Francisco Stockinger

Francisco Stockinger (Traun, Austria 1919 - Porto Alegre, RS 2009)

Francisco Stockinger was a sculptor, engraver, draftsman, caricaturist, woodcut artist, and teacher. He came to Brazil in 1921. In 1929, Francisco Alexandre Stockinger settled in São Paulo and took a drawing course with Anita Malfatti at Colégio Mackenzie.

In 1937, he moved to Rio de Janeiro and began studying at the Liceu de Artes e Ofícios do Rio de Janeiro in 1946. He met Bruno Giorgi and frequented the artist's studio in the former Praia Vermelha hospice between 1947 and 1950. He also spent time with Oswaldo Goeldi, Marcelo Grassmann, and Maria Leontina. He created caricatures and political cartoons for newspapers.

In 1954, he moved to Porto Alegre to work in the layout of the newspaper A Hora. During this period, he began creating woodcuts. In 1956, the year he became a Brazilian citizen, he was elected president of the Francisco Lisboa Rio Grande do Sul Association of Visual Arts, a position he held in 1957 and 1978.

He was the founder and first director of the Porto Alegre City Hall's Atelier Livre in 1961 and director of the Ado Malagoli Museum of Art of Rio Grande do Sul (MARGS) and the Arts Division of the Department of Culture of the State Secretariat of Education and Culture in 1967. He taught a live sculpture course with Vasco Prado at MARGS in 1985. In 1994, he received the title of honorary citizen of Porto Alegre and, in 1997, the Ministry of Culture's award for visual arts.

Critical Commentary

Francisco Stockinger moved to Porto Alegre in 1954, where he contributed caricatures to local newspapers and created woodcuts, revealing an interest in working with volume and space.

His metal sculptures initially revealed an affinity with an archaic expressionist trend, emphasizing the production of synthetic figures through the use of a wide variety of materials and rough finishes. Certain twisted forms, conceived by the artist, add a connotation of tension or pain to the figures.

Starting in the 1970s, a significant shift occurred in his work, as noted by scholar Armindo Trevisan. The artist also began working with marble, granite, and other rocks. He created his sculptures based on deformations suggested by the materials themselves.

Criticism

"We can divide Stockinger's trajectory into two stages: in the first, he embarked on an expressionist line, albeit with his own characteristics. He received lessons from the German masters, to which he added influences drawn from different sources. Gradually, he abandoned Maillol's sensual line, which his master (Bruno Giorgi) had transmitted to him. He embarked on a rough path, marked by a kind of rebellion, nonconformity, and denunciation. To make his aggressiveness more pathetic, and also more communicative and universal, he embodied himself in myths, which he drew from two matrices: that of collective archetypes, present in humanity since prehistory, and the regional, which provided him with a sort of fingerprint, allowing him, on the one hand, to perpetuate aspects of a tradition marked by over a hundred years of resistance to border violations and, on the other, to recreate it to meet new social demands. What results from all this? An iconography, that is it is, a system of images resembling the land, people and legends of the South, and an expression that, at times, rises to the grandeur of epic creation and, at other times, is tinged with a lyricism that even its most vehement achievements cannot erase."
Armindo Trevisan
TREVISAN, Armindo. Sculpture. In: STOCKINGER. São Paulo: Prêmio, 1987. p. 67.

