João Câmara

João Câmara (João Pessoa, Paraíba, 1944)

João Câmara is a painter, printmaker, illustrator, graphic artist, professor, critic, and one of the most important figures in contemporary Brazilian art. João Câmara Filho was born in João Pessoa, Paraíba, on January 12, 1944, and had his first exposure to the visual arts at the age of 16, through a free course at the School of Fine Arts of the Federal University of Pernambuco (UFPE), where he studied painting between 1960 and 1963. Since then, he has continued painting, developing an extensive, diverse, and coherent production over more than six decades.

In 1963, João Câmara was elected president of the Modern Art Society of Recife (SAMR), an organization whose reinstatement he helped to establish. During the same period, he studied woodcutting under the guidance of Henrique Oswald (1918–1965) and Emanoel Araújo (1940–2022) at the School of Fine Arts of the Federal University of Bahia.

João Câmara was one of the founders of the Ribeira Collective Studio in 1964, alongside Adão Pinheiro, José Tavares, and Guita Charifker, and of the + Dez Studio, created in 1965. Both spaces, located in Olinda, were fundamental to the renewal of the Pernambuco art scene. He also participated in the establishment of the Ribeira Market Art Gallery and Collective Studio. Between 1967 and 1970, he taught painting at the School of Fine Arts of the Federal University of Paraíba, in João Pessoa, contributing significantly to the development of new generations of artists.

In 1974, João Câmara created a lithography studio that later gave rise to the Guaianases Engraving Workshop, located in Recife. This space for training, production, and graphic experimentation was incorporated into the Visual Arts Laboratory of UFPE in 1995.

Since the 1960s, João Câmara's work has been marked by the presence of human figures with structured bodies juxtaposed with fragments, deformations, or dense scenes, lending a sense of strangeness and social critique to his compositions. Although he defines himself primarily as a painter, his work also extensively encompasses lithography, as well as drawings, prints, and works with digital media.

Three major thematic series profoundly mark João Câmara's career: Scenes from Brazilian Life, created between 1974 and 1976, comprising 10 paintings and 100 lithographs, focuses on political and cultural issues in Brazil between 1930 and 1954; Ten Cases of Love and a Painting by Câmara, developed between 1977 and 1983, is a poetic and political investigation of the affective universe, composed of several lithographs, a triptych, 10 paintings, 70 engravings, 22 montages and 3 objects; and Two Cities, developed between 1987 and 2001, which focuses on the cities of Recife and Olinda, comprising 38 paintings and 18 objects.

In addition to these series, João Câmara has developed, since the 1960s, a broad production of non-serial works, building a unique and continually renewed repertoire. In 1986, he created the series My Father's Eye on the City, a personal tribute to his father and the city of Recife.

João Câmara's career includes numerous solo and group exhibitions in Brazil and abroad, as well as participation in art fairs and biennials. His works are part of the collections of important Brazilian and international museums, as well as public and private collections.

A national and international award winner, João Câmara is admired by critics such as Ferreira Gullar, Frederico Morais, and Weydson de Barros Leal. He has also dedicated himself to writing, contributing to newspapers and magazines specializing in visual arts, and publishing several books about his own work and career, such as Ten Cases of Love – Theory and Body of the Secret Painter, Scenes from Brazilian Life, The Strangeness of João Câmara, and My Father's Eye Over the City, among others. Currently, João Câmara lives and works in Olinda, Pernambuco. His collection, documentation, and recent work can be accessed by appointment at his technical storage facility in Recife. His studio, located in Olinda, was designed by architect Vital Pessoa de Melo, in one of the oldest and most culturally significant cities in Brazil, recognized by UNESCO as a Natural and Cultural Heritage of Humanity. Olinda, founded in 1537 and under Dutch rule in the early 17th century, has been the home and source of inspiration for many contemporary artists.

Regarding its importance in Brazilian art, critic Weydson de Barros Leal states:

“João Câmara is the author of one of the greatest works currently being executed in Brazilian art. He is one of the artists who most reveals himself as an instigator of themes and sources for contemporary art. This goes beyond line or form, which he famously conquered through a permanent and lasting practice, and reaches areas unsuspected by most painters. His fields of cultivation and harvest are, above all, his readings and his high culture.”

