Usina Luis Maluf presents

3rd Artist Residency Programme

24 February to
23 March 2024

Usina Luis Maluf
996 Brigadeiro Galvão Street
Barra Funda, São Paulo, SP

3rd Artist Residency Programme

Usina Luis Maluf is pleased to be holding the 3rd edition of the Luis Maluf Artist Residency Programme. Coordinated by curators Agnaldo Farias and Priscyla Gomes, the project has selected 12 visual artists for this immersive experience at the gallery’s headquarters in São Paulo’s Barra Funda neighbourhood: Aline Moreno, Ana Raylander Mártis dos Anjos, Ana Rorras, Desirée Feldmann, Isis Gasparini, João Cardoso, Liliana Sanches, Luciana Rique, Rafael Amorim, Sabrina Savani, Talita Hoffmann, Vinicius Lopes.

The project, which received more than 500 applications, aims to train young talents and consolidate them in the artistic market. Applications were open between 27 October and 26 November 2023, via an online form available on the gallery’s website. The results were announced on 11 December.

The first edition of the Artist Residency took place in June 2021, marking the inauguration of Usina Luis Maluf, the gallery’s second space in the city, which continues to maintain its first address in the Jardins neighbourhood. The space emerged as the realisation of the gallery’s artistic project, based on the triad of education, promotion and encouragement. The residency reinforces LMGA’s commitment to artistic training and the democratisation of access to art, considering itself a space for construction, debate and access to the plurality of Brazilian culture.

In addition to providing an environment for experimentation, it contributes to the development of new ideas or the realisation of art projects.

Alexandre Farto (a.k.a. Vhils)


Oct 19 – Dec 19 2023

Usina Luis Maluf
Rua Brigadeiro Galvão, 996
Barra Funda, São Paulo, SP


The crowd is a union of singularities. It is always plural. It is sometimes in the midst of the agglutination of people where we feel most alone, but it is also in the sea of individuals united by the same fantasy where we dive into the pleasurable wave of presence and euphoria. To be in a crowd is to confront silence, to fight erasure. These are images of powerful moments in history, when individuals collectively think about their future, which Vhils brings to this exhibition. Disruptive episodes that reaffirm the singularity of a group, a people or a city – the main protagonist of the Portuguese artist’s work. Alexandre Farto.

In this exhibition, the political articulations and slogans of different public public demonstrations are not so much in the foreground as the ephemerality of these liberating experiences. The people who initially occupy the streets of the city and vocalise their desires in unison sees this power dissipate, the dream fade away. A crowd becomes a mass, individuality is overtaken by consumer society, universality is snatched away. society, universality is snatched away by globalisation. In the works of Vhils, records of the struggle for utopias become ghosts in unidentified images, decomposed and worn out. They represent both hope and bankruptcy. Are we capable of sustaining dreams and collective struggles any longer? How can we transform these apexes of history into lasting, communal tides of awareness, reaffirmation and of awareness, reaffirmation and vocalisation?

The title of the exhibition, “Alchemy”, represents the inexplicable and magical feeling generated in the union between people, and also the chemical processes of bonding and exchange of energy that permeate the compatibility of encounters. Chemical chemical reactions are also part of the production process of Vhils’ works, which uses substances such as acids and corrosives to rust and dismantle the superficial surface layers of the images he works with, causing deeper sediments to emerge. deeper sediments.

He corrodes, scrapes, pierces and explodes surfaces in a constant practice of deconstruction and construction. And the more the artist digs, the more he reveals. In an archaeological process, Vhils delves into the history of cities and the past and present of the anonymous people who build them. The people who should have monuments dedicated to them are often those whose faces we don’t know. In Vhils’ works, their faces are printed on billboards, walls, doors and metal. These individuals are the protagonists of his narrative, as are the protesters, who take the reins of their own story.

Julia Flamingo

Leandra Espírito Santo and Luiz Escañuela

Carne, Pele, Luz e Metal
[Flesh, skin, light and metal]

