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Flávia Cardoso Suzuki is an arts professional with experience in gallery management, collector relations, and contemporary art. She is the Director of Mitre Galeria in São Paulo, Brazil , where she leads the gallery’s sales strategy and artist relations, fostering connections between artists, collectors, and institutions.

Previously, she served as Head of VIP Relations at SP–Arte, Latin America’s foremost art fair, where she directed the VIP program and developed strategic partnerships with leading collectors, museums, foundations, and cultural organizations. She holds a Master’s Degree in Art History from Sapienza University of Rome, graduating cum laude in 2022. While in Rome, she was part of the team at T293 Gallery, where she managed international sales and communications, supporting the gallery’s global presence and engagement with an international network of collectors and art professionals.

Drawing on both academic rigor and hands-on market experience across Brazil and Europe, Flávia brings a global perspective to the contemporary art ecosystem.

Rodrigo Freire, o Preto. Born and raised in Salvador, BA. Self-taught cook, he opened in 2022 the restaurant that bears the same name as his childhood nickname, o Preto, in the Pinheiros neighborhood.

His cuisine is authorial, focused on ancestral techniques mixed with haute cuisine, which mixes African, Portuguese, and indigenous components.

Graduated in law, before venturing into cuisine, he was an executive at multinational companies on the list of the 500 largest companies in the world.

In 2022, he was nominated for Rising Chef by Revista Veja, and in the same year, he received the Taste and Fly award, which awards the 10 best restaurants opened that year.

Recently cited by the renowned WGSN, leading the hype in gastronomy, in addition to being in 36th place on Revista Exame’s list of the 100 best Brazilian restaurants, o Preto received all these merits before completing one year of life.

Ana Raylander Mártis dos Anjos (b. 1995) develops long-term research-driven projects. She seeks to establish a dialogue between collective history and her own biography, frequently drawing on the fields of education and writing. Her works take the form of text, document, installation, video, performance, sculpture, photography, and objects. She has a particular interest in her Afro-Brazilian heritage, the modern-colonial project, and institutional critique. She has participated in numerous residencies and research fellowships at institutions such as Ybytu (2026), coleção moraes-barbosa (2024), Museu de Arte da Pampulha (2024), Galeria Luis Maluf (2024), Museu de Arte Moderna do Rio de Janeiro (2021), and Adelina Instituto (2019). She received the Memorial Minas Gerais Vale New Artists Award (2024) and the Instituto Tomie Ohtake EDP Residency Award (2018). She has carried out projects and commissions for the 59th Carnegie International (2026), the 36th São Paulo Biennial (2025), SculptureCenter (2025), Museu Mineiro (2024), Galeria Martins & Montero (2024), Galeria Cavalo (2024), Paço das Artes (2023), Pivô – Arte e Pesquisa (2020), and Centro Cultural São Paulo (2018). Her texts have been published by MASP, Editora Fósforo, Jornal Nossa Voz, Centro Cultural São Paulo, Projeto Afro, MAM Rio, and Museu Paranaense. Recently, her work was acquired by the collections of MASP and the Pinacoteca de São Paulo.

Ariana Nuala (Recife, PE, 1993) is a researcher and curator. Her practice unfolds in dialogue with artistic collectives, addressing dynamics of power, impermanence, and diaspora, while combining bodily strategies with poetic writing. She holds a Master’s degree in Art History from UFPB, with the research MATAMUSEUMATA, which established a critical relation between Quilombo do Catucá and Oficina Francisco Brennand, investigating frictions between memory, territory, and institutions. She also holds a BA in Visual Arts from UFPE, with academic experiences at UNAM (Mexico) and CLACSO.

Currently, she is Curator at the Instituto Tomie Ohtake, where she develops exhibitions, public programs, and research projects. She is also assistant curator of the exhibition Arquivo Afro Fotográfico Zumví at the Instituto Moreira Salles and collaborates with the project Visualizing Abolition at the Institute of the Arts and Sciences.

