Ascânio MMM

Ascanio MMM (Fão, Portugal 1941)

Ascanio MMM is a sculptor and painter. He has lived in Rio de Janeiro since 1959. He attended the National School of Fine Arts (ENBA) from 1963 to 1965. During this time, he developed his first sculptural works, using geometric wooden solids. In the mid-1960s, he maintained a studio with colleagues from ENBA, including Antonio Manuel (1947). He completed his degree at the School of Architecture and Urban Planning at the Federal University of Rio de Janeiro (FAU/UFRJ) in 1970.

He worked as an architect until 1976. In the early 1970s, he used wooden slats, arranged in vertical and horizontal progressions, to create the ludic boxes, a type of wooden base on which the viewer could move hollow, square-shaped frames, interspersed, and of decreasing size. Since the 1970s, he has used acrylic and anodized aluminum profiles (rectangular tubes) to create the boxes and multiples.

At the end of the following decade, he created the first Piramidais, sculptures that present gradual displacements of the wooden slats or aluminum tubes, creating internal voids. In 2005, the book Ascânio MMM was released by Andrea Jakobsson, with texts by Paulo Sergio Duarte, Marcio Doctors, Lauro Cavalcanti and Fernando Cocchiarale.

About the artist

Ascanio Maria Martins Monteiro was born on September 16, 1941, in Fão, Minho province, northern Portugal. As a child, he became familiar with wood and tools in the workshop of his great-uncle José Linhares, former owner of a shipyard at the mouth of the Cávado River. A regular at Sunday Mass, he helped decorate Baroque churches and set up nativity scenes. He took frequent walks to the Ofir pine forest, whose summer homes boasted modern architecture. The cleanliness of the space and furniture fascinated him. At 12, he considered becoming an architect. They were dwellings without memory, free from all constraints, he later observed. From the ages of 13 to 17, he worked in a hardware store in Esposende.

His father, Manuel Campos Monteiro, decided to follow the migratory flow of his compatriots to Brazil. The family's departure was dispersed. His father arrived in South America in 1954. Two years after settling in Rio de Janeiro, he requested the arrival of his eldest son. Ascânio was reluctant. Having begun reading at the Calouste Gulbenkian Foundation's traveling library, he wanted to study in Porto. His brother, Manuel, traveled to Brazil before him, in 1958. It was only in April 1959 that Ascânio and his remaining family (his mother, Maria Carmina Martins Moledo, his great-aunt Rosa, and his siblings Fernanda, Jorge, and Carmina) crossed the Atlantic.

He was just over 17 when he first experienced the metropolis. With a home address in the Estácio neighborhood, he found work in a hardware store, then in a construction office, and completed his studies at night. From 1962 onward, he worked at the Portugal Tourism Center in the Castelo neighborhood. In 1963, he saw his first visual arts exhibition at the National Museum of Fine Arts. That same year, he enrolled in the painting program at the National School of Fine Arts (ENBA) at the University of Brazil. The goal was to acquire drawing skills and prepare for his architecture exams. His interest grew significantly at the Museum of Modern Art in Rio de Janeiro, with a solo exhibition by Ivan Serpa in 1965.

The painter's Black Phase, with its deliberately expressionist figuration, surprised him. At the same museum, he discovered the bronzes of the Englishman Henry Moore, marked by the tension between the compact and the empty. In 1965, he enrolled in the School of Architecture and Urbanism (FAU) at the Federal University of Rio de Janeiro (UFRJ), on the University City Island, and began systematically observing urban plan models. He then collected materials from carpentry shops and created his first works with wood. In 1966, he was impressed by the exhibition of the English artist Victor Pasmore, who simultaneously developed geometric abstraction and organic morphologies in painting, reliefs, and engravings.

He maintained a studio in the Tijuca neighborhood with Antonio Manuel and students from ENBA. In 1967, he was introduced to the critic Mário Pedrosa. In late March 1968, he witnessed all the decisions made for the funeral of high school student Edson Luís Lima Souto, murdered by the Military Police. Involved in student politics since the previous year, Ascânio collaborated on the production of the newspaper of the Atílio Correia Lima Academic Directory of the FAU/UFRJ. The last issue, with articles against the military government, came out just days before the decree of Institutional Act No. 5 by Marshal Arthur da Costa e Silva on December 13, 1968. The state of emergency was established.