Oct 07 – Nov 11 2023

Galeria Luis Maluf
Rua Peixoto Gomide, 1887

Flesh, skin, light and metal

Speculation about the human body seems to have no end. Nor a beginning. Apparently from the very beginning – and who knows when that was? – we have lived with our enigmatic condition. Although we are palpable, tangible, carnal presences – at least that’s the impression we get from others – we are still obscure. Some ideas and conjectures have been decisive for the current status of the body, which doesn’t stop it from continuing to be more indecipherable than ever. Not to go too far back, think of the small automaton dolls made in the 18th century, think of the Writer, an automaton made up of six thousand parts, created in 1770 by the Swiss watchmaker Pierre Jaquet-Droz. Looking, dressing and posing like a real person, sitting at a table with a pen in his hand, the Writer not only wrote but was programmed – you see, programmed – to write in different letters. His similarity to us went beyond physical form, but the differences between us, even worse, alluded to the possibility that within us dwell several others, evident in different handwritings. In the wake of the Industrial Revolution, these automata were a craze that lasted throughout the 19th century. Not by chance, the century in which Mary Shelley wrote, in 1818, Frankenstein: or the Modern Prometheus; it was also the century in which the Frenchman Auguste Villiers de L’Isle-Adam, in his The Future Eve, 1886, less gothic and more futuristic, coined the term android.

The meeting of recent works by Luiz Escañuela and Leandra Espírito Santo suggests this quick introduction, indicative of the intricate level of issues they are both dealing with. In the first room there are two paintings by Luiz, similar in size and subject matter, particularly in the prominence of the hands. In the canvas on the left, Aquilo que aqui ficou (What remained here) (2023), the tips of the index and middle fingers of the hands of a person lying on a bed touch each other gently, on the verge of intertwining. Red is the predominant colour, a blood red, luminous. The backs of the hands are meticulously executed, above all because they contrast with the body of the woman lying down, represented diffusely; the photographic extraction of the painting leads one to think of the image as being out of focus. You can perfectly see the designs of the knuckles, the estuary of lines scratched in mismatched directions, the semi-transparencies of the nails, the ones on the left hand longer, the ones on the right with red half-moons, as if they had just been taken out of a bowl of blood.

Luiz Escañuela is aware of the public’s attraction to hyperrealism, its craving for illusions. He also knows that, made from photographs, these paintings, contrary to what they claim, are the result of distancing themselves from the physical world; the more painstakingly they advance in the manufacture of perfect visibles, the further they move away from what we call reality. Lest there be any mistake about this, and also to the possible surprise of the visiting public, opposite this canvas, opening the set presented in the last room of the exhibition, is Experimento para uma cartografia das mãos (Experiment for a cartography of the hands) (2023). While the first offers a representation that wants to pass itself off as what it isn’t, truth made visible, the second, also taking the hands as its theme, lays bare the process, reveals the image’s scaffolding, the comings and goings, the paths left behind and suppressed throughout its making.

OHHHHHHH (2023) is the name of Leandra Espírito Santo’s installation, which takes up the entire middle room. In contrast to the sensual colour of Luiz’s painting, Leandra opts for the grey of aluminium. Eight heads arranged side by side, made bright by the impact of white light bulbs, the kind that impregnate the room with blue, which is why they are also called cold light bulbs. Unlike the paintings, these heads are sculptural, more concrete and real, not least because they were moulded from the artist’s face, a process that requires the impassivity of a CT scan. The heads are divided between two of the four walls of the small cubic room. As well as separating them, the light bulbs run round every corner of the volume, guaranteeing an atmosphere between factory and hospital. The heads are expressive. They therefore correspond to the artist’s particular traits, if they weren’t stereotypical expressions, such as those available in the emoji bank, one of the most recent and effective products of an overwhelming process of homogenisation of facial expressions, clothes, gestures and ready-to-wear ideas. The question arises: what is left of us? This is one of the artist’s central questions. Leandra hits on the same theme in the installation presented in the next room: 30 gsts + (2021-current). Again her hands, this time moulded in bronze in gestures copied from the cast of gestures also offered by emojis.

One of the roots of sculpture goes back to magic, to death masks and the effort to ensure the presence of those who have gone and who were important to us. What importance is there in that which is the same as the others, what is the relevance of the undifferentiated? Returning to the beginning of the exhibition, right at the entrance, stuck to the wall, three small sculptures move frantically. Inhoim-inhoim-inhoim (2023) is made up of three silicone tongues, moulded from the artist’s tongue. They seem to be alive, or are they dead, bursting with energy and, as long as there is energy, they will continue to beat against the wall, indifferent to it?