Previously, she served as Head of Education and Research (2023–2024) and curator (2021–2023) at the Oficina Francisco Brennand, and coordinated the education department at the Museu Murillo La Greca (2018–2020). She was associate curator of the 38th Panorama of Brazilian Art and participated in a residency at the Institute for Postnatural Studies. Her curatorial and critical work has been presented through exhibitions, publications, educational programs, and research initiatives developed in collaboration with diverse cultural institutions in Brazil and abroad.

Cinthia Marcelle graduated in Fine Arts from the Federal University of Minas Gerais. Navigating between installation, photography, video, painting, collage, and drawing, Cinthia Marcelle develops her work around the conceptual systems that politically and culturally organize the world. Therefore, social data is central to the conception of her work, which often involves collective elaboration processes. Considering the different experiences of being in the world, the artist is attentive to the transformative power arising from the organization and disorganization of things, whether to question or confront hegemonic structures and power relations.

She has had panoramic exhibitions at the Marta Herford Museum for Art (2023), MACBA (2022), MASP (2022); solo exhibitions at Museu Serralves (2025), the Wattis Institute (2018), Modern Art Oxford (2017), MoMA PS1 (2016), Secession (2014). She participated in the 6th Kochi-Muziris Biennale (2025), 15th Gwangju Biennale (2024), 10th Berlin Biennale (2018), 12th Sharjah Biennale (2015); New Museum Triennial (2012); 13th Istanbul Biennale (2013); 29th São Paulo Biennale (2010); 9th Lyon Biennale (2007); 9th Havana Biennale (2006). She occupied the Brazilian Pavilion at the 57th Venice Biennale (2017) with an installation (Chão de Caça) and a video (Nau/Now) with the co-authorship by Tiago Mata Machado and received an Honorable Mention. She was awarded the 1st Future Generation Art Prize (2010); International Prize for Performance of Trento (2006); Gasworks International Residency Programme (2009), Very Real Time 1 Residency Programme (2003) and Bolsa Pampulha (2003). In 2025 she is
participating of the 59th International Carnegie with a commissioned project.

The artistic journey of Gustavo Silvamaral (1995, Brasília, Brazil) began with the exploration of the impermanence of materials, gradually aligning him with the fusion of painting and sculpture, resulting in a pulsating three-dimensionality of the image. Inspired by Brazilian and American painting from the 1980s, videos clips, everyday stories, and a formal radicality, his work navigates the boundaries between the ephemeral and the eternal, the sensual and the rigorous. In his creations, abstraction and figuration meet effortlessly, like continuous thoughts on color, composition, and time, where painting is not confined to image or object but follows an infinitely open path.

Silvamaral combines materials and cultural references, breaking conventions and challenging the very structure of painting. His practice dissolves the separation between painting and sculpture, revealing new possibilities for dialogue between what is observed and what is felt. His work proposes an expanded experience that engages with everyday life. His pieces eliminate the notion of a rigid frame; instead, it becomes part of the narrative, shaping the composition itself.

His creations explore sculpture as a natural extension of painting, suggesting a possible coexistence between these languages. By reinterpreting cultural references and common situations, Silvamaral unveils layers of pop culture and consumerism society. He invites the viewer into a reflective dive into life —constantly under construction and in motion— where art and the mundane merge and transform together. The artist seeks to dematerialize the technical tradition of painting as we know it, not for its disappearance but to expand the very limits of the technique.

João Paulo Siqueira Lopes is the Founder of Panorama Art Advisory. With extensive expertise in modern and contemporary art, he has worked across curation, collection management, market development, and institutional relations.

In 2017, he founded Art Consulting Tool, overseeing 18 publications and collaborating with artists such as Alfredo Jaar, Cecilia Vicuña, and Cildo Meireles, as well as curators like Olga Viso, Julieta González, and Gerardo Mosquera. He has also contributed to several Phaidon publications as both a writer and curator.