"In the 1970s, approximately, Xico created drapes. And with them, he returned to compact volumes. Thus, he interfered more intensely with the material and also achieved greater inventiveness. Sometimes he created vertical rhythms unfolding from a smooth main block, sometimes he chiseled articulated horizontal planes into draperies or a fan of sections that seemed to slide over themselves. Sometimes, he invented a game that played with the rigidity and weight of the stone, working some areas to express solidity and others that seemed to yield and wrinkle under the action of this force. Or, even, he created efficient traps for capturing light and shadow by 'crumpling' the marble like a sheet of paper, inserting the counterpoint of compact cubes into it.
These works are Xico's most radically abstract. It is at this point in his marble production that he went furthest in his quest for essentiality. The extreme reduction of elements resulted in a heightened visual impact. Some of these pieces They touch on or even delve into neoconcrete. It is the most cerebral moment. Soon the sculptor will return to the senses, to the erotic, and create the columns.
With them, finally, Xico creates a synthesis of elements that run through his stone work and even appropriates something of the iron. The hieratic figures of the warriors find their abstract translation here. There are the small craters and lunar bubbles, the draperies. All to create something else: this dubious nature of classical Greco-Roman architecture and phallic insinuation.
Angélica de Moraes
STOCKINGER. São Paulo: Prêmio, 1987. p.117.

"When Stockinger decided to work with metal sculpture, a task that captivated him between the 1960s and early 1970s, it was about adapting to the images he transposed from woodcuts. Before, he had used clay. These works border on the worldview of expressionist figuration. Stripped-down figuration, with deformations and simplifications designed to emphasize masses and volumes. They are hirsute creatures (...), dominated by a sense of verticality, with a strong dose of monumentality. His bulls, warriors, or survivors are beings charged with introverted tension, with exposed muscles and nerves, textured by intrusions of rough fabrics, wood, and machine parts. They are the additions or contrasts of materials tempered with the element of fire. The result is deformations, elongations, and a disconcerting rawness. Despite the connotation of aggression and pain with which they are purposefully created, these twisted, tortured, wounded silhouettes—despite this— they solicit touch. It is an impulse that goes beyond the very metal that the artist knows and masters intimately, through 'continuous, daily work, artisanal improvement and the development of sensitivity'.
Elvira Vernaschi
AMARAL, Aracy (Org.). Museum of Contemporary Art of the University of São Paulo: profile of a collection. São Paulo: Techint Engenharia, 1988. p. 273.

Testimonials

"Unable to make sculpture due to lack of resources, especially financial ones—I worked full-time at Acessório São João—there was no time left for sculpture. Sculpture is a diurnal art. What is done well, in art, of course, at night, is engraving; which is why, having seen a bunch of wooden blocks in my neighbor's backyard, I decided to turn to woodcutting. I was friends with the father of Brazilian woodcutting—Oswaldo Goeldi. Marcelo Grassmann, another great engraver, lived with me for a long time in Rio and made his engravings in the maid's room of my apartment. So, there was no mystery, since woodcutting is the simplest and most economical of arts; it was just a matter of putting my best foot forward. I did. In three years, I made over a hundred engravings. (...)

At that time [1957/1960] (...) I was in a strange environment; I had recently come from Rio, unemployed, that is, working in a place where nothing was going right, hence the restlessness. I had belonged to the Party, I had fought with their ideas, but I still considered myself frankly left-wing, and here, when I met the engraving people, I always felt a little revolted too, but it was a peaceful time, when things were lived calmly. When things really got tough, I did cartoons, remember that Luz coup, they didn't want Juscelino to take office... I did things in cartoons... When Jânio resigned, it lasted a few days, I worked at a newspaper and did my cartoons. But Folha was a very good newspaper, I mean, good in that sense: I did my cartoons and handed them in, they didn't publish them, because they were always against their interests, but they didn't say anything, they put them in the drawer and they didn't get published. Every day I did a cartoon, increasingly harsher, but they simply didn't publish it. At A Hora it was a different story. Nobody supported that Carlos Lacerda coup, Rio Grande do Sul Everyone was against it, we'd do cartoons, and everything would come out perfectly. Engraving was something I did. The Cattlemen and the Retirants are twelve engravings inspired by Cabral's Death and Life of Severina. I knew the Northeast well, because during the aviation era I used to travel around the São Francisco Valley; it was a social motive that led me to do them. Now, things became violent after Jânio's resignation. I did the roosters and also did the free-for-alls, sometimes falling into sentimentality. The best thing was to finish quickly. [...]

