Galeria Estação at ArtRio 2025

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Galeria Estação is pleased to announce its participation in the 15th edition of ArtRio, presenting a carefully curated selection of works that bring together diverse perspectives on Brazilian nature and culture.

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The presentation spans works produced since the 1960s by twelve artists from different regions of the country, all of whom share a common focus on the natural world, its people, and its built environments.

 

Collectively, the ensemble forms a broad panorama of Brazilian art from the past sixty years, featuring historic works alongside more recent and even never-before-seen pieces.

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Among the historical highlights is a 1966 painting by José Antônio da Silva, which depicts a traditional São João celebration through the repetition of colorful elements. This seriality creates a vibrant composition of square dances, bunting, fireworks, and a line of donkeys tied to a wooden fence.

 

Silva’s work is receiving renewed attention today thanks to the major retrospective José Antônio da Silva: Painter of Brazil, curated by Gabriel Pérez-Barreiro, currently on view at Fundação Iberê Camargo in Porto Alegre. After a presentation earlier this year at the Musée de Grenoble in France, the exhibition will travel to the Museum of Contemporary Art at the University of São Paulo in November.

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Another key painting from the 1960s included in Estação’s booth is a striking canvas by Amadeo Lorenzato. The intricate branching of tree limbs and foliage—a hallmark of the artist’s visual vocabulary—gains further intensity from red underpainting, applied with a comb to create a textured, rhythmic surface. This dynamic interplay of line, color, and irregularity became a defining feature of Lorenzato’s practice from this period onward.

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In sculpture, the presentation features Barco fantasma (Ghost Boat) by Chico Tabibuia, carved in the early 1980s. The work depicts a boatman with oars in hand and bulging eyes—an unusual detail fashioned from plastic, likely appropriated from a toy figure.

 

This rare departure from the artist’s otherwise wooden carvings is documented in Paulo Pardal’s seminal 1989 publication A escultura mágico-erótica de Chico Tabibuia.

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Also notable is a monumental column sculpture by Itamar Julião, portraying a lion rising on its hind legs, carved from a single trunk with intricate volumetric variations. Complementing this work are two terracotta lions by Pixilô from the 2000s, reclining with long, carefully combed manes.

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From its contemporary program, Galeria Estação presents in Rio for the first time a group of works by Suanê, who passed away in 2020. Over the last decade of her life, Suanê developed a radical body of work on wood panels, incorporating an array of materials—ropes, wires, fabrics, and metal sheets.

 

At ArtRio, the gallery will show two celestial-themed works and one painting that explores visual games through painted, collaged, and cut geometric elements.

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The painter Deni Lantz is represented with a series of never-before-seen works, partly created during his residency in New York last year and partly completed in early 2025. His refined encaustic technique—characterized by scraping gestures, contrasts of density, and punctuating points—produces images that evoke both atmospheric landscapes and still lifes.

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Higo José contributes embroideries and sculptures begun in 2024, referencing prehistoric objects and cave paintings. These works build on his recent solo exhibition Paleovisões at Galeria Estação, inspired by his first ayahuasca ceremony in the Boa Vista Indigenous village in Acre.

 

The embroideries, in particular, capture a multitude of simultaneous events, populated by elongated and distorted beings within a hallucinatory visual field.

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For the second time in Rio, Rafael Pereira presents a series of portraits and still lifes created over the past five years. His work synthesizes a modernist pictorial repertoire—drawing on Lasar Segall, Emiliano Di Cavalcanti, Alberto da Veiga Guignard, Henri Matisse, among others—with a freedom of line, color, and gesture.

 

Pereira’s commanding portraits have garnered increasing recognition in Brazil’s art scene, most recently through his participation in the Sertão Negro artist residency in Goiânia earlier this year, where he produced an as-yet-unseen series of portraits of Black Brazilian artists, including Heitor dos Prazeres, Madalena dos Santos Reinbolt, and Emanoel Araújo.

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Finally, Galeria Estação’s booth features a selection of woodcuts and gouaches by Santídio Pereira. These works, distinguished by their bold, synthetic depictions of plant species—often centered on the page in one or two colors—radiate extraordinary graphic vitality.

 

On view simultaneously at Galeria Estação in São Paulo through October 4 is the exhibition A céu aberto – Santídio Pereira, curated by José Augusto Ribeiro. That show presents the artist’s most recent production, including a new series of woodcuts evoking starry skies, constellations, and the cosmos—an entire universe pressed into paper.