João Paulo has advised on more than 1,000 art transactions, supporting artists ranging from Pablo Picasso, Barbara Kruger, and Cecily Brown to leading Brazilian and Latin American figures like Adriana Varejão, Olga de Amaral, Cildo Meireles, and emerging talents such as Issy Wood and Salman Toor. He has played a key role in promoting the work of Rubem Valentim, Dalton Paula, and Maya Weishof and has facilitated artwork donations to MASP and the Centre Pompidou.

Previously, he was Deputy Director for Latin America at Lisson Gallery, where he collaborated with Anish Kapoor, Daniel Buren, and Carmen Herrera and organized a Sergio Camargo exhibition in London. Siqueira Lopes also served as Artistic Director of ArtRio and has worked with FIAC (Paris), Galerie Nathalie Obadia (Paris), and Gagosian Gallery (New York). He holds a Master’s degree in Art Business from L’École Internationale des Métiers de la Culture et du Marché de l’Art.

Lucas Albuquerque (b. 1996, São João de Meriti, RJ) lives and works between Rio de Janeiro and São Paulo, Brazil. He holds a BA in Art History and an MA in Artistic Processes from the State University of Rio de Janeiro. As a curator, he is interested in the intersections of art, ecology, and technology, investigating practices and epistemologies from the Global South.

He was curatorial coordinator at Casa Museu Eva Klabin (Rio de Janeiro), where he fostered dialogues between its collection and contemporary art. As curator of the artistic residency program at Instituto Inclusartiz (Rio de Janeiro), he worked to establish connections with artists and researchers across Brazil and the United Kingdom (Delfina Foundation), France (Frac Bretagne), Spain (Homesession), and the Netherlands (Rijksakademie).

Selected exhibitions include Transe (2025), a curated section connected to SP–Arte Rotas (São Paulo); Save and Continue (2025), at Galerie Imane Farès (Paris, France); Rosana Paulino: New Roots (2024), at Casa Museu Eva Klabin (Rio de Janeiro); Whispers from the South (2023), at Lamb Gallery (London); Ustão (2023) and Ultramar (2023), at Casa Museu Eva Klabin; The Sacred in the Amazon (2023), with Paulo Herkenhoff, at Instituto Inclusartiz; as well as other solo and group exhibitions. He has also curated artistic residencies hosted by Instituto Inclusartiz, Museu do Amanhã, and Galeria Aymoré.

As an art critic, he has published articles in magazines and platforms such as ArtForum, Select, seLecT, Amarello, SP–Arte and ArtRio, as well as newspapers and scholarly journals.

Renato Menezes is an art historian and curator. A PhD candidate in Art History and Theory at the EHESS (Paris), he is currently a curator at the Pinacoteca de São Paulo. His recent exhibitions include J. Cunha: Tropical Body, Between the Head and the Earth: Traditional African Textile Art, Weaving the Morning: Modern Life and Nocturnal Experience in Brazilian Art, Labor of Carnival, and Paulo Pedro Leal: Tragic Suburbia.

Amara Moira is a trans writer with a PhD in literary criticism and theory and her doctoral dissertation focuses on James Joyce's Ulysses. Her major works are the autobiography (So What) If I'm a Puta: Diaries of Transness, Sex Work, Desire (Forthcoming with Feminist Press, 2025), where she writes about her experiences as a sex worker, and Neca: Romance em bajubá (Companhia das Letras, 2024), a novel entirely written in Bajubá, the language of resistance of the Brazilian trans community. Furthermore, she was the coordinator of the Museum of Sexual Diversity in São Paulo, where she currently resides.

Anderson Borba’s (Santos, Brazil, 1972) practice bends and broadens the material and conceptual possibilities of wood in freestanding totems, or hanging wall reliefs. Aiming for textural ambiguity, the artist colors his pieces with oils and varnishes, coats them in collages of distorted pictures, covers them in grooves and notches, and burns the volumes’ surfaces. A distinctive trait in Borba’s approach is the synthesis of traditional craft and contemporary modes of expression, such as digitally manipulated imagery. Taking cues from both art-historical canons of sculpture and the self-taught craftsmen of inner Brazil, the artist’s process-oriented approach results in tactile abstractions that set off bodily allusions as one circles the space around them, shifting our perception of proportion, mass and shape. In unbalancing the distinctions between matter and image, Borba’s objects acquire an animistic aura and mischievous ritual connotations.