Art is a universal thing; there's no longer any individuality, no isolated life. It's not that you're influenced, but you can't make regional art. In an age when art is universal, it only becomes valuable if it has individual characteristics, if it has your own things, if it has your own world. That's when it's valuable. [...]

Expressionism is a Germanic thing, but they did things a little differently than us. Expressionism was more violent than the things I do. It's just that expressionism sought something that we also agree with, deep down. [...] If you think about existentialism, about expressionism, when it comes to creating a work, you don't do it. You work and go beyond your own way of being, if it's honest; then others have to decide, not us. We read, we look, we see all these things. You accept or reject them, according to your way of being. You absorb it and unconsciously, I mean, you sublimate it, and you do it, you don't think much about it."
Francisco Stockinger to Daliana Amaral Mirapalhete - August 2, 1987
ENGRAVING: 20th-century Brazilian art. Presentation by Ricardo Ribenboim. São Paulo: Itaú Cultural: Cosac & Naify, 2000. p. 100.

Solo Exhibitions

1959 - Salvador BA - Francisco Stockinger: woodcuts, at the Municipal Public Library of Salvador
1960 - Porto Alegre RS - Solo exhibition, at the Rio Grande do Sul Museum of Art Ado Malagoli - Margs
1962 - São Paulo SP - Solo exhibition, at Galeria de Arte São Luís
1964 - Porto Alegre RS - Solo exhibition, at the Hotel Plaza Exhibition Hall
1964 - Porto Alegre RS - Solo exhibition, sponsored by the Goethe Institut
1964 - São Paulo SP - Solo exhibition, at Galeria de Arte São Luís
1965 - Porto Alegre RS - Solo exhibition, at Galeria Lakar
1966 - Porto Alegre RS - Francisco Stockinger: ceramics and sculptures, at Margs
1966 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1968 - São Paulo SP - Solo exhibition, at Mirante das Artes
1969 - Porto Alegre RS - Fifty Years of Life, at Instituto de Idiomas Yázigi
1969 - Porto Alegre RS - Fifty Years of Life, at Galeria Candido Portinari
1970 - São Paulo SP - Francisco Stockinger: marble sculptures, at Documenta Galeria de Arte
1970 - São Paulo SP - Solo exhibition, at Mirante das Artes
1972 - Rio de Janeiro RJ - Francisco Stockinger: sculptures, at Galeria Bonino
1974 - Rio de Janeiro RJ - Solo exhibition, at Galeria Ipanema
1975 - São Paulo SP - Solo exhibition, at Documenta Galeria de Arte
1976 - Porto Alegre RS - Francisco Stockinger: drawings, sculptures, and multiples, at Oficina de Arte
1976 - Rome, Italy - Solo exhibition, at Casa do Brasil Art Gallery
1978 - Rio de Janeiro RJ - Solo exhibition, at Galeria B-75
1978 - Rio de Janeiro RJ - Solo exhibition, at Concorde Galeria de Arte
1980 - Porto Alegre RS - Solo exhibition, at Porto Alegre Art Exchange
1980 - Porto Alegre RS - Commemorative Exhibition in Tribute to Xico Stockinger, at Centro Comercial de Porto Alegre Art Gallery