Critical Commentary

In 1959, João Câmara began painting landscapes under the guidance of painter José Tavares. In 1960, he enrolled in the scientific program at Colégio Nóbrega in Recife and the free painting program at the Federal University of Pernambuco (UFPE), which he attended until 1963. He studied with Mário Nunes (1889-1982) and Laerte Baldini, among others, and, sporadically, with Vicente do Rego Monteiro (1899-1970). He became interested in the Cubism and post-Cubism of Pablo Picasso (1881-1973) and the work of Abelardo da Hora (1924), Francisco Brennand (1927), Lula Cardoso Ayres (1910-1987), Reynaldo Fonseca (1925), and Wellington Virgolino (1929-1988). During this period, he already revealed his preference for painting large surfaces, which unfolded into diptychs, triptychs, or polyptychs.

In the 1960s, his work moved closer to Expressionism and Fauvism. In some works, he focused on violence, and the tragic nature of the composition was accentuated by the use of dark tones that contrasted with strong reds and blues, as can be seen in *Vietonose Perfil III* (1966) and *Exhibition and Motifs of Violence* (1967). In "Testimony," "Reconstitution," and "A Confession" (all from 1971), he addresses torture and human oppression. Turning to the human body, the artist subjects it to twists and deformations, without sacrificing a certain eroticism.

In 1963, he took a woodcutting course, taught by Henrique Oswald (1918-1965) and Emanoel Araújo (1940), at the School of Fine Arts in Salvador. In the early 1970s, he began producing lithographs and, with Delano, improvised a studio for this technique in Recife, later moving to the Ribeira Market in Olinda. He worked with lithography freely and even used it as a kind of rehearsal for his large paintings. João Câmara created many series of paintings and prints, such as Scenes from Brazilian Life 1930/1954 (1974-1980) and Ten Love Affairs and a Painting by Câmara (1977-1980), which include montages and objects. In Scenes from Brazilian Life, he does not seek to reproduce the veracity of the period's political events, but rather links historical figures, such as Getúlio Vargas (1882-1954), to unusual objects and fictional characters, creating his own narrative, an imaginary past, interwoven with his childhood memories. In Ten Love Affairs and a Painting by Câmara, women emerge as the main character. In this series, the artist adds various elements to the surface of the canvas, such as eyelets, screws, leather, fabric, and lead.

In addition to political themes and portraits, regionalist themes became more frequent in his work from the 1980s onward. In the series "My Father's Eye on the City" (1986), he pays homage to his father and the city of Recife, and in the 1990s he began producing the "Two Cities" series, with works set in Recife and Olinda.

For scholar Almerinda da Silva Lopes, João Câmara's poetic project, since the beginning of his professional career, has consisted of visually conveying a critical vision of society. His work engages with Brazilian political history, art, and mythology. In this way, the artist creates metaphors with which he ironizes power and social relations.

Reviews

"The most evident characteristic of João Câmara's work is its clear presence. Or, to put it another way, it is convincing: in its dimensions, its technique, its themes, its titles. We may not like what we see, but it is impossible to escape its presence. We may not like the colors, the hard-edged drawings, the ostentatiousness of the human figure, almost always male, the visible marks of time on the exposed body, the machine-objects that become terrifying and aggressive, as well as the animals and food in their search for the domestic to erupt into the public scene, or vice versa, the grave and serious nature of the situations narrated, in short, the suffocation that results from the absence of space, or rather, from its rigidly compartmentalized space. All of this may be unpleasant, but at the same time, it exerts a powerful attraction. We are captivated by the work, overcome by a feeling of estrangement. A estrangement that grows as we watch, frame by frame, some well-known actors of the scene parade, as if on a stage. Brazilian politics. Figures that seemed stored in some dark compartment of our memory or already transformed into documents, photos, microfilms, annals, but that suddenly burst onto the screen/stage, as if they were alive. Or were they ghosts projected on the screen? These faces (or were they masks), these gestures, almost always rhetorical, sometimes comical or tragic, these postures and looks, these threatening hands and fingers appear almost disturbing, uncomfortable, but also fascinating. And our unease (or fascination) will grow as we penetrate the working atmosphere, just as as we identify the actors and settings (eras) in which they acted, we also identify their role.
Frederico Morais
JOÃO Câmara Filho: scenes from Brazilian life: 1930/1954. Presentation by Frederico Morais. São Paulo: MASP, 1976. n. p.

