Regina Silveira
Walter Zanini, 1997.
Almost 10 years of exploration of illusionist perspectives passed before Regina Silveira's works reached their moment of international insertion. This reveals the difficulties of a career made in Brazil, increassed by the distance from the art market and from the ideology of the official selections. Nevertheless, we can already find her readiness for a cosmopolitan interchange in the phase prior to the present objectives, that is the artistic language of the multimedia artist of the 1970's. At that time she concentrated on graphic processes of image reproduction, essentially working with drawings. Using silkscreen-her favorite- plus offset, blueprint, xerox and microfilm, she developed a thematic of significations that transited between humor and critical messages. This material, which widely and creatively used the potential of technological resources, became known through exhibitions in Brazil and abroad. The artist's active involvement with mail-art-the movement that opposed the cult of the artistic object-is worth mentioning. This period, which included experience with video art, is linked by its conceptual elements to the future evolution of her work.
In the 1960's, Regina Silveira began to paint, draw and make prints, showing empathy with figurative expressionism, a tendency with strong roots in the modernism of the country. This inclination quickly changed under abstract informal influences and more radical political changes. In Europe, at the end of the decade, she was awakened to the possibilities of spaces elaborated through geometric forms. The direct consequences of this rationalist absorption could be seen on reliefs and objects that she built with industrial materials.
When she moved to Puerto Rico in 1969, a rupture occurred between the artist-as-craftsman and the one that began to be interested in the modern means of reproductivity. The right atmosphere existed on the island for her to get enthusiastically involved in the transgressing phenomenon of dematerialization. The iconography that inaugurated this new dimension with geometric grids in perspective, called the Labirintos was soon destined to a specific semantic function; that is, she decided to put people inside the labyrinths. In order to accomplish this, she used photographs from printed media interacting with boxes in perspective. This resulted in solutions filled with humor and derision, as is evident in the enclosed crowds in Middie Class & Co. Hear goal was well planned: to produce a feeling of strangeness or "decontextualisation."
Returning to Brazil in 1973, she settled down in São Paulo where she continued with her prints and multimedia, interposing the geometrical drawings in perspective over stereotyped photographic images like city views from post cards. From this resulted Destruturas Urganas, Executivas and Brazil Today, artist's books, albums and other publications that reflect power, bureaucracy and environmental issues. The irreverent interest of the artist did not allow the art and its system to pass unnoticed. Her performances mark her incisive participation in the alternative cultural movement of the country in the 1970's.
Regina Silveira next became involved in speculating about distortions of perspective, and produced Anamorfas (1979-81), a complex of prints and drawings that opened a new horizon for her. Contributing to this definition were her former works where she made explicit the projection lines to vanishing points, and the drawings of a series of works full of critical verve which she called Jogos de Arte. Photographing everyday objects like a pair of scissors or glasses from a certain angle and height, and overlaying several reticulars in perspective, the artist could recreate them through compressions, dilations and folds, making them an enigmatic reality. But this morphology of distortions, whose procedures were enriched in a series called Simulacros (1982-84), was also the result of interpretations of artificial systems of spatial constructions based on Leonardo and Duchamp's speculations, and writings by contemporary authors like Panofsky. She was impressed in particular with the deformations of the photographic images and the forms produced by the computer which were demonstrated and studied by Pirenne.
The Simulacros, which followed Anamorfas, completed the main points of reference in her work. It is a constellation of photographic works, installations and objects, always monochromatic (black over white), reverberating with each other, which she considers as "a reflection of projected shadows, materialized as visual parody of the projective codes of the linear perspective, of the theory of shadows, of photography and of the topographic drawings." In the establishment of visual structures, based on the infraction of laws of the projection system of classical perspective, she was mostly interested in the use of viewpoints and visual angles, as she still is today.
Despite the homogeneity of all her work, which has turned to the ambiguity of perspective (little does it matter the "motives" or objects that serve as models), we should highlight along with Simulacros the work in Absentia (MD), built in a 10x20m space for the XVII Bienal de São Paulo in 1983. It was composed of monumental silhouettes from Bottlerack and Bicycle Wheel extended in oblique opposition over the floor and raised panels which enclosed the area. They were fictitious shadows that elusively parted from two absolutely empty sculpture bases. dostorting and challenging the perception according to the location and distance of the viewer.
Following the Simulacros, Silveira produced Inflexões (1985-7), a series of painted cutouts used as single pieces or as elements of installation. Her elaborated drawings were transferred to tapestry and exhibited at the Gulbekian Foundation in Lisbon (1988). Mainly the conception of new and consecutive installations like Vertice (1988-89) and Simile (1988) at the Galileo Center of Madrid dynamically filled up her time. Auditorim (1990), presented at the Trienniale of India, in New Delhi (1991), consisted of simulated rows of seats built as a virtual tri-dimensionality, but flat on the floor. Among these works is the latest silhouette designed for The Queens Museum of Art. Her research has progressed in the sense of extracting stimulus from the aspects of the surroundings where she is invited to intervene, as it happened in Solombra (1990) at he SESC-Pompéia in São Paulo, and recently in Behind the Glass (1991) at New York University's Grey Art Gallery in Greenwich Village.
If we could say that Regina's work reflects the "geometry of the absurd" and the shadows of De Chirico, it is also proper to say that elements of emotional and sensorial order, present like a memory of her past expressionism, significantly enter the hypertrophies and other alterations of her images. If she departs from geometrical grids to make parodies of the rules of perspective, she still has free choice to explore the ambiguities of perspective with a sense of humor. Withdrawing from the model, she exemplifiers what Sergio Benvenuto calls "reflexion du langage."