Among his recent solo exhibitions are Secret Cerimony, The Approach, London, UK (2025); Anderson Borba & Dudi Maia Rosa, Auroras, São Paulo, Brazil (2024); Anderson Borba & Gokula Stoffel, François Ghebaly, New York, USA (2024); I’ve seen one of these, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022); The End Begins at the Leaf — Anderson Borba & Antonio Tarsis, BeAdvisors Art, Londres, UK (2021); Anderson Borba & Alex Canonico, Kupfer Gallery, London, UK (2021) and Ride the Worm, Set Gallery, London, UK (2018). He has also taken part in the group shows Nunca só essa mente, nunca só esse mundo, Fortes D’Aloia & Gabriel | Carpintaria, Rio de Janeiro, Brazil (2023); Comporta 2023, Fortes D’Aloia & Gabriel + kurimanzutto, Comporta, Portugal (2023); Para-raios para energias confusas, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2023); Eccentric spaces, The Artist Room, London, UK (2023); I Could Eat You, Clearing + Fortes D’Aloia & Gabriel + Madragoa, Casa de Cultura da Comporta, Comporta, Portugal (2022) and Tragédia!, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022).

Partner at Dobra Gallery and Leilão Design, the first auction house in Brazil specialized in design. Focused on developing projects that connect people, creative economy, and innovation.

Based in São Paulo, they graduated in Social Communication from the Universidade Federal do Rio de Janeiro (UFRJ) in partnership with the Université Sorbonne Nouvelle and obtained a master’s degree in Performing Arts at UFRJ. Their body of work is characterized by the use of living materials, with a recurring use of fabrics, American food roots, engravings, and choreographies that intertwine architecture with spontaneous movement in plural elaborations.

Gabriel Keenan is a partner at Dobra Gallery and Leilão Design — the first auction house in Brazil specialized in design — where he has been working since 2023. Previously, he collaborated with important art galleries in São Paulo, such as Millan and Gomide&Co. He is especially interested in creating connections between modern design and contemporary art.

Jessica Luciano Cinel (b. 1992) holds a degree in International Business from the European Business School (EBS) in London, with specializations in French and Entrepreneurship, and a master’s degree in East Asian Art from Sotheby’s Institute of Art. For over a decade, she has built her career at the intersection of art, management, and innovation. From 2020 to 2022, she served as director of the Museu Brasileiro da Escultura e Ecologia (MuBE), where she led initiatives that significantly elevated the institution’s visibility in the contemporary art scene. Since 2023, she has held the position of Studio Manager for prominent contemporary artists, supervising studio operations, coordinating large-scale projects, and managing strategic planning. In October 2024, she was appointed to the International Council of the Palais de Tokyo in Paris, contributing to the strategic direction of one of the leading institutions dedicated to global contemporary art.

Juliana Frontin is a visual artist and holds an MFA in visual poetics from USP University. Frontin explores sound in its various dimensions and extensions within time and space. Her work deals with the containment of sound, its volume in space, materiality, sculptural and visual possibilities.

Her practice investigates how sound not only occupies space but also defines and transforms it. The relationship between painting and object is central to her work, treating sound as something physical, subject to both containment and expansion. Recurring themes include the idea of partial space, the tension between presence and absence, and the balance between the visible and invisible, the audible and inaudible. By considering sound as something that can be contained within time and space, Frontin challenges the notion of sonic ephemerality, creating experiences that engage the body, architecture and silence.

