Waltercio Caldas

Waltércio Caldas (Rio de Janeiro, RJ, 1946)

Waltércio Caldas is a sculptor, draftsman, graphic artist, and set designer. In 1964, he began his painting studies with Ivan Serpa at the Museum of Modern Art in Rio de Janeiro (MAM/RJ). Between 1969 and 1975, he developed drawings, objects, and photographs with a strong conceptual character. In the 1970s, he taught at the Villa-Lobos Institute, co-edited the magazine Malasartes, served on the Cultural Planning Committee of the Museum of Modern Art (MAM/RJ), participated in the publication A Parte do Fogo (A Part of Fire), and, along with Carlos Zilio, Ronaldo Brito, and José Resende, published the article "O Boom, o Pós-Boom, o Dis-Boom" (The Boom, the Post-Boom, the Dis-Boom) in the newspaper Opinião (Opinion).

In 1979, his work was the subject of the book Aparelhos (Aparelhos), with an essay by Ronaldo Brito, and in 1982, it was featured in the Manual da Ciência Popular (Manual of Popular Science), part of Funarte's Contemporary Brazilian Art series. In 1986, Miguel Rio Branco's video "Apaga-te Sésamo" (Turn Off Sesame), highlighted his work. In 1993, he received the Mário Pedrosa Award from the Brazilian Association of Art Critics (ABCA) for a solo exhibition at the National Museum of Fine Arts (MNBA) in Rio de Janeiro. In 1996, he published the book "O Livro Velázquez" (The Velázquez Book) and held the exhibition "Annotations 1969/1996" (Notes 1969/1996) at the Paço Imperial, presenting his study notebooks to the public for the first time.

Waltércio Caldas's work is recognized for its ability to induce a state of suspension in the observer. His creations challenge perceptual certainty and shift the viewer to a position of constant questioning, activating thought through calculated and rigorous compositions. The clarity and formal elegance of his works contrast with their unfinished nature and the suggestion of virtuality they carry, guiding the eye in a careful and subtle manner.

With refined formal intelligence and visual plays that sometimes incorporate humor, Waltércio Caldas encourages the viewer to transcend the usual gaze, revealing new possibilities for perceiving and understanding art.

Biography

Waltercio Caldas was born in Rio de Janeiro in 1946. At the age of 8, he visited a replica of the 14 Bis airplane, displayed in the lobby of Santos Dumont Airport in Rio de Janeiro. He considers the artist "the first 'constructive' object I ever encountered."

In the early 1960s, Waltercio Caldas became interested in art and began attending exhibitions in Rio de Janeiro. He studied with Ivan Serpa at the Museum of Modern Art of Rio de Janeiro (MAM/RJ) starting in 1964.

The daily routine of classes and visits to the museum's collection brought him closer to modern and contemporary art.

Seeing works of art stimulated the artist's desire to respond to what he saw. As he stated, he began to be an "artist" by being a member of the public. The work of others awakens the desire for dialogue.

In 1965, he created his first graphic work: the cover of the book *A Amazônia e a cobiça internacional*, by Arthur Cezar Ferreira Reis, for Editora Edinova, Rio de Janeiro.

In 1967, he began working as a technical designer and layout artist for Eletrobrás and participated in his first professional group exhibition, at Galeria Gead. At the time, he drew and created models of unlikely architectural projects.

In 1969, he created *Condutores de Percepção*, a pivotal work in his career. With it, he began a series of works made by inserting everyday objects into well-kept cases with a plaque bearing the work's title, a defining element. These works were exhibited in his first solo exhibition, at MAM/RJ, in 1973, to great acclaim. According to art critic Ronaldo Brito, the works on display are "much less an object of contemplation than an active way of conveying a thought, of producing a crisis in the spectator's mental habits."

In 1970, Waltercio created sets for the play *The Lesson* by Eugène Ionesco, directed by Ronaldo Tapajós and staged at the National Conservatory of Theater in Rio de Janeiro, constituting his first public work. In 1967, he had already noticed Svoboda's set designs at the São Paulo International Biennial.

In 1971, he participated for the first time in an art salon—the Summer Salon, at the MAM in Rio de Janeiro—where he exhibited three box-objects. This was the first time Caldas had contact with collector Gilberto Chateaubriand, who acquired the pieces for the exhibition.

Between 1971 and 1972, at the invitation of musician Reginaldo de Carvalho, director of the Villa-Lobos Institute, he taught the Art and Visual Perception course there.

In 1973, Caldas held his first solo exhibition at the MAM in Rio de Janeiro, featuring 21 drawings and 13 box-like objects. The exhibition received excellent critical, public, and market response. With it, the artist, along with Alfredo Volpi, won the Annual Travel Award from the Brazilian Association of Art Critics. Critic Ronaldo Brito wrote his first text on Waltercio Caldas's work—"Racional e absurdo"—about this exhibition, published in the newspaper Opinião, and marked the beginning of the relationship between the artist and the critic. In the text, Ronaldo Brito comments:

What interests him is the production of a click that provokes a moment of psychic disorientation in the viewer. Art, in this way, is much less an object of contemplation than an active way of conveying a thought, of producing a crisis in the viewer's mental habits. At a time when viewing art seems above all a refined social commitment, Waltercio Caldas's exhibition has the value of a refutation: that art is not just to be looked at, but to be thought about.

In 1975, the artist was invited by Pietro Maria Bardi to participate in the "Expo Bruxelles" in Belgium, along with the artist Alvim Correa (Brazilian, illustrator of the first edition of H.G. Wells's 1906 novel The War of the Worlds, one of the pioneers of science fiction literature). The event didn't take place, but Bardi invited the artist to present at the São Paulo Museum of Art (MASP), where he was director.

He then held his first solo exhibition in São Paulo, titled "The Nature of Objects," at the Assis Chateaubriand São Paulo Museum of Art (MASP). He presented 100 works, including drawings, objects, and photographs.

1978 was a year rich in achievements, when the artist produced numerous works, such as Talc on a Picture Book by Henri Matisse, Invitation to Reason, Art Apparatus, Common Plate with Rubber Bands, Iron Tube / Glass of Milk, and The Mondrian Experience. It was also the year that Waltercio Caldas prepared Apparatus, the first book about his entire body of work.

He created sculptures, such as Invitation to Reason and Steel Object. During this period, he created works that commented on the works of renowned names in art history. He created The Mondrian Experience and Talc on a Picture Book by Henri Matisse. This last work marks the beginning of other works based on books, such as "Aparelhos" (1979), "Manual de Ciência Popular" (1982), and "Velázquez" (1996).

The book "Aparelhos" was published by GBM Editora de Arte, Rio de Janeiro, in 1979, with an essay by Ronaldo Brito. The book presents a selection of works created between 1967 and 1978. With distinctive editorial characteristics, including previously unpublished works created exclusively for graphic contexts, including "Como funciona a máquina fotografia" (How the Camera Works) (1977), the book was visually designed by the artist and Paulo Venancio Filho. The cover features the work "Dado no gelo" (Given on Ice). In the opening of the essay, titled "Os limites da arte e a arte dos limites" (The Limits of Art and the Art of Limits), Ronaldo Brito declares:

The work is bound by the limits of art; its demand is to situate itself there at the utmost extremes. More than consciousness, the work is obsessed with limits. It breathes this tension and draws strength from this ambiguity. What is art, what is not, when it is and when it ceases to be, how it can be and how it cannot be—these are the questions. But it does not pose them directly because that would be tantamount to denying them, escaping their constant pressure, defining itself as a consciousness that questions and answers. The work vibrates in these questions; these are its environment: only there does it produce meaning, organize, and stir senses. Its space is therefore the imminence of emptiness, the limits, what lies between, the lines that exist as a process of demarcation of different regions. It acts upon these lines, capturing the surrounding tension. And the work is nothing but these lines.

Regarding the book, critic Rodrigo Naves added, in an August 1979 text in the newspaper Leia Livros:

This book by Waltercio Caldas Jr. and Ronaldo Brito (text) is a work with a desire for itself. Let us then try to open it in a new way. To penetrate it and traverse it as it unfolds. After trying several alternatives, I was left with only one: to pierce this book and make some contact with this circular surface that would be created within the thickness of the paper. Coincidentally or not, this is precisely the movement of this work. However, concomitant with the hole must be the memory of the resistance offered by the pierced material, for its reaction to the cut is a condition for the delimitation of this paper profile. The nothingness that will be created reeks of the thickness traversed. And this thickness, in this case, is the languages ​​and the circuit of art.

And, still about the book, writes Zulmira Ribeiro Tavares, in her text "Irony and Meaning"

Waltércio Caldas and Cildo Meireles
More than in other books that disseminate the visual, in this one the graphic design itself results in a strongly structured montage. Its elements are part of a layout/production, that is, a layout that conditions perception to direct itself toward a unified material-support: the book itself. Volumes, surfaces, colors, and figurations lose part of their original condition and gain another, based on the graphic space. Therefore, from the book, a truly new space is created, almost with scenic characteristics. Through the reproductions, it conveys a strong impression of a retained and privileged moment, exactly as occurs on a stage, in this case, a stage populated not by beings, but by objects in programmed situations (Modulo magazine, no. 61, November 1980).

From the 1980s onward, the artist created a greater number of installations. In 1980, he created Ping Pong and 0 Is One. Three years later, he exhibited Speed ​​at the 17th São Paulo International Biennial. At the same time, he worked on a series of sculptures, dedicating himself primarily to this form in the second half of the decade. He made videos, drawings, and nearly invisible interventions in space, but his primary activity was sculpture.
In 1985, Caldas moved to New York, where he lived for a year. During this period, he worked on projects and created the work "Sculpture for all non-transparent materials," which multiplies into several pairs of hemispheres of different sizes and materials (wood, granite, marble, etc.), a work of constant expansion that merges with the air. That same year, it was included in the "Panorama of Current Brazilian Art - Three-Dimensional Forms" at the São Paulo Museum of Modern Art.

In 1986, the video "Apaga-te Sésamo" (Switch Off Sesame), directed and photographed by Miguel do Rio Branco, was created based on a selection of the work. Produced by Studio Line / Rio Arte, the eleven-minute video won the award for best video and direction at the Maranhão Film and Video Festival, Embrafilme, that same year. On the video's release flyer, the artist writes:

Video is the name given to an electronic signal. The objects and sculptures recorded in this system present themselves more as images than as things. In fact, I almost believe in these "transparent things" as if they were close. The obvious is sometimes false.

In 1989, he installed his first public sculpture: The Instant Garden in Carmo Park, São Paulo, and five years later, he produced another piece in an open space: Omkring, in Norway.

In 1993, he held the solo exhibition "The Closest Air" at the National Museum of Fine Arts, Rio de Janeiro. The museum's enormous gallery was filled with thin, sparse, and sinuous lines of colored wool that hung from the ceiling, forming small, perhaps the artist's most radical exhibition on the question of the boundaries between the visible and the invisible, a recurring theme in a work that re-proposes "air" as "body." Here, Waltercio also radicalizes the photographic improbability of his pieces, which this time elude reproduction even further. The exhibition received the award for best work of the year in the country, the Mário Pedrosa Prize, awarded by the Association of Art Critics.

In 1996, he created the monument "Sculptura para o Rio" (Sculpture for Rio), in downtown Rio de Janeiro, which highlights a synthesis of his work: the conceptual subtlety that has always characterized him, combined with an ability to mobilize public space. Also in 1996, he launched the work "O Livro Velázquez" (The Book of Velázquez) and held the solo exhibition "Anotações 1969/1996" (Notes 1969/1996) at the Paço Imperial, Rio de Janeiro, presenting his study notebooks for the first time.

In 2003, he held the solo exhibition "Waltercio Caldas: Desenhos" (Waltercio Caldas: Drawings) at the Artur Fidalgo Escritório de Arte (Art Office), Rio de Janeiro. On the opening pages of the catalog accompanying the exhibition, the artist himself writes:

And the eyes, which go to the images wherever they are
And take them there, where they can smile at nonexistence.

Critiques

"The work is trapped within the limits of art; its requirement is to situate itself there in extremes. More than consciousness, the work is obsessed with limits. It breathes this tension and draws strength from this ambiguity. What is art and what is not, when it is and when it ceases to be, how it can be and how it cannot be—these are its questions. But it does not pose them directly because that would be tantamount to denying them, escaping their constant pressure, defining itself as a consciousness that questions and answers. The work vibrates in these questions; these are its environment: only there does it produce meaning, organize, and agitate meanings. Its space is therefore the imminence of the void, the limits, what lies between the lines that exist as a process of demarcation of different regions. It acts upon these lines, capturing the surrounding tension. And the work is nothing but these lines.

Let's say it is a kind of perverse device. Their eye, their calculation, would consist precisely in detecting the degrees of ambiguity and inadequacy of the art object, but of the concept of art, even more so of the institution of art.
All of this, of course, being a work of art.
One can imagine them in action: half-sullenly taking pleasure in dismantling the mechanisms that transform the work of art into an apparent totality, perfect in its circle, coherently dominating its circulation. In this sadistic process (which would also be masochistic), what counts above all is the power to disarticulate, to shuffle, the various instances that implicitly compose the work of art and mask its problematic constitution. It is, obviously, an analytical operation: deconstruction of the ground and walls of art (object, concept, circuit). The pleasure of the work, its thrill, only appears when the art is suspended, when the art is placed in parentheses.
Ronaldo Brito

"The Acoustic science knows of a phenomenon called combination sound, or third sound. If two notes of different but relatively close pitches are played simultaneously, their frequencies clash and produce a third, clearly audible note, equivalent to the difference between them. Although discovered in the 18th century, it is still unknown whether the third sound is a physical reality or a neurological reaction. By analogy, we could think of Waltercio Caldas's works as combination objects, or third objects. In them, there is great proximity, and therefore a clash, between the work's design and its physical presence. The design does not seem to precede the object; it could not be separated from it as an idea or a constructive method. However, the object is so mediated, so meticulously calculated, that it necessarily refers to a design. The volumes of Waltercio's sculptures are incorporeal, mental, and yet we cannot clearly define their geometry; we could not duplicate them or use them as modules. Things allude to space, but they do not depict it. If questioned, we would be forced to respond tautologically: 'This space here, which these things suggest." Idea and body do not, therefore, occupy two separate places, one in thought, the other in space; they overlap, seeming to generate one another simultaneously. Like two close but different oscillations that enter into phase, thoughts and matter thus create a disturbance, a secondary vibration, which cannot be traced back to either one or the other primary frequency, although it is, quite clearly, a reflection of them. The substance of Waltercio's work lies precisely in this vibration, something that is neither body nor idea, something that we do not see in the work, but that we can intuit through or thanks to it. Where is the work, in this case? We would not bet on its physical reality, nor on its character as a mere illusion of the senses."
Lorenzo Mammì

"His sculptures in wood, glass, alcohol, and metal attest to the formal rigor ever present in his production and, at the same time, the mordacity with which he has almost always positioned himself in relation to art and its context. Observing his works, the visitor will realize that Caldas is currently immersing himself in the subversion of certain assumptions of the Constructivist tradition. His sculptures question the rigors of geometry applied to sculpture, criticize the physical participation of the public in the appreciation of the work (the glass pieces, if touched, can simply shatter), and, when they approach design—one of the Constructivist utopias—they deconstruct its concept of functionality. Caldas unleashes upon the Constructivist tradition an irony and critical awareness not seen with such intensity for years. The reason for this now-recovered gap perhaps lies in the artist's own trajectory. In 1979, his work gained notoriety with the publication of the book Aparelhos. There, critic Ronaldo Brito, analyzing the artist's work, highlights another possibility of making contemporary art in Brazil, apparently very far from that preached by the new Brazilian objectivity, a trend dominated by Hélio Oiticica in the 1960s and 1970s.

Metaphorically, the book announced Oiticica's death the following year and, with it, the crumbling of that art with a romantic foundation, naively seeking to break down the barriers between art and life, artist and spectator. Caldas's production at the time—objects of Dadaist and Surrealist derivation, filtered through conceptual art—trampled on this libertarian romanticism.

In the 1980s, Caldas would undergo a circumstantial reversal, it seems: from an artist deeply concerned with the discourse on art, he would attempt to become a sculptor, probing and deepening the discourse of modern sculpture with each work. This was the moment when his production tended to lose its critical corrosion and approach a formalism without an exit.
Tadeu Chiarelli

"The The movement of Waltercio's work within the sphere of Brazilian post-constructive art history, incorporating the Neoconcrete contribution and re-discussing its axioms and postulates through conceptual dialogue, is already a facet recognized by all who have followed the development of this work for over two decades. Beyond the cognitive interrogation of the concept, knowledge of this work brings an existential dimension. In the project of expanding the field of vision by exploring a purely optical intelligence—Waltercio's art rarely has any embedded rhetoric—there is always a skeptical residue, in which the interrogation presents itself with a novelty: happy doubt. Perverting the positive logic that sustains worldly rationality and its petty praise of what has conventionally been called 'results,' these exercises insist on contradicting common sense. Denying the cult of the image and the false generosity of this universe full of figures and poor in reasoning, Waltercio's sculptures bring in their asceticism a subtle dose of humor from which pleasure derives. This existential dimension is realized in a chain process, in successive enigmas for the retina, in the promise that, if we do not stop using our intelligence, it is possible to live with reality, despite its brutality and absurd appearance."
Paulo Sérgio Duarte

Solo Exhibitions

1967
Rio de Janeiro RJ - Solo Exhibition, at the Gead Gallery

1973
Rio de Janeiro RJ - Waltercio Caldas: Objects and Drawings, at the MAM/RJ - Annual Travel Award for Best Exhibition

1974
Rio de Janeiro RJ - Narratives, at the Luiz Buarque de Hollanda and Paulo Bittencourt Gallery

1975
São Paulo SP - The Nature of Games, at MASP
São Paulo SP - Solo Exhibition, at the Luisa Strina Gallery

1976
Rio de Janeiro RJ - Waltercio Caldas Jr: Objects and Drawings, at the MAM/RJ

1979
São Paulo SP - Devices, at the Luisa Gallery Strina
São Paulo SP - Solo show, at the Raquel Arnaud Art Studio

1980
Rio de Janeiro RJ - Ping-Ping, at the Saramenha Gallery
Rio de Janeiro RJ - Zero is One, at Espaço ABC

1982
Rio de Janeiro RJ - Solo show, at the UFRJ
São Paulo SP - Waltercio Caldas: sculptures, at the Raquel Arnaud Art Studio

1983
São Paulo SP - Solo show, at the Raquel Arnaud Art Studio

1984
Rio de Janeiro RJ - Waltercio Caldas: sculptures, at GB ARTe

1986
Rio de Janeiro RJ - Solo show, at the Paulo Klabin Gallery
São Paulo SP - Solo show, at the Raquel Art Studio Arnaud

1988
Rio de Janeiro RJ - Waltercio Caldas: sculptures, at Funarte. Sérgio Milliet Gallery Rio de Janeiro, RJ - Waltercio Caldas: four curved sculptures, at the Paulo Klabin Gallery

1989
São Paulo, SP - Solo show, at the Raquel Arnaud Art Gallery

1990
Amsterdam (Netherlands) - Solo show, at the Pulitzer Art Gallery Rio de Janeiro, RJ - Waltercio Caldas: drawings, at the 110 Contemporary Art Gallery

1991
Kortrijk, Belgium - Waltercio Caldas: sculptures and drawings, at the Kanaal Art Foundation São Paulo, SP - Waltercio Caldas: sculptures and drawings, at the Raquel Arnaud Art Gallery

1992
Schiedam, Netherlands - Waltercio Caldas: sculptures and drawings, at the Stedelijk Museum

1993
Rio de Janeiro RJ - Waltercio Caldas: sculptures, at the MNBA - Mário Pedrosa Award - exhibition of the year by ABCA

1994
Rio de Janeiro RJ - Entretexto, at the UFF
São Paulo SP - Solo exhibition, at the Raquel Arnaud Art Cabinet

1995
Geneva (Switzerland) - Solo exhibition, at the Centre d'Art Contemporain
Rio de Janeiro RJ - Waltercio Caldas: sculptures and drawings, at the Joel Edelstein Contemporary Art

1996
Rio de Janeiro RJ - The History of Stone, at the Castro Maya Museum. Chácara do Céu Museum
Rio de Janeiro RJ - Notes 1969/1996, at the Palace Imperial

1997
Madrid (Spain) - Waltercio Caldas: sculptures, at the Javier Lopes Gallery
Miami (United States) - Waltercio Caldas: new sculptures, at the Quintana Gallery

1998
Rio de Janeiro, RJ - Mar Nunca Nome, at the Light Cultural Center
Rio de Janeiro, RJ - Solo exhibition, at the Paulo Fernandes Gallery

1999
Curitiba, PR - Books, at the Casa da Imagem Gallery
Rio de Janeiro, RJ - Books, at the MAM/RJ
New York (United States) - Domestic Pleasures, at the Galerie Lelong
Rio de Janeiro, RJ - Books, at the MAM/RJ

2000
Belo Horizonte, MG - Solo exhibition, at the Celma Albuquerque Art Gallery
Belo Horizonte, MG - Books, at MAP
Rio de Janeiro RJ - A Room for Velázquez, at MNBA
Rio de Janeiro RJ - Solo exhibition, at Laura Marsiaj Arte Contemporânea

2001
Brasília, DF - Waltercio Caldas: 1985/2000, at the CCBB
Rio de Janeiro, RJ - Waltercio Caldas: 1985/2000, at the CCBB
São Paulo, SP - Waltercio Caldas: sculptures and drawings, at the Raquel Arnaud Art Office

2002
Porto Alegre, RS - Books, at Margs
São Paulo, SP - Books, at the State Art Gallery

2003
Rio de Janeiro, RJ - Waltercio Caldas: drawings, at the Artur Fidalgo Art Office

2004
São Paulo, SP - Solo Exhibition, at the Raquel Arnaud Art Office

Group Exhibitions

1967
Rio de January, RJ - Drawings, at the Gead Gallery - 1st Prize in Drawing

1971
Rio de Janeiro, RJ - 3rd Summer Salon, at the MAM/RJ - Special Mention from the Jury

1972
Rio de Janeiro, RJ - 4th Summer Salon, at the MAM/RJ - Special Mention from the Jury
Rio de Janeiro, RJ - Exhibition, at the MAM/RJ

1973
Rio de Janeiro, RJ - Some Aspects of Brazilian Drawing, at the Ibeu Copacabana Gallery
Rio de Janeiro, RJ - Inquiry into the Nature, Meaning, and Function of the Work of Art, at the Ibeu Copacabana Gallery
Rio de Janeiro, RJ - The Face and the Work, at the Grupo B Gallery
Rio de Janeiro, RJ - International Avant-Garde, at the Ibeu Gallery Copacabana

1974
Barcelona (Spain) - Brazilian Graphic Art Today, at the Exhibition Hall of the Directorate General of Fine Arts
Campinas SP - 9th Campinas Contemporary Art Salon, at the MACC
Campinas SP - Panorama of Brazilian Drawing, at the MACC
Madrid (Spain) - Brazilian Engravers and Drawers, at the Museum of Contemporary Art
Rio de Janeiro RJ - Brazilian Illustrators, at the Maison de France Gallery
Rio de Janeiro RJ - Drawings, at the Intercontinental Gallery

1975
Campinas SP - (Art), at the MACC
Campinas SP - Waltercio Caldas, Rubens Gerchman, Carlos Vergara, José Resende, at the MACC
Paris (France) - Brazilian Graphic Art, at the Musée Galiera
Rio de Janeiro RJ - New Acquisitions, at MAM/RJ

1976
Belo Horizonte MG - Roots and Current Events, at the Palácio das Artes
Brasília DF - Collective Exhibition, at the Brasília Cultural Foundation
Recife PE - Collective Exhibition, at the João Alfredo Mansion
Salvador BA - Brazilian Art from the 1960s and 1970s in the Gilberto Chateaubriand Collection, at MAM/BA
Salvador BA - Collective Exhibition, at the Bahia Museum of Art

1977
Brasília DF - Brazilian Art from the 1960s and 1970s in the Gilberto Chateaubriand Collection, at the Federal District Cultural Foundation
Recife PE - Brazilian Art from the 1960s and 1970s in the Gilberto Chateaubriand Collection, at the João Mansion Alfredo
Rio de Janeiro, RJ - Identification of Artist - a book, at EAV/Parque Lage

1981
Porto Alegre, RS - Brazilian Artists of the 1960s and 1970s in the Rubem Knijnik Collection, at Espaço NO Galeria Chaves
Rio de Janeiro, RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
São Paulo, SP - Art Research, at MAC/USP
São Paulo, SP - Brazilian Artists, at Masp
São Paulo, SP - Contemporary Brazilian Artists, at the São Paulo Art Gallery

1982
Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Center for Modern Art
Lisbon (Portugal) - From Modern to Contemporary: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Center for Modern Art London (England) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at the Barbican Art Gallery Punta del Este (Uruguay) - International Sculptors Meeting

1983
Rio de Janeiro, RJ - 3000 Cubic Meters, at the Sérgio Porto Cultural Space Rio de Janeiro, RJ - Collective, at the MAM/RJ São Paulo, SP - 17th São Paulo International Biennial, at the Biennial Foundation São Paulo, SP - Imagining the Present, at the Raquel Arnaud Art Cabinet

1984
Havana, Cuba - 1st Havana Biennial Niterói, RJ - 1st Contemporary Brazilian Art, at UFF New York (United States) - Abstract Attitudes, at The Center for Inter-American Relations Providence (United States) - Abstract Attitudes, at the Rhode Island Museum of Art São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP São Paulo SP - Collective Exhibition, at MASP São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, at Fundação Bienal

1985 São Paulo SP - 16th Panorama of Contemporary Brazilian Art, at MAM/SP

1986 Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art of the 1960s, 1970s, and 1980s, at Margs Rio de Janeiro RJ - Contemporary Brazilian Art Trends, at Montesanti Gallery
São Paulo SP - 12 Years, at Luisa Strina Gallery
São Paulo SP - The New Dimension of the Object, at MAC/USP
São Paulo SP - Collective, at Masp

1987
New York (United States) - Works on Paper, at the CDS Gallery
Paris (France) - Modernity: Brazilian art of the 20th century, at the Musée d'Art Moderne de la Ville de Paris
Rio de Janeiro RJ - 11th Carioca Art Salon, at the Carioca Metro Station
Rio de Janeiro RJ - To the Collector: tribute to Gilberto Chateaubriand, at MAM/RJ
Rio de Janeiro RJ - Science and Culture Forum, Art and Word, at UFRJ
São Paulo SP - 19th São Paulo International Biennial, at the Bienal Foundation
São Paulo SP - Palavra Imágica, at MAC/USP
Paris (France) - Modernity: Brazilian art of the 20th century, at the Musée d'Art Moderne de la Ville de Paris

1988
Ribeirão Preto SP - Art Today 88, at the Casa de Cultura
Rio de Janeiro RJ - Expression and Concept of the 1970s, at the Gilberto Chateaubriand Gallery
Rio de Janeiro RJ - Paper in Space, at the Aktuel Gallery
São Paulo SP - Collective, at Masp
São Paulo SP - Modernity: Brazilian Art of the 20th Century, at MAM/SP

1989
Bauru SP - Drawing, a Generation, at the Graffiti Gallery
Rio de Janeiro RJ - Our 1980s, at the Laura Alvim Casa de Cultura
Rio de Janeiro RJ - Rio Today, at MAM/RJ
São Paulo SP - 10 Sculptors, at the Raquel Arnaud Art Office
São Paulo SP - 20th International Biennial of São Paulo, at the Foundation Biennial São Paulo, SP - Art in Newspapers, in Jornal da Tarde

1990
Birmingham, England - Transcontinental, at the Ikon Gallery
Brasília, DF - Brasília Prize for Visual Arts, at MAB/DF
Los Angeles, United States - Art Los Angeles
Rio de Janeiro, RJ - Contemporary Brazilian Art, at Galeria 110 Arte Contemporânea
São Paulo, SP - 21st Panorama of Current Brazilian Art, at MAM/SP
São Paulo, SP - Color in Brazilian Art, at Paço das Artes

1991
Antwerp, Belgium - America, at the Koninkjik Museum Voor Shone Kunsten
Belo Horizonte, MG - UFMG Winter Festival, at the UFMG Cultural Center
Fortaleza, CE - 2nd International Exhibition of Ephemeral Sculptures, at the Demócrito Rocha Foundation
Rio de Janeiro RJ - Image upon Image, at the Sérgio Porto Cultural Space
São Paulo SP - The Classic in the Contemporary, at Paço das Artes
São Paulo SP - Project: 100 Years of Paulista, at Casa das Rosas

1992
Antwerp (Belgium) - America, at the Royal Museum for Fine Arts
Berlin (Germany) - Amazonian Art, at the State Kunsthalle
Berlin (Germany) - Global Climate, at the State Kunsthalle
Brasília, DF - Amazonian Art, at the Museum of Art
Campinas, SP - Winners of the Campinas Contemporary Art Salons, at the MACC
Curitiba, PR - 10th Engraving Exhibition City of Curitiba/America Exhibition, at the Engraving Museum
Kassel (Germany) - 9th Documenta, at the Museum Fridericianum
Paris (France) - Latin America: Contemporary Art, at the Hôtel des Arts
Paris (France) - Latin American Artists of the Twentieth Century, at the Centre Georges Pompidou
Rio de Janeiro, RJ - 1st On the Way to Niterói: João Sattamini Collection, at the Imperial Palace
Rio de Janeiro, RJ - 4 Artists at Documenta, at the Museum of the Republic
Rio de Janeiro, RJ - Amazonian Art, at MAM/RJ
Rio de Janeiro, RJ - Brazilian Contemporary Art, at EAV/Parque Lage
Rio de Janeiro, RJ - Coca-Cola 50 Years with Art, at MAM/RJ
São Paulo, SP - 1960s/70s: Gilberto Chateubriand Collection/Museum of Modern Art-RJ, at the Sesi Art Gallery
São Paulo, SP - Amazonian Art, at the Biennial Foundation
São Paulo, SP - Artists at Documenta (1992: São Paulo, SP) - São Paulo Museum of Art (SP)
São Paulo, SP - Coca-Cola 50 Years with Art, at MAM/SP
São Paulo SP - Collective, at Masp
Seville (Spain) - Latin American Artists of the Twentieth Century, at Plaza de Armas Station

1993
Berlin (Germany) - Klima Global, at the Staatliche Kunsthalle
Brasília DF - A Look at Joseph Beuys, at the Athos Bulcão Foundation
Cologne (Germany) - Klima Global, at the Staatliche Kunsthalle
Cologne (Germany) - Latin American Artists of the Twentieth Century, at the Kunsthalle Cologne
Florence (Italy) - Brazil: Segni d'Arte, at the Biblioteca Nationale Centrale di Firenze
Milan (Italy) - Brazil: Segni d'Arte, at the Biblioteca Nazionale Braidense
New York (United States) - Latin American Artists of the Twentieth Century, at MoMA
New York (United States) - Two Works, at the John Gibson Gallery
New York (United States) - Waltercio Caldas and José Resende, at the John Gibson Gallery
Rio de Janeiro RJ - Erotic Art, at MAM/RJ
Rio de Janeiro RJ - Brazil 100 Years of Modern Art, at MNBA
Rio de Janeiro RJ - Emblems of the Body: the nude in modern Brazilian art, at CCBB
Rome (Italy) - Brazil: Segni d'Arte, at the Center for Brazilian Studies
São Paulo SP - Brazilian Art in the World, a Trajectory: 24 Brazilian artists, at Dan Galeria
São Paulo SP - The Presence of the Ready-Made: 80 years, at MAC/USP
São Paulo SP - Eduardo Sued, Nuno Ramos, Frida Baranek, Waltercio Caldas, at Espaço Arte in Shopping Morumbi
São Paulo SP - Engravings, at Espaço Namour
São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at the Gallery Sesi Art Gallery
São Paulo SP - Poetics, at the Raquel Arnaud Art Gallery
Vancouver (Canada) - Out of Place, at the Vancouver Art Gallery
Venice (Italy) - Brazil: Signs of Art, at the Querini Stampalia Scientific Foundation
Aachen (Germany) - Amazonas Art, at the Ludwig Forum for International Art

1994
Fortaleza CE - Artist's Book, at the Raimundo Cela Visual Arts Center
Frankfurt (Germany) - The Thickness of the Sign: Contemporary Brazilian Drawing, at Karmeliter Kloster
New York (United States) - Mapping, at MoMA
Rio de Janeiro RJ - Art with Words, at MNBA
Rio de Janeiro RJ - Collective, at MAM/RJ
Rio de Janeiro RJ - Brazilian Engraving, at the Brazilian Engraving Gallery
Rio de Janeiro RJ - Object-Book: The Frontier of Voids, at CCBB
Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
Rio de Janeiro RJ - Precision, at CCBB
Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, at MAM/RJ
São Paulo SP - Arte Cidade 2: the city and its flows
São Paulo SP - Brazil 20th Century Biennial, at the Biennial Foundation
Turin (Italy) - Weltanschaung, at the Goethe Institut

1995
Curitiba PR - 11th Engraving Exhibition of the City of Curitiba, at the Curitiba Cultural Foundation. Solar do Barão
New York (United States) - Art from Brazil in New York: Cildo Meireles Waltercio Caldas, at Galeria Lelong
New York (United States) - Brazilian New York, at Galerie Lelong
New York (United States) - Drawing on Chance, at MoMA
Rio de Janeiro RJ - Contemporary Challenges, at Galeria PA Objetos de Arte
Rio de Janeiro RJ - Money, Fun and Art, at CCBB
Rio de Janeiro RJ - A Poetics of Reflection, at Conjunto Cultural da Caixa
São Paulo SP - Between Drawing and Sculpture, at MAM/SP
São Paulo SP - Book-Object: the frontier of voids, at MAM/SP

1996
Brasília DF - Art and Urban Space: Fifteen Proposals, at the Ministry of Foreign Affairs, Palácio do Itamaraty
Caracas (Venezuela) - Sin Fronteras: Contemporary Latin American Art, at Museo Alejandro Otero
Rio de Janeiro RJ - 4 Artists, at Galeria Paulo Fernandes
Rio de Janeiro RJ - The 70s: Photolanguage, at EAV/Parque Lage
Rio de Janeiro RJ - Interiors, at MAM/RJ
Rio de Janeiro RJ - Mensa/Mensae, at Funarte, National Center for Folklore and Popular Culture
Rio de Janeiro RJ - Small Hands, at Paço Imperial
São Paulo SP - 23rd São Paulo International Biennial, at Fundação Bienal
São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920–1970, at MAC/USP
São Paulo SP - Urban Sculptures, at Gabinete de Arte Raquel Arnaud
São Paulo SP - Small Hands, at Centro Cultural Alumini

1997
Curitiba PR - Contemporary Art in Printmaking, at the Metropolitan Museum of Art of Curitiba
Girona (Spain) - Cegueses, at the Museo d"Art
Little Rock (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at the Arkansas Art Center
New York (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at El Museo del Barrio
Porto Alegre RS - 1st Mercosur Visual Arts Biennial, at Aplub, Casa de Cultura Mário Quintana, DC Navegantes, Edel, Usina do Gasômetro, Institute of Arts at UFRGS, Mercosur Visual Arts Biennial Foundation, Margs, Espaço Ulbra, Museum of Social Communication, UFRGS Rectory, and Theatro São Pedro
Porto Alegre RS - Cartographic Approach, at Usina do Gasômetro
Rio de Janeiro RJ - Ar: exhibition of visual arts, toys, objects, and models, at Paço Imperial
Rio de Janeiro RJ - Ibeu: 60 Years, at Ibeu Gallery Copacabana
Rio de Janeiro RJ - Petite Galerie 1954-1988: A Vision of Brazilian Art, at Paço Imperial
Santa Monica (United States) - 4 Artists from South America, at Christopher Grimes Gallery
São Paulo SP - 25th Panorama of Brazilian Art, at MAM/SP
São Paulo SP - Diversity of Contemporary Brazilian Sculpture, on Avenida Paulista – organized by the Ministry of Culture/Itaú Cultural
São Paulo SP - Brazilian Sculpture: Profile of an Identity, at Espaço Cultural Safra
São Paulo SP - Intervals, at Paço das Artes
São Paulo SP - Three-Dimensionality in 20th Century Brazilian Art, at Itaú Cultural
Uberlândia MG - 2 Masters: Small Formats, at Mônica Marques Gallery
Venice (Italy) - 47th Venice Biennale
Washington (United States) - Brazilian Sculpture: Profile of an Identity, at the IDB Cultural Center

1998
Austin (USA) - Re-Aligning Visions: alternative currents in South American drawing, at Archer M. Huntington Art Gallery
Belo Horizonte MG - Tridimensionality in 20th Century Brazilian Art, at Itaú Cultural
Berlin (Germany) - Der Brasilianische Blick, at Haus der Kulturen der Welt
Brasília DF - Tridimensionality in 20th Century Brazilian Art, at Galeria Itaú Cultural
Buenos Aires (Argentina) - Grabados Brasileños, at Instituto de Estudios Brasileños
Caracas (Venezuela) - Re-Aligning Visions: alternative currents in South American drawing, at Museo de Bellas Artes
Monterrey (Mexico) - Re-Aligning Visions: alternative currents in South American drawing, at Museo de Arte Contemporáneo
Niterói RJ - 25th Panorama of Brazilian Art, at MAC/Niterói
Niterói RJ - Mirror of the Biennial, at MAC/Niterói
Penápolis SP - Tridimensionality in 20th Century Brazilian Art, at Galeria Itaú Cultural
Recife PE - 25th Panorama of Brazilian Art, at Mamam
Ribeirão Preto SP - The Dimensions of Contemporary Art, at Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi
Rio de Janeiro RJ - The Image of Sound by Caetano Veloso, at Paço Imperial
Rio de Janeiro RJ - 1960s/70s: Gilberto Chateaubriand Collection, at MAM/RJ
Rio de Janeiro RJ - O Bonequinho Viu: 60 years 1938-1998, at CCBB
Rio de Janeiro RJ - Johnnie Walker Prize, at MNBA
Rio de Janeiro RJ - A Vision of Contemporary Art, at MNBA
Salvador BA - 25th Panorama of Brazilian Art, at MAM/BA
Santa Monica (USA) - Amnesia, at Christopher Grimes Gallery
São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
São Paulo SP - 2nd Philips Eletromídia Art, at Museu da Casa Brasileira
São Paulo SP - Elective Affinities I: the Collector's Gaze, at Casa das Rosas
São Paulo SP - The Dimensions of Contemporary Art, at Museu de Arte de Ribeirão Preto
São Paulo SP - Transitive Forms: Brazilian Art, Construction and Invention 1970/1998, at Gabinete de Arte Raquel Arnaud
São Paulo SP - Borders, at Itaú Cultural
São Paulo SP - Multiples, at Valu Oria Art Gallery
São Paulo SP - O Bonequinho Viu: 60 years 1938-1998, at Museu da Casa Brasileira
São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
São Paulo SP - Theory of Values, at MAM/SP

1999
Bogotá (Colombia) - Amnesia, at Biblioteca Luis Ángel Arango
Cincinnati (USA) - Amnesia, at The Contemporary Arts Center
Miami (USA) - Re-Aligning Visions: alternative currents in South American drawing, at Miami Art Museum
New York (USA) - Global Conceptualism: points of origins 1950s-1980s, at The Queens Museum of Art
Rio de Janeiro RJ - Everyday/Art. Object 1960s/90s, at MAM/RJ
Rio de Janeiro RJ - Rio Print Exhibition. Contemporary Prints, at Paço Imperial
Santa Monica (USA) - Waltercio Caldas, Cildo Meireles, Mira Schendel, Tunga, at Christopher Grimes Gallery
São Paulo SP - Recent Acquisitions, at MAM/SP
São Paulo SP - Absence, at MAM/SP
São Paulo SP - Everyday/Art. Object 1960s/90s, at Itaú Cultural
São Paulo SP - Why Duchamp?, at Paço das Artes

2000
Belo Horizonte MG - Investigations: Are They Prints or Not?, at Itaú Cultural
Brasília DF - Investigations: Are They Prints or Not?, at Galeria Itaú Cultural
Buenos Aires (Argentina) - Brazil: Plural and Singular, at Museo de Arte Moderno de Buenos Aires
Colchester (UK) - Outros 500: highlights of Brazilian contemporary art in UECLAA, at Art Gallery - University of Essex
Curitiba PR - 12th Curitiba Print Exhibition. Marks of the Body, Folds of the Soul
Curitiba PR - Acquisition and Collection Project, at Museu da Gravura
Itapiranga SC - Borders – sculpture installation
Lisbon (Portugal) - 20th Century: Art from Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
New York (USA) - Icon + Grid + Void, at The Americas Society
Rio de Janeiro RJ - Situations: Brazilian Art in the 1970s, at Fundação Casa França-Brasil
São Paulo SP - Brazil + 500: Rediscovery Exhibition. Contemporary Art, at Fundação Bienal
São Paulo SP - Between Art and Design: MAM Collection, at MAM/SP
São Paulo SP - Constructive Readings (2000: São Paulo, SP) – Gabinete de Arte Raquel Arnaud (São Paulo, SP)

2001
Oxford (UK) - Experiment Experiência: art in Brazil 1958-2000, at the Museum of Modern Art
Porto Alegre RS - 3rd Mercosul Visual Arts Biennial
Porto Alegre RS - Liba and Rubem Knijnik Collection: contemporary Brazilian art, at MARGS

2001
Recife PE - Palavraimagem, at Mamam
Rio de Janeiro RJ - The Spirit of Our Time, at MAM/RJ
São Paulo SP - 1970s: Trajectories, at Itaú Cultural
São Paulo SP - The Spirit of Our Time, at MAM/SP
São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural

2002
Brasília DF - Fragments to Your Magnet, at Espaço Cultural Contemporâneo Venâncio
Liverpool (UK) - Pot
Londrina PR - Are They or Aren’t They Prints?, at Museu de Arte de Londrina
Madrid (Spain) - ARCO/2002, at Parque Ferial Juan Carlos I
Niterói RJ - Sattamini Collection: sculptures and objects, at MAC/Niterói
Niterói RJ - Dialogue, Antagonism, and Replication in the Sattamini Collection, at MAC/Niterói
New York (USA) - Time, at MoMA
Passo Fundo RS - Prints: Paulo Dalacorte Collection, at Museu de Artes Visuais Ruth Schneider
Porto Alegre RS - Prints: Paulo Dalacorte Collection, at Museu do Trabalho
Rio de Janeiro RJ - Something in the Air, at Paço Imperial
Rio de Janeiro RJ - Artefoto, at CCBB
Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
Rio de Janeiro RJ - Between Word and Image: Module 1, at Sala MAM-Cittá América
Rio de Janeiro RJ - Identities: the Brazilian portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
Rio de Janeiro RJ - Parallels: Brazilian art from the second half of the 20th century in context, Cisneros Collection, at MAM/RJ
São Paulo SP - 4th Artecidadezonaleste, at Sesc Belenzinho
São Paulo SP - Geometric and Kinetic, at Gabinete de Arte Raquel Arnaud
São Paulo SP - Map of the Now: recent Brazilian art from the João Sattamini Collection at Museu de Arte Contemporânea de Niterói, at Instituto Tomie Ohtake
São Paulo SP - Parallels: Brazilian art from the second half of the 20th century in context, Cisneros Collection, at MAM/SP
São Paulo SP - Pot, at Galeria Fortes Vilaça

2003
Brasília DF - Artefoto, at CCBB
Iowa City (USA) - Layers of Brazilian Art, at Faulconer Gallery
Madrid (Spain) - ARCO/2003, at Parque Ferial Juan Carlos I
Rio de Janeiro RJ - Drawing in the 1970s, at MAM/RJ
Rio de Janeiro RJ - Black and White Project, at Silvia Cintra Galeria de Arte
São Paulo SP - The Subversion of Media, at Itaú Cultural
São Paulo SP - ARCO 2003, at Gabinete de Arte Raquel Arnaud
São Paulo SP - Art and Society: a controversial relationship, at Itaú Cultural
São Paulo SP - Sculptors – Sculptures, at Pinakotheke
Vila Velha ES - The Salt of the Earth, at Museu Vale do Rio Doce

2004
Rio de Janeiro RJ - 30 Artists, at Mercedes Viegas Escritório de Arte
Rio de Janeiro RJ - Brazilian Contemporary Art in the Collections of Rio, at MAM/RJ
São Paulo SP - Contemporary Art: an open history, at Gabinete de Arte Raquel Arnaud
São Paulo SP - Photography and Sculpture in the MAM Collection – 1995 to 2004, at MAM/SP