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AMANDA BARONI had her first experience with photography through hip hop, in 2007.


In 2012, she concluded her studies at Escola Popular de Fotógrafos, a initiative by Observatório de Favelas do Complexo da Maré, in Rio de Janeiro. After that, she started to take pictures of many events about urban culture, especially hip hop and urban dances. Some of those events were: Meeting of Favela (RJ); Bboy Confronto (RJ); Master Crews (SP); Bocl Out! (SP); Batom Battle (DF) and others.


Other activities in the arts and exhibitions area include:

  • production assistant at exhibitions

  • designing exhibitions (training course at Parque Lage, 2014)

  • Experience printing Fine Art and frame assembly at Barracão de Imagens studio


Monitoring at exhibitions: 

1 - RAMOS - Gallery of Casa de Cultura Laura Alvim 

2 - Rio - Pequim, Duas Avenidas Centenárias - Centro Cultural dos Correios


Also, she took part in two collective exhibitions with her photographic series "B.Woman, B.Girl" at Largo das Artes and at Centro de Artes da Maré.

Nowadays, she is making her own jobs as "Elementos da minha natureza" (Elements of my nature); "Minha imagem e semelhança" (My image and my likeness); "Baixa Velocidade, Altas Luzes" (Low speed, high lights); "Ensaio Draw". Also, she is keeping alive the urban culture movement through photography, registering dance classes, dance companies and some commercial jobs, such as as Rock in Rio, and photo essays.







AMANDA BARONI explores the creative potential of communities by documenting, in a photographic essay, urban dancers who are proud to represent their territory. The artist uses elements of nature in the composition of the photographed scenes, since fire, water, earth and air may all be the basic solution for life as agents of death. By reconstructing the view of her own territory through photography, she searches for what is positive, as well as new truths.



ANNA BELLA GEIGER studied Anglo-Germanic Languages in the National College of Philosophy of Rio de Janeiro, Brazil, and Sociology of Art with Hannah Levy Deinhardt at New York University, and at the New School for Social Research (in the 50's). Since then, she has been exhibiting one-woman and group shows in Brazil and other countries. Anna took part in various international biennials: São Paulo, Mercosul, Venice, Liverpool, Tokyo, etc.

Works in the Collections: MoMA New York; Centre Georges Pompidou; Tate Modern; Centro de Arte Reina Sofia (Madrid); Victoria and Albert Museum (London); Getty Institute LA; The FOGG Collection (Boston); Hank Hine – TAMPA Museum, Flórida, among others.

Some Prizes: 1st Prize at Casa de Las Americas (Cuba) 1962; JAC Museu de Arte Contemporânea USP São Paulo 1966; RESUMO JB Museu de Arte Moderna do Rio de Janeiro 1968; Guggenheim Foundation NY 1981; IBRAM Rio de Janeiro 2005.

In 1987, she published together with Brazilian philosopher Fernando Cocchiarale the book Abstracionismo Geométrico e Informal: A Vanguarda Brasileira nos anos 50.

She teaches at the HISK (Hoch Schule aus Kunst), Ghent (Belgium), and at Escola de Artes Visuais do Parque Lage (Rio de Janeiro).   

ANNA BELLA GEIGER, sculptor, engraver, painter and illustrator since she was 50, always looks for broader ways to expand her art. From the 1990s she’s used new materials and produces cartographic forms in metal, inside iron boxes or drawers, filled with encaustic. Her works find themselves in the limit between painting, object and engraving. From an iron file drawer, Anna Bella develops a piece that talks about continents, the transitory and the variable. The drawers store the artist’s thoughts about the world and her connections to Brazilian and international sociopolitics. Her interest with geography coincides with a critical decision in relation to art and her role as an artist to transform the meanings of territories, limits and scale. “Subvert your descriptive meaning into ideology,” verbalizes Anna Bella.