Also in 1968, he began to frequent Ivan Serpa's house. A member of the so-called AI-5 generation, immediately following the new figuration, and even though his interests focused on form and construction, Ascânio trained alongside Antonio Manuel, Cláudio Paiva, Manuel Messias, Raymundo Colares, Vera Roitman, and Wanda Pimentel, and conceptual artists such as Artur Barrio, Cildo Meireles, Luiz Alphonsus, and Odyla Ferraz, who chose the Museum of Modern Art as the nerve center of the visual arts in Rio de Janeiro. "Our group was in the wake of the student movement; there was no theoretical foundation," he recalls.

After leaving the Portuguese Tourism Center, he completed architecture internships until graduating on March 11, 1970, from FAU/UFRJ. In April, he became a Brazilian citizen. Having recently graduated, he worked in engineering offices in Rio de Janeiro and Vitória, Espírito Santo. From 1971 to 1973, he was part of the team that implemented the automatic signaling and duplication system for the Vitória-Minas railway. However, he maintained a studio in Rio de Janeiro. He married Ana Maria Ferreira da Costa, a history professor at the Federal University of Rio de Janeiro (UFRJ), on January 12, 1974, in the Santa Teresinha chapel in the Laranjeiras neighborhood. That same year, he visited Europe for the first time since immigrating. On January 22, 1976, Laura, his first daughter, was born.

This was also the last year in which, alongside his work as a sculptor, he developed architectural projects. On October 4, 1978, Joana, his second daughter, was born. His stint at the National Art Foundation was brief, responsible for the planning, coordination, and assembly of the III National Salon of Visual Arts: exactly nine months, between 1979 and 1980. In 1981, he was invited by Rui Rocha Veloso, president of the Brazilian Institute of Architects, Rio de Janeiro Department (IAB-RJ), to direct the non-commercial art gallery, aiming to foster debate on the relationship between art and architecture.

To share the directorial and curatorial duties, he invited painter Ronaldo Macedo and architects Ana Maria Pires Ribeiro and Antônio José Pedral. The IAB-RJ Art Gallery, located in the Botafogo neighborhood, opened on May 18 of the same year, with a retrospective exhibition of the work of sculptor Franz Weissmann. After solo exhibitions by Maria Leontina, Joaquim Tenreiro, Abraham Palatnik, and Ione Saldanha, to name a few, always intended as a summary of a career, the gallery's activities were summarily closed, without any justification or prior consultation with its curators.

In a letter to the press, dated late November 1982, they communicated the institute's new management's lack of interest in continuing the work, despite the excellent reception from architects, visual artists, specialized critics, and the general public. In 1983, following the installation of Módulo Rio (1971-83, painted aluminum, 350 x 430 x 600 cm) on the promenade of the Argentina building, Botafogo beach, Ascânio developed the idea of ​​an art space with João Augusto Fortes, director of João Fortes Engenharia.

The partnership began when, as head of the IAB-RJ Art Gallery, he convinced the businessman to finance the catalogs for the retrospectives of Maria Leontina and Joaquim Tenreiro. For the next seven years, Ascânio shared the management of the Galeria do Centro Empresarial Rio with painter Ronaldo Macedo and João Augusto Fortes. The program consisted of the first solo exhibitions of artists from the 1980s generation (Angelo Venosa, Daniel Senise, and Jorge Barrão, for example), the annual Novos Novos exhibition, featuring discoveries in Rio de Janeiro's contemporary art scene (Adriana Varejão, Cristina Canale, Márcia X, Salvio Daré, to name a few), post-mortem exhibitions by the renowned Aloísio Carvão, Artur Barrio, Lygia Pape, and Raymundo Colares, and a first mapping of high-tech art in Brazil, with works by Eduardo Kac and Júlio Plaza, among others.

In 1990, in the context of the economic plan of the Fernando Collor de Mello government, and due to changes in the cultural policy of João Fortes Engenharia, the Galeria do Centro Empresarial Rio was closed. A keen observer of the government's cultural policies at the municipal, state, and federal levels, Ascânio is regularly consulted by Rio de Janeiro's leading newspapers. Between 1985 and 1996, he wrote the articles "The artist must participate," in which he calls for the engagement of his peers in criticizing institutional agendas; "Exhibition of abandonment," in which he notes the lack of political and financial support for the visual arts as something contrary to Rio de Janeiro's strong cultural tradition, even proposing the reuse of port warehouses for large art exhibitions; and "Rio needs references," in which he criticizes the absurd spending on streetlights for Rio-Cidade, the Rio de Janeiro City Hall's urban redevelopment program, to the detriment of the acquisition of sculptures to mark public spaces.

