Aluísio Carvão

Aluísio Carvão (Belém, PA, 1920 - Poços de Caldas, MG, 2001)

Aluísio Carvão was a painter, sculptor, illustrator, actor, set designer, and teacher. He began his artistic career as an illustrator in Pará, also working as a sculptor and set designer. In 1946, he participated in a group exhibition for the first time and received the Special Prize at the Pará Salon of Fine Arts. That same year, he devoted himself to painting and held his first solo exhibition in Amapá, where he temporarily resided. In 1949, he was awarded a scholarship by the Ministry of Education and Culture (MEC) for art teachers and moved to Rio de Janeiro. He enrolled in Ivan Serpa's (1923-1973) free painting course at the Museum of Modern Art in Rio de Janeiro (MAM/RJ) in 1952. Between 1953 and 1956, he was a member of the Grupo Frente and participated in the main collective exhibitions linked to Brazilian concretism, such as the 1st National Exhibition of Abstract Art, in 1953, in Petrópolis; the Grupo Frente exhibitions held in Rio de Janeiro, in 1954 and 1955; and the 1st National Exhibition of Concrete Art, in São Paulo in 1956, and in Rio de Janeiro in 1957. Between 1957 and 1959, he taught at the MAM/RJ, replacing Ivan Serpa, and held a solo exhibition at the Galeria de Artes das Folhas, in São Paulo, in 1958.

In 1959, Aluísio Carvão co-authored the Neoconcrete Manifesto, written by Ferreira Gullar (1930- ), with the artists Amilcar de Castro (1920-2002), Franz Weissmann (1911-2005), Lygia Clark (1920-1988), Lygia Pape (1927-2004), and the poet Reynaldo Jardim (1926- ). With this group, he participated in the Neoconcrete Art Exhibition in Rio de Janeiro, also shown in São Paulo and Salvador.

Aluísio Carvão participated in the Konkrete Kunst exhibition in Zurich and the Neoconcrete Art Exhibition in Munich in 1960. That same year, he received the international travel award at the National Salon of Modern Art and was admitted as a visiting artist to the Hochschule für Gestaltung (HfG) in Ulm, Germany. He traveled to several European countries and returned to Brazil in 1963, becoming a professor at MAM/RJ and the Parque Lage School of Visual Arts (EAV/Parque Lage). In the late 1960s, he began a series of works with recyclable materials, using bottle caps, string, and disposable objects in his chromatic research in the field of abstraction. Between 1966 and 1979, he worked in graphic arts and industrial design, creating posters, book covers, and stamps. In 1967, he participated with two works in the exhibition "New Brazilian Objectivity" at the Museum of Modern Art in Rio de Janeiro (MAM/RJ). Aluísio Carvão was part of several retrospectives of concrete and neoconcrete art in the 1980s. A major retrospective was held in 1996 at the Metropolitan Museum of Art in Curitiba, followed by the Museum of Modern Art of Bahia (MAM/BA) in Salvador and the Museum of Modern Art in Rio de Janeiro (MAM/RJ). He also participated in the exhibition "Constructive Art in Brazil: Adolpho Leirner Collection," held in 1998 at the Museum of Modern Art in São Paulo (MAM/SP) and in 1999 at the Museum of Modern Art in Rio de Janeiro (MAM/RJ). His works were presented at several International Biennials in São Paulo, the 4th Tokyo Biennial in 1957, and the 1st Inter-American Biennial in Mexico in 1958. His last exhibition took place in May 2001, at the Museum of Contemporary Art in Niterói, alongside works by Ione Saldanha.

Critical Commentary

Aluísio Carvão's paintings from the beginning of his career, before moving to Rio de Janeiro, are mostly landscapes, in which echoes of Impressionism can be seen. After learning from Ivan Serpa (1923-1973) and contact with the Rio de Janeiro art scene in the 1950s, a significant transformation was noted in his painting, which abandoned figurative representation of reality and dedicated itself to exploring "structures reduced to a minimum, rigorous in their linear geometry and concentrated on binary contrasts of purely optical rhythms."1 The compositions from the period in which he was part of Grupo Frente, close to concretism, deal with rigorous, geometric formal structures.

The solo exhibition held at the Galeria de Artes das Folhas in São Paulo in 1958 marked a period in which the artist produced works that explored the movement of geometric forms, highlighting the optical aspect of his research, such as in Ritmo-Centrípeto-Centrifugal (1958) and Clarovermelho (1959), with hollow forms and linear rhythms. spirals.

His embrace of Neoconcretism led him, starting in 1959, to abandon formal geometric structures in favor of a construction made directly with color. The paintings from this period have titles such as Red-Red, Yellow-Yellow, Pink-Yellow-Yellow, with which the artist demonstrates that color begins to guide his pictorial work, in canvases that abolish the distinction between form, color, and background. According to critic Mário Pedrosa (1900-1981), "the remnants of positional geometry still present are merely a conventional limit from the previous phase, since, in truth, it is now color, and only color, that, through its intensity and saturation, weighs down the surface, even imposing its form."2

The Cromáticas series, from 1957 to 1960, produced intentionally without a frame, highlights a change in the relationship between the painting and the wall, in an exploration that, as critic Fernando Cocchiarale states, moves toward the integration of the work into space, a hallmark of Neoconcretism. The exclusive interest in color, its matter, intensity, duration, unfolds, in 1960, from the two-dimensional space of the canvas to three-dimensionality in Cubocor, a small cement cube uniformly covered in red pigment, considered by some critics as the high point of his research, being simultaneously object and color, pictorial and spatial element.3 This aspect is also highlighted by the critic Ferreira Gullar (1930), for whom "Aluísio Carvão is an alchemist of color. What matters to him is not the figure, not color as the color of something, but color as a thing (...) This search for color-matter, Carvão began in the neoconcrete period (1959-1962), when, unlike Hélio Oiticica (1937-1980), who sought color as light, he wanted it as a pigment, as close to touch as to sight (...)".4

After his time in Europe, Carvão returned to Rio de Janeiro in 1963 and intensified his work as a teacher and graphic artist. In his paintings, he used non-traditional materials, such as bottle caps, nails, and string grouped together on wooden supports. His "Fluttering Surfaces," like the one produced in 1967, with bottle caps compressed and pierced with nails, fixed to a support, explore kinetic and sonic aspects. He continued producing similar works in the 1970s, exhibited in 1976 at Galeria Arte Global in São Paulo.

Starting in the late 1970s, he returned to the traditional canvas medium, now prioritizing the articulation of colors in a lyrical and evocative language, utilizing vibrant tones and forms with less rigorous characteristics. According to critic Roberto Pontual, in this new phase of his painting, color remains important, but it is no longer about reducing form to color. "The color of his recent paintings aims to be the cradle of form, its inaugural word. If everything in them remains geometric, as before, the call for a construction that is also metaphorical grows."5 This metaphorical aspect is evident in the frequent allusions expressed in the titles of the works, present in canvases from the 1960s, such as Sol and Sertão.

During a stay in Saquarema, Rio de Janeiro, he produced several seascapes, alternating these more figurative paintings with paintings evocative of his Concretist phase. The paintings created in the 1990s explore a repertoire that, according to the artist, is descended from Marajoara graphic art and the vocabulary of pure geometry, such as triangle, square, circle, line, and spiral. In these paintings, signs of festivals and festivities emerge, colorful kites, streamers, and childhood reminiscences that give them an intimate, memorialistic, and lyrical aspect.

Notes
1 PONTUAL, Roberto. Between Two Centuries: 20th-Century Brazilian Art in the Gilberto Chateaubriand Collection. Rio de Janeiro: Jornal do Brasil, 1987. p. 278.
2 PEDROSA, Mário. Apud PONTUAL, Roberto. Dictionary of the Visual Arts in Brazil. Rio de Janeiro: Civilização Brasileira, 1969. p. 115.
3  For Roberto Pontual, the Cubocor is the "matter of color" (PONTUAL, Roberto. Between Two Centuries: 20th-Century Brazilian Art in the Gilberto Chateaubriand Collection. Rio de Janeiro: Jornal do Brasil, 1987. p. 278). For Fernando Cocchiarale, "the Cubo-Color is one of the Neoconcrete emblems of the subsistence of color outside the painting, freed from the place destined for its existence by the history of painting" (ALUÍSIO Carvão. Text by Anna Maria Martins; introduction by Fernando Cocchiarale. Rio de Janeiro: Sextante Artes, 1999. p. 13).
4  GULLAR, Ferreira. Apud AYALA, Walmir; CAVALCANTI, Carlos (orgs.). Brazilian Dictionary of Visual Artists. Brasília: MEC: INL, 1973.  p. 87.
5  PONTUAL, Roberto. Between two centuries: 20th-century Brazilian art in the Gilberto Chateaubriand collection. op. cit. p. 278.

Critiques

"Aluísio Carvão's initial concern was with form: reducing the work to elementary, gestalt structures. From the Neoconcrete dissidence, of which he was a part, it is color that will impose itself, enveloping the structure, or rather, color is, itself, space. Carvão is not a metaphysical painter. Through color, he reveals his sensual relationship with the world. As he says: 'Red guarás, macaws, the aroma of manacá flowers, the sound of the offshore wind, the equatorial heat, the yellow-orange of the sun, atavistic resonances of Van Gogh and Mondrian, in transit through the Iberian Peninsula, the Northeast, the Amazon, and our coast here.' In the paintings of the 'chromatic series' or in the 'cubocor' of the Neoconcrete phase, Carvão gives color its maximum concreteness and physicality, but, having done so, the color recedes, that multiplies into complementary forms, paving the way for its characterization as a lyrical space, a territory of memory. Like a kite controlled by the flyer's hand, memory (color, form) soars, levitates, flows. Its language and motifs are aerial: suns, moons, kites, pennants, masts, arches. In short, they are forms that fly and ascend, without losing their connection to the earth."
Frederico Morais
MORAIS, Frederico. Constructive Vertender. In: DACOLEÇÃO: os caminhos da arte brasileira. São Paulo: Júlio Bogoricin, 1986. p. 131-132.

"Today, buffeted by more or less strong winds of geometric economy, Aluísio Carvão's painting is filled with signs of celebration, festivity, and revelry, joyful and luminous. Among these signs are kites, in a vivid reminiscence of the loose and oscillating, tropical colors in the air of his childhood up North. 'The signs most present in my painting, now, are descendants of Marajoara Indian graphics and the vocabulary of pure geometry - triangle, square, circle, and also the line, spiral,' he said in 1982."
Roberto Pontual
PONTUAL, Roberto. Aluísio Carvão. In: _______. Between Two Centuries: 20th-Century Brazilian Art in the Gilberto Chateaubriand Collection. Rio de Janeiro: Jornal do Brasil, 1987. p. 277.

"Throughout his life, he constructed a visual universe justified precisely by the ability to awaken emotions through the gaze. The great challenge, however, is that these emotions are also grounded in intellect. By opting, from the 1950s onward, to develop an abstract repertoire linked to constructivist orientations, he dedicated himself to addressing scientific questions related to form and color, to the reflective exercise on artistic creation. The sensorial premise and the rigors of analytical knowledge were integrated into Carvão's work and make his presence one of the richest and most fruitful in Brazilian art."
Claudio Telles
TELLES, Cláudio. Diamante Carvão. In: CARVÃO, Aluísio. Aluísio Carvão. Rio de Janeiro: MAM, 1996. p. 9.

"In the field of painting, Carvão, like other Neoconcrete artists, progressively abolished the clear hierarchical differentiation bequeathed by Classical Art and preserved by Concretism, between form, color, and background. The Neoconcrete artists tended to minimize and even suppress this hierarchy, treating these elements as equivalents, subordinating them to a greater unity: space. Works such as Clarovermelho (1959) and Cromáticas, produced between 1957 and 1960, deliberately unframed (in a sense similar to that experimented with by Lygia Clark, Hélio Oiticica, Hércules Barsotti, and Willys de Castro), evoke the coexistence of institutionally and symbolically diverse spaces: the painting and the wall.

The integration of the work with real space became one of the issues shared by the various artists of this movement, even in the field of sculpture. This search for integration determined, in the case of Hélio Oiticica's abandonment of easel painting and the pursuit of color (for him, the ultimate purpose of painting) spilled over into space itself in the works 'Núcleos', 'Penetráveis', 'Relevos espacial', 'Bólides', and 'Parangolés'. In a similar vein, that is, in the valorization of color as a pictorial and spatial element par excellence, Carvão produced Cubo-Cor in 1960. Despite subsequently returning to the traditional canvas medium, Cubo-Cor is one of the Neoconcrete emblems of the subsistence of color outside the frame, freed from the place destined for its existence by the history of painting.

From its genesis, in the historical context of Concrete Abstraction from the 1950s to the present day, the spatial-formal power of color has constituted the core of Aluísio Carvão's poetics. Fate would have it that the artist's initial aesthetic choices placed his work at the epicenter of the radical transformations experienced by the Brazilian avant-garde five years ago. decades".
Fernando Cocchiarale
COCCHIARALE, Fernando. Foreword. In: ALUÍSIO Carvão. Rio de Janeiro: Sextante Artes, 1999. p. 12-13.

"Aluísio belonged to the group of painters that constituted the Grupo Frente, having always been characterized by the care in finishing and subtle harmony of linear and chromatic elements. The contact with the works and ideas of the São Paulo concrete artists, at the 1st National Exhibition of Concrete Art (1956-57), led him to a greater stripping of form, to the complete rejection of tonal combinations, from which he would evolve to a type of rhythmic construction in which form and background intertwine in a single movement. (...) The neoconcrete exhibition of March 1959 would widen in him this divergence with the concretist conception, which allowed him to return, now within another spatial vision, to the exploration of color, which the concretist rigor had made him abandon. But this is not a mere return, but rather a rediscovery, since color reemerges free of any figurative or demarcative function, to become the fundamental, significant element of work. Nor can it be said that it is subjective color, in the sense that it is tied to the hues typical of atmospheric color, with a figurative and sentimental background. The color of Carvão's last works (1959-60) is at once clear and dense, neither fully exposed to perception nor taking refuge in dissimulation and tricks. It lingers before us. The eye penetrates it, but never to the point of complete decipherment, as if it lodged in the core of the color, in the flesh of the color, where perception no longer encounters the resistance of the object and where everything is merely time to perceive.
Ferreira Gullar
GULLAR, Ferreira. Neoconcrete Art: A Brazilian Contribution. In: CARVÃO, Aluísio; SILVEIRA, Dora (coord.). Aluísio Carvão. Rio de Janeiro: MAC-Niterói, 2001. p. 19-21.

Testimonials

"I can't make a deep analysis of these references of mine, a psychoanalytic analysis, let's say. But I don't want to tear away from myself the apprehension of the first phenomenon, the first aesthetic fact I witnessed in Pará as a child: the spring. Suddenly, in the dense forest, a beam of light fell on the spring, as if life were being born. Around it were colorful butterflies, birds sang, and leaves rustled. Everything was magical, even the taste of the pitanga (cherry cherry) that I had nearby. Then I felt like painting and improvised paints with natural pigments: indigo, red annatto, crushed charcoal, white lead, the Brazilian plant that gave me yellow and green. My father observed this and gave me a watercolor with the seven colors of the rainbow as a Christmas present. I was fascinated and reproduced a nymph bathing, which appeared in the magazine Eu Sei Tudo (I Know Everything). When I showed it to the principal of the Floriano School Group, Peixoto, she offered me a scholarship to the School of Fine Arts, but I was too young, and my father wouldn't let me leave Belém do Pará. Maybe it was better that way, because I got rid of the academic moment, the costume design, and learned on my own. (...) I visited Rio for the first time in 1946, but returned in 1949 to take a specialization course for drawing teachers. At that time, Murilo Braga invited me to work for the Ministry of Education. I didn't know exactly what modern art was. I only felt an affinity with Van Gogh's paintings. It was at Banco Boavista, in Candelária, the future embryo of the Museum of Modern Art of Rio, that I learned to see modern art. Then, I saw an advertisement for a painting course by Ivan Serpa, at the MAM (Municipal Museum of Modern Art). This relationship between like-minded teachers and students eventually gave rise to the Frente Group. Then there was the 1951 Biennial with Max Bill (1908-1994), and we were very impressed by concretism, although we were already We didn't know Albers at the time. But what really interested me was the freedom that geometry could bring me. I wasn't very involved in the theoretical aspects of Grupo Frente, which were handled more by Ferreira Gullar. (...) I had more romantic phases, like the kite phase, in which the color red appeared less or more discreetly. It wasn't always, but in some paintings where green predominated, I identified something of the Amazon. I lived for a time in Amapá and Ecuador, where the fauna and flora are very rich. In any case, the colors don't have this evocative dimension, although some association is possible, for example, between the kites of my childhood and the birds that pass in front of the window of my studio in Rio. Suddenly a ship passes by, and the birds cut through its color with their flight. These emotional moments end up being essential to my painting. I often arrived at the studio at 5 a.m. just to watch the sun rise and test the color I had left drying in the pot. That's why I didn't stay in Europe. Here I am. near the sea, I have the sun and the warmth I need."
Aluísio Carvão
CARVÃO, Aluísio. Painting surrounds me permanently. Estado de S. Paulo, Caderno 2, July 12, 2001.

Collections

Gilberto Chateaubriand Collection - Rio de Janeiro Museum of Modern Art (MAM/RJ) - Rio de Janeiro
João Satamini Collection - Museum of Contemporary Art (MAC-Niterói) - Niterói RJ
São Paulo Museum of Modern Art (MAM/SP) - São Paulo SP

Solo Exhibitions

1946 - Macapá AP - First solo exhibition
1958 - São Paulo SP - Solo exhibition, at the Folha Art Gallery
1961 - Rio de Janeiro RJ - Aluísio Carvão: paintings from 1958 to 1960, at MAM/RJ
1966 - Rio de Janeiro RJ - Solo exhibition, at the Relevo Gallery
1967 - Belo Horizonte MG - Solo exhibition, at the Gallery Guignard
1976 - São Paulo SP - Solo show, at Galeria Arte Global
1980 - Rio de Janeiro RJ - Solo show, at Galeria Saramenha
1982 - Rio de Janeiro RJ - Solo show, at Galeria Saramenha
1983 - São Paulo SP - Solo show, at Galeria Arte Global
1986 - Rio de Janeiro RJ - Aluísio Carvão, A Journey: Moments, at the Rio Business Center Art Gallery
1986 - Rio de Janeiro RJ - Aluisio Carvão: Paintings, at Thomas Cohn Contemporary Art
1986 - São Paulo SP - Solo show, at Galeria São Paulo
1989 - Rio de Janeiro RJ - Solo show, at Thomas Cohn Contemporary Art
1991 - Rio de Janeiro RJ - Solo show, at Thomas Cohn Contemporary Art
1995 - Rio de Janeiro RJ - Solo show, at Paço Imperial
1996 - Curitiba, PR - Aluísio Carvão: retrospective, at the Metropolitan Museum of Art of Curitiba
1996 - Salvador, BA - Aluísio Carvão: retrospective, MAM/BA
1996 - Rio de Janeiro, RJ - Aluísio Carvão: retrospective, MAM/RJ
1998 - Rio de Janeiro, RJ - Solo show, at the Euclides da Cunha Library
2001 - Niteroi, RJ - Solo show, at the MAC/Niterói