Agnaldo Farias

Bu’ú Kennedy e Sofia Lotti

O encantamento da memória gráfica e pictórica

29 de agosto a
30 de setembro de 2023

Galeria Luis Maluf
Rua Peixoto Gomide, 1887

Bu’ú Kennedy e Sofia Lotti:
o encantamento da memória gráfica e pictórica


Céu azul
Que venha até
Onde os pés
Tocam na terra
E a terra inspira
E exala seus azuis (1)

Caetano Veloso

Realidade e sonho, delírio e razão, memória e registro, representação e abstração – essas são algumas das dicotomias conjugadas nas fabulações poéticas perceptíveis no corpo de trabalhos de Bu’ú Kennedy e Sofia Lotti. Cada um, ao seu modo, promove um exercício plástico-visual de entrelaçamentos da riqueza paisagística e gráfica da vida em contato com a natureza, seja em sonho seja na experiência despertos. Os caminhos poéticos conduzidos na exposição fazem acender o olhar para força pictórica e formal do que foi possível representar ou subverter pela dupla posta em aproximação.

Desse modo, pelo encantamento da memória gráfica e pictórica, dois universos artísticos vão ao encontro do zigue-zague espacial da Galeria Luis Maluf. Bu’ú Kennedy (1978, Alto Rio Negro, São Gabriel da Cachoeira, Amazonas) traz em sua produção em marchetaria a força de nossa arte contemporânea indígena, fiel à tradição e aos conhecimentos de sua origem advinda do povo Ye’pamahsã, conhecido como Tucano. Já Sofia Lotti (1991, Poços de Caldas, Minas Gerais) promove uma renovação de algumas técnicas clássicas da arte – desenhos, pastéis, pinturas e tapeçarias – por meio de um exercício permanente de representação e, também, de desconstrução da ideia de paisagem.

Em tempo das crises do antropoceno, ambos devotam o olhar para a natureza e nos restauram o encantamento por ela. Em um processo contínuo de tradução, as experiências de ambos promovem representações em cores da vida que nos é iluminada pelo exercício poético da razão. Todavia, isso acontece de maneira distinta, ao desbravarem um universo de cores, formas e grafias do que são capazes de enxergar.

Não esperem apenas conforto ou apaziguamento, há um real ponto de contato entre essas práticas poéticas que é exatamente o oposto desse sentimento presente na superfície: uma espécie de vertigem visual, um desdobramento da força visionária da arte. Não falo aqui da vertigem como uma patologia, descrita em sintomas, mas de um estado de consciência capaz de poder ver uma paisagem (ou mesmo uma miragem) de forma apurada, sempre atento ao fato de que aquilo que se posta diante dos olhos não está imune ao movimento que a passagem do tempo registra. Somos então seduzidos pelo olhar do outro, encantado em cada uma das obras apresentadas.  E, por isso, acabamos atraídos por elas, algo distinto do que entendemos por predileções ou meras escolhas supersticiosas. Na lógica da arte que agora nos é apresentada, os trabalhos são na verdade apuros técnico-poéticos, produzidos na madeira trabalhada por Bu’ú ou nos traços e formas dos desenhos e da tapeçaria de Sofia.

Sofia Lotti, por exemplo, traz para essa mostra uma seleção de trabalhos que arranjam três caminhos de sua sofisticada manualidade: desenhos traçados com materiais diversos, o pastel seco (um lugar transitório e ambíguo, entre o desenho e a pintura) e a tecelagem manual revertida em tapeçarias. Da amplitude de uma paisagem que dignifica a expressão “até onde a vista alcança” aos movimentos delicados e exuberantes de uma planta em floração, a artista nos oferece uma memória daquilo que ela capta e interpreta da natureza. No processo de trabalho dela, em especial nos pastéis, a fotografia veio enquanto registro de um momento, aprisionando-se o próprio tempo. Dessa imagem e por meio de sua memória sensitiva, Sofia decompõe a imagem, para depois recompô-la pictoricamente. Quando vistos em conjunto, seus traços, suas manchas de cor e seus volumes construídos registram um léxico pictórico e gráfico próprio.

As composições vertiginosas que vemos nas tapeçarias e nos pastéis embaralham nossa identificação de quais ambientes estamos vendo. Só reconhecemos melhor o contexto, quando acessamos os títulos descritivos de cada peça, pequenas pistas de signos. Até que ponto é necessário identificar a localidade? Existe, enfim, um lugar transitório que conecte as paisagens gélidas de uma Noruega interiorana com o cerrado ou o sertão mineiro? Essas presenças geográficas em seus trabalhos acabam por conviver de maneira indistinta em seus trabalhos, especialmente a partir da maneira como foram expostos. Muitas das imagens encantadas da artista nos põem no lugar da dúvida.