Luiza Calmon holds a degree in Design from PUC-Rio and began her career in fashion before transitioning to the art world. She worked at ArtRio prior to joining Fortes D’Aloia & Gabriel in 2017, where she is currently a partner and director. Based in São Paulo and engaged in projects worldwide, she collaborates closely with artists, collectors and institutions, fostering long-term relationships and developing exhibitions and a wide range of projects, with a particular interest in creating connections between Brazil and the international art scene.

Marina Woisky (b. 1996, São Paulo, Brazil) relies on images of decorative objects and ornaments with organic forms as a substrate for her artistic production. Distorted, displaced, and compressed through successive material transpositions and the passage of time, these images are transformed by the artist into extraordinary and chimerical animals and landscapes, presented in works that occupy a liminal space between bi- and three-dimensionality. Through this, the artist addresses representation — a fundamental issue in the arts — as well as notions of taste and the very status of the image in contemporary society.

Woisky holds a degree in Visual Arts from UNESP, São Paulo (2016—2021), and is currently pursuing a master’s degree in Arts (2025—). In 2023, she presented the solo exhibition Pedras e bichos d’água at Millan, São Paulo, and participated in the group exhibition Contra-Flecha: Arqueia, mas não quebra at Almeida & Dale, also in São Paulo. In 2024, she presented the solo exhibition Through The Garden Bars at L.U.P.O., Milan, Italy, and took part in the 38th Panorama of Brazilian Art, curated by Germano Dushá, Thiago de Paula Souza, and Ariana Nuala, organized by MAM São Paulo at the Museum of Contemporary Art of the University of São Paulo (MAC-USP). In 2025, she was named one of ArtReview’s Future Greats and participated in the group exhibition Till the Cows Come Home at Banquet Gallery, Milan, Italy.

Through her artistic practice, Aline Motta (b. 1974, Niterói, Brazil) seeks to point out and fill the gaps in her own family history, a result of colonial erasure. Her videos, photographs, installations, and performances stem from speculative studies that mix archival research, field trips, and oral history accounts, which she uses to access, nurture, and reveal parts of the past previously considered lost. Rejecting the linear organization of time and understanding the past as part of the present, Motta creates works that reorient memories and construct new narratives. By reflecting on notions of diaspora, belonging, and identification, she reconfigures Afro-Atlantic relationships in her own way, positioning herself as the author of her own history. By blurring the boundaries between what is known and what is imagined, Motta’s works demonstrate how glimpsing new pasts can free us from old narratives and manifest new futures.

Her solo exhibitions include: Brésil et Afrique, une histoire partagée (2024, Fondation Dapper, Gorée Island — Senegal), Sala de vídeo: Aline Motta (2022, MASP, São Paulo — Brazil), Screen Series (2021, New Museum, New York — United States), and Aline Motta: memory, travel and water (2020—2021, Museu de Arte do Rio — MAR, Rio de Janeiro — Brazil). Motta participated in group exhibitions and collaborative projects such as the Stellenbosch Triennale (2025, Stellenbosch — South Africa), the Trondheim International Biennale (2025, Trondheim — Norway), the Sharjah Biennial (2023, United Arab Emirates), and the São Paulo Biennial (2023, São Paulo — Brazil). Additionally, her works have been exhibited at MoMA (New York — United States), Centre Pompidou-Metz (Metz — France), MALBA (Buenos Aires — Argentina), Centro Cultural Kirchner (Buenos Aires — Argentina), and the Rencontres de la Photographie festival (Arles — France). Her book A água é uma máquina do tempo was a finalist for the 2023 Jabuti Literature Prize.

Ana Varella holds a BA and MA in Art History from University College London. She worked at Marian Goodman Gallery in New York and Fortes D’Aloia & Gabriel in São Paulo, focusing on artist relations and institutional projects. For the past two years, she has been part of the Mendes Wood DM team as Associate Director. She is interested in building meaningful connections between artists, institutions, and audiences.