1980 - Porto Alegre RS - Solo exhibition, at Centro Comercial Gallery
1981 - Porto Alegre RS - Solo exhibition, at Galeria Tina Presser
1981 - Rio de Janeiro RJ - Solo exhibition, at Galeria Aktuell
1983 - Porto Alegre RS - Solo exhibition, at Galeria Tina Presser
1983 - Santana do Livramento RS - Solo exhibition, at Galeria Ponto d'Arte
1985 - Porto Alegre RS - Solo exhibition, at Galeria Tina Presser
1985 - São Paulo SP - Francisco Stockinger: marbles, at Paulo Figueiredo Galeria de Arte
1987 - Belo Horizonte MG - Xico Stockinger: bronzes, at Gesto Gráfico Galeria de Arte
1987 - Brasília DF - Francisco Stockinger: marbles, at Galeria Paulo Figueiredo
1987 - Brasília DF - Xico Stockinger: bronzes, at Galeria Paulo Figueiredo
1987 - Curitiba PR - Xico Stockinger: bronzes, at Galeria Ida e Anita
1987 - Porto Alegre RS - Xico Stockinger: bronzes, at Porto Alegre Art Exchange
1987 - Rio de Janeiro RJ - Xico Stockinger: bronzes, at Galeria Bonino
1987 - São Paulo SP - Xico Stockinger: bronzes, at Galeria Millan
1988 - Porto Alegre RS - Solo exhibition, at Galeria Alencastro Guimarães
1989 - Porto Alegre RS - Francisco Stockinger: 70 Years, at Margs
1990 - São Leopoldo RS - Solo exhibition, at Gestual Galeria de Artes
1991 - Caxias do Sul RS - Solo exhibition, at Centro de Cultura Doutor Henrique Ordovás Filho
1991 - Pelotas RS - Solo exhibition
1991 - Porto Alegre RS - Solo exhibition, at Galeria Tina Zappoli
1992 - Passo Fundo RS - Solo exhibition, at Espaço da Arte
1992 - São Paulo SP - Stockinger: iron and wood, at A Galeria
1994 - Quito, Ecuador - Francisco Stockinger: bronzes, organized by Itamaraty
1994 - Cuenca, Ecuador - Francisco Stockinger: bronzes, organized by Itamaraty
1994 - Bogotá, Colombia - Francisco Stockinger: bronzes, organized by Itamaraty
1994 - Caracas, Venezuela - Francisco Stockinger: bronzes, organized by Itamaraty
1994 - Salvador BA - Solo exhibition, at Escritório de Arte da Bahia
1995 - Porto Alegre RS - Gabirus, at the inauguration of Galeria Xico Stockinger, Casa de Cultura Mario Quintana
1995 - Porto Alegre RS - Solo exhibition, at Cezar Prestes Arte
1995 - Porto Alegre RS - Gabirusm, at Casa de Cultura Mario Quintana
1996 - Brasília DF - Rites of Passage: female nudes, at Teatro Nacional Cláudio Santoro
1996 - Buenos Aires, Argentina - Rites of Passage: female nudes, at Centro Cultural Recoleta
1996 - Porto Alegre RS - Tribute to Anestor José Tavares, at Galeria Marisa Soibelmann
1996 - Porto Alegre RS - Rites of Passage: female nudes, at Parque Moinhos de Vento
1996 - Porto Alegre RS - Rites of Passage: female nudes, at Porto Alegre Art Exchange
1996 - Rio de Janeiro RJ - Rites of Passage: female nudes, at CCBB
1996 - São Paulo SP - Rites of Passage: female nudes, at MASP
1999 - Porto Alegre RS - Solo exhibition, at Garagem de Arte
2001 - Porto Alegre RS - Solo exhibition, at Garagem de Arte
2002 - Porto Alegre RS - Solo exhibition, at Garagem de Arte