Nesse embaralhamento do olhar, acontece um efeito que se reverte em movimento espacial da cor quando da nossa percepção mais demorada. Sugere-se um passeio pictórico, trilhado pelo movimento do olhar ao longo das massas de cor que são dispostas. Acompanhamos a escolha intencional da artista que tenta decompor o tom que viveu na natureza. Por isso, com propósito, há o consciente transbordamento da cor para o limite sugerido pela moldura colorida. Mesmo pela sua função primeira de delimitação do corpo bidimensional, a moldura ganha também uma valoração compositiva. Por sua vez, na tapeçaria, a borda e a estrutura são em sua maioria irregulares, gerando eventuais volumes, tensões ou abaulados. Há, desse modo, uma vida do material que é respeitada e tomada como parte do trabalho.

Bu’ú Kennedy, por seu turno, nos apresenta a composição de seus grafismos pictóricos ancorado em um saber ancestral, feitos a partir da diversidade construtiva da marchetaria. É no plano bidimensional de suas peças em madeira que se impregnam ritmos, perspectivas, caminhos e formas: todas elas são representações do que a natureza é capaz de nos dizer e nos orientar. Em certos momentos, com aquilo que nós chamamos de um estado alterado da consciência, o artista simboliza um léxico próprio de sua cultura indígena tucana, desembocando no universo das cores da natureza. Percebe-se uma intrincada elaboração de signos que perpassam seus saberes indissociados de uma força espiritual capaz de trabalhar as possibilidades de cura e restauração. É um vocabulário gráfico-geométrico que se apresenta pela repetição em linha de símbolos e cores, como, por exemplo, pode ser visto no trabalho Se’ã Dia’poá wahsé kaapi’tʉ hori. É quase como uma “tábua manifesto” que personifica a sabedoria ancestral, da qual o artista é legítimo representante e guardião.

O ato de ritualizar em busca do cuidado com o outro também se presentifica pela produção pictórica, podendo enveredar para uma representação da abundante paisagem que o cerca em presença ou em sonho. Basta olhar com atenção para a obra Hori Mihpĩ, onde uma precisa arquitetura do desenho se materializa, colocando em compasso dois signos: Hori/Cores e Mihpĩ/Açai. Reproduz-se, portanto, o que o artista nos contou: o açaí é um fruto que traz em si uma energia e uma vitalidade especiais, contribuindo para florescer ideias, emanando prosperidade e abundância. Não é à toa que a vertigem provocada pela imagem é fruto de sua intrincada construção que tece os caminhos das cores da vida, ao mesmo tempo em que abstrai a própria estrutura eloquente da palha de açaí.

A única figuração do artista presente na exposição é, na verdade, a miragem de um cenário vislumbrado pelo artista. Ele percebeu a presença de uma mulher na paisagem de um rio integrado à natureza da floresta. Bu’ú nos contou que tal imagem veio com força após seu rito com ayahuasca. O próprio desenrolar da memória foi  tomado pela potência do que ele mesmo chama de “beber a luz do conhecimento”. A iluminação, portanto, é agora de outra ordem. Curiosamente, nessa peça a pigmentação da madeira tem menor força e não apresenta contrastes sublinhados de maneira enérgica. O foco está nos traços da representação figurativa que são bem mais evidentes e precisos. Independente de que caminho formal o artista construa, há o apreço por fortalecer passagens simbólicas e efetivas para uma arte contemporânea indígena.


Paisagens em translação

Como gostaríamos de afirmar, há sim o nosso encantamento pelas paisagens e representações ilustradas. Entretanto, é algo que se porta muito além das formalidades técnicas de cada um. A meu ver, os trabalhos em conjunto são exercícios indeléveis de sedução pela forma, cor e material que nos atraem para uma percepção mais acurada: ver para além da imagem descrita.

Ao alcance de nossas vistas, cada obra instalada evoca o repertório de ambas as práticas artísticas, nos apresentando uma memória gráfica e visual de suas experiências cotidianas, quase que como algo análogo a ideia da translação, um caminho mais elíptico, mais duradouro e menos objetivo. Esse caminho é perceptível pela potência visual das memórias de Bu’ú, muitas vezes ativadas em seus rituais de cura, e nas paragens percorridas e visitadas pela Sofia mundo afora (e por ela subvertidas).

Para ajudar no entendimento desses movimentos mencionados, trago um exemplo da música. Há mais de 40 anos, um dos nossos maiores artistas em atividade, compôs a canção Luz do Sol, da qual tomo alguns versos emprestados para compor a epígrafe. Assim, como há um movimento sonoro e lírico que parece evocar inclusive a ideia de volta e até mesmo da translação, pois enuncia ademais os ciclos de luz e vida, cada obra apresentada na exposição – tanto do Bu’ú como da Sofia – contém também um movimento ativo de transformação do suposto ambiente natural e bucólico.