"(...) Series, varying in time and quantity, included the National Pseudopersonas, portraits between introspection and irony, beginning in 1969 and crystallizing in 1974; the Imperial Variations, sarcastically bombastic narratives about Dom Pedro I, throughout 1970; and the recent Scenes of Brazilian Life 1930-1954, paintings and lithographs executed between 1974 and 1976, reinventing the documentary of characters and scenes that marked such an important period of contemporary national history. As in the paintings outside and between these three series, a critical, magical, and telluric realism persisted throughout João Câmara, under simultaneously surreal and conceptual guises. There is an idea, a backbone, running from one point to the other in this painting, sometimes somber, sometimes vibrant, distorting, sometimes photographic in the manipulation of human anatomy. There is also a search for the dimension of the panel, as if the artist wanted to situate us once again in the ancestry of the kingdoms of the Sun and in the engaged monumentalism of the Mexican tradition of our century. Grouping opposing elements, this is a work in which the archaic and the contemporary, the national and the universal, blend in an inevitable and forceful impulse. In it, although the land is somehow present, there is nothing regional in the purely documentary sense of the term; the exotic for the sake of the exotic does not attract João Câmara, but rather the violence of the gap between the primitive and the technological.
Roberto Pontual
BARIL: painting. Presentation by Marinho Neto. Vitória: UFES Art and Research Gallery, 1987.

"João Câmara emerged on the Brazilian art scene in the mid-1960s as a revelation from Pernambuco, where he resided, amid a fertile generation of artists from that state. Also in 1967, he participated in the Córdoba Biennial in Argentina, with works of great strength and vitality, with striking figures reminiscent of characters like comic book superheroes in a cumbersome and violent composition. Between 1974 and 1976, he produced his major serial work, Scenes from Brazilian Life - 1930-1954, consisting of ten panels and one hundred lithographs, with the Vargas period as its theme. A trained psychologist, having already practiced art criticism, intellectualism permeated the creative process of Câmara's painting, which always had the theme as a starting point for his works (O Baile da Ilha Fiscal, 1979; Carisma/Quaresma, 1981; and Retrato de Família, 1981, also addressed specific themes). After In the Scenes, João Câmara develops Ten Love Cases and a Câmara Painting, large panels, also accompanied by freer lithographs, which result from a play on symbols with an intriguing iconography in composition, in which, as in all his work, the realistic drawing is always broken and intercepted by other planes, although with an implicit realism. Tiradentes is his most recent work based on a historical theme. (...)"
Aracy Amaral
AMARAL, Aracy A. , org. Museum of Contemporary Art of the University of São Paulo: profile of a collection. Foreword by Ana Mae Barbosa. Texts by Aracy Amaral and Sônia Salzstein Goldberg. São Paulo: Techint Engenharia: Ex Libris, 1988.

"From the beginning of his work, João Câmara has revealed a total obsession with portraiture and the human body, subjecting them, most of the time, to strange deformations and ambiguities. He creates metaphors with which he ironizes bourgeois hypocrisy, the ills of power, and the vulnerability of human relationships. Hence, his poetic codes require the observer to engage in attentive dialogue and curious perception to unravel the plot of this labyrinth.

In some works, he creates scenes and settings in which the figures are projected with such verisimilitude, as if they were alive on the screen to stare at us, provoke us, and challenge us. More slowly, we become aware of the paradoxes and the joke, whether through the ridiculousness of the attitudes and actions, or through the amputations, twists, and rotations he imposes on the body or parts of it. of him.

Without denying its inalienable singularities, Câmara's universal imagery also reveals the author's cultural roots and strong regionalist residue, whether in the sometimes incendiary colors, the extravagant prints on the fabrics, and the kitsch decoration, or in the domineering actions of men over women, in the eroticization and particularity of bodies. It is through this context that he translates his way of seeing, thinking, and feeling, highlighting human values, aspirations, ills, and contradictions.
Almerinda da Silva Lopes
LOPES, Almerinda da Silva. João Câmara. Foreword by Annateresa Fabris. Sao Paulo: Edusp, 1995. p. 54.

Testimonials

"In our group [in Recife] there was a concern with the figure, which should convey the spirit of the grotesque, of political caricature. [...] At that time, my painting [...] had a manipulation of the surrealist image, but I wasn't interested in the contrasts proposed by the surrealists. I was more interested in similarities. I'm not a surrealist, I'm obscene. I'm interested in the degree to which things approximate."
João Câmara to Wilson Coutinho - 1979
COUTINHO, Wilson. The Fleeting Brilliance of History. Art Today. Rio de Janeiro, Nov. 1979. p. 22.

