade of the Mirante do Vale Building

LAMA.SP began its 2015 program by bringing to Brazil the first individual exhibition by the Swiss artist Mayo Bucher. He exhibited his work in the intervention Art Towards Architecture in one of the most important buildings of the modernist architectural context of the city of São Paulo. Mayo Bucher has worked for many years at the intersection of art and architecture in a context of global scope, emphasizing his deep interest in the exchanges between cultures. The exhibition took place in the highest skyscraper of São Paulo, the Mirante do Vale Building, and aimed to translate the relationship of Bucher’s work with the deteriorated scenery of the city center. The exhibition was based on two scales: the urban scale with the installation that extends along the façade of the building, an orange protection net whose intention was to refer to the reconstruction of urban references; and the human scale, presented in LAMA. SP, located on the 37th floor of the same building, with 12 images printed in 150 X 100 cm format, where the artist worked, through collages, the iconic photographs of the city of São Paulo, all by Leonardo Finotti.

Wheatpaste poster of exhibition Mayo Bucher | Leonardo Finotti: Art Towards Architecture, SĂŁo Paulo, Brazil (2015) 33 Mirante do Vale building with the installation seen from the AnhangabaĂş valley 34

35,36 Exhibition Mayo Bucher | Leonardo Finotti: Art Towards Architecture at LAMA.SP, SĂŁo Paulo, Brazil (2015)

Installation Support Structure 37 Artistic Experiences in Room 3707 of the Mirante do Vale Building 38

In Stone, Parquet and Ink, 2015 LAMA.SP, São Paulo, Brasil Site-specific installation in parquet, 7 stones 20 x 20 | charcoal on stone, 7 screens of various dimensions | mixed media on canvas Artist: Ana Catarina Mousinho Curatorship and Expography: Michelle Jean de Castro Collaboration: Beatriz Menezes Production: LAMA.SP Exhibition Text: Michelle Jean de Castro Solange Coutinho Lúcia Leitão Image Editing: Alex Souza Assembly: Mauro Sérgio da Silva Visual Communication: Gabriel Finotti Press: Gustavo Hiriart Support: LAMA.SP, Hela Ingredientes Com. Exp. Imp. Ltda. Santropa Rosé Spirit

Ana Catarina Mousinho is a young artist who studied drawing and painting in the Vitrúvio Space in Recife and in Central Saint Martins in London. She lived in London and Paris and currently lives in São Paulo. She participated in exhibitions in Recife and Frankfurt. Invited by LAMA.SP the artist comes to work in an artistic residence in the new space room, aiming to discuss the conformation of the city of São Paulo - a work already done about Recife, her native city, as theme. The exhibition presents unpublished works, the result of encounters, discoveries, researches and experiments she went through for the 5 months of her artistic residency project. In response to this immersion, the work dialogues directly with the space and the materials found in it. There are seven stones, seven canvases and seven thousand almost unforeseen parquet pieces that arrived randomly and were organized in creations that manifest the construction of an affective memory between architecture, city and people. The theme was freely developed regarding means and languages. The exhibition was shown in the two rooms of LAMA.SP in the Mirante do Vale Building. The 3705, already used in previous projects, housed the artist’s canvases and stones, as well as her drawings; and in room 3107 the show was finished with a sitespecific installation made with parquet pieces.

39,41-42 Parquet installation site-specific in the Exhibition In Stone, Parquet and Ink at LAMA.SP, São Paulo, Brazil (2016)

Technical drawings for Parquet site-specific installation 40

Rio Enquadrado, 2016 Museu da Casa Brasileira, São Paulo, Brazil 80 photographs 80 X 80 cm | mineral pigment in Hahnemühle paper Photo Rag 308g Artist: Leonardo Finotti Realization: MCB Miriam Lerner | Giancarlo Latorraca Curatorship and Expography: Michelle Jean de Castro Production: LAMA.SP Image Editing: Alex Souza Press: MCB Support: Carlos Alberto Filgueiras | Hotel Emiliano

iluminação individual focada para cada imagem

43 Exhibition design section

Unlike the usual 2:3 aspect ratio and color, with which the photographer works the most, the photographs of this exhibition are in B&W and square, in dimensions 80 x 80 cm. This cut established a new relationship between Finotti and his collection of images collected in Rio de Janeiro in the last 10 years. As in other works, the photo installation was designed to allow the apprehension of each work individually, as well as the understanding of the whole, presenting the strength and multiplicity of the city. The panel that supports the texts and curatorial concepts of the exhibition floats in the middle of the regular passage that connects the entrance to the garden of the museum, directing the visitor to make the visit passing first by one of the rooms of the extremities. The photographs are grouped by themes and, with the possibility of relating to each other, each room shows a different feature of the city. Passing through the large buildings and infrastructures, or by the iconic buildings of Rio’s architecture, it reaches the particular nature of Rio, combining with what is built, the exhibition pays tribute to the diversity of the city that had just celebrated its 450 anniversary.