Ora com maior apreço pela realidade na captura da paisagem ora de forma mais subvertida, há em ambas as posturas um caminho mais elíptico de aproximação e de distensão, de detalhe e de distanciamento, do que é visionário e do que é representativo, do que é imaginação e do que é real, do que é chão e matéria e do que é céu e etéreo. De certo, existe um trânsito em curso, o mesmo movimento do azul que está na canção que vai do céu para a terra e da terra para o céu. Ao fim e ao cabo, vemos algo que é traduzido pela presença magnânima da luz, em especial, a que solariza os acontecimentos da vida.

Diego Matos, 22 de agosto de 2023.

(1) Versos da canção Luz do Sol (1982), composta pelo artista brasileiro Caetano Veloso e gravada, em especial, em discos do próprio compositor e das artistas Nara Leão e Gal Costa. A música foi tema musical do filme de Fábio Barreto, intitulado “Índia, a filha do sol”, em 1982.

Yohannah de Oliveira

Santuários Movediços

May 18, 2023
– June 17, 2023

Usina Luis Maluf
Brigadeiro Galvão, 996


Moving Sanctuaries

Safe place is a notion that refers to a place of shelter, both physical and emotional, for an individual or a group of people. Refuge, redoubt, nest, and sanctuary are some metaphorical examples of safe places.

Yohannah de Oliveira found in the process of artistic creation her temple. It is where a condition of invention and safeguarding is established. Without discovery it is not possible to continue taking refuge, just as a hiding place needs to change place or a password needs to be updated to keep something safe. After all, to save is to make it last, to face the action of time.

From a Christian congregational family, Yohannah preserves an iconoclastic verve in her investigations. She registers non-figurative pulsations, even though she sometimes lends them a title that guides a meaning. Her gestural procedures are marked by the trace and the capture of impressions left by materials that are in contact with the work as it works, that is, while wefts react to pigments, water and other substances, until their drying process.

Concealing and revealing
Yohannah seems driven by oxymorons, and one of them consists of concealing by revealing, that is, covering up, but demarcating that something is hidden right there. In Dar as costas, the artist envelops and sews the surface that was painted, turning it inside out. The painting becomes subcutaneous: we can only access the pigment that has leaked onto the back of the canvas. This experience is similar to that of someone who discovers a safe or a folder with a password on the computer and announces: “I am here, and my value can only be accessed through a secret”. But the secret here is that the external protects and at the same time carries with it the value of what has been hidden. In turn, the complementary opposing work, Bater de Frente, reveals the painting to the world, and when discussing what is the primary aim of something, the opposition of the works prioritizes interiority.

Other works also deal with this economy of revelation: that is, they take place in a regime of that which lets itself be seen. Mosqueteiro delineates an inside and an outside by means of a tenuous matter, the tulle that filters an inadvertent look. Inside, a candle, the same height as the artist, carries with it the idea of slowly revealing.

Such procedures convoke discussions of photography, since excessive exposure devastates the image and captures nothing; and of the order of the sacred itself, whose presence we may even feel, but it is not our place to see, at least not completely.

Premeditated archaeologies
Imbued with safeguarding something, Yohannah flirts with the action of time, but armed with subterfuges to delay its passage. In O que eu deixo vazar, the earthy and mineral palette establishes the perception of something remote, telluric, or archetypal, but at the same time its texture is full of durable components such as glue, acrylics, and polymers. There is no opposition between natural and artifice, everything is ingenuity.

Rizoma, Mar Concreto, Toque, Fêmur start from a kind of archeological site previously built. The action of wearing out the pieces, from their composition in premeditated layers, brings a data of control over what can be found, but does not prevent the discovery, the surprise, and the nuance with the effect of accumulation of time.

Framing the gaze
And even in works that are contrary to the logic of concealment, Yohannah uses artifices such as framing raw materials that are not always consecrated, to speak of what is sacred around us. A frame refers to the “picture” format, but also to the more mundane that deserves to be appreciated on cell phone screens. And just as what is inside the frame is image, what fits in a frame is art.

It is in this enigma of making hidden matter its raw material, of making something visible in its concealment, of something that endures safe from time and gaze, that Yohannah builds her shifting sanctuaries of invention.