Active as an artistic director, producer, and creative in the music and entertainment industry for over 30 years, Béco Dranoff conceives and develops internationally recognized projects and content. His triple citizenship (USA/Brazil/Europe) and extensive expertise position him as a global producer of musical and entertainment projects. Dranoff has participated in projects nominated for Grammy and Oscar awards, in addition to founding a record label and working in the areas of artistic direction, music production, festival curation, documentaries, film/TV music supervision, corporate and brand event production, and online radio. His notable projects include co-founding the Ziriguiboom label, signing and co-producing albums by Grammy-nominated artist Bebel Gilberto, the Red Hot + Rio benefit compilations, the documentary and TV series Beyond Ipanema. His music supervision credits include the Oscar-nominated documentary How To Survive a Plague (dir. David France) and Next Stop Wonderland (dir. Brad Anderson). Dranoff has developed special projects with artists such as Gilberto Gil, Caetano Veloso, David Byrne, Angélique Kidjo, and Margareth Menezes, in addition to providing consultancy and musical curation for high-level events and brands. After 32 years based in New York, Dranoff moved to São Paulo in 2021 to launch Brasil Discos, a new musical platform focused on producing and promoting contemporary Brazilian artists.

Partner at Dobra Gallery and Leilão Design, the first auction house in Brazil specialized in design. Focused on developing projects that connect people, creative economy, and innovation.

Gabriel Keenan is a partner at Dobra Gallery and Leilão Design — the first auction house in Brazil specialized in design — where he has been working since 2023. Previously, he collaborated with important art galleries in São Paulo, such as Millan and Gomide&Co. He is especially interested in creating connections between modern design and contemporary art.

Hélio Menezes (1986) is an anthropologist and independent curator. Menezes was director of the Museu Afro Brasil Emanoel Araújo in São Paulo until June 2025. He served as co-curator of the 35th São Paulo Biennial alongside Manuel Borja-Villel, Grada Kilomba, and Diane Lima, and previously worked as a curator at the Centro Cultural São Paulo. In 2021, he organized a major exhibition of Afro-Brazilian memorialist Carolina Maria de Jesus at the Instituto Moreira Salles in São Paulo; and in 2018, alongside Adriano Pedrosa, Ayrson Heráclito, Lilia Moritz Schwarcz, and Tomás Toledo, he co-curated the exhibition Histórias Afro-Atlânticas at the Museu de Arte de São Paulo and Instituto Tomie Ohtake. The show explored Brazilian black culture through more than 450 works by artists active from the 16th to the 21st century.

Jessica Luciano Cinel (b. 1992) holds a degree in International Business from the European Business School (EBS) in London, with specializations in French and Entrepreneurship, and a master’s degree in East Asian Art from Sotheby’s Institute of Art. For over a decade, she has built her career at the intersection of art, management, and innovation. From 2020 to 2022, she served as director of the Museu Brasileiro da Escultura e Ecologia (MuBE), where she led initiatives that significantly elevated the institution’s visibility in the contemporary art scene. Since 2023, she has held the position of Studio Manager for prominent contemporary artists, supervising studio operations, coordinating large-scale projects, and managing strategic planning. In October 2024, she was appointed to the International Council of the Palais de Tokyo in Paris, contributing to the strategic direction of one of the leading institutions dedicated to global contemporary art.

Photography, video, and installation play a central role in the production of Alagoan artist Jonathas de Andrade (b. 1982, Maceió, Brazil). His research often involves dialogue with communities that participate in the construction of the works, expanding the reach of constantly marginalized voices. Starting from the commitment to weave fiction and documentary, and in a constant exercise of rewriting history, Jonathas seeks in this reinvention the construction of allegories and poetic narratives, which in turn function as powerful tools for questioning gender, class, and race constructions rooted in Brazilian sociocultural structure.

"I think that artistic existence, which is not a privilege of professional artists nor guaranteed to all of them all the time, has to do with a state of attention and emergency (...), in addition to an aesthetic disposition for life. In this sense, what treats art as an isolated field ends up being of little interest. (…). I feel strength in art through the ability to generate energy in absolute contradiction and disorder within a system; through the ability to take checkmates as impulse for movement and transformation and not as one-way ambushes".