In 1986, he completed the expansion of his three-story studio, located at the same address where he had lived with his family since 1972: 165 Aureliano Portugal Street, in the Rio Comprido neighborhood. In 1989, exactly thirty years after arriving in Brazil, he held his first solo exhibition in Lisbon, a partially retrospective exhibition. In late 1991, he was invited to direct an art gallery designed for the RB1 building on Rio Branco Avenue in downtown Rio. To respond to this entrepreneurial initiative, he enlisted the painter Ronaldo Macedo, a longtime partner.

The RB1 Contemporary Art Space opened in January 1992 with Sculpture 92/Seven Expressions, featuring works by Amílcar de Castro, Angelo Venosa, Cristina Salgado, Frans Krajcberg, Franz Weissmann, Lygia Pape, and Tunga. For reasons unclear, it closed after the show. In May 1997, Module 6.5 (1970-97, painted aluminum, 300 x 900 x 450 cm) was installed as a Monument to the Integration of the Americas on Presidente Vargas Avenue, across from the São Sebastião Administrative Center, Rio de Janeiro City Hall. At the time, Ascânio suggested to Mayor Luiz Paulo Conde that he lend, for a limited period, abandoned houses in the Estácio neighborhood, which had not paid urban taxes for years.

In exchange for setting up studios and holding exhibitions, the artists receiving the grant were required to maintain the interior of the properties and restore their facades, preserving their styles. In September of the same year, he was awarded the Order of Merit, Commander's degree, by the President of Portugal, Jorge Sampaio, at the São Clemente Palace in Rio de Janeiro. Two years later, Piramidal 12.5 (1993-99, anodized aluminum, 620 X 286 X 128cm) became the artist's first work to occupy a public square in his home country, with an installation in Largo do Cortinhal, in Fão. After almost three decades, he moved his studio from Rio Comprido to Rua Corrêa Vasques, in Cidade Nova. He lives in Rio de Janeiro, in the Humaitá neighborhood, on Rua Mário de Andrade. The house number is also emblematic of Brazilian Modernism.

Comentário Crítico

Since the beginning of his career, Ascânio MMM has opted for a constructive abstract language. He uses wooden slats—initially painted white—articulated around an axis, producing sinuous and harmonious forms. Later, the rhythm of the forms gives way to straight lines, and the sculptor begins to incorporate the color and texture of the wood, enhancing the material's specific visual qualities and further exploring the tension between matter and form.

In other works, he uses bolted aluminum profiles (rectangular tubes), which articulate to form a play of solidity and void. In these works, the alternation between solidity and great lightness of the structures is noticeable. As critic Wilson Coutinho notes, in the Piramidais series, begun in the late 1980s, the symbolic character arising from form is further emphasized. In these sculptures, which reveal disturbing voids and unexpected cuts, the artist also displays greater rigor in structuring compared to his earlier works.

Critiques

"The aluminum profile sculptures are intended above all for the eye. Only the eye can perceive the alternation between solidity and lightness experienced as we move around them. Before them, we can see, retrospectively, that Ascânio's work begins on the surface of the forms (painted helical sculptures), goes beyond their skin (raw wood sculptures), and finally penetrates their entrails (aluminum pyramids). The surface, flesh, and entrails of the work are simultaneously revealed in a kind of synthesis of the sculptor's trajectory through deliberate constructive operations (choice of modular material, planning of the cut, articulation of the parts, etc.). Skin and upholstery exist only functionally, determined by the structure. The hollow modules equalize sets that, resistant to touch, appear vibrant to the eye, the only sense capable of traversing the body of the work, continuously and variedly. The pyramidal form, whose charge Symbolicity needs no comment; it functions in Ascânio's sculptures as a paradigm of constructivism. The stone pyramids of ancient civilizations had no defined utilitarian function. The future filled them with mysteries hidden in the heavy stone blocks with which they were erected. The Pyramids also differ from their contemporary utilitarian counterparts, but in their constructed lightness, they do not intend to enclose any mystery other than that of their own presence.
Fernando Cocchiarale
Cocchiarale, Fernando. Ascânio MMM. In: Ascânio MMM. n. p.

"It's an act of construction: brick upon brick." Ascânio defines his work as a sculptor with this phrase. The connection with the artist's architectural training couldn't be clearer. And, indeed, all of his work is based on architectural rigor. Thus, the creative cycle begins with the study of reduced-scale modules, the models, with which the sculptor designs and calculates the shape and size of each piece, leaving no room for any possible dispersion. Almost all of Ascânio's work is produced in wood. Aluminum was already used at one point—with it, clusters were made, honeycombs that repeated themselves, gradually decreasing in volume until reaching the apex, forming cross-sections of pyramids—with results quite different from what has been achieved so far in wood. (...) Without abstracting from any of the demands made until now—on the contrary, he increased them—and with the fatality of a true creator, he courageously reinvents all his conceptions and gives us a vigorous demonstration of what he is willing to accomplish: a full and complete work, rooted in reality and destined to influence man."
Francisco Bittencourt
Bittencourt, Francisco. Ascânio: thesis and antithesis. In: Ascânio MMM: works. n. p.

"Ascanio then worked with a single element: the slat. With this minimal materiality, Ascanio created sinuous movements; he opened them (his works) to curves, semi-curves, sinuosities, volutes. A constructivism of torsion, of balance as suspension for flight, of the boldness of matter that goes into space as if to explode and, at the same time, produces tension and harmony. The calculated torsion disrupted the gaze, introducing the viewer to the interplay between rigor and order. From this arises Ascanio's strategy: a structural baroque. At the same time, such works are stripped down; they articulate their own rhythm; they are not bound by any illusionism. On the contrary, they are structural orders that generate the formal tension of his works. The work with sawn, drilled, and glued slats is done so that, due to their structuring, they create a space not previously determined. 'Space is not a ready-made order, in which objectives are gradually placed. On the contrary, it is the ordering of the work's elements that guides its structuring," analyzed the painter Ronaldo do Rego Macedo in 1981. Even what is optical in his reliefs depends on these ongoing structures, synthesized almost didactically in his famous playful boxes of 1968-1969, objects that, when manipulated by the viewer, generate complex forms."
Wilson Coutinho
Coutinho, Wilson. Ascânio MMM. In: Ascânio MMM: piramidais. n. p.

"The sculptures by Ascânio MMM that have become best known, those most present in public spaces, seem to me like visual manifestations of scores by Terry Riley or Steve Reich. The white color, avoiding chromatic flourishes, the minimal offset of the angle in arithmetic progression, differentiating the successive superpositions of the elements—the slats—always maintaining the same displacement around the axis generating the helical torsion, the disciplined rigor of the structure, everything in its conception recalls the music of the pioneers of what came to be called minimalist music. Elegant in their curves, they cannot escape being defined as baroque. (Incidentally, a Brazilian vice: here, every time a critic sees a decent curve, he labels it with a strong historical connotation; and there would be no problem if the widespread use of the term didn't eclipse closer issues.) In fact, Ascânio's curves, in the sculptures of detached slats, are sumptuous and at the same time discreet, in the sense strict of the word, because they are contaminated by logical-mathematical reasoning and could perfectly well be represented in clear algorithms. They launch generous sinusoids into the air, seeking support on tangents to the ground. In other cases, they rise vertically, like totems of reason, starting from the initial helical twist to sometimes end in a more extended rectangular surface. They coexisted with a participatory experiment in the late 1960s, exceptional works made in boxes that allow the spectator to manipulate them. However, even in this case, the game and the playful aspect are subject to geometric asepsis, to a refined aesthetic averse to subjective excesses.
Paulo Sérgio Duarte
DUARTE, Paulo Sérgio. Reason as Poetic Dogma. In: Ascânio MMM. Ascânio MMM. Rio de Janeiro, Andrea Jakobson, 2005, p. 8.

Solo Exhibitions

1969 - Rio de Janeiro, RJ - Solo exhibition, Galeria Celina
1972 - Rio de Janeiro, RJ - Solo exhibition, Galeria Grupo B
1976 - Rio de Janeiro, RJ - Solo exhibition, Galeria Arte Global
1976 - Rio de Janeiro, RJ - Solo exhibition, MAM/RJ
1979 - São Paulo, SP - Solo exhibition, Skultura Galeria de Arte
1981 - Rio de Janeiro, RJ - Solo exhibition, Galeria Paulo Klabin
1981 - Rio de Janeiro, RJ - Solo exhibition, MAM/RJ
1984 - Rio de Janeiro, RJ - Fitangulares, MAM/RJ
1984 - Rio de Janeiro, RJ - Solo exhibition, Galeria Paulo Klabin
1986 - Rio de Janeiro, RJ - Solo exhibition, Petite Galerie
1986 - São Paulo, SP - Solo exhibition, Galeria Suzanna Sassoun
1989 - Lisbon, Portugal - Solo exhibition, Galeria 111
1989 - Rio de Janeiro, RJ - Solo exhibition, IAB/RJ
1990 - Porto, Portugal - Solo exhibition, Galeria Zen
1991 - São Paulo, SP - Piramidais, Subdistrito Comercial de Arte
1994 - Belo Horizonte, MG - Solo exhibition, Palácio das Artes
1994 - Rio de Janeiro, RJ - Solo exhibition, MAM/RJ
1995 - Lisbon, Portugal - Solo exhibition, Galeria 111
1996 - Rio de Janeiro, RJ - Atelier Finep, Paço Imperial
1996 - São Paulo, SP - Solo exhibition, MASP
2000 - Rio de Janeiro, RJ - Pirâmidais IV, MAM/RJ
2005 - São Paulo, SP - Solo exhibition, Dan Galeria

Group Exhibitions

1966 - Rio de Janeiro, RJ – 1st Salão de Abril, at MAM/RJ
1966 - Brasília, DF – 3rd Salão de Arte Moderna, at Teatro Nacional
1966 - Rio de Janeiro, RJ – 15th Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1967 - Rio de Janeiro, RJ – 16th Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1967 - Rio de Janeiro, RJ – 1st Salão de Artes Plásticas, at FAU/UFRJ – 1st Prize in Sculpture and 1st Prize in Painting
1967 - São Paulo, SP – 9th Bienal Internacional de São Paulo, at Fundação Bienal
1968 - Curitiba, PR – 25th Salão Paranaense, at Biblioteca Pública do Paraná
1968 - Rio de Janeiro, RJ – 17th Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1968 - Rio de Janeiro, RJ – 2nd Salão de Arte Universitária, at PUC/RJ – 1st Prize for Research
1968 - Rio de Janeiro, RJ – 2nd Salão Esso, at MAM/RJ
1968 - Salvador, BA – 2nd Bienal da Bahia
1969 - Rio de Janeiro, RJ – 18th Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1969 - Rio de Janeiro, RJ – Pré-Bienal de Paris, at MAM/RJ
1969 - Rio de Janeiro, RJ – Salão da Bússola, at MAM/RJ – Acquisition Award
1970 - Belo Horizonte, MG – 2nd Salão Nacional de Arte Contemporânea
1970 - Rio de Janeiro, RJ – 19th Salão Nacional de Arte Moderna, at MAM/RJ – Acquisition Award
1970 - Rio de Janeiro, RJ – 8th Resumo de Arte JB
1970 - São Paulo, SP – 2nd Panorama de Arte Atual Brasileira, at MAM/SP
1971 - Rio de Janeiro, RJ – Exposição de Múltiplos, at Petite Galeria
1971 - Rio de Janeiro, RJ – 1st Salão da Eletrobrás, at MAM/RJ – Acquisition Award
1971 - Rio de Janeiro, RJ – 20th Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1972 - São Paulo, SP – 4th Panorama de Arte Atual Brasileira, at MAM/SP – Grand Prize in Sculpture
1972 - São Paulo, SP – Arte/Brasil/Hoje: 50 anos depois, at Galeria da Collectio
1972 - São Paulo, SP – Exposição de Múltiplos, at Galeria Múltipla de Arte
1973 - Belo Horizonte, MG – 5th Salão Nacional de Arte Contemporânea
1973 - Rio de Janeiro, RJ – 5 Escultores, at Galeria Ipanema
1973 - Rio de Janeiro, RJ – 22nd Salão Nacional de Arte Moderna, at Palácio Gustavo Capanema
1973 - Rio de Janeiro, RJ – O Rosto e a Obra, at Galeria Grupo B
1975 - São Paulo, SP – 7th Panorama de Arte Atual Brasileira, at MAM/SP
1977 - Ouro Preto, MG – Encontro Nacional de Escultores, at Secretaria de Cultura
1977 - Rio de Janeiro, RJ – Escultura ao Ar Livre, at Galeria de Arte Sesc Tijuca
1978 - Rio de Janeiro, RJ – 1st Salão Nacional de Artes Plásticas, at MNBA and Palácio Gustavo Capanema – Travel Award Abroad
1978 - São Paulo, SP – Objeto na Arte: Brasil Anos 60, at MAB/Faap
1979 - Rio de Janeiro, RJ – Escultores Brasileiros, at Galeria Aktuell
1979 - São Paulo, SP – 15th Bienal Internacional de São Paulo, at Fundação Bienal
1980 - Goiânia, GO – 9 Escultores, at Casa Grande Galeria de Arte
1981 - Rio de Janeiro, RJ – Do Moderno ao Contemporâneo. Coleção Gilberto Chateaubriand, at MAM/RJ