Group Exhibitions

1948 - Rio de Janeiro RJ - 54th National Salon of Fine Arts, at the National Museum of Fine Arts (MNBA) - Bronze Medal
1949 - Rio de Janeiro RJ - 55th National Salon of Fine Arts, at MNBA - Silver Medal
1950 - Rio de Janeiro RJ - Collective Sculpture Exhibition, at MNBA
1951 - Rio de Janeiro RJ - Salon of the Municipal Chamber of the Federal District - Diploma of High Merit
1951 - Rio de Janeiro RJ - Municipal Salon of Fine Arts
1952 - Rio de Janeiro RJ - 1st National Salon of Modern Art - Jury Member
1954 - Rio de Janeiro RJ - 3rd National Salon of Modern Art
1954 - Rio de Janeiro RJ - 3rd Black and White Salon, at the Palace of Culture
1954 - Rio de Janeiro RJ - 6th Salon of the Municipal Chamber of the Federal District - Gold Medal
1957 - Porto Alegre RS - 4th Salon of the Municipal Chamber of Porto Alegre - 1st Prize in Printmaking
1960 - Porto Alegre RS - 1st Festival of Visual Arts of the Culture Division of Rio Grande do Sul - 1st Prize in Sculpture
1960 - Porto Alegre RS - Salon of Christian Art, at MARGS - 1st Prize
1961 - Belo Horizonte MG - 16th Fine Arts Salon of the City of Belo Horizonte, at MAP - 1st Prize in Sculpture
1961 - São Paulo SP - Exhibition with Marcelo Grassmann, at Galeria de Arte São Luís
1961 - São Paulo SP - 6th São Paulo International Biennial, at Pavilhão Ciccilo Matarazzo Sobrinho
1961 - São Paulo SP - Marcelo Grassmann and Francisco Stockinger, at Galeria São Luís
1962 - Carrara (Italy) - International Marble Biennale
1962 - Porto Alegre RS - Art Salon of Rio Grande do Sul - 1st Prize in Sculpture
1962 - Rio de Janeiro RJ - Marcelo Grassmann and Francisco Stockinger, at Petite Galerie
1962 - São Paulo SP - Selection of Brazilian Artworks from the Ernesto Wolf Collection, at MAM/SP
1963 - Curitiba PR - 20th Paraná Fine Arts Salon, at Paraná Public Library - Gold Medal
1963 - Porto Alegre RS - 1st Salon of the City of Porto Alegre - 1st Prize in Sculpture
1963 - São Paulo SP - 12th São Paulo Modern Art Salon, at Galeria Prestes Maia - Gold Medal
1963 - São Paulo SP - 7th São Paulo International Biennial, at Fundação Bienal
1964 - Europe - Brazilian Art Exhibition
1965 - Paris (France) - Salon Comparaisons
1965 - Lisbon (Portugal) - Salon Comparaisons
1965 - Prague (Czechoslovakia, now Czech Republic) - Salon Comparaison
1965 - São Paulo SP - 8th São Paulo International Biennial, at Fundação Bienal
1966 - Curitiba PR - 23rd Paraná Fine Arts Salon, at Paraná Public Library - Acquisition Prize
1966 - Porto Alegre RS - Arte Hoje no Rio Grande do Sul, at MARGS
1966 - Salvador BA - 1st National Biennale of Visual Arts - Special Room - Acquisition Prize
1966 - São Paulo SP - 13 Gaucho Artists, at MAC/USP
1967 - Mexico City (Mexico) - Brazilian Modern Sculpture, at Casa de La Paz
1968 - Curitiba PR - 25th Paraná Salon, at Paraná Public Library
1969 - São Paulo SP - 1st Panorama of Contemporary Brazilian Art, at MAM/SP
1970 - Porto Alegre RS - 1st Visual Arts Salon, at UFRGS
1972 - São Paulo SP - Panorama of Contemporary Brazilian Art, at MAM/SP
1972 - São Paulo SP - Brazilian Multiples, at Múltipla de Arte
1972 - São Paulo SP - Arte/Brasil/Hoje: 50 Years Later, at Galeria da Collectio
1972 - São Paulo SP - Brazilian Multiples, at Múltipla de Arte
1975 - Brasília DF - Gaucho Art/74
1975 - Budapest (Hungary) - 3rd Small Sculpture Biennale
1975 - Porto Alegre RS - Artistic Ceramics Exhibition, at MARGS