Jonathas de Andrade lives and works in Recife, Brazil. Among his solo exhibitions are: L’art de ne pas être vorace, Commanderie de Peyrassol, Flassans-sur-Issole, France (2025); Le syndicat des olympiades, La Galerie — Centre d’Art Contemporain de Noisy-le-Sec, Noisy-le-Sec, France (2024); Olho-Faísca, Museu de Arte, Arquitetura e Tecnologia (MAAT), Lisbon, Portugal (2023); O rebote do bote, Pinacoteca do Estado de São Paulo, São Paulo, Brazil (2022); Staging Resistance, Photografiemuseum Amsterdam (Foam), Amsterdam, Netherlands (2022); Jonathas de Andrade: One to One, Museum of Contemporary Art Chicago (MCA), Chicago, USA (2019); Visões do Nordeste, Museo Jumex, Mexico City, Mexico (2017); O peixe, New Museum, New York, USA (2017); Convocatória para um mobiliário nacional, Museu de Arte de São Paulo (MASP), São Paulo, Brazil (2016); and Museu do Homem do Nordeste, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil (2014).

He participated in important biennials, including: 59th Venice Biennale, Italy (2022); 13th and 10th Sharjah Biennial, United Arab Emirates (2017 and 2011); 32nd and 29th São Paulo Biennial, Brazil (2016 and 2010); 12th and 16th Istanbul Biennial, Turkey (2011 and 2019); The Ungovernables — New Museum Triennial, New York, USA (2012); 12th Lyon Biennial, France (2013); and 32nd Panorama da Arte Brasileira, São Paulo, Brazil (2011).

Among his group exhibitions are: Histórias LGBTQIAP+, Museu de Arte de São Paulo (MASP), São Paulo, Brazil (2024); Avant l’orage, Bourse de Commerce — Pinault Collection, Paris, France (2023); Penumbra, Fondazione In Between Art Film, Venice, Italy (2022); L’art d’apprendre. Une école des créateurs, Centre Georges Pompidou-Metz, France (2022); À Nordeste, Sesc 24 de Maio, São Paulo, Brazil (2019); and Under the Same Sun: Art from Latin America Today, Solomon R. Guggenheim Museum, New York, USA (2014).

De Andrade’s work is part of important institutional collections, including: Centre Georges Pompidou, Paris, France; Museo del Barrio, New York, USA; Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid, Spain; Museum of Modern Art (MoMA), New York, USA; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; Solomon R. Guggenheim Museum, New York, USA; and Tate Modern, London, UK, among others.

Visual artist and poet, Lenora de Barros began her career in the 1970s. Graduated in Linguistics from the University of São Paulo, her early works can be placed in the field of "visual poetry," associated with concrete poetry of the 1950s. In 1983, she published the book of poems Onde Se Vê. Some of them dispensed with the use of words, being constructed as photographic sequences of performative acts. In the same year, she participated with visual poems in videotext at the 17th São Paulo Biennial. Since then, Lenora has built a poetics marked by the use of diverse languages: video, performance, photography, sound installation, and object construction.

In 1990, she moved to Milan, Italy, where she remained for a year, a moment when she held her first solo exhibition, Poesia É Coisa de Nada, at Galeria Mercato del Sale. At the show, she inaugurated the Ping-Poems series by spreading five thousand ping-pong balls on the gallery floor with the title phrase printed. Between 1993 and 1996, she signed an experimental column in Jornal da Tarde, in São Paulo, entitled ... umas. In this space, works and ideas were born that would become autonomous videos and photoperformances over the following years. In 2013, the 65 columns and 2 videoperformances were exhibited for the first time at Casa Laura Alvim, in Rio de Janeiro, and in 2014 they were presented at Pivô, in São Paulo.

