{"id":649,"date":"2026-09-08T14:59:25","date_gmt":"2026-09-08T17:59:25","guid":{"rendered":"https:\/\/www.matheusmatias.art\/?page_id=649"},"modified":"2026-10-08T11:57:12","modified_gmt":"2026-10-08T14:57:12","slug":"exposicao-nossa-arte","status":"publish","type":"page","link":"https:\/\/www.matheusmatias.art\/en\/exposicao-nossa-arte","title":{"rendered":"Exposi\u00e7\u00e3o “Nossa Arte \u2014 Novos olhares sobre a pintura brasileira contempor\u00e2nea”"},"content":{"rendered":"

\n\t\t\t\tNOSSA ARTE – Novos olhares sobre a pintura brasileira contempor\u00e2nea\n\t\t\t<\/h2>\n\t\t\t\t\t\t\t\t\t\"\"\n\tFrom the outskirts to rural areas: an original exhibition at Z42, in Cosme Velho, reveals other geographies of Brazilian painting
\n<\/em><\/strong>Curated by Fabio Szwarcwald, Paulo Tavares, and Peralta, the exhibition brings together 20 artists from different generations<\/em>\n

On September 9, 2026, at 6 p.m., Z42 Arte, in Cosme Velho, will open Nossa Arte – Novos olhares sobre a pintura brasileira contempor\u00e2nea<\/em>, an exhibition that brings together 20 artists from different generations and regions of the country, curated by Fabio Szwarcwald, Paulo Tavares, and Peralta. The show presents works developed, for the most part, outside of traditional spaces for artistic training and legitimation. On view until December 31, this group exhibition gathers diverse ways of thinking about and creating painting in Brazil today.<\/p>\n

From Amazonas to Santa Catarina\u2014passing through Par\u00e1, Pernambuco, Para\u00edba, Bahia, Goi\u00e1s, Mato Grosso, Minas Gerais, S\u00e3o Paulo, and Rio de Janeiro\u2014[states] are participating in the exhibition. Ademilson Felipe, \u00c1gatha Porci\u00fancula, Amomm H. de Deus, Duarte Yanomami, Eli Bacelar, G\u00ea Guevara, Graciete Borges, Helena Rodrigues, Jos\u00e9 Carlos de Oliveira, Maria Jos\u00e9 Batista, Matheus Matias, Rhuan, Rodorigo, Seo Ant\u00f4nio Ferreira, Terc\u00edlia dos Santos, Valques Pimenta, Waldecy de Deus, Wilson dos Santos Formiga, Zayre e Zezim<\/strong>.<\/p>\n

These are artists whose works stem from highly distinct experiences and repertoires, and who find in painting a field for exploring daily life, labor, religiosity, popular festivities, and relationships with the territory.<\/p>\n

Geographical diversity is one of the principles behind the selection. Nossa Arte<\/em> It brings together works from the peripheries of large cities, Indigenous communities, inland towns, and rural areas, placing side by side artists who have forged their paths under vastly different circumstances and at different points in time. Some have decades-long careers and have exhibited both in Brazil and abroad, while others are only now beginning to gain visibility.<\/p>\n

Para os curadores, interessa justamente tensionar as fronteiras entre a chamada “arte popular” e a arte contempor\u00e2nea, questionando os limites que costumam separar esses dois campos. O conjunto evidencia a variedade de caminhos da pintura realizada hoje no Brasil, marcados por experi\u00eancias, repert\u00f3rios e contextos distintos e, em muitos casos, constru\u00eddos fora da forma\u00e7\u00e3o art\u00edstica convencional.<\/p>\n

“H\u00e1 anos, busco conhecer artistas que trabalham fora do eixo Rio-S\u00e3o Paulo. Gosto de estar com eles, conhecer seus lugares e entender como trabalham. Nossa Arte<\/em> nasce tamb\u00e9m desses encontros e da vontade de mostrar uma produ\u00e7\u00e3o que revela a enorme diversidade cultural do pa\u00eds. Precisamos sair das nossas bolhas para perceber a capacidade criativa que existe em tantos outros territ\u00f3rios brasileiros”, afirma Paulo.<\/p>\n

Para Peralta, esse deslocamento do olhar \u00e9 central \u00e0 proposta da exposi\u00e7\u00e3o. “Enxergo essa mostra como um exerc\u00edcio de olhar para dentro. O que temos de maior riqueza na \u00e9 a diversidade cultural. Muitas vezes, centralizamos nosso olhar em um eixo sociocultural que acaba produzindo um imagin\u00e1rio mon\u00f3tono sobre o pr\u00f3prio pa\u00eds. Nossa Arte<\/em> prop\u00f5e um contraponto ao reunir artistas e experi\u00eancias que raramente aparecem juntos quando se pensa a pintura brasileira contempor\u00e2nea. \u00c9 interessante perceber que muitos j\u00e1 t\u00eam mais de uma d\u00e9cada de produ\u00e7\u00e3o consistente.”<\/p>\n

“Um dos grandes objetivos da exposi\u00e7\u00e3o \u00e9 abrir espa\u00e7o para que artistas autodidatas sejam vistos e reconhecidos pela for\u00e7a de seus trabalhos, sem que a forma\u00e7\u00e3o art\u00edstica convencional seja um par\u00e2metro para determinar o lugar que ocupam. S\u00e3o obras profundamente ligadas \u00e0s experi\u00eancias de vida de cada um, \u00e0s suas quest\u00f5es e modos de perceber o mundo. Ao aproxim\u00e1-las, Nossa Arte<\/em> permite ao p\u00fablico entrar em contato com diferentes Brasis por meio da pintura”, diz Szwarcwald.<\/p>\n

The stories brought together by the exhibition convey the scale of this variety. Ademilson Felipe<\/strong>, a native of S\u00e3o Jos\u00e9 de Ub\u00e1, in the northwest of Rio de Janeiro state, worked in the fields and, after moving to the outskirts of Itaperuna, in the construction industry. It was from this trade that he obtained the first paints he used to create his art\u2014initially applying them to the walls of his own home, and later to scraps of wood and canvases. Jos\u00e9 Carlos de Oliveira<\/strong>, from Pernambuco, also turned to painting following a life path marked by various trades: he cut sugarcane, worked in a sugar mill and as a construction laborer, performed in a circus, sang serenades, and learned the craft of *mamulengo* (traditional puppet theater) from his father. After years of carving wooden puppets, he began experimenting with paints.<\/p>\n

In Bananeiras, Para\u00edba, Matheus Matias<\/strong> began drawing with charcoal on the walls of his rural home as a child. Deaf, mute, and with progressive visual loss, he made visual creation his main form of expression, covering the interior and exterior walls of his residence with floral motifs, elements of nature, and images of sacred art. Seo Ant\u00f4nio Ferreira<\/strong>, from Mato Grosso, finds the origin of his painting in his childhood. The son of a rural worker, he would observe the clearing of trees for planting and then recreate them in his drawings. Birds, plants, animals, houses, and paths now make up the universe of his canvases.<\/p>\n

Other works establish direct relationships with the urban and cultural contexts from which they emerge. Born in the West Zone of Rio, Rhuan <\/strong>observa em suas pinturas o encontro entre o urbano e o rural em Sepetiba, bairro onde cresceu. Na s\u00e9rie “Cavaleiros do meu bairro”, acompanha o cotidiano de crian\u00e7as para quem cavalos, brincadeiras e tarefas da vida rural fazem parte de uma mesma paisagem. Na Zona Norte do Recife, Rodorigo<\/strong> parte das festas e personagens da cultura popular nordestina – do S\u00e3o Jo\u00e3o e do Carnaval pernambucano ao Jaragu\u00e1 e \u00e0 La Ursa – em pinturas marcadas por camadas espessas de tinta e cores intensas.<\/p>\n

Among the artists with the longest careers is Eli Bacelar<\/strong>, born in Manaus in 1960. He began exhibiting at the age of 15 and developed a style of painting dedicated to the landscapes, inhabitants, and customs of the Amazon. Terc\u00edlia dos Santos<\/strong>, from Piratuba, in Santa Catarina, began production in 1990 and draws upon childhood memories of life in the countryside to depict scenes of planting and harvesting, as well as cultural and spiritual practices.<\/p>\n

As for Waldecy de Deus<\/strong>Born in Bahia and based in S\u00e3o Paulo, he has built a career since the late 1960s with exhibitions in Brazil and abroad, with recurring themes including festivals, popular events, religiosity, and everyday Brazilian characters. The exhibition also includes the work of Helena Rodrigues<\/strong> (1947-2026), artista de Salvador, radicada no Rio de Janeiro. Professora e formada em piano pela UFRJ, Helena construiu uma pintura marcada pela observa\u00e7\u00e3o da cultura e do cotidiano cariocas, com cenas de carnaval, samba, praias, festas religiosas e circo.<\/p>\n

Conceived by Paulo Tavares and Fabio Szwarcwald, Nossa Arte<\/em> It is an initiative of the *Cultura em Conex\u00e3o* project, in partnership with Galeria Imagin\u00e1ria and A-Ponte. The exhibition is hosted at Z42, a space dedicated to the visual arts located in a 1930s mansion with eclectic architecture in the Cosme Velho neighborhood. Spanning approximately 1,500 square meters, the property houses an exhibition area, artist studios, and an auditorium.<\/p>\n
\n<\/strong>ABOUT THE CURATORS<\/strong>\n

Fabio Szwarcwald <\/strong>is an economist who graduated from UERJ, holding an MBA in Finance from IBMEC and in Business Management from FGV. After 22 years working in the financial sector, he shifted his focus toward management and projects within the fields of art, culture, and technology. He served as director of the Escola de Artes Visuais do Parque Lage from 2017 to 2019, and as executive director of MAM Rio from 2020 to 2022. He is the founder of A-Ponte\u2014an organization dedicated to projects at the intersection of art, education, and technology\u2014and is the creator and executive director of the *Arte nas Esta\u00e7\u00f5es* (Art in the Stations) project. He is a member of the New Museum\u2019s International Leadership Council in New York, the Osesp Advisory Board, the Rio de Janeiro City Council, and the strategic committee of Oi Futuro. He also serves as a visual arts columnist for *Veja Rio*.<\/p>\n

Paulo Tavares<\/strong> \u00e9 carioca, pesquisador e colecionador. Formado em Engenharia pela PUC-Rio, tem p\u00f3s-gradua\u00e7\u00f5es em Administra\u00e7\u00e3o pela FGV-Rio, Hist\u00f3ria da Arte pela Universidade Candido Mendes e Curadoria pela ZAIT. Em 2019, idealizou a GIM – Galeria Imagin\u00e1ria. Participou da concep\u00e7\u00e3o de Prosperidade, Felicidade em Tudo<\/em>, at Museu do Pontal (2022), and held exhibitions such as Por Tudo Aquilo que nos Representa<\/em> (Casa Bicho, 2022), Bruta Poesia<\/em>, the first solo exhibition by Jos\u00e9 Bezerra\u2014an artist from Pernambuco\u2014in Rio de Janeiro (Universidade Candido Mendes, 2023), Ensaio Aberto<\/em>, by Marcelo Concei\u00e7\u00e3o (Tropigalp\u00e3o, 2025), and De onde eu venho<\/em> (Tropigalp\u00e3o, 2026), a group exhibition that brought together 12 folk artists from the five Brazilian regions.<\/p>\n