"Angelo de Agostini's caricature in Semana Ilustrada, the entire feat of the Empire, of the republican struggle, these things are close. [...] Caricature, as commedia dell'arte, is typical of theater, so it served me well. And they are set-up situations, as caricature is: to caricare, to place upon, to set up, to create situations, to create within the mask. [...] [The caricature] did not serve me as a plastic model, but as a model of critical order, of critical disposition, of the possibility of critical sharpening, because, after all, the struggle of republicans and liberals was very close: to classify the obscure field of the monarchy. [...] My choice of spatial system is neither an archaic space, although there are archaic data, nor is it a 'modernist' space, although there are elements of modernity, or of contemporaneity."
João Câmara to Frederico Morais - 1980
MORAIS, Frederico; LIMA SOBRINHO, Barbosa. Scenes from Brazilian Life: 1930/1954, 10 paintings and 100 lithographs by João Câmara Filho. Recife: City Hall. 1980. p. 33.

"[...] In the last painting of the Scenes from Brazilian Life series—in which I'm in front of Getúlio—but it was necessary, because the painting in the last panel is a confrontation between an author of a fantasy and a real period... so the painting is separated into two parts, and there's a real moment, which is Vargas dead, but inside my studio, with me present. [...] It's a fact that the author is the measure of his work, so he's present as a witness. [...]

The problem with narrative painting is the distinction between narrative painting and illustrative painting. Illustrative painting seeks to translate a verbal idea through visual means, and in narrative painting, an oralized conduct is established based on a visuality; it's the figuration that determines orality; it doesn't interpret orality."
João Câmara to José Manoel Júnior - July 11, 1991
MANOEL Júnior, José. Some laughter from Câmara. Journal of Commerce, Recife, July 11, 1991.

Solo Exhibitions

1963 - João Pessoa PB - First solo exhibition at the Contemporary Art Gallery, University of Paraíba
1966 - Recife PE - Solo exhibition at Galeria Conciliação
1966 - Recife PE - Solo exhibition at Galeria Ônix
1968 - Recife PE - Solo exhibition at Galeria da Empetur
1970 - Rio de Janeiro RJ - Solo exhibition at Galeria Bonino
1972 - Recife PE - Solo exhibition at Galeria Degrau
1972 - São Paulo SP - Solo exhibition at Galeria de Arte Ipanema
1973 - Rio de Janeiro RJ - Solo exhibition at Galeria Bonino
1974 - Rio de Janeiro RJ - Solo exhibition at Galeria de Arte Ipanema
1976 - Rio de Janeiro RJ - Cenas da Vida Brasileira: 1930/1954, at MAM/RJ
1976 - Rio de Janeiro RJ - Solo exhibition at Galeria Bonino
1976 - São Paulo SP - Cenas da Vida Brasileira: 1930/1954, at MASP - APCA Award
1978 - Mexico City (Mexico) - Cenas da Vida Brasileira: 1930/1954, at Galeria Juan Martín
1981 - Rio de Janeiro RJ - Solo exhibition at Galeria Bonino
1983 - Rio de Janeiro RJ - Dez Casos de Amor e uma Pintura de Câmara: paintings, installations, lithographs, objects, at MAM/RJ
1983 - São Paulo SP - Dez Casos de Amor e uma Pintura de Câmara: paintings, installations, lithographs, objects, at MAC/USP
1984 - Olinda PE - Dez Casos de Amor e uma Pintura de Câmara, at MAC/Olinda
1984 - São Paulo SP - Dez Casos de Amor e uma Pintura de Câmara, at Galeria São Paulo
1984 - Salvador BA - Dez Casos de Amor e uma Pintura de Câmara, at Museu de Arte da Bahia
1984 - Belo Horizonte MG - Dez Casos de Amor e uma Pintura de Câmara, at Palácio das Artes
1986 - Rio de Janeiro RJ - Solo exhibition at Anna Maria Niemeyer Art Interiores
1987 - São Paulo SP - Solo exhibition at Galeria Montesanti Roesler
1988 - Berlin (Germany) - Solo exhibition at Staatliche Kunsthalle
1988 - Curitiba PR - Solo exhibition at Fundação Cultural de Curitiba
1988 - Curitiba PR - João Câmara Filho: lithographs, at MAC/PR
1989 - Fortaleza CE - Tango em Maracorday e os papéis do amigo do povo, at Galeria Multiarte
1990 - Berlin (Germany) - Gêneros, at Galeria Poll
1990 - Recife PE - Solo exhibition at Galeria Metropolitana Aloísio Magalhães
1990 - São Paulo SP - Gêneros, at Galeria de Arte São Paulo
1991 - Recife PE - Riscos, at Galeria Vicente do Rego Monteiro
1993 - Paris (France) - Solo exhibition at Maison de L'Amérique Latine
1994 - Copenhagen (Denmark) - João Câmara: além das circunstâncias, at Museu Charlottenborg
1994 - São Paulo SP - João Câmara: além das circunstâncias, at Galeria do Sesc Pompéia
1994 - Oslo (Norway) - Cenas da Vida Brasileira: paintings, at Henie Onstad Kunstsenter
1994 - Potsdam (Germany) - Solo exhibition at Galeria Kulturhaus Altes Rathaus
1995 - São Paulo SP - Cenas em Preto e Branco, at MAC/USP
1995 - São Paulo SP - João Câmara, at Dan Galeria
1996 - Asunción (Paraguay) - Escenas de La Vida Brasileña, at Centro Cultural da Embaixada do Brasil
1996 - Miami (United States) - João Câmara in America, at Lucio Rodrigues Gallery
1996 - Recife PE - João Câmara Virtual Exhibition - presentation and access via the artist’s homepage, at Instituto de Arte Contemporânea
1997 - New York (United States) - João Câmara: recent paintings, at Neuhoff Gallery
1998 - Recife PE - Cenas da Vida Brasileira: 1930/1945, at Mamam
2002 - Rio de Janeiro RJ - Duas Cidades, at MNBA
2002 - São Paulo SP - Duas Cidades, at Pinacoteca do Estado