panel in drywall painted lead gray | institutional text entry hall | curatorial text inside the room

Demonstration scheme of desired flows and division of photographs by area 44

45-47 Exhibition Leonardo Finotti: Rio Enquadrado at Museu da Casa Brasileira, SĂŁo Paulo, Brazil (2016)

SESC 70 years (not held) Sesc Pompeia, SĂŁo Paulo, Brazil 12 photographs 150 X 200 cm | backlight Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Beatriz Menezes

The proposal was made in 2016 for an exhibition commemorating the 70th anniversary of Sesc. The entity, which has always been committed to the development of architecture, would be honored in its most symbolic building: the Sesc Pompeia. The exhibit shows the trajectory that began in the 1940s, in the capital, with the creation of Social Service Centers, and expanded to the 42 units that exist today throughout the state. The photographs would take the space below the table area in the multipurpose pavilion of the old factory. The shadow area would be illuminated by the photos with backlight, each arranged on one of the concrete pillars. In each image, a different unit from Sesc, casting a glance not only on the built architecture, but also on the diverse activities and programs proposed in these structures. The history itself would be told through a text that would also be adapted to the place and, starting below the image, could extend through the floor.

48 Representation of the organization of the works in the pillars

Photographic assembly to present the proposal 49

Collection of Museums, 2017 Galeria Pilar, São Paulo, Brazil 22 photographs 31,5 X 40 cm, 8 photographs 100 X 150 cm, 32 photographs 20 X 20 cm | mineral pigment in Hahnemühle paper Photo Rag 308g Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Beatriz Menezes Production: LAMA.SP Exhibition Text: Afonso Luz Coordination: Elisio Yamada Henrique Miziara Eder Ribeiro Image Editing: Alex Souza Press: Gustavo Hiriart Representation: Galeria Pilar

50 Rendering of the composition of the works in the first room

Collection of Museums deals with an architectural typology that has become increasingly emblematic. These that could be just cultural structures, shelter of works of art, today almost blend with the sculptural element itself. Finotti’s work highlights this conversion of function and meaning and collects the collector himself. The exhibition aims to approximate works by analyzing shapes, lines and masses built both in museums and in their surroundings. The photographs depict period buildings and different spaces that become close through the photographer’s gaze. With the series of museums presented in seven photographs 100 X 150 cm, one 150 x 100 cm and twenty two photos 31.5 x 40 cm, their arrangement in the gallery meant to relate them as pairs or to line objects that apparently did not have any connection. Inhotim, in turn, that stands out in a work / installation composed by 32 images 20 x 20 cm, reveals an interpretation of the freedom that the museum itself presents. These fragments, which sometimes cut out parts of structures, sometimes relate work to surroundings, are organized with the purpose of transmitting the multiplicity of the context. The less dense elements above, while the thicker ones are distributed tangentially below, arranged with certain gaps, dissipate the object in block, attributing the complexity that is characteristic of the museum.

Render to present the proposal of the photos in 31.5 X 14 cm 51 Render for presentation of the Inhotim installation proposal 52

53-55 Exhibition Collection of Museums at Galeria Pilar, SÃ£o Paulo SP, Brazil (2017)

Leonardo Finotti: from LAMA to chaos, 2017 MUnA, Uberlânida, Brazil 59 photographs in several dimensions and varied techniques Artist: Leonardo Finotti Curatorship and Expography: Michelle Jean de Castro Collaboration: Beatriz Menezes Eder Ribeiro Production: LAMA.SP Exhibition Text: Eder Ribeiro Coordination: Maria Beatriz Cappello Lu de Laurentz Image Editing: Alex Souza Press: Gustavo Hiriart

Upon invitation for the 12th do.co,mo.mo_ Brazil seminar, Leonardo Finotti traces an overview of the 20 years of his artistic career, bringing together for the first time a composition of different series that present the photographer’s extensive visual research. The exhibition demanded a careful look of the curatorship in the selection and grouping of various studies. The expography, in turn, tried to merge the concepts used in the design of each series, many of them presented here previously, with the complexity of information and spatial organization of the museum. At the entrance of an unpublished series exhibition, the modernist legacy in Uberlândia is investigated, making comparisons between the spectator’s view of the works and their aerial images in their urban context. The images in B&W precede the upper level, where syntheses of the presented series without colors, broken only at the end of the route predominate, where prints of A Collection of Latin American Modern Architecture introduces the space with recent work on Burle Marx revisited, presented by video and vibrant backlight panels. In the lower floor, next to the color series, we find the media and the different means of communication used by Finotti to present his research. The tables with displays and the wall supports that allow the handling show the extensive process that composes the work, in addition to the final framed images.

