LIGA PONTOS

With Augusto de Campos, Carlos Dias, Cipriano, Chiara Banfi, Elvis Almeida, Daniel Albuquerque, Flora Rebollo, Julien Saudubray, Leka Mendes, Matheus Mestiço, Nicolas Bourthoumieux, Pedro Mota Mattoso, Rodrigo garcia Dutraa, Vivian Caccuro and Acharya Vyakyl

On view at Tropigalpão, 118 rua Benjamin Constant, Gloria, Rio de Janeiro, from April 14th until May 13th 2023

https://artreview.com/the-top-10-exhibitions-to-see-in-may-2023/

“Liga Pontos” stems from the purpose of art as a place for breathing, meditation and mediation, presenting an intuitive dialogue, beyond time and space with Brazilian and European artists as well as the Indian Vyakul. Vyakul, one of the greatest tantric painters of modern India, was discovered by the poet Franck André Jamme. His work was first shown in the seminal exhibition “Les Magiciens de la Terre” at the Centre Pompidou in 1989, curated by Jean-Hubert Martin. Since then, he has influenced many artists, some from “Liga Pontos”, - his influence, like that of Tantric painting (dating to the 5th and 6th Centuries), long preceding us and laying both the foundations of modern abstraction and the seed of this exhibition-.

In this particular place, in which art operates a fusion between process and gesture, time and space no longer exist. Art performs its function of unifying language, as if there were no difference between signs, codes, words, sounds or images, transcending the simple mediation of ideas and concepts and their cultural manifestations.

This universal language, born from intuition and symbolization, approaches the reality to extract its essence, in a process of transmutation of the visible, similar to the work of a nuclear physicist, looking not at the object, but at the vibrations of forces that activate it. It is through abstraction that this process takes shape, and through art that we reach a subtle vision, intelligible to all, mediated by a metalanguage made of vocabulary elements from the realm of sensory perceptions and functional exchanges -words, sounds, lines, shapes, colors, and matter - elaborated through a radical simplification of formal expression.

It is on this point of symbolic compression that artists of “Liga Pontos” dialogue: words, sound, and forms rotate in Augusto de Campos' video “Caracol”. As the artist says, it is no use reading concrete poetry. You need to see it, and, in the case of “Caracol”, even hear his voice reciting the poem, rhythmically accompanied by his son Cid's music. Combining singing and drawing, Cipriano's pictorial macumba responds to the rhythmic spiral of the concrete “Caracol’: the ponto cantado (sung point) turns into a ponto riscado (doodled point), transmuting languages, evoking the ancestors -the circular time-.

They say that the world developed according to the cosmic law of sound, a sound born of and returning into silence, in a flux-reflux where form meets formlessness. The circle - the Indian bindu that symbolizes everything - becomes here the silent point, the source of all sounds. The inaudible dimension of this primordial sound receives an echo in Chiara Banfi's sculpture, which merges nature and music into a silent symphony. This subtle oscillation reverberates in Vivian Caccuri's vibrating trance. Her work opens a range of sensory perceptions that seem to pulse from the bidimensional plane, disorienting the viewer and allowing an instant and complete understanding of the real as in a psychedelic flash.

It is this sort of fleeting and mutable vision, the kind that appears behind closed eyes only to disappear as soon as we try to grasp them, that Carlos Dias seeks to reveal on canvas, with the repetition of circular patterns and his emotion-shaped palette. Similarly, Rodrigo Garcia Dutra, in the paintings that followed a trip to India, invokes, with nuances of color and essential geometric constructions, the revolution of the properties of symbolic systems that Roland Barthes bestowed on the East in “Empire of signs”.

The repetition of patterns until exhaustion, in a gesture detached from any attempt to achieve perfection, can be found in the series of paintings by Elvis Almeida. In them, the meditative silence of tantric painting encounters elements borrowed from the pop vocabulary, alternating dimensions of silence and noise in vibrant compositions. They dialogue with the geometric drawings, between objective edges and porous, molecular bodies by Pedro Mota Mattoso, artist of Ateliê Gaia, and again with the series of paintings by Julien Saudubray, in which the artist empties the internal structure of the painting to reduce it to a minimum, like so many attempts to capture retinal sequences – our psychedelic flash again –