Group Exhibitions

1961 - Recife PE - 3rd Collective Exhibition at Galeria Rozenblit, Galeria Rozenblit
1962 - Belo Horizonte MG - Salão Universitário de Belo Horizonte - 1st prize in painting and 2nd prize in drawing
1962 - Recife PE - 21st Annual Painting Salon, Museu do Estado de Pernambuco
1962 - Recife PE - Salão do Estado de Pernambuco - 1st prize in painting
1963 - Salvador BA - Artists of the Northeast, MAM/BA
1964 - Olinda PE - Exhibition at Atelier da Ribeira, Atelier da Ribeira
1964 - Recife PE - 23rd Annual Painting Salon, Museu do Estado de Pernambuco
1964 - Recife PE - Salão do Estado de Pernambuco - prize in printmaking
1965 - Porto Alegre RS - Six Pernambucan Artists, Margs
1966 - Córdoba (Argentina) - 3rd American Art Biennial - Gold Medal from the Córdoba Stock Exchange
1966 - Salvador BA - 1st National Biennial of Visual Arts - acquisition prize
1967 - Brasília DF - 4th Modern Art Salon of the Federal District, Teatro Nacional Cláudio Santoro - grand prize
1967 - São Paulo SP - Oficina Pernambucana, MAC/USP
1968 - Salvador BA - 2nd National Biennial of Visual Arts, MAM/BA - special room
1969 - Rio de Janeiro RJ - Selective Exhibition of the Paris Biennale, MAM/RJ
1969 - Rio de Janeiro RJ - 18th National Modern Art Salon
1969 - São Paulo SP - 10th São Paulo International Biennial, Fundação Bienal
1969 - São Paulo SP - 1st Panorama of Contemporary Brazilian Art, MAM/SP
1970 - Rio de Janeiro RJ - 19th National Modern Art Salon, MAM/RJ
1970 - Rio de Janeiro RJ - Brazilian Contemporary Art, Banco de Boston
1970 - Rio de Janeiro RJ - National Modern Art Salon, MAM/RJ
1970 - São Paulo SP - Contemporary Art, MAM/RJ
1971 - Rio de Janeiro RJ - 9th JB Art Summary, MAM/RJ
1971 - Rio de Janeiro RJ - 20th National Modern Art Salon
1972 - Rio de Janeiro RJ - 21st National Modern Art Salon, MEC
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, Collectio Gallery
1972 - São Paulo SP - Recent Donations and Acquisitions, MAC/USP
1973 - Rio de Janeiro RJ - The Face and the Work, Ibeu Gallery
1973 - São Paulo SP - 5th Panorama of Contemporary Brazilian Art, MAM/SP
1975 - Medellín (Colombia) - Medellín Biennial - Coltejar - invited artist
1976 - Buenos Aires (Argentina) - 20 Brazilian Artists, Centro de Arte y Comunicación
1976 - Cali (Colombia) - 3rd American Biennial of Graphic Arts, Museo de Arte Moderno La Tertulia
1976 - Campinas SP - 10th Contemporary Art Salon of Campinas, MACC
1976 - Florence (Italy) - 5th International Biennale of Graphic Arts
1976 - São Paulo SP - Drawing in Pernambuco, Nara Roesler Gallery
1977 - São Paulo SP - 9th Panorama of Contemporary Brazilian Art, MAM/SP
1978 - Curitiba PR - 1st Annual Printmaking Exhibition, Cidade de Curitiba, Centro de Criatividade
1979 - Curitiba PR - 2nd Annual Printmaking Exhibition, Cidade de Curitiba, Centro de Criatividade
1979 - São Paulo SP - 15th São Paulo International Biennial, Fundação Bienal
1980 - Belo Horizonte MG - Hilton Painting Highlight, Fundação Clóvis Salgado, Palácio das Artes
1980 - Brasília DF - Hilton Painting Highlight, Cultural Foundation of the Federal District
1980 - Mexico City (Mexico) - 2nd Ibero-American Art Biennial
1980 - Curitiba PR - Hilton Painting Highlight, Teatro Guaíra
1980 - Porto Alegre RS - Hilton Painting Highlight, Margs
1980 - Rio de Janeiro RJ - Hilton Painting Highlight, MAM/RJ
1980 - Santiago (Chile) - 20 Brazilian Painters, Chilean Academy of Fine Arts
1981 - São Paulo SP - Contemporary Brazilian Artists, Escritório de Arte São Paulo
1982 - Belo Horizonte MG - 14th National Contemporary Art Salon of Belo Horizonte, MAP