In 2017, she participated in the exhibition Radical Women: Latin American Art, 1960-1985, curated by Cecilia Fajardo-Hill and Andrea Giunta at the Hammer Museum, Los Angeles, and at the Brooklyn Museum, New York (2018). The show went to the Pinacoteca do Estado de São Paulo in 2018. Her most important group and solo exhibitions include Lenora de Barros: To See Aloud, at Badischer Kunstverein (Karlsruhe, Germany, 2025); Não Vejo a Hora [I Can’t Wait], at Gomide&Co (São Paulo, 2023), her participation in the 59th Biennale di Venezia — The Milk of Dreams (Venice, 2022), Lenora de Barros: minha língua, at Pinacoteca do Estado de São Paulo (2022), RETROMEMÓRIA, at Museu de Arte Moderna de São Paulo — MAM-SP (2022), Tools for Utopia: Selected works from the Daros Latinamerica Collection, at Kunstmuseum Bern (Bern, 2020), ISSOÉOSSODISSO, at Oficina Cultural Oswald de Andrade (São Paulo, 2016), 4th Thessaloniki Contemporary Art Biennial (Greece, 2013), 11th Lyon Biennial (France, 2011), in addition to participation in the 17th, 24th, and 30th editions of the São Paulo Biennial (1983, 1998, and 2012).

Her work is part of important museum and institutional collections such as the Hammer Museum, Los Angeles; Museo de Arte Contemporáneo de Barcelona — MACBA; Daros Latinamerica Collection, in Zurich; Museo Nacional Centro de Arte Reina Sofía, in Madrid; Museu de Arte Moderna de São Paulo — MAM-SP; Pinacoteca de São Paulo; Bronx Museum of the Arts, in New York; Museu de Arte Contemporânea da Universidade de São Paulo — MAC-USP, among others.

Mônica Ventura (b. 1985, São Paulo, Brazil) is a visual artist and designer, graduated in Industrial Design from FAAP, and master’s in Visual Poetics (PPGAV) from ECA-USP, whose work investigates the complex intersections between the feminine and raciality. Through in-depth research, the artist rescues and reinterprets pre-colonial cultural elements such as architecture and manual work techniques of Afro-Amerindian peoples. For Ventura, this dive into ancestral knowledge is a form of personal reconnection. "Ancestrality is a key for us to remember who we are and to continue disengaging from the colonizing plan that aims to polish individuality," she explains.

Her multidisciplinary practice encompasses video, sculpture, and painting, allowing her to transit between the spiritual and concrete, and give voice to the multifaceted experiences of black women, with a gaze that combines strength and the delicacy of the feminine. By challenging aesthetic formalism, Ventura creates an "organized beautiful noise" that invites the public to reflect on identity, memory, and power.

Mônica Ventura lives and works in São Paulo, Brazil. Among her solo exhibitions are: Mônica Ventura: Daqui um Lugar, at Pinacoteca do Estado de São Paulo (2025) in São Paulo, Brazil; A Noite Suspensa ou o que posso aprender com o Silêncio, at Instituto Inhotim (2023) in Brumadinho, Brazil; and O Sorriso de Acotirene, at Centro Cultural São Paulo (2018), São Paulo, Brazil. She participated in important group exhibitions in museums and institutions, such as: Cantando Bajito (Incantations), at Ford Foundation (2024), in New York, USA; Encruzilhadas da Arte Afro-brasileira, at Centro Cultural Banco do Brasil (2023) in São Paulo, Brazil; Brasil Futuro: Formas da Democracia, at Museu da República (2023), Brasília, Brazil; Carolina Maria de Jesus: um Brasil para os brasileiros, at Instituto Moreira Salles (2021), in São Paulo, Brazil; Enciclopédia Negra, at Pinacoteca do Estado de São Paulo (2021), in São Paulo, Brazil; and Histórias Feministas, at Museu de Arte de São Paulo (2019), in São Paulo, Brazil. Her work also integrates the collections of Instituto Inhotim, in Brumadinho, Brazil, and Pinacoteca de São Paulo, São Paulo, Brazil.