Analogies can be made between Regina Silveira's visual configarations and those of other artists, such as Jan Dibbets and Justen Ladda; but there is no doubt about the deeply personal path that she follows is a very intense and consequent rhythm of work in the current art context.
Walter Zanini
Art Historian
President of the Brazilian Committee
of Art History (CBHA-C.I.H.A.)
The recent years
Regina Silveira's Biography
The intensification of my foreign activities, as from the nineties, was the result of receiving foreign scholarships like the Guggenheim Foundation (1991), the Pollock-Krasner (1993) and the Fulbright (1994) ones. Therefore, the interchanges made possible by residence artist programs like the ones I carried out at the Banff Centre for the Arts, in Alberta, Canada (1993), at the Ranieri Civitella Center, in Umbertide, Italy (1995), and at the Texas University, in Austin (1998) also added to it.
These last ones resulted in participations in exhibitions like “On Mudlarkers and Measurers”, at the Agnes Etherington Art Centre, at Queen's University, in Kingston, and at the Ottawa Art Gallery, in Canada (1997), and, in 1995 and 1998, in exhibitions at the Il Gabbiano Gallery, from La Spezia, Italy, a space linked to visual poetry and artist’s books production.
Retired from the University of São Paulo in 1993, after taking part in the forming of several generations of young artists, I kept in touch with several university institutes from abroad. Several exhibitions were made outside Brazil, like “To Be Continued (Latin American Puzzle)”, at the NIU Art Gallery, in Chicago (1997), and installations like “Graphos 4”, with which I participated at the “Re-Aligning Vison: Alternative Currents in South American Drawing” exhibition, at the Archer M. Hunting Art Gallery, at Texas University, in Austin (1998), were made while I was visiting scholar at the aforementioned institutions.
As for the set of recent works, I can mark two trends: first, the trend that brings up to date investigations on new image production resources by electronic techniques, started with “Encuentro” (1991) and exemplified by the “Quebra-Cabeça da América-Latina: Continua…” (“Latin America Puzzle: To be continued…”), shown at Chicago (NIU Art Gallery, 1997) and extensively in Brazil: Bolsa de Arte, Porto Alegre (1997); Brito Cimino, São Paulo (1997); Salão Nacional, Rio de Janeiro (1998), besides its itinerancy throughout the Northeastern region, at the Programa Universidade Solidária (Solidarity University Program, 1998). In that trend, from the point of view of the public works, there’s also “Super Herói (Night and Day)” (Super-hero — Night and Day), in its two versions — the collage of a shade of great dimensions, made of vinyl, over the face of a building and the illuminating projection with laser beams originally proposed as a transgressive and ephemeral vision at Paulista Avenue, on the “Diversidade da Escultura Brasileira” (Diverstiy of Brazilian Sculpture) art exhibition (1997).
The second trend derives from my growing interest for Architecture, in terms of its own traditional representation codes or from works specially conceived for predetermined architectural spaces. Here, real spaces are included, spaces where I build installations, as well as virtual ones, represented by conventional architectural drawings, which serve me as motives for distortions and estrangements.
In the case of interventions in real spaces, an example from the 90’s is “Gone Wild” (1996), the great escape of coyotes, whose hundreds of footprints were configured according to a grid in perspective and painted afterwards directly in the walls and the floor of the big entrance hall of the Museum of Contemporary Art, in San Diego, La Jolla. The work was created as an answer to the invitation of the institution to enter into a dialog with the design of the architect Robert Venturi for the reform of the museum, which had then been recently concluded.
In this way, the most telling example of distortions in the representation of the architectonic space was the exhibition “Grafias”, at the Museu de Arte de São Paulo (São Paulo Art Museum), also known as MASP, in 1996. In that individual exhibition I showed graphic works with dimensions equal to whole constructions, like the distorted plant of the “Apartment”, which consists of a living-room, a sleeping room, a bathroom and a kitchen and the “Graphos” series of descending ladders made of wall tiles, whose vertiginous design indicated virtual spaces underneath the floor of the exhibition room.
I do understand that more recent installations, like “Intro” and “Irruption” (2005) ally both trends in a more emphatic way, since the exploring of new graphical resources is at the very base of the creation of images which cover, in an invasive way, several architectures (at La Mediatine, Brussels and at the Museum of Fine Arts of Houston, Texas, respectively).
In the last years some works and interventions relate to Architecture in terms of urban scales, with the very city as support for visualization. “Tropel” (Throng, 1998), invaded the face of the Fundação Bienal de São Paulo (the Bienal Foundation of São Paulo) building with a digital image printed on adhesive tape with an area of 600 square meters, constructed like an irruption of animal footsteps of several species. In 1999, the work entitled “Ex Orbis”, a digital collage of huge proportions (92 square meters) filled with drawings of flying machines, was made with adhesive vinyl and applied in the façade of the National Aviation Museum, in Ottawa, to take part in the “Passion for Wings” exhibition (1999). “Transit” (2001) is the luminous projection of the image of a giant fly made by a projector set up in an open vehicle that is moving around the urban tissue, in São Paulo (1997), Curitiba (2002) and Porto Alegre (2003). The fly was a kind of “trash” version of the “Super Herói (Night and Day)” (Super Hero — Night and Day) projected with laser, initially at Paulista Avenue, in São Paulo (1997), and afterwards, in Buenos Aires (1999), Argentina, and then in San Juan de Puerto Rico (2000).
Other works from the recent years emphasize light as its central meaning. The relation with Architecture was the founding principle of works where I registered light and shade patterns caused by sources of light that exist in reality, as it was with the shop-front in “Behind the Glass” at New York University (1991), or through entirely imaginary illumination sources, as with the project “Todas las Noches” (1999), an attempt to transform MARCO, the sculpture museum projected by the Architect Legorreta in Monterrey (Mexico), into a giant shadow box, projected by his own architecture, over a set of completely empty rooms. In the same vein of exploring light as a happening there is the “Equinócio” installation (2000), where a big sphere, made of wood, half white, half black, drags with itself the shadow that falls down from the open rosette at the upper part of one of the walls of the exhibitions spaces of the Lage Park, at Rio de Janeiro.
The word “light” outlined in fiber optic that is fixed at the windows/skylight of the MAC-USP, Museu de Arte Contemporânea de São Paulo (Museum of Contemporary Art of São Paulo), is a visual-verbal synthesis of such explorations. With its operation controlled by a photoelectric cell, “Luz” (Light, 2000) was projected to lighten up every time the outside lightning dimmed, so as to, metaphorically, bring light to the museum in the dark.
The individual exhibitions “Claraluz”, in 2003 (at the Centro Cultural Banco do Brasil, SP) and “Lumen”, in 2005 (Palacio de Cristal, Museu Reina Sofia, Madrid) had light as the axis of their poetical pondering and assembled sets of works that were specifically related to the architectonic spaces that they occupied. In those two exhibitions, both conceptually connected, the exploration of technical resources and montage strategies allowed one to investigate new forms of operating with light as a form of immaterial covering, capable of transforming the perception and the experimenting of big spaces with strong architectonic presence.
The “Luz/Zul” exhibition, in 2006 (Centro Cultural Telemar, Rio de Janeiro) synthesizes the assumed principles of both previous exhibitions when it reasserts light as a poetical resource in order to intervene over constructed spaces and it posits itself, with them, in the open paradigm of works derived of my recurring interest on the relations between art and architecture.
Regina Silveira
Porto Alegre, RS, Brasil, 1939
Regina Silveira made BFA studies in painting, at the Universidade Federal do Rio Grande do Sul (1959) and obtained her Master (1980) and Doctorate (1984) degrees at the Escola de Comunicação e Artes da Universidade de São Paulo (ECA-USP), where she teaches at the Art Department, since 1974.
In the 70’s, she starts working with grids in the Labirynths series and made use of photographic appropriated images in her prints, mainly in the Middle Class & Co (1971) and Jogos de Arte (1977) series. As a multimedia artist she has participated in mail art circuits, making artists books and alternative editions. She is also a pioneer of video art in Brazil.
Regina Silveira is known by her parodic explorations of perspective and cast shadows, since 1980, when she did the Anamorfas series, a group of prints and drawings based on perspective distortions of small objects linear contours. Silveira’s works, made with diversified materials and media (prints, tapestries, objects, videos, installations, projections), are grounded in her reflections on the illusory nature of images and spaces, either represented or experienced.
She participated in the I Bienal de Havana, Cuba (1984), the Bienal Internacional de São Paulo (1981, 1983 e 1998), the 2ª Bienal do Mercosul, Porto Alegre (2001), the Trienal Poli/Gráfica de San Juan, in Puerto Rico (2004) and the 6th Taipei Biennial (2006).
Recent selected invitational exhibitions are: Re-Aligning Vision: Alternative Currents in South American Drawing (itinerant) Museo del Barrio, New York (1999) and Miami Art Museum (2001), Brazil Body and Soul, Guggenheim Museum, New York, (2001), We Come in Peace…Histories of the Americas, at the Musée d’Art Contemporain de Montréal (2004), Campos Latinoamericanos, organized by Alcuadrado, Bogotá (2005), The Shadow, Vestsjaellands Kunstmuseum, in Sorø, Denmark (2005), Corps en Mouvement, la Médiatine, Brussels (2005), Indelible Images, Museum of Fine Arts, Houston (2005), Phantasmagoria (itinerant) organized by ICI , New York (2007) and Blicksmachinen (itinerant) in Siegen (2008) Budapest and Sevilla (2009).
Recent selected group shows in Brazil are: Arte/Cidade (1984, 2002), Emoção art.ficial (2002), Subversão dos Meios at Instituto Cultural Itaú, São Paulo (2003), Projeto Parede, at MAM, Museu de Arte Moderna de São Paulo (2004), Jardim do Poder, Centro Cultural Banco do Brasil, Brasília (2007), Ctrl C + Ctrl V at SESC Pompéia, São Paulo (2007), O Moderno na Coleção Itaú visita o MASP at the Museu de Arte de São Paulo Assis Chateaubriand (2007) and Arte Contemporânea: Aquisições Recentes do Acervo da Pinacoteca do Estado (2007).
Solo exhibitions include: Projectio at Fundação Calouste Gulbenkian, Lisboa (1988); Masterpieces (In Absentia), at LedisFlam Gallery, New York (1993), Grafias at the Museu de Arte de São Paulo Assis Chateaubriand – MASP (1996), To Be Continued, no NIU Art Museum, Chicago (1997), A Lição at Galeria Brito Cimino, São Paulo (2003), Desapariencia (Taller), in El Cubo, Sala de Arte Público Siqueiros, México, DF (2003). Other recent shows are: In Situ at Centro Cultural São Paulo, Observatório ( 2005), Projeto Octógono de Arte Contemporânea, at Pinacoteca do Estado de São Paulo (2006), Sombra Luminosa, at the Museo de Arte Banco de la Republica, Bogotá (2007), Mundus Admirabilis e Outras Pragas at Brito Cimino Gallery (2008) and Tropel (Reversed) at the Kunstmuseet Koge Skitsesamling, Køge, Denmark (2009).
Installations related to specific architectures are: Claraluz at Centro Cultural Banco do Brasil, São Paulo (2003), Derrapadas at Centro Cultural de España, Montevideo, Uruguay (2004), Frenazos at Arsenal, Poligráfica de San Juan (2004), Lumen at the Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, in Madrid (2005), Irruption, for the Taipei Fine Arts Museum (2006), Mundus Admirabilis at Centro Cultural Banco do Brasil, Brasília (2007) and Ficções/Fictions at the Museu Vale do Rio Doce, Vitória (2007).
The artist has received grants from the John Simon Guggenheim Foundation (1990), the Pollock-Krasner Foundation (1993) and Fulbright Foundation (1994). Recent national awards were Prêmio Sérgio Motta for Art and Technology (2000), Prêmio APCA (São Paulo Art Critics Association) given to the exhibition Claraluz (2003), Prêmio Bravo Prime in Arts, given to Mundus Admirabilis (2007) and Prêmio Fundação Bunge in Arts, for Life and Work (2009).
Regina Silveira
Agnaldo Farias
(for the Teorema da Gaveta — Drawer’s Theorem —, USP-São Carlos)
The fascination Regina Silveira has for geometrical representations, a fascination that finally arrives at São Carlos, surprising those that regularly walk along the surroundings of the Computer Science and Mathematics Institute, up until now only used to the fragrance that looses itself off the rank of eucalyptus planted at the other side of the wall that runs alongside the narrow street, is the unfolding of her methodical confirmation that the problem of representation of things remains unsolvable. In the mythical past, there was the belief in the identity between the representation of the thing and the thing in itself – between the sign and the object. The drawing of something, as well as the enunciation of its name, meant it, it recreated that something. Soon, the distance between both terms became self-evident. The representation capacity, our biggest resource against a wild universe, paradoxically revealed itself as our biggest limitation. Through representation we intended to reach the universe, know it, illuminate it, and as a consequence of that, pacify our spiritual unrest. We would even be able to surpass it: we would create other worlds, paradisiacal or terrible ones. Nevertheless, the more we invent new forms of representing things, the more we verify the limits of each and everyone of those forms. The universe insists on keeping itself inscrutable and even the most perfect of the maps, as the one described by Jorge Luis Borges, the one that was conceived to have the same dimension of the empire that it intended to represent, will never escape its representational nature which, in this way, does not mistake itself with the thing being represented.
In that sense, one can say that the course of man is also the history of the awareness of the problems related to the representation of things. The artistic trajectory of Regina Silveira, which in this case is also her philosophical trajectory, rests in her unique contribution to that question, something she makes while discussing the methods of visual representation or the projective systems developed since the Renaissance. Among the ones used by the visual arts, the “linear perspective” stands apart. That one is a representation of things capable of simulating field depth. With that, an image (painted or engraved) transforms itself in a “window”, through which the spectator has the sensation of seeing the real space and not a plane fixed on a wall.
Each work pertaining to that series, like that magnificent drawer, a remembrance of the enthusiasm for geometry of the mathematician Achille Bassi — a patronizing figure of our Mathematics Institute of São Carlos —, praises not the object, but its representation. As the pedestrian may note, himself a mathematician or not, but someone that turns a stroll into a peripatetic pause favorable for thinking, Regina Silveira is an artist that makes the concept the body of her investigation and her work. Actually, she is not interested in the fabrication of solid volumes, in wood, stone or metal, as a more classical sculptor would prefer.
And, even while her work was being uplifted in small modules by the makers of the tile walls, she remained in São Paulo, where she lives. Definitively, Regina Silveira does not fit in the conventional artist category, the ones we admire for their technical dexterity, for their tracing virtuosity. Not that she is devoid of such skills.
One visit to her studio and the sight of her prodigious drawings and sketches would suffice to demonstrate her mastering of the handcrafting of those processes. But that's for the fact that the idea is her basis. And visually translating them, her project as an artist. It is in that sense that she puts herself into speculation about the way each thing, when touched by light, has its volume changed for a black plane, or, similarly, how each thing, when contemplated by a sharp look, can be transposed to a plane that can thus be paper or, like it is the case, magnificently amplified towards the blind face of a building.
Inside Regina Silveira’s logic, the geometrical representation of things — all kinds of anamorphosis —, besides proving its very existence, would be equally the manifestation of the enigma they bring inside of themselves, its disturbing and mysterious angle. After all, beyond its limits and its aspect, what do we retain from things when we do contemplate them? In fact, we do endless attempts to capture the essence of things, we use in such adventures all the artifices invented for the accuracy of the senses and of thought, from the instruments with which we scrutinize the inside of the matter to scientific methods, but, in the end, few are the extorted secrets.
And what are the objects that the artist elects in order to, from those very objects, gather in geometries its aspects? Common objects, images taken from advertisements (a chair, a closet, a fan, etc.) or more “noble” ones, images taken from the history of art, like the “Bicycle wheel” from Marcel Duchamp, a mobile from Alexander Calder, or further, as of now, themes taken from the history of science that is produced in our campus. A sweetly anecdotal episode, one among many, occurred during the academic life of professor Bassi, and one that helps keep his memory, someone whom the Institute owes its very existence and, as this was not enough, its prodigious and seminal library. In all the objects, indistinctly, Regina Silveira could apply her “devilishly” science, according to which the representation of a thing transforms itself in a second thing.
Treated in such a way, under the domination of a calculated disfigurement, and one that is obtained by the unusual use of geometrical systems of simple projections, all the images, deprived of its apparent volumetric sense, are equal in its opaque, black and plane aspects, with its full and broken lines. Alternatively, while confirming the existence of something, they are, at the same time, the point of departure for another territory.
Prof. Agnaldo Farias, Ph.D.
Department of Architecture and Urbanism of the Engineering School of São Carlos
REGINA SILVEIRA
1939
Porto Alegre, RS, Brazil
Lives and works in São Paulo, SP, Brazil
EDUCATION
1984
PhD, Escola de Comunicações e Artes da Universidade de São Paulo, SP, Brazil
1980
MFA, Escola de Comunicações e Artes da Universidade de São Paulo, SP, Brazil
1959
BFA, Instituto de Artes, Universidade Federal do Rio Grande do Sul, Porto Alegre, RS, Brazil
SELECTED SOLO EXHIBITIONS
2009
Passeio Selvagem. Org. SESC Santana, São Paulo, Brazil
Tropel (Reversed). Kunstmuseet Koge Skitsesamling, Koge, Denmark
2008
Mundus Admirabilis e Outras Pragas. Galeria Brito Cimino, São Paulo, Brazil
Sombra Luminosa. Museo de Antioquia, Medellin, Colombia
Umbrales. Galeria Metta, Madrid, Spain
2007
Mundus Admirabilis, Jardim do Poder, Centro Cultural Banco do Brasil, Brasília, DF, Brazil
Outgrown (Tracks and Shadows), Philip Feldman Gallery, Pacific Northwest College of Art, Portland, USA
Sombra Luminosa, Museo de Arte del Banco de la Republica, Bogotá, Colombia
Ficções, Museu Vale do Rio Doce, Vila Velha, ES, Brazil
Compêndio [rs], Museu de Arte da Pampulha, Belo Horizonte, MG, Brazil
Double and Lunar. Visual Arts Gallery, India Habitat Centre, New Delhi, India
2006
Observatório, Projeto Octógono de Arte Contemporânea, Pinacoteca do Estado de São Paulo, SP, Brazil
Luz-Zul, Centro Cultural Telemar, Rio de Janeiro, RJ, Brazil
Huellas & Sombras, Galería de Artes Visuales de la Universidad Ricardo Palma, Lima, Peru
Eclipse. Parque José Ermínio de Moraes Filho, Curitiba, Brazil
2005
Sicardi Gallery, Houston, USA
Lumen, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
2004
Desapariencia (Taller), El Cubo-Sala de Arte Público Siqueiros, Ciudad de México, Mexico
Tracking Over, Centro Cultural España, Montevideo, Uruguay
Derrapagem, Projeto Parede, Museu de Arte Moderna de São Paulo, SP, Brazil
2003
ClaraLuz, Centro Cultural Banco do Brasil, São Paulo, SP, Brazil
2002
A Lição, Galeria Brito Cimino, São Paulo, SP, Brazil
Teorema da Gaveta. Instituto de Ciências Matemáticas e de Computação da Universidade de São Paulo, São Carlos, Brazil
2001
Dobras, Atelier FINEP, Paço Imperial, Rio de Janeiro, RJ, Brazil
Dueto/Duelo, Palácio da Abolição, Fortaleza, CE, Brazil
Desaparências (Estúdio), Torreão, Porto Alegre, RS, Brazil
Ex-Orbis. Aeroporto Internacional Salgado Filho, Porto Alegre, Brazil
2000
Perpetual Transformation, Art Museum of the Americas, Washington, USA
Equinócio, Pavilhão das Cavalariças, Parque Lage, Rio de Janeiro, RJ, Brazil
Ex Orbis - Making of, SENAC, São Paulo, SP, Brazil
1999
Desapariencias, Galeria Gabriela Mistral, Santiago, Chile
1998
Velox, Galeria Brito Cimino, São Paulo, SP, Brazil; Blue Star Art Center, San Antonio, USA; Museo de Arte Moderno de Buenos Aires, Argentina
Super-Herói - Night and Day. Museo de Arte Moderno de Buenos Aires, Argentina
1997
intro (re:fresh widow, r.s.), Casa Triângulo, São Paulo, SP, Brazil
To be Continued..., Northern Illinois University Art Museum, Chicago, USA
1996
Grafias, Museu de Arte de São Paulo Assis Chateaubriand, SP, Brazil
Gone Wild: Inside/Out Series, Museum of Contemporary Art, San Diego, USA
Velox, Galleria Il Gabbiano, La Spezia, Italy
1995
Mapping the Shadows, LedisFlam Gallery, New York, USA
Regina Silveira: Desenhos, AS Studio, São Paulo, SP, Brazil
Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
1994
Expandables, Brazilian-American Cultural Institute Art Gallery, Washington DC, USA
1993
Masterpieces (In Absentia), LedisFlam Gallery, New York, USA
1992
Encuentro, Bass Museum, Miami, USA
In Absentia (Stretched): Contemporary Currents Series, Queens Museum of Art, New York, USA
Simile: Office 2, LedisFlam Gallery, New York, USA
1991
Auditorium II (Black), Galeria Luisa Strina, São Paulo, SP, Brazil
Interiors, Mitchell Museum, Mount Vernon, USA
On Absence: Office Furniture, One American Center Building, Austin, USA
1990
Micro Hall Art Center, Edewecht, Germany
Auditorium II, Cooperativa de Actividades Artísticas Árvore, Porto, Portugal
1989
Vértice, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, SP, Brazil
Galeria Luisa Strina, São Paulo, SP, Brazil
Galeria Arte&Fato, Porto Alegre, RS, Brazil
1988
Projectio, Fundação Calouste Gulbenkian, Lisboa, Portugal
Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
1987
Inflexões, Arte Galeria, Fortaleza, CE and Galeria Luisa Strina, São Paulo, SP, Brazil
1985
Museu de Arte Contemporânea do Paraná, Curitiba, PR, Brazil
1984
Simulacros, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Sombras, Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
1982
Anamorfas, Museu de Arte Moderna do Rio de Janeiro, RJ, Brazil
1980
Anamorfas, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
1978
Pinacoteca do Instituto das Artes da Universidade Federal do Rio Grande do Sul, Porto Alegre, RS, Brazil
1977
Gabinete das Artes Gráficas, São Paulo, SP, Brazil
1975
Centro de Arte y Comunicación CAYC, Buenos Aires, Argentina
Gabinete das Artes Gráficas, São Paulo, SP, Brazil
1973
Sala de Arte, Mayaguez, Puerto Rico
Galeria Seiquer, Madrid, Spain
1970
Sala de Arte, Mayaguez, Puerto Rico
1968
Galeria U, Montevideo, Uruguay
Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
1961
Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
SELECTED GROUP EXHIBITIONS
2009
XV Bienal de Cerveira, Portugal
¡No más chicha! Cervecería Andina, Galeria Alcuadrado, Bogotá, Colombia
Um Mundo Sem Molduras. Museu de Arte Contemporânea da Universidade de São Paulo, Brazil
White Noise. De Pauw University, Greencastle, USA
Blicksmachinen. Mucsarnok Kunsthalle, Budapest, Hungary
2008
Blickmaschinen. Museum fur Gegenwartskunst, Siegen, Germany
An Unruly History of the Readymade. Fundación/Colección Jumex, Mexico City
Duchamp-Me. Sala Paulo Figueiredo, Museu de Arte Moderna de São Paulo, Brazil
Ensaios. Largo das Artes, Largo de São Francisco, Rio de Janeiro, Brazil
Marked Pages II: Drawings. Sicardi Gallery, Houston, USA
Arte no Brasil 1911-1980: Estratégias para Entrar e Sair da Modernidade. Coleção Itaú Moderno. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil
Arte Contemporânea: Aquisições Recentes do Acervo da Pinacoteca do Estado. Pinacoteca do Estado de São Paulo, Brazil
Celebrating Prints: Recent Acquisitions. Vivian and Gordon Gilkey Center for Graphic Arts, Portland Art Museum, USA
Arte pela Amazônia. Fundação Bienal de São Paulo, Brazil
Space Invaders. Museum of the Americas, Denver, USA
Phantasmagoria: Specters of Absence. McColl Center for Visual Arts, Charlotte, USA; The John and Mable Ringling Museum of Art, Sarasota, USA; Fisher Gallery, University of Southern California, Los Angeles, USA
2007
Ctrl C + Ctrl V, SESC Pompéia, São Paulo, SP, Brazil
Memória do Futuro, Instituto Itaú Cultural, São Paulo, SP, Brazil
Jardim do Poder, Centro Cultural Banco do Brasil, Brasília, DF, Brazil
Itaú Contemporâneo: Arte no Brasil 1981-2006, Instituto Itaú Cultural, São Paulo, SP, Brazil
Phantasmagoria: Specters of Absence, Museo de Arte del Banco de la República, Bogotá, Colombia; The Contemporary Art Museum, Honolulu, USA
Aquisições Recentes, Museu de Arte de São Paulo Assis Chateaubriand, SP, Brazil
Super-X (Night). Virada Cultural, São Paulo, Brazil
2006
Dirty Yoga. 6th Taipei Biennial, Taipei, Taiwan
Gravura Contemporânea Brasileira, Museu de Arte Contemporânea do Ceará, Fortaleza, CE, Brazil
A Luz da Luz, SESC Pinheiros, São Paulo, SP, Brazil
Manobras Radicais, Centro Cultural Banco do Brasil, São Paulo, SP, Brazil
Futebol é coisa de 11, Galeria do Lago, Rio de Janeiro, RJ, Brazil
A cidade para a Cidade, Galeria Olido, São Paulo, SP, Brazil
UFO. Virada Cultural, São Paulo, Brazil
The Image of Sound: Football, Haus der Kulture der Welt, Berlin, Germany
Tracing Shadows, The Israel Museum, Yerushaláyim, Israel
2005
World Performing Arts Festival 2005, Lahore, Pakistan
Indelible Images, The Museum of Fine Arts, Houston, USA
La Médiatine: Corps en Mouvement, Brussel, Belgium
A Imagem do Som, Paço Imperial, Rio de Janeiro, RJ, Brazil
The Shadow, Vestsjaellands Kunstmuseum, Soro, Denmark
Campos Latinoamericanos, Galería Alcuadrado, Bogotá, Colombia
2004
Versão Brasileira, Galeria Brito Cimino, São Paulo, SP, Brazil
Trienal Poli/Gráfica de San Juan, Puerto Rico
Still Life: Natureza Morta, Galeria de Arte do SESI, São Paulo, SP, Brazil
In Situ, Centro Cultural São Paulo, SP, Brazil
Estratégias Barrocas: Arte Contemporáneo Brasileño, Centro Cultural Metropolitano, Quito, Equador
We Come in Peace… Histories of the Americas, Musée d’Art Contemporain, Montreal, Canada
Persistante Perspective, Ecole Supérieure des Beaux-Arts du Mans, Les Mans, France
ArteConhecimento 70 Anos USP, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
2003
Subversão dos Meios, Instituto Itaú Cultural, São Paulo, SP, Brazil
Palavra Extrapolada, SESC Pompéia, São Paulo, SP, Brazil
Imagética, Fundação Cultural de Curitiba, PR, Brazil
Fiat Lux:A Luz Como Criação na Arte, Centro Cultural da Justiça Federal, Rio de Janeiro, RJ, Brazil
ArteFoto, Centro Cultural Banco do Brasil, Brasília, DF and Centro Cultural Banco do Brasil, Rio de Janeiro, RJ, Brazil
Arte e Sociedade: Uma Relação Polêmica, Instituto Itaú Cultural, São Paulo, SP, Brazil
Layers of Brazilian Art, Faulconer Gallery, Grinnel, USA
2002
Matéria Prima, NovoMuseu de Arte, Arquitetura e Cidade, Curitiba, PR, Brazil
ArteFoto, Centro Cultural Banco do Brasil, Rio de Janeiro, RJ, Brazil
Do Conceito ao Espaço, Instituto Tomie Ohtake, São Paulo, SP, Brazil
Arquipélagos: O Universo Plural, Museu de Arte Moderna do Rio de Janeiro, RJ, Brazil
[emoção art.ficial], Instituto Itaú Cultural, São Paulo, SP, Brazil
Caminhos do Contemporâneo 1952-2002, Paço Imperial, Rio de Janeiro, RJ, Brazil
Estratégias para Deslumbrar, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Artecidadezonaleste, SESC Belenzinho, São Paulo, SP, Brazil
2001
Virgin Territory, The National Museum of Women in the Arts, Washington, USA
Bienal del Grabado, Museo del Grabado, Buenos Aires, Argentina
Brazil: Body and Soul, Guggenheim Museum, New York, USA
The Overexcited Body: Arte e Esporte na Sociedade Contemporânea, SESC Pompéia, São Paulo, SP, Brazil
Rede de Tensão: Bienal 50 Anos, Fundação Bienal de São Paulo, SP, Brazil
Trajetória da Luz na Arte Brasileira, Instituto Itaú Cultural, São Paulo, SP, Brazil
I Bienal de Artes do Cariri, Juazeiro do Norte, CE, Brazil
Esercizi di Stile, Museo dell’Informazione e di Arte Contemporanea de Senigaglia, Ancona, Italy
São ou Não Gravuras?, Museu de Arte Moderna Higienópolis, São Paulo, SP, Brazil
Rembrandt to Rauschenberg: Building the Collection, Jack S. Blanton Museum of Art, Austin, USA
2000
Arte Conceitual e Conceitualismos, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Obra Nova, Museu de Arte de Contemporânea da Universidade de São Paulo, SP, Brazil
I Bienal Argentina de Grafica Latino Americana, Museu Nacional del Grabado, Buenos Aires, Argentina
Puerto Rico 00 [Paréntesis en la Ciudad], San Juan, Puerto Rico
O Papel da Arte, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Situações: Arte Brasileira Anos 70, Fundação Casa França Brasil, Rio de Janeiro, RJ, Brazil
The Egg Dream Museum, The Nutrition Pavilion, Hannover, Germany
III, Galeria Brito Cimino, São Paulo, SP, Brazil
1999
Passion For Wings, National Aviation Museum, Ottawa, Canada
Homenaje Al Lápiz Como Instrumento de Libertad, Museu José Luis Cuevas, Ciudad de México, Mexico
II Bienal do Mercosul, Porto Alegre, RS, Brazil
Re-Aligning Vision: Alternative Currents in South American Drawing, Miami Art Museum, Florida, USA
Mastering the Millennium: Art of the Americas, Art Museum of the Americas and World Bank Art Program, Washington, USA
Arte de Las Americas: El Ojo del Milenio, Centro Cultural Recoleta, Buenos Aires, Argentina
Por que Duchamp?, Paço das Artes, São Paulo, SP, Brazil
O Brasil no Século da Arte, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
100 Drawings, P.S.1 Contemporary Art Center, Long Island, USA
Noturnos, Museu de Arte Moderna de São Paulo, SP, Brazil
Parallèle Brito Cimino/FIAC, Galeria Brito Cimino, São Paulo, SP, Brazil
1998
XXIV Bienal Internacional de São Paulo, São Paulo, SP, Brazil
Doações Recentes, Museu de Arte Moderna de São Paulo, SP, Brazil
Figurações: 30 Anos de Arte Brasileira, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Stelle Cadenti, Associazione Culturale per L’Arte Contemporânea, Bassano in Teverina, Italy
Horizonte Reflexivo, Centro Cultural Light, Rio de Janeiro, RJ, Brazil
Salão Nacional, Museu de Arte Moderna do Rio de Janeiro, RJ, Brazil
Al Fuoco, Al Fuoco!, Circolo Culturale Il Gabbiano, La Spezia, Italy
Re-Aligning Vision: Alternative Currents in South American Drawing, Archer M. Huntigton Art Gallery, Austin, USA
1997
Diversidade da Escultura Brasileira Contemporânea, Instituto Itaú Cultural, São Paulo, SP, Brazil
Re-Aligning Vision: Alternative Currents in South American Drawing, Museo del Barrio, New York, USA
Museo de Bellas Artes, Caracas, Venezuela
Museo de Arte Contemporâneo, Monterrey, Mexico
Ao Cubo, Paço das Artes, São Paulo, SP, Brazil
Arte/Lixo, São Paulo, SP, Brazil
Of Mudlarkers and Measurers, Agnes Etherington Art Centre, Kingston, Canada
Galeria Brito Cimino, São Paulo, SP, Brazil
1996
Arte Brasileira Contemporânea: Doações Recentes, Museu de Arte Moderna de São Paulo, SP, Brazil
1995
Prints, Brooke Alexander Gallery, New York, USA
Livro-Objeto: A Fronteira dos Vazios, Museu de Arte Moderna de São Paulo, SP, Brazil
Children’s Corner , Galeria Il Gabbiano, La Spezia, Italy
O Desenho em São Paulo: 1956-1995, Galeria Nara Roesler, São Paulo, SP, Brazil
1994
Arte/Cidade: A Cidade e seus Fluxos, São Paulo, SP, Brazil
Recovering Popular Culture, El Museo del Barrio, New York, USA