1982 - Lisbon (Portugal) - Brazil: 60 Years of Modern Art, Gilberto Chateaubriand Collection, José de Azeredo Perdigão Center of Modern Art
1982 - London (UK) - Brazil: 60 Years of Modern Art, Gilberto Chateaubriand Collection, Barbican Art Gallery
1982 - Rio de Janeiro RJ - The Universe of Football, MAM/RJ
1984 - Rio de Janeiro RJ - Active Brazilian Painting, Espaço Petrobras
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, Fundação Bienal
1985 - Brasília DF - Brazilianness and Independence, Teatro Nacional Cláudio Santoro
1985 - Rio de Janeiro RJ - Six Decades of Modern Art: Roberto Marinho Collection, Paço Imperial
1985 - São Paulo SP - 18th São Paulo International Biennial, Fundação Bienal
1985 - São Paulo SP - 7 Painters of Contemporary Brazilian Art, Portal Art Gallery
1986 - Brasília DF - Pernambucans in Brasília, ECT Art Gallery
1986 - Rio de Janeiro RJ - 1st Christian Dior Contemporary Art Exhibition: painting, Paço Imperial
1987 - Brasília DF - Art on Paper, Contemporary Art Gallery
1987 - Olinda PE - Lithography - Guainases Printmaking Workshop, Olinda, Álvaro Conde Gallery
1987 - Paris (France) - Modernity: 20th Century Brazilian Art, Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, MAM/RJ
1987 - São Paulo SP - 18th Panorama of Contemporary Brazilian Art, MAM/SP
1987 - São Paulo SP - Art on Paper, MAM/SP
1987 - São Paulo SP - The Craft of Art: painting, Sesc
1987 - São Paulo SP - Panorama of Contemporary Brazilian Art, MAM/SP
1987 - Vitória ES - Guainases Printmaking Workshop, Álvaro Conde Gallery
1988 - Curitiba PR - Cidade de Curitiba Printmaking Exhibition
1988 - Rio de Janeiro RJ - Le Déjeuner sur l'Art: Manet in Brazil, EAV/Parque Lage
1988 - São Paulo SP - 63/66 Figure and Object, Millan Gallery
1988 - São Paulo SP - Modernity: 20th Century Brazilian Art, MAM/SP
1988 - São Paulo SP - Rhythms and Forms: Contemporary Brazilian Art, Sesc Pompéia
1989 - Copenhagen (Denmark) - Rhythms and Forms: Contemporary Brazilian Art, Charlottenborg Museum
1989 - Curitiba PR - 8th Cidade de Curitiba Printmaking Exhibition, Cultural Foundation
1989 - Fortaleza CE - Brazilian Art of the 19th and 20th Centuries in Ceará Collections: paintings and drawings, Unifor Cultural Space
1989 - Juiz de Fora MG - Each Head a Sentence, Museu Mariano Procópio
1989 - Lisbon (Portugal) - Six Decades of Brazilian Modern Art: Roberto Marinho Collection, Calouste Gulbenkian Foundation
1989 - Rio de Janeiro RJ - 8 Artists Paint the French Revolution, Laura Alvim Cultural Center
1989 - Rio de Janeiro RJ - Brazilian Printmaking: 4 Themes, EAV/Parque Lage
1989 - São Paulo SP - The Tables, Ranulpho Art Gallery
1989 - São Paulo SP - Thirty-Three Ways of Seeing the World, Ranulpho Art Gallery
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - Brasília, 30 Years, Performance Gallery
1990 - Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - João Pessoa PB - 2nd Paraíba Contemporary Art, Fundação Espaço Cultural da Paraíba
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, Brasil-Japan Foundation
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1991 - São Paulo SP - Chico and the Animals, Ranulpho Art Gallery
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Museum of Contemporary Art of the University of São Paulo, Casa de Cultura
1992 - Rio de Janeiro RJ - 1st A Caminho de Niterói: João Sattamini Collection, Paço Imperial
1992 - Rio de Janeiro RJ - The Arts of Power, Paço Imperial
1992 - Rio de Janeiro RJ - Eco Art, MAM/RJ
1992 - São Paulo SP - 1960s/70s: Gilberto Chateaubriand Collection/MAM, Sesi Art Gallery
1992 - São Paulo SP - Representations: Decisive Presences, Paço das Artes