Diego Mauro, curator

Karola Braga and Licida Vidal

stories from the land

May 6, 2023 – June 22, 2023

Galeria Luis Maluf
Peixoto Gomide, 1887


histórias da terra

“todo ser vivo é a terra dos outros. Cada espécie é o terreno de vida de um número indefinido de outros atores – vivos e não vivos” Emanuele Coccia

“Let the water under the sky be gathered to one place, and let dry ground appear.” The sentence from the first book of the biblical series, entitled Genesis, brings us back into confrontation with one of the countless versions of the beginning of everything, of life and death. From the life cycles of which we are all a part, sprout disparate ideas, which mostly start from darkness. From the time when we have no memories, from the chapter when we were cocoons, before our first metamorphoses, everything was pitch. We were born from the night, and it is only from the night that we are aware of the light. According to the native peoples, especially the Guarani Mbya, the mother is darkness and it is through her that everything takes shape. We break through layers of earth, skin and husks toward life, for which we will fight until our eternal return to earth. The exhibition Earth Stories and the works presented by Karola Braga and Licida Vidal at the Galeria Luis Maluf are about the relations between meanings, memories, permanences, and life courses that are always in constant transformation.

As the Italian philosopher Emanuele Coccia explains, “ Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently”.  With this thought in hand, the exhibition that unfolds before the spectator is naturally divided into three moments in which Braga and Vidal reflect and materialize in art their respective ways of seeing what vital stages are essentially made of.

In the first room, the beginning is presented through a site-specific installation created by Vidal in which the São Paulo artist floods the exhibition space according to its topography in order to put us at the mercy of the experience of origin, between sky and sea. In a solution with bio-fertilizer, two suspended ceramic sculptures partially float in the aquatic redoubt. Beside them, negatives of beings from the vegetable kingdom produced in plaster and pigmented by Karola Braga, from São Paulo, reconstruct this beginning. From the work displayed on the wall of the space, a sumptuous petricor exudes, a smell of wet earth, which allows us to access an infinity of memories related to the birth of several species and beings. The connection with the sensitive is immediate and it is in this room that a journey of experience and exchange between artist and visitor begins.

From the olfactory and visual experience, we arrive at the second moment of the show, in which the structures of both artists clash. On one side, Braga’s natural representations are penetrated by a milder and grayer chromaticity and reverberate around them the smell of the forest, humid and rustic, which brings in itself references to the maturity of a body in full vigor. It is important to point out the broadness of the olfactory artist’s research, which moves through different visual supports in order to take us to the poetic realm of absence, presence, and everything that smell comes to represent in the human mind. On the other hand, Vidal’s sculptural structures go against his natural nook. Made of ceramic, which is nothing more than earth undergoing a profound transformation from the exposed temperature, they acquire almost animal-like forms that run down the wall.

Such a preamble flows into a white room majestically created by Karola Braga. In it hovers the smell of loss, of mourning, of that which inevitably goes out despite our incessant attempt to contain it. Its essence seeks materialization through a site specific that puts us back in space, immersed in a reflection about what is beyond the earth, perhaps beyond life. If in Western culture the color black is associated with death and darkness, with fear and suffering, in Eastern teachings this thought is inverted, placing white as the key tone for the transcendental moment of passage to which we will all inevitably be subjected. The room becomes a sanctuary about time and memory.

All knowledge of oneself is always a knowledge of other life forms, because each life form is a collage of species. From this collage arise the seeds, which Licida Vidal places in the last exhibition room on the soles of her feet. Around the exhibited photograph is the impossibility of water, which overflows at the beginning of the show. In an installation made up of ceramic plates, the artist reassembles the ground punished and cracked by the drought that devastates our world. If “nature creates forms, apparently different, by simple modifications of a single organ,” as Goethe (1749-1832) said, this visit is an inexorable cycle of our present, past, and future. Of a single organ that passes through the infinite possibilities of life.

Ana Carolina Ralston

Bordalo II

Bicho Homem

March 28th, 2023
– May 3rd, 2023

Usina Luis Maluf
Brigadeiro Galvão, 996
Barra Funda, São Paulo

Bicho Homem 

In my work I normally portray animals, often those we are not so used to living with and which we thus find more interesting.

Thinking about these animals often transports us to a purer, more natural place, a place in our imagination which instantly appears as a natural place for animals. If we apply this same perspective to the human race, what is the environment that is most natural to us, where humans exist in their purest form? Would it be that place where humankind has remained closest to nature and lives in greater harmony with it – as is still the case with some indigenous peoples? Or would it be that place which, contrary to our own nature and that of the planet, inhabits the artificial reality we have built for ourselves and by which we have become enslaved?