1978 - Penápolis SP - 3rd Northwest Fine Arts Salon, at Penápolis Educational Foundation, Faculty of Philosophy, Science and Letters
1978 - Rio de Janeiro RJ - Brazilian Sculpture in Urban Space: 50 Years, at Praça Nossa Senhora da Paz
1979 - Rio de Janeiro RJ - Brazilian Sculptors, at Galeria Aktuell
1980 - Penápolis SP - 4th Northwest Fine Arts Salon, at Penápolis Educational Foundation, Faculty of Philosophy, Science and Letters
1980 - Porto Alegre RS - 1st Small Bronze Fair, at Municipal Cultural Center
1981 - Guarujá SP - Outdoor Sculpture, at Hotel Jequitimar
1981 - Porto Alegre RS - Brazilian Artists of the 60s and 70s from the Rubem Knijnik Collection, at Espaço NO Galeria Chaves
1982 - Penápolis SP - 5th Northwest Fine Arts Salon, at Penápolis Educational Foundation, Faculty of Philosophy, Science and Letters
1982 - São Paulo SP - A Century of Sculpture in Brazil, at MASP
1983 - Porto Alegre RS - 2nd Sculpture Exhibition, at Municipal Cultural Center
1983 - Porto Alegre RS - Francisco Stockinger/Vasco Prado, at Galeria Tina Presser
1983 - Porto Alegre RS - Gaucho Art Book: 1950–1983, at MARGS
1983 - Porto Alegre RS - From Past to Present: Visual Arts in Rio Grande do Sul, at Cambona Arts Center
1983 - São Paulo SP - Gaucho Sculptors, at Skultura Art Gallery
1984 - Porto Alegre RS - Prints: A Journey Through Time, at Cambona Arts Center
1984 - Ribeirão Preto SP - Brazilian Printmakers of the 50s and 60s, at Galeria Campus
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Porto Alegre RS - Iberê Camargo: Journey and Encounters, at MARGS
1985 - Rio de Janeiro RJ - 8th National Salon of Visual Arts, at MAM/RJ
1985 - São Paulo SP - 18th São Paulo International Biennial, at Fundação Bienal
1985 - São Paulo SP - Highlights of Brazilian Art, at MAM/SP
1985 - São Paulo SP - Panorama of Contemporary Brazilian Art, at MAM/SP
1986 - Brasília DF - Iberê Camargo: Journey and Encounters, at Teatro Nacional Cláudio Santoro
1986 - Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art of the 60s, 70s, and 80s, at MARGS
1986 - Rio de Janeiro RJ - Iberê Camargo: Journey and Encounters, at MAM/RJ
1986 - São Paulo SP - Iberê Camargo: Journey and Encounters, at MASP
1988 - São Paulo SP - 19th Panorama of Contemporary Brazilian Art, at MAM/SP
1989 - Porto Alegre RS - 1st Latin American Meeting of Visual Arts, at Galeria Tina Zappoli
1989 - Porto Alegre RS - Arte Sul 89, at MARGS
1991 - Curitiba PR - Municipal Art Museum: Collection, at Municipal Art Museum
1992 - Cachoeira do Sul RS - Francisco Stockinger and Iberê Camargo
1992 - Poços de Caldas MG - Brazilian Modern Art: MAC/USP Collection, at Casa de Cultura de Poços de Caldas
1992 - Porto Alegre RS - Contemporary Art: Highlights from the South, at Espaço Cultural Edel Trade Center
1992 - São Paulo SP - The Seduction of Volumes: 3D Works from MAC, at MAC/USP
1993 - João Pessoa PB - Woodcut: From Cordel to Gallery, at Paraíba Cultural Space Foundation
1993 - Paris (France) - 6 Gaucho Sculptors, at Brazilian Embassy in Paris
1993 - Porto Alegre RS - Arcangelo Ianelli, Antonio Henrique Amaral, and Francisco Stockinger, at Porto Alegre Art Exchange
1993 - Porto Alegre RS - The Body and the Work: Three-Dimensional Forms, at Espaço Cultural Edel Trade Center
1994 - Poços de Caldas MG - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, at Casa de Cultura de Poços de Caldas
1994 - Porto Alegre RS - Dialogues, at Espaço Cultural Edel Trade Center