Group Exhibitions

1946 - Belém, PA - Salão Paraense de Belas Artes - Honorable Mention
1953 - Petrópolis, RJ - 1st National Exhibition of Abstract Art, at Hotel Quitandinha
1953 - Rio de Janeiro, RJ - 2nd National Modern Art Salon, at MNBA
1953 - São Paulo, SP - 2nd São Paulo International Biennial, at Pavilhão dos Estados
1954 - Rio de Janeiro, RJ - 1st Grupo Frente, at Galeria Ibeu Copacabana
1954 - Rio de Janeiro, RJ - Black and White Salon, at Palácio da Cultura
1955 - Rio de Janeiro, RJ - 2nd Grupo Frente, at MAM/RJ
1955 - Rio de Janeiro, RJ - 4th National Modern Art Salon
1955 - São Paulo, SP - 3rd São Paulo International Biennial, at Pavilhão das Nações
1956 - Resende, RJ - 3rd Grupo Frente, at Itatiaia Country Club
1956 - São Paulo, SP - 1st National Exhibition of Concrete Art, at MAM/SP
1956 - Volta Redonda, RJ - 4th Grupo Frente, at CSN
1957 - Buenos Aires, Argentina - Modern Art in Brazil, at Museo de Arte Moderno
1957 - Lima, Peru - Modern Art in Brazil, at Museo de Arte de Lima
1957 - Rio de Janeiro, RJ - 1st National Exhibition of Concrete Art, at MAM/RJ
1957 - Rio de Janeiro, RJ - 6th National Modern Art Salon
1957 - Rosario, Argentina - Modern Art in Brazil, at Museo Municipal de Bellas Artes Juan B. Castagnino
1957 - Santiago, Chile - Modern Art in Brazil, at Museo de Arte Contemporáneo
1957 - São Paulo, SP - 4th São Paulo International Biennial, at Pavilhão Ciccilo Matarazzo Sobrinho
1957 - Tokyo, Japan - 4th Tokyo Biennale
1958 - Mexico City, Mexico - 1st Inter-American Biennial of Painting and Engraving, at Instituto Nacional de Bellas Artes
1958 - Rio de Janeiro, RJ - 7th National Modern Art Salon, at MAM/RJ
1959 - Leverkusen, Germany - First Collective Exhibition of Brazilian Artists in Europe
1959 - Munich, Germany - First Collective Exhibition of Brazilian Artists in Europe, at Kunsthaus
1959 - Rio de Janeiro, RJ - 1st Neoconcrete Art Exhibition, at MAM/RJ
1959 - Salvador, BA - Neoconcrete Art Exhibition, at Galeria Belvedere da Sé
1959 - São Paulo, SP - 5th São Paulo International Biennial, at Pavilhão Ciccilo Matarazzo Sobrinho
1959 - Vienna, Austria - First Collective Exhibition of Brazilian Artists in Europe
1960 - Hamburg, Germany - First Collective Exhibition of Brazilian Artists in Europe
1960 - Lisbon, Portugal - First Collective Exhibition of Brazilian Artists in Europe
1960 - Madrid, Spain - First Collective Exhibition of Brazilian Artists in Europe
1960 - Paris, France - First Collective Exhibition of Brazilian Artists in Europe
1960 - Rio de Janeiro, RJ - 2nd Neoconcrete Art Exhibition, at MEC
1960 - Rio de Janeiro, RJ - 9th National Modern Art Salon, at MAM/RJ - Travel Award
1960 - Utrecht, Netherlands - First Collective Exhibition of Brazilian Artists in Europe
1960 - Zurich, Switzerland - Konkrete Kunst, at Helmhaus
1961 - Rio de Janeiro, RJ - 1st The Face and the Work, at Galeria Ibeu Copacabana
1961 - São Paulo, SP - 6th São Paulo International Biennial, at Pavilhão Ciccilo Matarazzo Sobrinho
1967 - Brasília, DF - 4th Modern Art Salon of the Federal District, at Teatro Nacional Cláudio Santoro
1967 - Rio de Janeiro, RJ - Nova Objetividade Brasileira, at MAM/RJ
1973 - São Paulo, SP - 12th São Paulo International Biennial, at Fundação Bienal
1974 - Rio de Janeiro, RJ - The Sea, at Galeria Ibeu Copacabana
1975 - São Paulo, SP - 7th Panorama of Brazilian Contemporary Art, at MAM/SP
1977 - Rio de Janeiro, RJ - Brazilian Constructive Project in Art: 1950-1962, at MAM/RJ
1977 - São Paulo, SP - Brazilian Constructive Project in Art: 1950-1962, at Pinacoteca do Estado
1980 - Rio de Janeiro, RJ - Homage to Mário Pedrosa, at Galeria Jean Boghici
1981 - Rio de Janeiro, RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1982 - Lisbon, Portugal - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - Lisbon, Portugal - From Modern to Contemporary: Gilberto Chateaubriand Collection, at Fundação Calouste Gulbenkian, Centro de Arte Moderna José de Azeredo Perdigão
1982 - London, England - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - Rio de Janeiro, RJ - Contemporaneity: Homage to Mário Pedrosa, at MAM/RJ
1983 - Rio de Janeiro, RJ - 6th National Salon of Visual Arts, at MAM/RJ
1983 - Rio de Janeiro, RJ - À Flor da Pele: Painting and Pleasure, at Galeria do Centro Empresarial Rio
1983 - São Paulo, SP - 14th Panorama of Brazilian Contemporary Art, at MAM/SP
1983 - São Paulo, SP - 17th São Paulo International Biennial, at Fundação Bienal
1984 - Rio de Janeiro, RJ - 1st National Exhibition of Abstract Art - Hotel Quitandinha 1953, at Galeria de Arte Banerj
1984 - Rio de Janeiro, RJ - Grupo Frente: 1954-1956, at Galeria de Arte Banerj
1984 - Rio de Janeiro, RJ - Neoconcretism 1959-1961, at Galeria de Arte Banerj
1984 - Rio de Janeiro, RJ - Contemporary Brazilian Painting, at Espaço Petrobras
1984 - São Paulo, SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo, SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1984 - Volta Redonda, RJ - Grupo Frente 1954-1956
1985 - Rio de Janeiro, RJ - 8th National Salon of Visual Arts, at MAM/RJ
1986 - Resende, RJ - Grupo Frente 1954-1956
1986 - Rio de Janeiro, RJ - 1st Christian Dior Contemporary Art Exhibition: Painting, at Paço Imperial
1986 - Rio de Janeiro, RJ - JK and the 1950s: A View of Culture and Everyday Life, at Galeria Investiarte
1987 - Paris, France - Modernity: Brazilian Art of the 20th Century, at Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro, RJ - 1st Geometric Abstraction: Concretism and Neoconcretism, at Funarte, Centro de Artes
1987 - Rio de Janeiro, RJ - To the Collector: Homage to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro, RJ - Rio de Janeiro, February, March: From Modernism to the 80s Generation, at Galeria de Arte Banerj
1987 - São Paulo, SP - 1st Geometric Abstraction: Concretism and Neoconcretism, at MAB/Faap
1988 - Rio de Janeiro, RJ - Exhibition, at Galeria de Arte Centro Empresarial Rio
1988 - São Paulo, SP - Modernity: Brazilian Art of the 20th Century, at MAM/SP
1989 - Ouro Preto, MG - Inconfidente Ideology in Process, at Museu da Inconfidência
1989 - Rio de Janeiro, RJ - Looking to the Future, at Galeria H. Stern
1989 - Rio de Janeiro, RJ - Small Greatness of the 1950s, at Gabinete de Arte Cleide Wanderley
1989 - Rio de Janeiro, RJ - Rio Today, at MAM/RJ
1990 - Atami, Japan - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília, DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Rio de Janeiro, RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Rio de Janeiro, RJ - Primavera 90, at Galeria H. Stern
1990 - São Paulo, SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - Sapporo, Japan - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo, Japan - 9th Brazil-Japan Contemporary Art Exhibition
1991 - Rio de Janeiro, RJ - Process No. 738.765-2, at EAV/Parque Lage
1992 - Rio de Janeiro, RJ - 1st On the Way to Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro, RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1992 - Zurich, Switzerland - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - Rio de Janeiro, RJ - Brazil: 100 Years of Modern Art, at MNBA
1993 - Rio de Janeiro, RJ - The Role of Rio, at Paço Imperial
1993 - Rio de Janeiro, RJ - Passion of the Gaze, at MAM/RJ
1993 - São Paulo, SP - 23rd Panorama of Brazilian Contemporary Art, at MAM/SP
1994 - Rio de Janeiro, RJ - Commemorative Exhibition for the 40th Anniversary of Grupo Frente, at Galeria Ibeu Copacabana
1994 - Rio de Janeiro, RJ - Under the Sign of Gemini, at Galeria Saramenha
1994 - São Paulo, SP - Bienal Brazil 20th Century, at Fundação Bienal
1995 - Lausanne, Switzerland - Rio: Mysteries and Borders, at Musée de Pully
1995 - Rio de Janeiro, RJ - Finep Project, at Paço Imperial
1996 - Niterói, RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - Rio de Janeiro, RJ - 2nd Universidarte, at Universidade Estácio de Sá - Universidade Estácio de Sá Award
1996 - Rio de Janeiro, RJ - Rio: Mysteries and Borders, at MAM/RJ
1996 - São Paulo, SP - Desexp(l)os(ign)ição, at Casa das Rosas
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; UFRGS Rectorate; and Theatro São Pedro
1997 - Porto Alegre, RS - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1997 - Porto Alegre, RS - Parallel Exhibition, at Museu da Caixa Econômica Federal
1997 - Porto Alegre, RS - Objectual Imagination, at Oficinas do Deprec; Depósito da Marinha; Parque da Marinha do Brasil and public spaces throughout the city
1997 - Porto Alegre, RS - Constructive Approach and Design, at Espaço Cultural Ulbra
1997 - Rio de Janeiro, RJ - Air: Exhibition of Visual Arts, Toys, Objects, and Models, at Paço Imperial
1997 - Rio de Janeiro, RJ - Artist-Drawers, at Sesc Copacabana
1997 - São Paulo, SP - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Rio de Janeiro, RJ - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Curitiba, PR - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Niterói, RJ - Biennial Mirror, at MAC/Niterói
1998 - Rio de Janeiro, RJ - 16th National Salon of Visual Arts, at MAM/RJ
1998 - Rio de Janeiro, RJ - 1960s/70s: Gilberto Chateaubriand Collection, at MAM/RJ
1998 - São Paulo, SP - Constructive Art in Brazil: Adolpho Leirner Collection, at MAM/SP
1998 - São Paulo, SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1999 - Rio de Janeiro, RJ - Constructive Art in Brazil: Adolpho Leirner Collection, at MAM/RJ
1999 - Salvador, BA - 60 Years of Brazilian Art, at Espaço Cultural da Caixa Econômica Federal
2000 - Lisbon, Portugal - 20th Century: Brazilian Art, at Fundação Calouste Gulbenkian, Centro de Arte Moderna José de Azeredo Perdigão
2000 - Rio de Janeiro, RJ - 8th Universidarte, at Universidade Estácio de Sá - Universidade Estácio de Sá Award
2000 - Rio de Janeiro, RJ - Elective Affinities II, at Galeria do Tribunal de Contas do Estado do Rio de Janeiro
2000 - Rio de Janeiro, RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro, 1905-1960, at Paço Imperial
2000 - São Paulo, SP - Brazil + 500 Rediscovery Exhibition, at Fundação Bienal
2001 - Niterói, RJ - Aluísio Carvão and Ione Saldanha, at MAC/Niterói
2001 - Rio de Janeiro, RJ - Brazilian Watercolor, at Centro Cultural Light

Posthumous Exhibitions

2001 - Rio de Janeiro RJ - 9th Universidarte, at Universidade Estácio de Sá. Galeria Maria Martins
2001 - Rio de Janeiro RJ - The Image of Sound by Antônio Carlos Jobim, at Paço Imperial
2002 - Belém PA - 21st Salão Arte Pará, at Mabe
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC/Niterói
2002 - Rio de Janeiro RJ - Solo Exhibition, at Mercedes Viegas Escritório de Arte
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, at CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952–2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Genealogy of Space, at Galeria do Parque das Ruínas
2002 - Rio de Janeiro RJ - Solo Exhibition, at Mercedes Viegas Escritório de Arte
2002 - Rio de Janeiro RJ - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Colección Cisneros, at MAM/RJ
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, at CCBB
2002 - São Paulo SP - Map of the Present: Recent Brazilian Art from the João Sattamini Collection of the Museu de Arte Contemporânea de Niterói, at Instituto Tomie Ohtake
2002 - São Paulo SP - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Colección Cisneros, at MAM/SP
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, at CCBB
2003 - Campos dos Goytacazes RJ - Poema Planar-Espacial, at Sesc
2003 - Nova Friburgo RJ - Poema Planar-Espacial, at Galeria Sesc Nova Friburgo
2003 - Rio de Janeiro RJ - Order x Freedom, at MAM/RJ
2003 - Rio de Janeiro RJ - Treasures of Caixa: Brazilian Modern Art in the Caixa Collection, at Conjunto Cultural da Caixa
2004 - Niterói RJ - Transitive Modernity, at MAC/Niterói
2004 - São Paulo SP - Reincarnated Painting, at Paço das Artes
2005 - Petrópolis RJ - Abstract Express, at Museu Imperial