When we look at modern cities, the reality is much more complex. Alienated from nature, it often boils down to a duality between the haves and have-nots: those who have work, a house, access to education, access to health, money, stability and the possibility to imagine a future and realise it; and those who have nothing, whose  existence is shaped by the absence of possibility, who don’t have the means tochoose what they want to be and how they want to live. The latter have no choice but to survive.

This daily struggle makes the city not a place of development, progress and well-being, but a hostile place of oppression and violence.

Far removed from nature, the most fragile are disowned by their own species, consigned to a sub-existence, and likened to pests. These are the HUMAN ANIMALS.

Marina Sader

Como construir um castelo?

March 16th, 2023
April 15th, 2023

Galeria Luis Maluf
Peixoto Gomide, 1887

Como construir um castelo?

Italian architect Renzo Piano, known for designing cultural centers, published a tutorial on how to build a perfect sand castle in The Guardian in 2015. In that text, he considered the sand castle the first project of his career – despite its ephemerality. Its essence is in its relationship with the sea, so it is necessary to study the waves to position it properly. For the elaboration of a house of cards, patience is a determining factor. An internet research (in a site ironically called TempoLivre) highlights that the balance between the pieces can only be reached with the friction of the materials: the paper cards placed on a lined surface. Both cases need strategy for their implementation.

At the age of six, Marina Sader tried to build a castle using cards from a deck; she arranged them in diagonal and horizontal lines to establish repeated architectural patterns. However, when she reached the third floor, her castle collapsed. Very early on, with the fall of her house of cards, the artist began to understand how the invisible acts. From the wind, she drew her persistence and other life lessons:

“As a child, I used to take a handful of little flowers and bless people by blowing on them, playing the role of the wind. I have been very intrigued by the wind even, the invisible thing that is assimilated by everyone as real (because in fact it is), but I find it intriguing how, although I cannot see the wind, I can feel it and accompany it in its coming and going. The wind is proof that the earth constantly seeks its own tireless balance, trying to fill all the voids and balancing the leftovers…”

As a response to this uncontrollable force, Marina develops the habit of writing during her quarantine by taking refuge in her fortress – the owl’s burrow – in Campo Limpo Paulista. There, she has the opportunity to experience solitude and to remember old affections intertwined with new perspectives. In the same period, he buries his pet rabbit, Shapiro, representative of his first responsibility of care. In another moment, he notices the family of owls in the next plot of land and observes how they protect their nest. As she sits in the chairs, she is reminded of her grandmother, married to a Herman Miller furniture dealer.

At the end of the isolation period, the artist’s family discusses tearing down and reconfiguring the house. Marina clings to the desire to preserve her escape from reality and forms a personal iconography, then decides to paint her treasures: the Shapiro rabbit, the guardian owls of the grounds, the patterned towels and furniture, the cutlery and glasses forgotten by family members. This time, her house of cards does not fall down – she has over the years developed strategies for doing this kind of construction.

Marina Sader’s personal and artistic maturation process is directly related to the exhibition’s narrative. The tent, the artist’s first installation work, is reminiscent of a safe space, a cocoon without points or punctuations. The cotton fabric, a material also used in the paintings’ canvases, welcomes the passerby into the space. Then the luminaire, like a magic lighthouse, dazzles the visitor’s eyes, which, until then, had been protected from reflections and doubts about the pains of growing up. After this sensory experience, we reach the figuration, a stage in which the objects and characters begin to gain meaning as a kind of visual literacy. These paintings, initially in vibrant colors, are gradually modified and acquire faded tones to demonstrate the changes in the artist’s perspective made possible by the passing of the seasons. Therefore, “How to build a castle?” is the record of her refuge and the break with her childhood.

Marina Schiesari


Residência Artística

Feb 15th, 2023 – Mar 15th, 2023
Usina Luis Maluf – Brigadeiro Galvão, 996 – Barra Funda

Residência Artística ULM 2023

Encourage the Brazilian artistic production, giving tools so that talents in the area can develop their productions freely and creatively. This is one of the main objectives of the artist residency program promoted by Usina Luis Maluf, which now presents the result of this interesting immersion in a group show that occupies all the spaces of the Barra Funda gallery.

In its second edition, the program selected 11 artists through a public call for proposals, thus bringing together names from various regions of Brazil who work in different mediums, from sculpture to photography, including painting, performance, collage, and weaving. Almost 300 applicants had their portfolios analyzed – a process that resulted in a multiple group, engaged with themes pertinent to contemporaneity. During this period, the selected artists had ateliers set up at the Power Plant, where they worked and were able to share and improve their creations.

With a total duration of three months, the residency provided a close follow-up of the artists’ projects and ideas, promoting professional connections with the visual arts circuit, including conversations and portfolio readings with curators, visits to ateliers around the city, and meetings with patrons and institutions. Everything is carefully thought out so that, in the end, these names can be incorporated into the market in a healthy way, full of new proposals.

Ana Carolina Ralston
curator and coordinator of residência ULM 2023

Antonio Tebyriçá
Charlene Bicalho
João Paulo Racy
Karola Braga
Leandra Espírito Santo
Licida Vidal
Mariana Fogaça
Rainha F.
Sofia Lotti
Taygoara Schiavinoto
Vitor Mazon

Bárbara Basseto

Ai de mim, que sou romântica

Feb 9th, 2023 – Mar 10th, 2023
Galeria Luis Maluf – Peixoto Gomide, 1887

Como terei orgulho do ridículo de passar bilhetes pela porta.

Esta mesma porta hoje fecho com cuidado; altivo.

Como não repetirei, a teus pés, que o profissional esconde no índice onomástico os ladrões de quem roubei versos de amor com que te cerco.

Te cerco tanto que é impossível fazer blitz e flagrar a ladroagem.

Ana Cristina César

It is by borrowing pieces of the world that Bárbara Basseto composes, in her painting, a new world of her own. Her curious and thieving eye traverses vast fields: antique store shelves, thrift stores, haute couture clothes, art and fashion books, videos, pieces of architecture, decorative patterns of domestic objects, the incidence of light on tiles and swimming pools, the fit of curtains, towels, and rugs, playlists she listens to during the long hours she spends painting in her studio, and whatever else she finds on a walk down the street. In this exhibition, the artist’s first solo show, the various types of fabric predominate in the works and the verses of love songs in the titles.

Basseto builds – with the meticulous knowledge acquired from her training in conservation and restoration – her support. Sometimes they are canvases made with fabrics of multiple origins; at other times, they are raw linen or smooth-textured wood, whose final painting shows traces of the raw plaster used in the preparation. In any case, the matter of which the painting is made shows itself in the final image. Without illusion, but with the arousal of desire. His objects are seductive.

The starting point is not the supposedly neutral white of ordinary cotton canvas. This method produces a pleasant complication in the incorporation of materials or prints. She needs to compose with what is already composed by someone else – in fact by an industry, fashion or product design. This creates your problem to be solved, in a kind of game in which the first move is always that of your “opponent”. Not for nothing, the checkered chessboard caught her attention. The painter’s strategy of attack turns on unusual color combinations and diverse material events.

I have zeroed out the Coins of Desire is a striking example. The artist acquires a striped shirt from Dior. From the thin fabric, she stretches the canvas, not without first sewing the openings. The preparation of the surface offers rigidity, gives an embalmed character to the piece, which will never again see use, only contemplation. However, the work does not seem stiff. Basseto adds new colors and patterns to the print, in a bright and dazzling palette. Thus we can perceive her mode of action. She introduces a highly sophisticated deviation into the composition she appropriates. Basseto corrupts – I use this word because she does not follow rules, but rather a contradictory singular force, a premeditated intuition, a calculated impulse.

Basseto creates enigmas of Ana Cristina César’s strain, with appropriation, citation, and creation. The onomastic index, or at least one of them, in which Basseto hides the thieves of those who steal love verses, is her master’s research. There, she explores her relationship with pop art, especially Jasper Johns, the output of women in the Pattern and Decoration movement, and the infusion of feminine, folk, and multicultural references into the severe grid of Minimalism.

Among the references, Joyce Kozloff’s production calls my attention. The boldness of the then young American artist, when she counterposed with her own words the prescriptive adjectives, which configured rigid rules, of Ad Reinhardt, for art.

The name given to the exhibition is a verse from Mutante, a song composed by Rita Lee and Roberto de Carvalho. It refers to the procedure the artist uses in the composition of her works and their titles, her prosaic poetics. But it also refers to a spirit reworked by Bárbara Basseto, also found in Kozloff’s adjectives, which sets up a way of thinking and shaking the absolute empire of reason, of imperialism, of monotony, of purity, of universality, of sterile formalism, as if to say: “Alas, I am like that. Romantic”.

Érica Burini, curator

Paraíso Perdido

8 de Dez 2022 – 21 de Jan 2023

Centro Cultural Correios São Paulo
Praça Pedro Lessa, s/n – Vale do Anhangabaú
Seg – Sex, 10h-17h