1982 - Lisbon (Portugal) – Brasil 60 Anos de Arte Moderna: Coleção Gilberto Chateaubriand, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - Lisbon (Portugal) – Do Moderno ao Contemporâneo: Coleção Gilberto Chateaubriand, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (England) – Brasil 60 Anos de Arte Moderna: Coleção Gilberto Chateaubriand, at Barbican Art Gallery
1982 - São Paulo, SP – Um Século de Escultura no Brasil, at Masp
1983 - Rio de Janeiro, RJ – 6th Salão Nacional de Artes Plásticas, at MNBA and Galeria Sérgio Milliet – Special Room
1984 - London (England) – Portrait of Country - Brazilian Modern Art, at Barbican Center
1984 - Rio de Janeiro, RJ – Madeira: matéria de arte, at MAM/RJ
1984 - São Paulo, SP – Coleção Gilberto Chateaubriand: retrato e auto-retrato da arte brasileira, at MAM/SP
1985 - Niterói, RJ – Uma Questão de Ordem, at UFF. Galeria de Arte
1985 - Rio de Janeiro, RJ – Encontros, at Petite Galerie
1985 - Rio de Janeiro, RJ – Homenagem a Maria Leontina, at Petite Galeria
1985 - São Paulo, SP – 17th Panorama de Arte Atual Brasileira - Fortmas Tridimensionais, at MAM/SP
1986 - Fortaleza, CE – Exposição Internacional de Esculturas Efêmeras, at Fundação Demócrito Bezerra
1986 - Rio de Janeiro, RJ – Depoimento de uma Geração: 1969-70, at Galeria de Arte Banerj
1987 - Rio de Janeiro, RJ – Ao Colecionador, at MAM/RJ
1988 - Rio de Janeiro, RJ – Uma Escultura para o Mar de Angra, at EAV/ Parque Lage
1989 - Lisbon (Portugal) – 2nd Forum de Arte Contemporânea, at Forum Picoas
1989 - Rio de Janeiro, RJ – Geometria sem Manifesto, at Gabinete de Arte Cleide Wanderley
1992 - Rio de Janeiro, RJ – Brazilian Contemporary Art, at EAV/Parque Lage
1992 - São Paulo, SP – Arte Brasileira na Coleção: Anos 70/90, at MAC/USP
1992 - São Paulo, SP – Escultura Só, at MAM/SP
1994 - Lisbon (Portugal) – 1st Exposição Comemorativa dos 30 Anos da Galeria, at Galeria 111
1996 - Brasília, DF – Arte e Espaço Urbano: quinze propostas – Ministério das Relações Exteriores, at Palácio do Itamaraty
1996 - Rio de Janeiro, RJ – 3 Dimensões: Ascânio MMM, Eduardo Frota e Walter Guerra, at Funarte. Galeria Sérgio Milliet
1997 - Porto Alegre, RS – 1st Bienal de Artes Visuais do Mercosul
1997 - Porto Alegre, RS – Vertente Construtiva e Design, at Espaço Cultural Ulbra
1997 - São Paulo, SP – Tridimensionalidade na Arte Brasileira do Século XX, at Itaú Cultural
1998 - Belo Horizonte, MG – Tridimensionalidade na Arte Brasileira do Século XX, at Itaú Cultural
1998 - Brasília, DF – Tridimensionalidade na Arte Brasileira do Século XX, at Galeria Itaú Cultural
1998 - Penápolis, SP – Tridimensionalidade na Arte Brasileira do Século XX, at Galeria Itaú Cultural
1998 - São Paulo, SP – Múltiplos, at Valu Oria Galeria de Arte
1998 - São Paulo, SP – O Moderno e o Contemporâneo na Arte Brasileira: Coleção Gilberto Chateaubriand - MAM/RJ, at Masp
2000 - Rio de Janeiro, RJ – Situações: arte brasileira anos 70, at Fundação Casa França-Brasil
2002 - Rio de Janeiro, RJ – Caminhos do Contemporâneo 1952-2002, at Paço Imperial
2003 - Rio de Janeiro, RJ – Pequenos Formatos, at LGC Arte Hoje
2005 - Rio de Janeiro, RJ – Chroma, at MAM/RJ
2006 - São Paulo, SP – Homo Ludens: do faz de conta a vertigem, at Itaú Cultural