1993 - João Pessoa PB - Xilogravura: do cordel à galeria, at Funesc
1993 - Rio de Janeiro RJ - Brasil, 100 Years of Modern Art, at MNBA
1994 - Lisbon (Portugal) - Beyond Taprobana: the Human Figure in the Visual Arts of Portuguese-Speaking Countries, at Sociedade Nacional de Belas Artes
1994 - Rio de Janeiro RJ - Beyond Taprobana: the Human Figure in the Visual Arts of Portuguese-Speaking Countries, at Museu Nacional de Belas Artes
1994 - São Paulo SP - 20th Century Brazil Biennial, at Fundação Bienal
1994 - São Paulo SP - The New Travelers, at Sesc Pompéia
1994 - São Paulo SP - Xilogravura: do cordel à galeria, at Metrô
1995 - Brasília DF - Collections of Brasília, at Ministry of Foreign Affairs, Palácio do Itamaraty
1995 - Rio de Janeiro RJ - Beyond Taprobana: the Human Figure in the Visual Arts of Portuguese-Speaking Countries
1995 - São Paulo SP - Projeto Contato, at Galeria Sesc Paulista
1996 - Belém PA - 15th Arte do Pará Salon, at Museu de Arte do Belém
1996 - Belém PA - Arte Pará Salon, at Museu do Estado Palácio Lauro Sodré
1996 - Leverkusen (Germany) - Brazilian Contemporary Art, at Bayer AG - Foyer Hochhaus W1
1996 - Dormagen (Germany) - Brazilian Contemporary Art, at Bayer AG - Feierabendhaus
1996 - São Paulo SP - Contemporary Brazilian Art (1996: São Paulo, SP), at Museu de Arte Moderna (Ibirapuera, São Paulo, SP)
1996 - São Paulo SP - Contemporary Brazilian Art, at MAM/SP
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Figure and Landscape in the MAM Collection: Homage to Volpi, at MAM/SP
1997 - Goiânia GO - Brazilianness: a Collection of Brazilian Artists, at Galeria de Arte Marina Potrich
1997 - Porto Alegre RS - 1st Mercosur Visual Arts Biennial, at Aplub; Casa de Cultura Mário Quintana; DC Navegantes; Edel; Usina do Gasômetro; Instituto de Artes da UFRGS; Fundação Bienal de Artes Visuais do Mercosul; Margs; Espaço Ulbra; Museu de Comunicação Social; Reitoria da UFRGS; Theatro São Pedro
1997 - Porto Alegre RS - Cildo Meireles and João Câmara, at UFRGS, Reitoria
1997 - Porto Alegre RS - Political Dimension, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Recife PE - Ver o Verso, at Mamam
1998 - Cuenca (Ecuador) - 6th International Biennial of Cuenca – Honorable Mention
1998 - Niterói RJ - Espelho da Bienal, at MAC/Niterói
1998 - São Paulo SP - The Art of Exhibiting Art (1998: São Paulo, SP), at Museu de Arte Moderna (Ibirapuera, São Paulo, SP)
1998 - São Paulo SP - Figurations: 30 Years of Brazilian Art, at MAC/USP
1998 - São Paulo SP - Borders, at Itaú Cultural
1998 - São Paulo SP - Highlighted Works, at Dan Galeria
1999 - Belém PA - 3rd Eletromidia de Arte: virtual exhibition, at Rua Boaventura da Silva x Av. Doca de Souza Franco
1999 - Belo Horizonte MG - 3rd Eletromidia de Arte: virtual exhibition, at Av. Contorno x Av. Amazonas
1999 - Campinas SP - 3rd Eletromidia de Arte: virtual exhibition
1999 - Campo Grande MS - Eletromidia de Arte: virtual exhibition, at Av. Afonso Pena x R. Treze de Maio
1999 - Cuiabá MT - 3rd Eletromidia de Arte: virtual exhibition, at Av. Fernando Correia da Costa, s/n