1994 - São Paulo SP - 20th Century Brazil Biennial, at Fundação Bienal
1994 - São Paulo SP - Woodcut: From Cordel to Gallery, at the Metro
1995 - Fortaleza CE - April Salon
1995 - Rio de Janeiro RJ - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, at MAM/RJ
1996 - Passo Fundo RS - Ruth Schneider Museum of Visual Arts: Inaugural Exhibition, at the Museum
1996 - Porto Alegre RS - 1st SESC Sculpture: International Outdoor Sculpture Exhibition, at SESC Campestre
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection, 1920–1970, at MAC/USP
1996 - São Paulo SP - 1st Off Biennale, at MuBE
1996 - São Paulo SP - Six Timeless Artists, at Múltipla de Arte
1997 - Porto Alegre RS - 1st Mercosur Visual Arts Biennale
1997 - Porto Alegre RS - Latin American Collections, at MARGS
1997 - Porto Alegre RS - Objectual Imagination, at Deprec Workshops; Navy Depot; Navy Park of Brazil; and public spaces of Porto Alegre
1997 - Porto Alegre RS - Political Current, at Fundação Bienal de Artes Visuais do Mercosul
1997 - São Paulo SP - Three-Dimensionality in 20th Century Brazilian Art, at Itaú Cultural
1998 - Belo Horizonte MG - Three-Dimensionality in 20th Century Brazilian Art, at Itaú Cultural
1998 - Brasília DF - Three-Dimensionality in 20th Century Brazilian Art, at Galeria Itaú Cultural
1998 - Penápolis SP - Three-Dimensionality in 20th Century Brazilian Art, at Galeria Itaú Cultural
1998 - Porto Alegre RS - Collection: Instituto de Artes 90 Years, at UFRGS, Instituto de Artes
1998 - São Paulo SP - Collection 98 Skultura, at Skultura Art Gallery
1999 - Porto Alegre RS - Art Garage: Inaugural Exhibition, at Art Garage
1999 - Rio de Janeiro RJ - Rio Print Exhibition. Porto Alegre Print, at IAB/RJ
1999 - São Paulo SP - The Female Figure in the MAB Collection, at MAB/FAAP
1999 - Rio de Janeiro RJ - Rio Print Exhibition: Porto Alegre Print, at IAB/RJ
2000 - Bento Gonçalves RS - Printmaking Collective, at University of Caxias do Sul
2000 - Canela RS - Printmaking Collective, at University of Caxias do Sul
2000 - Caxias do Sul RS - Printmaking Collective, at University of Caxias do Sul
2000 - Farroupilha RS - Printmaking Collective, at University of Caxias do Sul
2000 - Guaporé RS - Printmaking Collective
2000 - Nova Prata RS - Printmaking Collective, at University of Caxias do Sul
2000 - Porto Alegre RS - Francisco Stockinger and Tomie Ohtake, at Art Garage
2000 - São Paulo SP - Investigations: Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - The Female Figure in the MAB Collection, at MAB/FAAP
2000 - Vacaria RS - Printmaking Collective, at University of Caxias do Sul
2000 - Veranópolis RS - Printmaking Collective, at University of Caxias do Sul
2001 - Penápolis SP - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at MARGS
2001 - Rio de Janeiro RJ - Exploring Printmaking, at Museu da Chácara do Céu
2001 - São Paulo SP - Brazilian Art Museum: 40 Years, at MAB/FAAP
2001 - Brasília DF - Investigations: Brazilian Printmaking, at Galeria Itaú Cultural
2002 - Porto Alegre RS - Drawings, Prints, Sculptures, and Watercolors, at Art Garage
2002 - São Paulo SP - Brazilian Multiples 30 Years Later, at Múltipla de Arte
2003 - Porto Alegre RS - Humanities, at Galeria Tina Zappoli
2003 - Porto Alegre RS - Life, People, Hunger, Work, and Religion, at Art Garage
2003 - Rio de Janeiro RJ - Brazilianart Project, at Almacén Art Gallery
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural