Transcendental Tourism Practices

org. Rosângela Rennó

January 31 to March 10th, 2024

“When traveling to a place, the transcendental tourist invokes knowledge and memories — personal, borrowed, ancestral, in short, of any kind that actively contaminates their own experience, without the expectation of a goal to be achieved. It is auspicious to add data and experiences relevant to other peoples and places to a landscape, building delicate, multidirectional bridges, allowing new mental crossings. In theory, if the view is prospective, it works as if, when contemplating and recording the sea, he/she was more concerned with demonstrating that that blue immensity is the same that touches all the beaches in the world. In the opposite and retrospective way, it would be like looking at a rolled pebble trying to map, on its surface, all the stones scattered around the world born from the same rock. In practice, the camera's focus must be both precise and diffuse, while the writing lays the foundations of the journey whose beginning and end are less important than the middle. However, none of this can be converted into a formula or method: each experience is unique and each one, a new invitation to the imagination of possibilities, beyond the visible spectrum, far beyond the material world.”

Rosângela Rennó, 2016/2024

Tela plana [Flat screen] – group show by Jimmie Durham & Maria Thereza Alves, Cinthia Marcelle and Jacolby Satterwhite

org. aarea.co
from october 24th until december 4th, 2023

Flat screen is a group show that aarea has programmed based on three works from the moraes-barbosa Collection. Over the course of sixty days, videos by the duo of Jimmie Durham & Maria Thereza Alves, the Brazilian artist Cinthia Marcelle and the American artist Jacolby Satterwhite will be shown. Aarea will show one work at a time: from October 24th to November 6th 13, Rue Fenelon (1995), by Jimmie Durham & Maria Thereza Alves; from November 6th to November 20th Ao plano (2010-2011), by Cinthia Marcelle; and from November 20th to December 4th Reifying Desire 4, by Jacolby Satterwhite. For the exhibition, an essay was commissioned from the artist and researcher Maura Grimaldi, who explored possible relationships that can be traced between the works. Maura Grimaldi's essay can be read here.

This is the first time that aarea programmes a video show and Flat screen sets out to explore its own exhibitive format. The three works, in different ways, provoke the materiality of the support, thus allowing us to consider the screen as a mediating device through which we access them on aarea.

exhibition: the distance between you and stanley brouwn each time you remember this sentence

org. deyson gilbert

opening september 2nd 2023, 11 a.m. to 7 p.m.

perhaps the first point would be to avoid a possible mistake: that of granting to the brouwnian invisibility a certain impervious body contour

as if its negativity could fatally carve in the air the bone of a transfigured aesthetic apparition

as if his image refusal should necessarily impose on our eyes the ignis fatuus of an aesthetic halo hypostasis

as if, by turning off the lights in a locked room full of live and dead cats, we could metaphysically scream, despite all the clotted blood:

yes! yes!

here all cats are brown!

s.a. talking about s.b. in an interview to d.g.


Robert Smithson: Artforum, 1966-73 read by Carlos Fajardo

june 21st, 2023
wednesday, 6:30p.m.

Galeria Marcelo Guarnieri
Alameda Franca, 1054

São Paulo

As part of the exhibition Forse che sì, forse che no / Talvez sim, talvez não Antônio Ewbank and Wallace V. Masuko invite Carlos Fajardo to a reading of Robert Smithson: Artforum, 1966-73. The book gathers Smithson's texts published in Artforum magazine and highlights the importance of the graphics of the artist's writings for the debate on his production from the 60s onwards.

Antônio Ewbank, a visual artist, and researcher, has dedicated himself to translating Smithson's written work, taking into account aspects such as the design of the texts, the use of images, the typography, and the context in which these magazines circulated. The book's graphic layout is by artist Wallace V. Masuko. The option for a facsimile edition, or exactly like the original, is linked to the impossibility of separating the verbal and the visual in the artist's work and indicates a critical perspective of translation.

The publication, launched by Editora Ébria, was supported by the Holt/Smithson Foundation and the moraes-barbosa collection.

The book can be purchased on June 21st during the activity, at the exhibition at cmb or at Editora Ébria.


The exhibition Terra-Palavras (org. Antônio Ewbank and Wallace V. Masuko) will remain on display until August 5th, 2023

Travessa Dona Paula, 120 - São Paulo - SP, Wednesday to Friday, from 1 pm to 7 pm, Saturdays from 11 am to 7 pm.


Art and anesthesia: image and absence at the abyss of high mechanical reproduction

Friday the 19th of may at 2:30pm, Cris Ambrosio and Deyson Gilbert will present “art and anesthesia: image and absence at the abyss of high mechanical reproduction”- coleção moraes- barbosa - at the Colégio das Artes, Universidade de Coimbra. Free admission.

Colégio das Artes
Apartado 3066
3001-401 Coimbra


Exhibition and newly published translation

EARTH-WORDS, Robert Smithson: Artforum 1966-73

org. Antônio Ewbank and Wallace V. Masuko
opening on may 6th 2023, 11 a.m. to 7 p.m.  visits until august 8th 2023

Robert Smithson's sculptural language is not limited to objects commonly found in museums and galleries, nor to large-scale projects that explore large spaces outside urban centers. It also links his textual production, published mainly in North American art magazines in the 1960s and 1970s. With the support of the Holt/Smithson Foundation and the moraes-barbosa collection, Robert Smithson: Artforum 1966-73 is launched on the occasion of the 50th anniversary of the artist's death, containing all the texts published in that magazine, and for the first time, in a fac-simile translation. Simultaneously, the exhibition Earth-Words [Terra-palavras] addresses Smithson's sculptural thought process with a set of graphic pieces that are part of cmb.

The publication can be purchased directly from Editora Ébria, or at cmb: Travessa Dona Paula, 120 - São Paulo - SP, wednesdays to fridays, from 1p.m. to 7p.m., saturdays from 11a.m. to 7p.m.

Pedrosa's proposal for the 6th Biennial sought to remove the works of contemporary artists from the specialized isolation of modern art museums, then in vogue. By ending specialization, he contradicted the traditional historiography of art, which imposed on certain works and objects the label of “predecessors”: Aboriginal, Hindu, Baroque and the European 1800s, and Latin American art seem to ricochet in the photos of the construction of Brasília, in Alicia Penalba's bronzes, in Lygia Clark's Critter.

Program of Texts: Of glass. Why does it not recoil, or die?

Laila Terra

It is necessary to understand more than the elementary set that makes the Farnsworth House an aesthetic sign. It is necessary to enter the historical context of the language that encompasses this specific sign, because every language is consigned to a certain time and space. It is necessary to identify the discourse ascribed to the house and to the characters who occupied it in the different situations. Who was Mies van der Rohe when he was hired by Edith, and what were the enunciations concerning him? Who was Edith Farnsworth, the contractor, and how was she represented by history (from 1940 to 2020)? When was the house designed and where? What are the constructive elements proposed by Mies? What was Edith's reaction after the house was finished and what did that entail? And, finally, what happened to the house over time (from 1951 to 2020)? Finally, with these data, we can confront the discourses.

Program of Texts: Creation and care in mixing vibrating/material bodies

jialu pombo

The intertwining between life and death that Lygia talks about is what I call the expression of vulnerability-force: there is a force present in an embryo that carries potential information of life, and for such a life to come into existence, whatever carries it needs to open its hand to its form, reach the height of its vulnerability, and blend in to germinate something else.

Ethics of Collecting:

c   mb

The moraes-barbosa collection is co-founder of the Code of Conduct for Contemporary Art Collectors.  The initiative aims to set ethical duties for those who own artworks towards such artworks, their authors, and the professional environment surrounding them.
Click to access Ethics of Collecting. 

Exhibition: Possession State: notes for an aesthetic of torture 

Cris Ambrosio & Deyson Gilbert (org.)

𝘧𝘰𝘳 𝘢 𝘥𝘦𝘧𝘪𝘯𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘯𝘤𝘦𝘱𝘵 𝘰𝘧 𝘱𝘰𝘴𝘴𝘦𝘴𝘴𝘪𝘰𝘯:
In a strict sense, ideological drama established in the field of conscience by the conflict of one or more entities that claim, all at once, control over the same countenance. In a dilated form, a crossroaded category: a spiritual path of beings butchered by the historical and political blades of the territories, bodies, and symbols (demonology of weights, wills and the owned). In a direct puncture: misalliance and fractured conciliation between images, things, and inclinations. In essence: the exorcism of the eyes against the sweat of the hands and the drool of the assholes.

This November, cmb will launch its new space with a showing of part of its archive and collection.

1st cycle

c    mb

For 6 months, Antônio Ewbank, Bruno Baptistelli, Erica Ferrari, Pontogor and Tom Nóbrega received a research grant to develop their work in intersection with the moraes-barbosa collection’s archive.