56 Cross section with samples below and installation of the Uberlândia series

3D model of the exhibition space for exhibition organization study 57

Burle Marx and Leonardo Finotti: a dialogue, 2017 Nantou Town, Shenzhen, China 15 photographs 20 X 30 cm, 13 photographs 40 X 30 cm, 10 photographs 40 X 60 cm anti-reflective matte plexiglass Artist: Leonardo Finotti Realization: UABB Curatorship and Expography: Michelle Jean de Castro Collaboration: Eder Ribeiro Beatriz Menezes Coordination: Meng Yan Liu XIaodu Hou Hanru Image Editing: Alex Souza Press: Gustavo Hiriart

58 Rendered image for installation of the exhibition

In Finottiâ&#x20AC;&#x2122;s work, rigor in the composition of elements, plans, lines and perspectives organize the image in a precise way. So when confronted with the aerial view of Burle Marxâ&#x20AC;&#x2122;s work, the original order is reiterated. The formal organization comes from fine arts, especially from constructivism, where painting and drawing are thought of as construction, not as representation. In the exhibition, the search for highlighting the lines and the organization is conveyed by the conversation among the works of both authors. The approach through the aerial view that recovers the original drawing is confronted with the perspective of the observer, which makes the sensorial relations experimented in the projects of Burle Marx visible. Three different sizes of photographs (20 X 30 cm, 40 X 30 cm, 40 X 60 cm) are used, which fit together to relate not only the reading of the worked forms and the process, but also the different scales the works studied. The exhibition is complemented with the presentation of a video that provides yet another dimension of the projects, showing, with the aerial view, the dynamics and especially the life attributed to the works.

Sítio R. Burle Marx Rio de Janeiro, Brazil

Vargem Grande farm Areias, Brazil

Sítio R. Burle Marx Rio de Janeiro, Brazil

BNDES Building Rio de Janeiro, Brazil

Ministry of Education Rio de Janeiro, Brazil Cavanelas House Pedro do Rio, Brazil

Ministry of Education Rio de Janeiro, Brazil

Pampulha Art Museum Belo Horizonte, Brazil

Pampulha Church Belo Horizonte, Brazil

Itamaraty Palace Brasília, Brazil

Nacional Theater Brasília, Brazil Flamengo Landfill Rio de Janeiro, Brazil

Flamengo Landfill Rio de Janeiro, Brazil

Arpoador Rio de Janeiro, Brazil

Flamengo Landfill Rio de Janeiro, Brazil

Copacabana Waterfront Rio de Janeiro, Brazil

Ipanema Waterfront Rio de Janeiro, Brazil Hotel Nacional Rio de Janeiro, Brazil

Sheraton Hotel Rio de Janeiro, Brazil

Crystals Square Brasília, Brazil

Hotel Nacional Rio de Janeiro, Brazil

Barreiro Therms Araxá, Brazil

Unesco Gardens Paris, France

Schulthess House Havana, Cuba Safra Bank São Paulo, Brazil

Terreiro de Jesus Salvador, Brazil

Parque del Este Caracas, Venezuela Mangabeiras Park Belo Horizonte , Brazil

MAM Rio de Janeiro, Brazil

FIESP São Paulo, Brazil Olívo Gomes Residence S. .J. dos Campos, Brazil

Rendered image with view of supports and visual obstacles from space 59 Detail with measures for the implementation of the exhibition 60 Informative caption for each photograph 61

L’architecture d’aujourd’hui #367: Temporaire edited by Jean Michel Place 31 X 24 cm | 137 pages french | english ISBN: 978-28-589-3860-5 2013

Onde estão as mulheres arquitetas? Monolito, São Paulo, Brazil Fernando Serapião 21.5 X 29 cm | 152 pages portuguese | english ISBN: 978-85-662-7516-2 2017

michelle jean de castro | leonardo finotti

PORTO ALEGRE, BRAZIL 04JUN>31JUL2016 leonardo finotti : rio enquadrado Museu da Casa Brasileira SÃO PAULO, BRAZIL

20AUG>02OCT2016 leonardo finotti : latin america collection Galerie 94 BADEN, SWITZERLAND

03DEC2016>25JAN2016 ana catarina mousinho: in stone, parquet and ink lama-sp.org SÃO PAULO, BRAZIL

09JUN>05AUG2017 leonardo finotti : collection of museums Galeria Pilar SÃO PAULO, BRAZIL 15JUN>12AUG2017 latinitudes Museo Zorrilla MONTEVIDEO, URUGUAY

08NOV>10DEC2017 leonardo finotti: from LAMA to chaos MUnA UBERLÂNDIA, BRAZIL

15DEC2017>17APR2018 burle marx and leonardo finotti, a dialogue UABB - Nantou Town SHENZHEN, CHINA 24JUL>19SEP2018 latinitudes palacete provincial MANAUS, BRAZIL