Peralta<\/strong> is a resident of Santa Cruz, a curator and social scientist in training at Col\u00e9gio Pedro II, as well as a researcher at the Carolina Maria de Jesus Black and Indigenous Collective. He has curated exhibitions such as 40 anos iniciais do ensino fundamental do Col\u00e9gio Pedro II<\/em> (Teatro M\u00e1rio Lago, 2024), BAILE<\/em> (Galeria Ocup\u00e1, 2025), OBIRIKITI<\/em> (Sesc S\u00e3o Gon\u00e7alo, 2025), Alvorada<\/em> (Dutra Gallery, 2025) e De onde eu venho<\/em> (Tropigalp\u00e3o, 2026). He was also an artist-in-residence at cultural facilities within Col\u00e9gio Pedro II, expanding their work at the intersection of territory, education, and curatorial practices.<\/p>\n

\u00a0<\/strong><\/p>\n

SERVICE:<\/u><\/p>\nNossa Arte – Novos olhares sobre a pintura brasileira contempor\u00e2nea<\/strong>
\nCurated by: Paulo Tavares and Peralta
\nInitiative: Paulo Tavares and Fabio Szwarcwald\nOpening:<\/strong> September 9, 2026, from 6:00 PM to 9:00 PM
\nClosing:<\/strong> 31 de dezembro de 2026\nLocal: Z42 Arte<\/strong>
\nRua Filinto de Almeida, n\u00ba 42
\nCosme Velho | Rio de Janeiro\n

Visiting hours: <\/strong>Wednesday to Saturday, from 11 a.m. to 7 p.m.<\/p>\n

Free admission | open to all ages<\/p>\nFurther information for the press:
\n<\/strong>M\u00f4nica Villela Companhia de Imprensa
\n(21) 97339-9898 | monica@monicavillela.com.br<\/a><\/u>\n

\u00a0<\/em><\/p>\n\t\t\t

Visit the Casa das Artes Matheus Matias<\/h3>\t\t\t\n\t\t\t\t

Visits are conducted exclusively by prior appointment.<\/p>\n\t\t\t

Scheduling:<\/h4>\t\t\t\n\t<\/a>\n\t\t

+55 (83) 9137-2786<\/h3>\t\t\t\n\t<\/a>\n\t\t

rozicleidemartins145@gmail.com<\/h3>\t\t\t\n\t\t

Saturdays and Sundays<\/h3>\t\t\t\n\t\t\t\t

From 8 a.m. to 5 p.m.<\/p>\n\t\t

S\u00edtio Angelim<\/h3>\t\t\t\n\t\t\t\t

Munic\u00edpio de Bananeiras,
Zona Rural.<\/p>\n\t\t\t

Look for our contact details. <\/h4>\t\t\t\n\t\t\t

Collectors and Exhibitions:<\/p>\t\t\t\n\t\t\t\t

vendas@matheusmatias.art<\/a><\/p>\n\t\t\t

Press Office:<\/p>\t\t\t\n\t\t\t\t

imprensa@matheusmatias.art<\/a><\/p>","protected":false},"excerpt":{"rendered":"

NOSSA ARTE – Novos olhares sobre a pintura brasileira contempor\u00e2nea Das periferias \u00e0s zonas rurais: exposi\u00e7\u00e3o in\u00e9dita na Z42, no Cosme Velho, revela outras geografias da pintura brasileira Com curadoria de Fabio Szwarcwald, Paulo Tavares e Peralta, mostra re\u00fane 20 artistas de diferentes gera\u00e7\u00f5es No dia 9 de setembro de 2026, \u00e0s 18h, a Z42 […]<\/p>\n","protected":false},"author":3,"featured_media":419,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"unboxed","site-sidebar-style":"unboxed","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-649","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/pages\/649","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/comments?post=649"}],"version-history":[{"count":9,"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/pages\/649\/revisions"}],"predecessor-version":[{"id":727,"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/pages\/649\/revisions\/727"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/media\/419"}],"wp:attachment":[{"href":"https:\/\/www.matheusmatias.art\/en\/wp-json\/wp\/v2\/media?parent=649"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}