Bienal Brasil Século XX, Fundação Bienal de São Paulo, São Paulo, SP, Brazil
1993
Drawings: 30th Anniversary Exhibition, Leo Castelli Gallery, New York, USA
Ultramodern: The Art of Contemporary Brazil, The National Museum of Women in the Arts, Washington, USA
Women at War, LedisFlam Gallery, New York, USA
1992
Imaquinaciones: 16 Miradas al 92, EXPO 92, Sevilla, Spain; International Festival, Houston, USA
1991
Imaquinaciones: 16 Miradas al 92, Ciudad de México, Mexico
Brazilian Art Today, Grey Art Gallery, New York, USA
Disimilar Identity, Scott Alan Gallery, New York, USA
VII India Triennale, Ni Dillia, India
II Studio Internacional de Tecnologias da Imagem, SESC Pompéia, São Paulo, SP, Brazil
1990
Papel. Panorama da Arte Atual Brasileira, Museu de Arte Moderna de São Paulo, Brazil
Gente de Fibra, SESC Pompéia, São Paulo, SP, Brazil
1989
O Pequeno Infinito e o Grande Circunscrito, ARCO Galeria de Arte, São Paulo, SP, Brazil
1988
Lo Permeable del Gesto, Madrid, Spain
Copy Art Show, org. Other Books & So Archive, Tolosa, Spain
Panorama da Arte Atual Brasileira: Formas Tridimensionais, Museu de Arte Moderna de São Paulo, SP, Brazil
1987
A Trama do Gosto, Fundação Bienal de São Paulo, SP, Brazil
1986
A Nova Dimensão do Objeto, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Couriers: Six Brazilian Artists, Snug Harbor Cultural Center, New York, USA
1985
Tendências do Livro de Artista no Brasil, Centro Cultural São Paulo, SP, Brazil
Destaques da Arte Brasileira Contemporânea, Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
1984
A Xilogravura na História da Arte Brasileira, Funarte, Rio de Janeiro, RJ, Brazil
I Bienal de La Habana, Cuba
1983
XVII Bienal Internacional de São Paulo, SP, Brazil
VI Bienal Del Grabado Latinoamericano, San Juan, Puerto Rico
1981
IV Bienal Americana de Artes Gráficas, Cali, Colombia
XVI Bienal Internacional de São Paulo, SP, Brazil
1979
Lis’ 79: International Exhibition of Drawings, Lisboa, Portugal
1977
50 Artistas Latinoamericanos, Fundació Juan Miró, Barcelona, Spain
1976
10th Biennial Exhibition of Prints, Tokyo, Japan
Latin American Graphics, University of Lund, Sweden
1973
Premio Internazionale Biella per L’Incizione, Italy
1968
Exposición Internacional de Dibujo, Mayaguez, Puerto Rico
SELECTED AWARDS
2007
Mundus Admirabilis, Prêmio Bravo de Artes Plásticas, São Paulo, SP, Brazil
2004
Claraluz, Melhor Exposição do Ano, Associação Paulista de Críticos de Arte, São Paulo, SP, Brazil
2000
Gran Premio Del Grabado Latinoamericano: Medalla de Oro, 1ª Bienal Argentina de Gráfica Latinoamericana, Buenos Aires, Argentina
Prêmio Cultural Sergio Motta para Arte e Tecnologia (Voto Popular), São Paulo, SP, Brazil
1996
Civitella Ranieri Foundation Fellowship, Civitella Ranieri Center, Umbertide, Italia
1994
Fullbright Foundation, Washington, USA
1993
Art Studio Grant, The Banff Centre, Banff, Canada
The Pollock-Krasner Foundation Grant, New York, USA
1990
The John Simon Guggenheim Foundation Fellowship
1988
Melhor Instalação 1987, Associação Paulista de Críticos de Arte, São Paulo, SP, Brazil
Premio Lei Sarney à Cultura Brasileira: Gravura, Brasília, DF, Brazil
1987
Bolsa de Pesquisa, Conselho Nacional de Pesquisa, Brazil
1985
Bolsa de Pesquisa, Conselho Nacional de Pesquisa, Brazil
1983
Mención Especial, VI Bienal Del Grabado Latinoamericano, San Juan, Puerto Rico
SELECTED PUBLIC COLLECTIONS
Agnes Etherington Art Center, Kingston, Canada
Coleção Centro Dragão do Mar Arte e Cultura, Fortaleza, CE, Brazil
Coleção Centro de Arte Contemporânea Inhotim, Brumadinho, MG, Brazil
Coleção Itaú, São Paulo, SP, Brazil
Coleção SESC, São Paulo, SP, Brazil
El Museo del Barrio, New York, USA
Foundation for Contemporary Performance Arts, New York, USA
Mitchell Museum, Mont Vernon, USA
Museo de Arte Moderno de Buenos Aires, Argentina
Museu de Arte Contemporânea da Universidade de São Paulo, SP, Brazil
Museu de Arte Contemporânea do Paraná, Curitiba, PR, Brazil
Museu de Arte de São Paulo Assis Chateaubriand, SP, Brazil
Museu de Arte do Rio Grande do Sul, Porto Alegre, RS, Brazil
Museu de Arte Moderna de São Paulo, SP, Brazil
Museu de Arte Moderna do Rio de Janeiro, RJ, Brazil
Museum of Contemporary Art San Diego, La Jolla, USA
Pinacoteca do Instituto de Artes da Universidade Federal do Rio Grande do Sul, Porto Alegre, RS, Brazil
Pinacoteca do Estado de São Paulo, SP, Brazil
Pinacoteca Municipal de São Paulo, SP, Brazil
Taipei Fine Arts Museum, Taipei, Taiwan
The Jack S. Blanton Museum of Art, University of Texas, Austin, USA
The Queens’ Museum of Art, New York, USA