1999 - Goiânia GO - 2nd Grande Coletiva de Arte Brasileira, at Galeria de Arte Marina Potrich
1999 - Jundiaí SP - 3rd Eletromidia de Arte: virtual exhibition, at Av. Nove de Julho, 1400
1999 - Manaus AM - 3rd Eletromidia de Arte: virtual exhibition, at Av. Paraíba x Rua Efigênio Sales
1999 - Osasco SP - 3rd Eletromidia de Arte: virtual exhibition, at Av. dos Autonomistas, near No. 2973
1999 - Porto Alegre RS - 3rd Eletromidia de Arte: virtual exhibition, at Av. Goethe x Rua Mostardeiro and Rua Vinte e Quatro de Outubro x Rua Bordini
1999 - Recife PE - 3rd Eletromidia de Arte: virtual exhibition
1999 - Ribeirão Preto SP - 3rd Eletromidia de Arte: virtual exhibition, at Av. Presidente Vargas, 915
1999 - Rio de Janeiro RJ - Rio Print Exhibition. Cícero Dias and João Câmara: Pernambuco Printmakers, at Versailles Galeria de Arte
1999 - Rio de Janeiro RJ - 3rd Eletromidia de Arte: virtual exhibition, at Av. Venceslau Brás x R. General Severiano; Radial Oeste, near Praça da Bandeira; Largo do Humaitá
1999 - Rio de Janeiro RJ - Rio Print Exhibition. Modern Brazilian Print: MNBA Collection, at MNBA
1999 - Salvador BA - 3rd Eletromidia de Arte: virtual exhibition, at Av. Tancredo Neves, 805
1999 - Santo André SP - 3rd Eletromidia de Arte: virtual exhibition, at R. Dom Pedro II x R. Catequese
1999 - Santos SP - 3rd Eletromidia de Arte: virtual exhibition
1999 - São Paulo SP - 3rd Eletromidia de Arte: virtual exhibition, at Av. Cidade Jardim x Av. Brig. Faria Lima; Av. Brig. Faria Lima x Av. Rebouças; Av. Eng. Luís Carlos Berrini x Av. Águas Espraiadas; Rua Vergueiro x Av. Paulista; Av. Juscelino Kubitschek x Av. Brig. Faria Lima; Av. Paulista x Al. Campinas
1999 - São Vicente SP - 3rd Eletromidia de Arte: virtual exhibition, at Av. Presidente Wilson x Av. Antônio Emmerich
2000 - Recife PE - Ateliê Pernambuco: Homage to Bajado and Mamam Collection, at Mamam
2000 - Rio de Janeiro RJ - Brazil + 500 Rediscovery Exhibition. Black in Body and Soul, at Fundação Casa França-Brasil
2000 - Rio de Janeiro RJ - Brazil + 500 Rediscovery Exhibition. Letter of Pero Vaz de Caminha, at Museu Histórico Nacional
2000 - São Paulo SP - Almeida Júnior: a Revisited Artist, at Pinacoteca do Estado
2000 - São Paulo SP - Ars Erótica: Sex and Eroticism in Brazilian Art, at MAM/SP
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Investigations: Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - The Angels Are Back, at Pinacoteca do Estado
2001 - Brasília DF - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2003 - Recife PE - See Again/See the New, at Mamam
2003 - Rio de Janeiro RJ - Brazilianart Project, at Almacén Galeria de Arte
2003 - São Paulo SP - Art and Society: a Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - Entre Aberto, at Gravura Brasileira
2003 - São Paulo SP - Black Memories, Memories of Blacks: the Luso-Afro-Brazilian Imaginary and the Legacy of Slavery, at Galeria de Arte do Sesi
2004 - São Paulo SP - The Price of Seduction: from Corset to Silicone, at Itaú Cultural