ANA HORTIDES lives and works in Rio de Janeiro. She is a visual artist and master in Contemporary Studies of the Arts at the Federal Fluminense University (Rio de Janeiro), where she graduated in Cultural Production. She studied at the School of Visual Arts of Parque Lage (RJ, Brazil). Ana participates in individual and collective exhibitions, among them: Pouso de Emergência - Caixa Preta (RJ); Junho de 2013: cinco anos depois - Centro Municipal de Arte Hélio Oiticica (RJ); 46º Salão de Arte Contemporânea Luiz Sacilotto (2018) - Casa do Olhar Luiz Sacilotto, Santo André/SP; Flutuantes (2018) - Paço Imperial/RJ; De sangue e ossos (2018) - galeria Matias Brotas (Vitória/ES); Molde: Conversas em torno da escultura e do corpo feminino (2017) - galeria Anita Schwartz/RJ; Há algo aqui (2017) - galeria Recorte/SP; Abraço Coletivo (2017) - espaço Saracura/RJ; Casa de infância (2016) - Centro Municipal de Arte Hélio Oiticica/RJ; Quinta Mostra (2015) - Escola de Artes Visuais do Parque Lage/RJ; Exposición de Fotografía Estenopeica - Pinhole Alrededor del Mundo (2013) - Museo Presley Norton, Guayaquil/ Equador.      

ANA HORTIDES presents Cor de Pele, a piece that brings 78 small babies in different colors. Race, life and death, and intimacy are issues that abound in the artist’s work. Are the babies napping or are they dead? Which color inhabits the reverse of these tiny bodies? Fragile and vulnerable, they are the humanity that needs no color, sex or nationality. All 78 are identical, made of the same mass, occupying the same space, receiving the same breath of air. Only the external color is different; however, it’s neither better nor worse. And they are all, side by side, with similarities and differences, individuals at peace.



FERNANDA SATTAMINI is a visual artist who lives and works in Rio de Janeiro.   


Her production explores experimental and alternative processes, moving between photography, engraving and objects. Taking appropriate pictures and her own photographs as a starting point, her research addresses issues of memory, intimacy, and affection.

FERNANDA SATTAMINI explores experimental and alternative processes, and the research she develops is concerned with themes such as memory, intimacy, affection, and control. In the series Das marés e correntezas, the shredded linen gives a delicate moviment to the pieces, reminding us of the come and go of the tides — something that escapes or sprouts from two halves. It’s the intimacy of the fabric, its entrails, its revealed matter. Like a secret. Like an affection.



HELENA TRINDADE holds an MFA in Visual Languages from UFRJ; post graduate degree in Art and Philosophy from PUC (Rio); University extension on Art and Psychoanalysis, Prof Tania Rivera UFRJ; Advanced artistic training at EAV Parque Lage RJ; Art Students League, New York University and School of Visual Arts NY; and a graduate degree in Architecture and Urbanism from  UFRJ.

Helena’s most recent solo exhibitions, The letter is the bookworm of the letter, were at Paço Imperial, Rio de Janeiro, and Tomie Ohtake Institute, São Paulo, both in 2018. Her project The letter as a pretext for the poetic game was selected for the FAAP 2019 artistic residence program. It addresses urban space as an expanded field for visual poetry.


She has been working in this area by means of installations, sculpture, engraving, objects, video, photography and performance since the 90's.

She was invited to exhibit at the City University of New York, the University of Coimbra, the University of Hawaii, the Portuguese Communications Foundation of Lisbon and the École d'Art d'Avignon during the Year of Brazil in France.


Some of Helena’s projects were supported by FUNARTE, Oi Futuro Center of Art and Technology, Museum of the Republic, Helio Oiticica Art Center, SESC, and São Paulo Cultural Center, among other institutions.


Helena participates in the Serpentine Gallery's Agency of Unrealized Projects digital platform, designed by Julieta Aranda, Hans Ulrich Obrist, Julia Peyton-Jones and Anton Vidokle, with her urban intervention project IN-OUTDOORS. 

HELENA TRINDADE uses keys and spindles from typewriters to create organic and articulated structures. The series Vírus comes from the rearticulation of the letter; from the moving of symbols in search of new meanings. For Helena, the virus is the agent that will destroy the language barrier impeding speech. The artist approaches the functioning of language precisely through the letter. In detriment to meaning, she privileges its materiality. She creates forms that, like viruses, penetrate, move and propagate.



LAURA GORSKI E RENATA CRUZ have been working together since 2015. In 2016, they received the prize of the 20th Cultura Inglesa Festival for the "Work Days" installation which has the work of writer Virginia Woolf as a starting point. In addition to working as a duo, each one has their own artwork that can be seen on their websites above.




- Casarão Library - A map open to travel. Casarão de ideias. Manaus - AM - Brazil.


- Work days. 20th Cultura Inglesa Festival. Brazilian British Council. São Paulo - SP - Brazil.

- Work days. Sesc São Carlos. São Carlos - SP - Brazil.




- Geography, our place is path. Sesc Santos. Santos - SP - Brazil. Curator Bernardo Mosqueira.


- We're all Clarice. Tribute to the writer Clarice Lispector. Gallery of the Lake. Rio de Janeiro - RJ - Brazil. Curator Isabel Portela.

- It's them and them. Blau Projects. São Paulo - SP - Brazil. Curator Josué Mattos.



2015 - 20th Cultura Inglesa Festival. São Paulo - SP - Brazil.



2019 - Casa Wabi. Oaxaca - México.

2017 e 2018 - LABVERDE. Forest Reserve Adolpho Ducke. Manaus - AM - Brazil.

2015 - Somewhere between the land and the house. Oficina Cultural Oswald de Andrade. With the artists: Alessandra Duarte, Bel Falleiros, Flavia Milenik Laura Gorski and Renata Cruz. São Paulo - SP - Brazil.


LAURA GORSKI E RENATA CRUZ work with the relation between internal time and time organized by the official calendar. The series Dias Úteis opens a dialogue with the desire of what is useless, with contemplation, with losing oneself and being certain about the passage of time. The public spaces may be private, the images of what’s useful may be useless, and everything is at the same time reality and construction. What is time? What is useful? The duo of artists capture the enchantment of several possibilities.



LEANDRA ESPÍRITO SANTO holds a doctorate and a masters degree in Visual Arts from ECA/USP. She graduated in Social Communications at UFF/Niterói.

Her artwork is produced in various media - performance, photography, video, sculpture, and urban intervention.

Through comic language and irony, the artist reflects about our daily routine, from the most complex to the the most common procedures, investigating the relation between art and its various techniques and technologies. She relativizes their usage,  thinking about the way we relate to them in both aspects - physical and behavioral.


In 2017, she started a research focused on the relation between identity, body and machine that created a series of works in which she reflects about the self-representation in the social networks.

In 2016, she was nominated for the PIPA Award - MAM- RJ, and was the finalist in the PIPA Online category. In 2014, she was awarded the "Estímulo Prize" (Stimulus Prize) at the 42nd Luiz Sacilotto Contemporary Art Salon and was awarded the "Chamada Artes Visuais" at the Culture Department of Niterói.


Among her most important exhibitions, awards and events, are:

“Instauração”- Sesc Belenzinho (SP, 2017); “Agora somos mais de mil” - EAV Parque Lage (RJ, 2016); “Quando o tempo aperta” – Palácio das Artes (BH, 2016) and Museu Histórico Nacional (RJ, 2016); “Novíssimos” - Galeria Ibeu (RJ); 37° Salão de Artes de Ribeirão Preto (SP, 2013); 2º Prêmio EDP nas Artes (SP, 2010).  


LEANDRA ESPÍRITO SANTO uses the mold of her own face, with a slight smile, to talk about self representation. Registro, a series that deals with the theme of standardization, of the face that does not identify, raises the question of the excess of selfies that permeate social media. Repetitive and always copied behaviors work to end individuality. The serialized reproduction of the artist’s features in cast plaque reinforces the impression that we are in front of something generic — just a face with no identity.



LIVIA FLORES is a visual artist and researcher. She has participated in exhibitions in Brazil and abroad since the 80's. Among the most recent solo exhibitions are those held at Projeto FOZ/Espaço Z42 Arte Contemporânea, Rio de Janeiro; Galeria Progetti, Rio de Janeiro, MAMAM no Pátio, Recife and Centre d 'Art Santa Mònica, Barcelona.

Among her collective shows are Lugares do Delírio, Museu de Arte do Rio;  Passagens: Serralves Collection, Porto; Situações Brasilia Prize, and 26th São Paulo Biennial.

The book Livia Flores (ArteBra collection, Rio de Janeiro: Automatica, 2013) is an important reference about her work. She lives and works in Rio de Janeiro.


LIVIA FLORES, in the series of paintings and sculptures Trabalho de Greve, resumes her research of materials and processes, as well as the relation with time, history, and collective work. By using gray felt blankets, she recovers memory from anonymity; the one who is hidden and blanketed. There are innumerable stories these elements tell us, and many of them talk about transformation, precariousness, invisibility. Blankets almost always warm, shelter and envelop us. Livia’s piece has the lowermost as her focus — the possibility of changes and resuming movements.



LYZ PARAYZO was one of the selected artists for the artistic residence at Fundação Armando Alvares Penteado in the first semester of 2018, and in the project Pivô Research for the second semester. She was one of the finalists for the EDP prize and the first trans artist to be nominated for the PIPA prize Brasil in 2017.

Lyz is an LGBTQ+ activist, manicure, sculptress and decolonized-pornsexual-slut. She has a bachelor's degree in Drama from UNIRIO (Federal University of Rio de Janeiro), and Visual Arts at EAV Parque Lage (School of Visual Arts).

The body is Lyz’ main media for work and her daily performance as a platform for research. She’s been developing sculptures and objects in silver, razor and aluminum. Her pieces are now part of the collections from Museum of Contemporary art (MAC) Niterói and Art Museum of Rio (MAR).


Lyz has participated in national and international collective exhibitions, the main ones being: Women in the MAR collection ( MAR); Anuário (Porto Municipal gallery, Portugal); Adorno Político (Maus Hábitos, Portugal); Mostra Verbo (Galeria Vermelho); Virada Cultural (SESC Paulista Avenue); History of Sexuality (MASP); Inauguration of SESC 24 de Maio; Performatus 2 exhibition (SESC Santos); 2nd Gran Bienal Tropical (Puerto Rico); Imersões (Casa França-Brasil); Encruzilhada (School of Visual Arts from Parque Lage); Abre Alas 13 (Galery A Gentil Carioca); A Urgência de Cada Um (Largo das Artes);  and Descamada (Old Behring factory). 



LYZ PARAYZO one of the few transgender artists present in the collection of Brazilian museums, uses her body as the main support for her work. The objects created are extensions of her trans and mixed race body. But what part of the body speaks? For Lys, the insatisfaction has always been a factor that propelled her research and constructed her poetry. By collecting and evaluating prostitution pamphlets, she found space for debauchery; for fun. The performance video presented in Passeata will contextualize the use of these pamphlets. The sculpted, cutting and self-defense objects are related to the warring body, always aware of aggression and the fight against the erasure and silencing of the body.



MARCELA CANTUÁRIA graduated in Painting from EBA, UFRJ, in 2017. At the beginning of her graduation, she worked at the Youth Project NGO, in Rocinha. Her participation in group shows has happened at alternative art spaces, cultural centers and the Bienalle of MNBA, in 2017.

Approximately ten of her paintings are part of Sergio Carvalho's art collection (Brasilia, DF), and some of her works are also in other collections such as: Ludwig Danielian (RJ) and Clarice Prutsckay(SP). She granted the image rights of the series Castelos no Ar to the Anglo-Brazilian magazine "Crise e Crítica" that appeared on the cover and in its content.


Besides the exhibitions, the artist also took part in the symposium Art and the Communist Hypothesis at the History Department, PUC (RJ), in 2017.

In 2018, she participated in a group show Crônicas Urgentes at Fortes D'aloia Gallery, and this year she did an artistic residency at Kaaysa, in São Paulo. Through her paintings, the artist creates content that she likes to call "anti-amnesic". In this research she shows the memory and struggle of latin peoples against their explorers.


She aims to create images that establish a connection between the past, the present, and the possible future, producing collages made in Photoshop. Marcela Cantuária also teaches in her studio, addressing the practical issues of contemporary painting.



MARCELA CANTUÁRIA brings to the painting her experiences of the world. What propels her are the many questions involving women’s freedom, the fight against patriarchy, against anonymity, against being forgotten. For the artist, it’s essential to keep a memory alive, since ideas don’t die. For this, she uses vivid colors on her canvas, such as red and orange tones. The historic episodes, very elaborate in her work, are reimagined from the perspective of women. To look to the past with the intention of reconstructing, or constructing something new and better. It’s these flags the artist raises in Passeata.



PATRIZIA D'ANGELLLO graduated in Scenic Arts from Uni-Rio, and in Fashion from Cândido Mendes. In 2008 she stopped all activity in other areas to focus exclusively on art. Since then, she has developed a poetic language that uses the narrative of our daily lives to incorporate and comment on life in both its great and small moments, in its potential strangeness and in its banalities, mirroring and reflecting that which concerns life. 


She works with the production of objects, performance, photography, video and, more assiduously, painting. Patrizia went to the School of Visual Arts at Parque Lage, where she took several courses. She took part in, and still goes to, study groups with Charles Watson, Ivair Reinaldin, Milton Machado, and Daniela Name. From September 2014 to March 2015, she was in the residence-exchange scholarship program at the École Nationale Superieure des Beaux Arts de Paris. 


She participated in many collective exhibitions, among them: 

My Way, Casa França Brasil, Rio, January/February 2019; Soccer Metalanguage, Calouste Gulbenkian Arts Center, Rio, June 2018; Worlds Reinvented, Let us Just Call it Abstract, C Gallery, Rio, January to March 2017; Attentif Ensemble, Jour et Nuit Culture, Paris, February 2015; Portage, ENSBA, Paris, December 2014; XIII SAMAP Hall, Casarão 34, João Pessoa, November to January 2010/2011; Novíssimos Hall, IBEU Gallery, RJ, July/August 2010; was nominated for the PIPA award in 2012. 


She also did the following individual exhibitions: 

Lush, Sergio Porto Municipal Cultural Center, RJ, September/October 2018; It’s Like That if to you it Seems it Was — Home, Food, and Washed Clothes, RJ, CCJF, May/June 2016; Studio Apartment, Galeria do Ateliê da Imagem, RJ, February/April 2016; In the Lull of my Passions, IBEU Gallery, September/October, RJ, 2012; and Babilonia Banquet, Amarelonegro Contemporary Art Gallery, RJ, Maio/June 2011. 


PATRIZIA D'ANGELLO presents the painting Dramalhão, an immense piece of cake filled with layers of cream and strawberries. Up close we see only the abstract, but from a distance there appears the figurative — surprising by the reality it awakens. The play of mirrors between the abstract and the figurative proposes a constant come and go of protagonists between the senses and our inherent capacity to recognize images. In a visual, saturated and disposable world, the artist proposes the dilation of perception, a closer and more inquiring look that questions meanings, forms, and colors from the abstract.



ROBERTA CARVALHO graduated in visual arts from Pará’s Federal University (UFPA). She is currently mastering in Arts, at UNESP (PPGARTES). Roberta develops works at the intersection of image, urban intervention, video projections, and video art. 


Her works bring the insertion of the digital photographic image, or in video, to the public space in the city and other non-urban landscapes. Be it in the treetops, or in historical buildings, she’s always searching for a relation with the space where the image inserts itself. Many of the constructed and projected images are of regular characters who many times are on the brink of society, reflecting a symbolic relationship with the place where the artistic action happens, evoking identity and social questions, such as in Symbiosis (2007 - ), where Amazon dwellers’ faces are projected on green areas in these communities themselves. 


She has won several awards, among them: the FUNARTE Women in the Visual Arts Award (2014); Diário Contemporâneo Award (2011); and the FUNARTE Microprojects of the Legal Amazon Award (2010). Roberta received a research and artistic creation scholarship from the Pará Institute of the Arts (2006 and 2015). 


Among her exhibitions, showings and festivals in which she took part, highlights include: Amazon Connection, Brussels (Belgium), 2018; Pará Art 2017, Periscope — Zipper Gallery (São Paulo, 2016); 7th SP Photography Exhibition (São Paulo, 2016); Visualism — Art, Technology, City (Rio de Janeiro, 2015); SP ART/PHOTO (2014); Great Art Funarte (São Paulo, 2014); Pigments (Martinica, 2013); Paraty in Focus Festival (Paraty, 2012); Tierra Prometida (Barcelona, 2012); and Vivo Art.Mov (Belém, 2011). She is the creator of the Amazon Mapping Festival, started in 2013. Her works are part of the collections at the Museum of Contemporary Art House of the 11 Windows (PA), and the Museum of Pará’s Federal University. 


ROBERTA CARVALHO presents the work of video mapping and an installation composed by photo image and another element (in this case a bottle). The artist’s work references regions in the north of the country, where she currently develops her production. Photos, the feminine figure, river water, and forests are elements used in Roberta’s line of work. From the dialogue between these elements comes a piece with great impact and beauty.



SANI GUERRA holds a degree in Visual Arts, and she attended free courses at EAV and Industrial Design at the Faculdade da Cidade / RJ.


Main individual exhibitions: "Surfaces", Sesc Nova Friburgo / RJ 2010 and "Memory and Impermanence" at Lago Gallery, Museum of the Republic, CIGA / RJ 2016. In 2008, started the Construction Project, awarded in 2009 by Funarte.

Main collective exhibitions: "Desver a Arte" at Emmathomas Gallery / SP 2018; Brand new 2018, Galeria Ibeu / RJ; ArtRio 2018, Emmathomas Gallery Stand; in 2017 participated in the 23rd Salon Anapolino de Arte / GO and 45th Salon Luiz Sacilloto in Santo André / SP. Won the Contest Garimpo of Dasartes Brasil Magazine in 2013.


In March 2018 she began a seven-month artistic residency in the city of Rio de Janeiro, exploring spaces that house part of the Atlantic Forest, such as the Parque Lage of Visual Arts, the Juliano Moreira Colony where the Arthur Bispo do Rosário Contemporary Art Museum, and Campus of Fiocruz Mata Atlântica, among other public spaces related to the forest.

Starting from this research, its historical material and its environment, Sani began a series of paintings that are being developed. Five screens of this series were exhibited at ArtRio 2018 at the Emmathomas Gallery stand, curated by Ricardo Resende.

The impossibility of ensuring easy signs makes the artist's production enticing and full. Sani Guerra is currently engaged in painting. And through it, we glimpse the fragmented universe of pigments and memories.


SANI GUERRA explores public spaces that encompass the Atlantic Forest, researching historical material and its surroundings. From these studies, the artist developed a series of paintings with this theme. Her canvases are full of references to native species. The pieces exhibited in Passeata had Sani register interventions made with fabrics from the woods at Parque Lage. They are like traces of humans amongst the vegetation; a color among so many hues of green.



URSULA TAUTZ studied at ESPM. She also took workshops at the School of Visual Arts / NY. In 2005, she went to the School of Visual Arts at Parque Lage. 


From her personal story, and through multimedia propositions, the artist develops artistic experiences that speak about cultural and historical identities, memory and narrative. Many times, evoked through perceived time by the pendular movement, be it a sound, a swing or the tolls of the bells. 


Researching the relations that involve habitation and belonging, she uses the (re)meaning of space to develop her questions. The occupation of the spaces tend towards the use of installations. And these works of great dimensions derive studies, drawings, photographs, objects and videos. 

She was a finalist at the Mercosul Visual Arts Awards (FUNARTE) in 2016, and selected to the program “Art Scout” (2010). She took part in the Siart Biennial 2018 — International Biennial of Bolivian Art in La Paz, and other collective exhibitions, such as “Monumental Art in Marina da Glória” (RJ, 2016); “Urban Interventions Bradesco ArtRio 2015”.


She also did the individual “Cracks Where Walls are Drained” (2017), reinaugurating the Rectory’s Garden at the Federal Fluminense University/RJ; “Familiar Place” (Zipper Gallery/SP, 2016), and “Fluidostática” at the Lago Gallery — Museum of the Republic (RJ, 2015). Her works are part of the MAR collection — Museum of Art in Rio. 



URSULA TAUTZ present Universo-Ilha: a movable object composed of a dome with radica circles on the inside. The cut at the tree’s root (radica) brings itself a cartography made of layers of time, memory, and history. The circles are like imagined, sanctified, and protected places in the domes. The work references several places that juxtapose in the memory, tell stories, and bring memories so precious they should be stored in domes. Ursula works with affection, imagination, and memory, and her pieces have the nostalgia of the past.



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