These flashes could recall Leka Mendes' celestial forms, like the spots that the sun makes on closed eyelids. The shapes that float on the dyed fabrics – obtained through a process of color removal - create galaxies that refer to our relationship with the macrocosm and nature. This cosmic dance also animates Flora Rebollo's works, in a coming and going between the micro and the macro. Spirals and shapeless creatures scatter in space or on the canvas, while an egg disputes the gestation of the world with a symbolic serpent. Sinuous, like the kundalini that runs through the spine, Vyakul's drawing, in its simplicity, perhaps synthesizes in the purest form, the vibration that art tries to capture. Vyakul, “the excited one” in Sanskrit - because he went through repeated crises during which he needed to paint until exhaustion and the next creative surge - also reveals the role the artist plays in this process, as a vector of the reality, revealing fragments of what exists beyond perceptions. The cornerstone of the exhibition, the work stretches a thread through time and space, from India in the 5th century, to today, far from its place of origin, also mirroring the central role that non-linear time occupies in Matheus Mestiço's process. In it, the artist's hand is limited to following the spells of the passing hours with an economy of gestures, and to highlighting the charms of a world which swings between Indigenous and African ancestry. A physical-metaphysical time interpretation finally closes the circle, with Nicolas Bourthoumieux and his installation, in which an apple and a metal sphere tensioned by steel cables float above the horizon line, and with Daniel Albuquerque and his knitted square, whose thread reflects the literal translation of the word "tantra".

In this exercise of intuitive connections, and unlike the connecting dots game from which the exhibition's title is inspired, there is no logical order or hierarchy in “Liga Pontos”. Everything is connected and conversational, the narratives intersect and relate freely and transversally, beyond their cultural contexts, in some place free of defined borders, a place of lowest common denominator, where linear time and circular time dance together.

With the kind participation of galerie du jour - agnès b.

Augusto de Campos (São Paulo, 1931). Poet, essayist, literature and music critic and translator. He published his first book of poems, "O REI MENOS O REINO" in 1951 and launched, along with his brother Haroldo de Campos and Décio Pignatari, the magazine "Noigandres", the origin of the Noigandres Group that started the international movement of Concrete Poetry in Brazil in 1952.He participated in the First National Exhibition of Concrete Art -Plastic Arts and Poetry- at MASP in 1956. His work has been included in several international exhibitions and anthologies. Among his recent exhibitions are the individual ones LENGUAVIAJE. La Despoesía de Augusto de Campos. Casa de Iberoamérica, Cádiz, Spain (2022); Transletras. Biblioteca Mário de Andrade, São Paulo, Brazil (2021); Poema cidadecitycité pela cidade. Biblioteca Mário de Andrade, São Paulo, Brazil (2020); Poems and Counterpoems. Luciana Brito Galeria, São Paulo, Brazil (2019); O Pulsar. Luciana Brito Gallery, São Paulo, Brazil (2017); Rever. Sesc Pompéia, São Paulo, Brazil; Sesc Santo André and Sesc Araraquara (2016-2017). He has participated in recent group exhibitions: Tercer Ojo. Colleción Constantini en Malba. MALBA, Buenos Aires, Argentina (2022); Utopias and Dystopias. Museu de Arte Moderna da Bahia, Salvador, Brazil (2022); Concrete Global! Museum im Kulturspeicher Wurzburg, Wurzburg, Germany (2022); Momentum Biennale. Nordic Biennial of Contemporary Art, Moss, Norway (2021); Sonhei em Português!. Museu da Língua Portuguesa, São Paulo, Brazil (2021); Brasilidade Pós-Modernismo. Centro Cultural Banco do Brasil, São Paulo, Brazil (2021); LB/Online Video Festival. Luciana Brito Galeria, São Paulo, Brazil (2020); Konkrete Poesie. Opelvillen Rüsselsheim, Germany (2019); Rupture. Luciana Brito Galeria, São Paulo, Brazil (2018); Concrete Poetry. Getty Research Institute, Los Angeles, USA (2017); Mercosul Biennial. Santander Cultural, Porto Alegre, Brazil.

Carlos Dias (Porto Alegre 1975, lives and works in São Paulo). A self-taught artist and musician, Carlos Dias is multifaceted. From his experience as a musician in bands like Againe, Polara or Caxabaxa and collaborations with CPM22 or Cansei de Ser Sexy, he transposed his interest in the experimental and the collective to his visual art practice. Marked by a strong gestural painting, his artistic research dialogues with subculture aesthetics, automatic drawing, popular art, pop culture, and historical or contemporary artistic references. Among his exhibitions, we can highlight: 2022, BROTA - solo exhibition, GRUTA; 2018/ Jean-Michel Basquiat, COLEÇÃO MUGRABI - group exhibition, CCBB, São Paulo, Brazil; 2015/ AVOLVER - solo exhibition, Península Gallery, Porto Alegre, Brazil; 2014/ Acessos - solo exhibition, Logo Gallery, São Paulo, ; 2013/ A paço ao seu alcance - Retrospective, Paço das Artes, São Paulo, Brazil.

Cipriano (Petrópolis, 1981). Participated in exhibitions - SESC art gallery, Raul de Leoni Culture Center, Live Design Festival Webinar of the Centro Cultural Banco do Brasil de Brasília - CCBBBRASÍLIA, São Paulo Cultural Center - CCSP, Rio de Janeiro Modern Art Museum - MAM, Rio do Janeiro Art Museum - MAR. Member of the Black Memory Museum of Petrópolis. Graduated in Literature from the Catholic University of Petrópolis - UCP, post-graduated in Methodology of Arts Teaching from the International University Center - Uninter, Master in Education from the Federal University of Juiz de Fora - UFJF. Referenced by symbols from Umbanda, Rubem Valentim, Glenn Ligon. Using grammatical elements, elements of Afro-Brazilian cults, macumbas, to name his artistic works. His poetics is a mixture of Afro-Brazilian art and expressive gestures in ubuntu thought in Brazilian society.

Chiara Banfi (São Paulo, 1979, lives and works in Rio de Janeiro). Chiara Banfi's interest lies in the confluence between nature and sound - or nature and music. She graduated in Fine Arts in 2003 from Fundação Armando Álvares Penteado (FAAP), São Paulo. The artist has exhibited frequently in several institutions in Europe and the USA. She was a resident in the Art in Residency Program at Gasworks Gallery, London, England - winning the 1st prize Chamex Young Art in 2005 and 2008 Mountain School of Arts in Los Angeles, USA. In 2003 he won the Bolsa -Prize - 35th Annual Art Exhibition, FAAP, São Paulo, Brazil. Among her solo exhibitions we can highlight "Firehouse", De Vleeshal, Middelburg, Holland, 2005; "Sweet Melody" - LABF15 - Lyon - France, "Crossings, Encounters", Boston Arts Academy, Boston, USA, both in 2006 and "Ebu d'água", Oi Futuro, Rio de Janeiro, 2017, "Take 3", Vermelho gallery, São Paulo, 2022 and "Tempo", Silvia Cintra gallery, Rio de Janeiro, 2022 .Among her group shows we can highlight: "Uniqueness and Convergence. "Loud Sound", online show (2020), "ABALO", New Frequencies Festival, Rio de Janeiro (2019), Special Exhibition of BRICKS Alliance of Museums and Art Galleries" - National Art Museum of China - Beijing - China, 2018; - "Franciscan Nature" - Museum of Modern Art (MAM SP) - São Paulo - Brazil, 2016;  "Imagine Brazil" - DHC/Art Foundation for Contemporary Art - Montreal - Canada, 2015; "Prospect 1" - Museum of Contemporary Art San Diego, USA; "Tomie Ohtake Correspondences" - Tomie Ohtake Institute - São Paulo - Brazil, 2013.

Elvis Almeida (Rio de Janeiro, 1985, lives and works in Rio de Janeiro). With a degree in engraving from the School of Fine Arts at the Federal University of Rio de Janeiro, Almeida took silkscreen classes with Evany Cardoso at the Parque Lage School of Visual Arts, and Art History with Jailton Moreira, at Rede Maré, Rio de Janeiro. In 2007, he received the Furnas Sociocultural Incubator Scholarship for Artistic Talents, as well as the First Prize in the Graffiti Category of the 47th Plastic Arts Salon of Pernambuco (BR). In 2009, he participated in the VI SIART International Art Biennial in La Paz, Bolivia, and exhibited at Iluminando o Novo, Largo das Artes and at Espaço Furnas Cultural, as well as at Vem Na Mão, Centro Cultural Justiça Federal in Rio de Janeiro (BR). Among his exhibitions are the solo shows Uma Cidade de Xapisco Dividida por um Muro de Cau, Galeria Amarelonegro, Rio de Janeiro (2010), Elvis Almeida, Mercedes Viegas (2016), Estrada nebulosa sem olhos de gato, Mercedes Viegas (2019) and A Mentira Mais Próxima do Coração, galeria Marli Matsumoto (2022). She has also participated in the group exhibitions Abre Alas 6, at Galeria A Gentil Carioca; Arquivo Geral, at Centro Carioca de Design, Rio de Janeiro, and Reality Reimagined, Modified Arts, Phoenix, United States. He participated in Arte Pará 2011, Belém (BR) and won the 2011 Forest Interactions grant, from Terra UMA (Brazil). In 2012, he presented Urban Grammar at the Hélio Oiticica Art Center. In 2015, he participated in the group exhibition MANIFESTO, Mercedes Viegas Arte Contemporânea (RJ). She participated in the group exhibition Brisa at Galeria Quadra in São Paulo in 2021 and Espumas Siderais at Galeria Marli Matsumoto in São Paulo in 2022.

Daniel Albuquerque (Rio de Janeiro, 1983, lives and works in São Paulo). His artistic practice begins in 2012, the year he started his postgraduate studies in Art and Philosophy at PUC-Rio and courses at EAV Parque Lage. She holds a master's degree from the Graduate Program in Social History of Culture at PUC-Rio. Among her recent exhibitions are the solo shows "Fissura // Inquisition', Marli Matsumoto, São Paulo (2022); "Cômodo", Pivô, São Paulo; "Batom", Cavalo, Rio de Janeiro (2018); "Oral", BFA, São Paulo (2017). Noteworthy are the group shows in which she participated "36th Panorama of Brazilian Art" (2019); "The House where you live forever" Garage Rotterdam, Netherlands (2019); "Perdona que no te crea", Carpintaria, Rio de Janeiro (2019); "A terceira mão", Fortes D'Aloia & Gabriel, São Paulo; "Choro e lágrimas não têm sotaque", Camden Arts Council, UK (2016); "Ballast in the field", SESC Consolação, São Paulo (2016); "Permanências e Destruições", curated by João Paulo Quintella, Rio de Janeiro (2016).

Flora Rebollo (1983, lives and works in São Paulo). She graduated in Visual Arts at the University of São Paulo (USP), with an exchange program at the École Nationale des Beaux Arts de Lyon, in France. In her drawing, Rebollo's most recurrent creative practice, the artist uses a series of graphic features that result in large-scale compositions that instigate by the profuse use of electric and muddy colors, in elusive forms that incessantly reconstruct themselves. He had individual shows in 2022 with "O Primeiro Dia de Dadá" at Galeria Quadra (Rio de Janeiro) and in 2021 with "Cinco Pontas," at Projeto Vênus (São Paulo). In 2018, she participated in the exhibition "Rocambole" at Kunsthalle, Lisbon, in the Art Dubai Residency Project; in the group exhibition "Las flores azules que están hablando..." at IK Projects in Lima, Peru and in the group exhibition "Comigo ninguém pode" at Jaqueline Martins Gallery in São Paulo, Brazil. In 2017 he held a solo exhibition at Galeria Pilar in São Paulo and participated in the residency "Pivô Research Program". In 2016 she held her first solo exhibition at Centro Cultural São Paulo. In recent years he participated in the group exhibition "Coisas sem Nomes" at Tomie Ohtake Institute, the "XI Bienal do Recôncavo", where he won the Grand Prize (artistic residency in Milan, Italy). In 2018 his work became part of the collection of the Pinacoteca do Estado de São Paulo.

Julien Saudubray (Paris 1985, lives and works in Brussels, Belgium). A graduate of the Ecole Nationale Supérieure des Beaux Arts de Paris in 2012, the artist has since exhibited in the US, France, England, Italy and Belgium. Julien Saudubray synthesizes his experiences into a practice that he defines as mechanistic. By reducing subjectivity to a minimum through the methodical application of layers of color on the wall or paper, he evacuates the subject from the painting to reveal its internal structure. From the reduction of the latter to an arbitrary and repetitive action, sweeping, sanding, erasing, adding, the paintings emerge as captures between different moments, almost resembling bad fingerprints, repeatedly reproducing their potential success.

Leka Mendes (São Paulo, 1980, lives and works in São Paulo). She graduated in Industrial Design / Visual Programming from Faculdade de Belas Artes after studying architecture at the same college. With a production based on photography, her works range from installation, objects, artist books and photography itself. One of his main focuses relates to the effects of human activity on the transformation of the landscape. She has had solo exhibitions at Temporada de Projeto - Paço das Artes, São Paulo, 2022 and Projeto Ênfase, Galeria Fauna, São Paulo, 2015 and participated in group exhibitions such as Sideral Bubbles (part I) and Sideral Foams (part II), Galeria Marli Matsumoto, São Paulo, 2021; Material Remains, Espaço Jovem (yngspc), online-offline contemporary art platform, 2021; No one will raise our flag, public thoroughfare, São Paulo, 2021; Segunda Naturaleza, Galeria Fernando Pradilla, Madrid, Spain, 2020; 16th Abre Alas, A Gentil Carioca, Rio de Janeiro, 2020; Brief narratives of dreams, Casa da Luz, São Paulo, 2020; 1st Britânia Museum of Arts (MABRI) Salon, Britânia, Goiás, 2019; Presentation: Representation, Fidalga Project, São Paulo, 2019; Elogio à casa que se abre para perder de vista, Bolsa de Arte Gallery, São Paulo, 2018; 25th Plastic Arts Salon of Praia Grande, São Paulo, 2018; Library of Love, CAC _ Contemporary Arts Center, Cincinnati, USA, 2017/ 2019; Haciendo Dias, Centex, Valparaiso, Chile, 2017. .. His work has been part of the collections of MAR (Museu de Arte do Rio), Rio de Janeiro; MABRI, Museu de Arte de Britânia, Goiás; CCSP, Centro Cultural São Paulo, São Paulo, Brazil; The Fine Art Laboratory, FAL -Universidade de Arte de Musashino, Tokyo, Japan; MARGS, Museu de Arte do Rio Grande do Sul, Porto Alegre; Fundacíon Luiz Seoane, La Coruña, Spain.

Matheus Mestiço (Minas Gerais, 1987, lives and works in Rio de Janeiro). A self-taught artist, Matheus Mestiço began producing art in 2014 to rescue his Afro-Indian ancestry. His artistic research derives from his ethnic and racial identity and evokes primitive elements of the subjective and the enchanted, resulting from the contemplation of time as an agent for polishing all forms. The artist establishes a relationship with another conception of time as mythical, circular and logical time. Through a variety of media, Mestiço develops an intuitive codification, organizing forms, elements, and instants that connect and constitute a personal pictorial narrative. Mestiço first showed in 2022 in the painting of Awakening Unconscious, Casa Bicho, Rio de Janeiro. His works are already part of private collections in Brazil.

Nicolas Bourthoumieux (Toulouse, 1985, lives in Brussels, Belgium and Bagnères de Luchon, France). He works with sculptures, installations, photography, video and paintings and acts as curator at Brasserie Atlas. His work has been exhibited in Europe and Brazil. His solo exhibitions include: "Travail&Information", Centre Wallonie-Bruxelles, Paris, 2021; "Us and Them", Fidalga Project with The Bridge Project, São Paulo, Brazil (2018) ; "Ailleurs 2", organized by Michel François, Brussels, Belgium (2017), "Der Tag der doppelten Morgendämmerung" Fugitif, Leipzig, Germany (2016); "Le dernier second" , B. A.D, Brussels, Belgium (2015); "Farewell spit", SKREI, Porto, Portugal (2015); "Nicolas Bourthoumieux", Galerie Catherine Bastide, Brussels, Belgium (2015). His recent group exhibitions include: "Parade," Radicale 1924, Saint-Cirq Lapopie. France (2022); "Sans Objet," Camoufleur, Lille. France, 2021 ; "Small Sculptures", Galerie Michel Rein, Bruxelles (2021) ; "Satellite", Catherine Bastide Project, Marseille (2021) ; "Des choses vraies qui font semblant d'être des faux-semblants", Friche de la Belle de Mai/Panorama, Marseille (2021); " Ulterieur2021 ", Avee Gallery, Courtrai, Belgique (2021) ; "Uncanny ", 10N, Bruxelles (2021) ; " Inside-out ", Musées Royaux des Beaux-Arts de Belgique, Brussels (2020) ; " Les choses d'ici-bas ", Galerie Duflon Racz, Brussels (2020) ; " The Tyndall Effect ", Central galeria, São Paulo (2020).

Pedro Mota Mattoso (works and lives in Rio de Janeiro). He is interested in drawing and painting.  Participated in the exhibition Atelier Gaia, um pedaço de Nós (Gaia, a piece of Us) at Universidade Veiga de Almeida - Barra da Tijuca Campus and in the IV Mental Health Activity Week at Universidade Estácio de Sá - Norte Shopping Campus. Participated in the exhibition "Bispo do Rosario - I Came: Apparition, Impregnation and Impact" at Itaú Cultural, São Paulo, in 2022, the exhibition Places of Delirium, curated by Tania Rivera through collaboration with the artist Gustavo Speridião, held in 2017 at the Rio Museum of Art and in 2018 at SESC Pompeia (SP). At Museu Bispo do Rosário Arte Contemporânea he participated in the exhibitions Play (2013), curated by Marta Mestre and Fernanda Pequeno and Sobrevivências: About Experiences (2017) curated by Ricardo Resende.

Rodrigo Garcia Dutra (Rio de Janeiro, Brazil, 1981). He holds a Master of Fine Arts from Central Saint Martin of Art and Design, London, UK (2009) and a Master of Sculpture from the Royal College of Arts in London, UK (2014). He received an award from Fundação Bienal de São Paulo, SP, Brazil Contemporary Art Program and participated in the following exhibitions: "Tomorrow: London" at South London Gallery, London, UK, "Historias Mestiças " at Instituto Tomie Ohtake, São Paulo, 18th Sesc Videobrasil Contemporary Art Festival, São Paulo and "Open Cube" at White Cube, London, UK. His works have been acquired by important public collections such as the British Government Art Collection, Museu de Arte de São Paulo - MASP, Museu de Arte do Rio - MAR, Museu Nacional da República de Brasília, Casa da Cultura da América Latina da Universidade de Brasília - CAL/UNB and the Andrea and José Olympio Pereira, Charles Cosac and Kirkland Collection, London, UK. Her artistic research practice goes back to past moments in time that influenced the aesthetics of the world as we perceive it today by reworking these elements through drawing, painting, bronze casting, charcoal brushstrokes, and video editing.

Vivian Caccuri (1986, São Paulo, lives and works in Rio de Janeiro). Vivian Caccuri investigates musical cultures and sound productions in a broad sense, proposing experiences that go beyond the auditory field and encompass the visual, the corporeal and the technological and reflect on historical and cultural conditioning that establish distinctions between noise, music, natural sounds and silence. Graduated in Fine Arts in 2007, the artist has participated in several group exhibitions in Brazil and abroad, among which stand out: in 2013, the 33rd Panorama of Brazilian Art at the Museum of Modern Art of São Paulo (MAM-SP); in 2016, the 32nd São Paulo Biennial - Living Uncertainty; in 2022 Brazilian Stories, at the Museum of Art of São Paulo (MASP) and the 13th Mercosul Biennial, in Porto Alegre, RS; in 2018, she participated in the 11th Mercosul Biennial and the People's Biennale - Kochi-Muziris, Biennale Foundation, Kochi & Kerala, India; in 2019, the show Somos muit+s, Pinacoteca do Estado de São Paulo and The Shape of a Circle in the Mind of a Fish with Plants (General Ecologies Project), with commissioned work at Serpentine Galleries, London, UK. Also in 2019, the artist participated in the Venice Biennale - May you Live in Interesting Times; TabomBass, FAENA Art, Miami, USA; As If: Alternative Stories from Then to Now, The Drawing Center, New York, USA. In 2020 he was part of Freedom is outside the skin, Kunsthal 44Møen, Møen, Denmark and The Musical Brain, at High Line Arte, New York, USA. Caccuri also had solo shows in galleries and institutions, such as: in 2022 Descomprimidos, Millan, São Paulo; Mosquito Revenge, at Kunsthal 44Møen, Møen, Denmark; The Shadow of Spring, in partnership with Miles Greenberg, New Museum, New York, USA. In 2019, A Soul Transplant, Röda Sten Konsthall, Gothenburg, Switzerland and in 2018, Standing Water, MAC Niterói. Vivan Caccuri's work is in the public collections of MAR - Museu de Arte do Rio, Rio de Janeiro; Pinacoteca do Estado de São Paulo, São Paulo and the Institute of Contemporary Art, Miami.

Vyakul Acharya (Rajasthan, India, 1930 - 2000) A self-taught artist, his work oscillates between folk art and tantric art. She is part of the collections of FAB and Galerie du Jour (Agnès B.) in Paris and the Museum of Modern Art in New York. Her unique color palette is the result of the handmade pigments she obtains from plants, stones, clay, cow urine, charcoal, glues, flowers and powders.