ADRIANA NATALONI
EXHIBITIONS
SOLO
Correntes inértes, 2025
Water retains memories. What accumulates in it doesn't disappear—it only changes state, form, visibility. The waste we throw into the flow—plastics, industrial fragments, everyday remnants—remains. It's there, even when we no longer see it. In this exhibition, I propose a field of observation: that which the sea, rivers, and bodies of water can no longer absorb. What remains. What floats. What sinks. The works—paintings, objects, installations—incorporate inorganic materials as part of the gesture itself. They are signs of an altered landscape, silently compromised. They are there to remind us that all discarded matter finds a destiny. It's not about environmental representation. It's about presence. About confrontation. About making pollution a language. About the permanence of waste, a surface of tension. Correntes Inértes is an expanded body of contaminated water. An attempt to listen to what no longer dissolves. And to look at what, ignored for too long, insists on returning.
Adriana Nataloni
Ateliê 31 | Rio de Janeiro
SALA 01
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Correntes inértes, 2025
Water retains memories. What accumulates in it doesn't disappear—it only changes state, form, visibility. The waste we throw into the flow—plastics, industrial fragments, everyday remnants—remains. It's there, even when we no longer see it. In this exhibition, I propose a field of observation: that which the sea, rivers, and bodies of water can no longer absorb. What remains. What floats. What sinks. The works—paintings, objects, installations—incorporate inorganic materials as part of the gesture itself. They are signs of an altered landscape, silently compromised. They are there to remind us that all discarded matter finds a destiny. It's not about environmental representation. It's about presence. About confrontation. About making pollution a language. About the permanence of waste, a surface of tension. Correntes Inértes is an expanded body of contaminated water. An attempt to listen to what no longer dissolves. And to look at what, ignored for too long, insists on returning.
Adriana Nataloni
Ateliê 31 | Rio de Janeiro
SALA 02
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Consumíveis, 2024
"The third industrial revolution, which began in 1950, produced a gigantic quantity of disposable objects. The invention of plastic progressively replaced wood and leather. To maintain economic logic, this revolution proposed the solution of disposable objects. It altered the value-price relationship of material culture. This industry sought a sense of equality, uniformity, and the infinite repetition of objects, along with the practice of disposal. Artistic processes were inevitably affected, from the appearance of acrylic paints and synthetic enamels to the structure of solid, three-dimensional objects in acrylic, resin, and other materials. Security, predictability, and uniformity were sought to achieve the promise of happiness through consumption. Adriana Nataloni creates a laboratory of possibilities, a cosmos of indeterminate connections imbued with diverse insurgencies. In the final result, we perceive a new relationship between the parts and the whole. She performs a Gestalt that goes against the logic determined by the object industry. Adriana Nataloni's work is far from meeting the aesthetic premises of the industry; she uses it for opposing purposes. Her work seeks an aesthetic of chaos where previously only the order imposed by the production line existed. Her creations purposefully relate to questioning the inadequacy of the constructed world of matter. She offers an aesthetic of rebellion against this civilizing process. While industrial products prioritize certainty, Adriana reveals the instability of uncertainty as a goal in material existence. A message in reverse that links her to the artists of Black Mountain College and their Dadaist heritage. This rebellion against disposable objects is reflected in a set of procedures that negate the origin and logic of industry. They are unique creations impossible to serialize. In this sense, it is the opposite of Pop Art, also a movement derived from super-industrialization. Her work does not seek the resolution of conflicts. It denounces the inadequacy of these objects in the world of mass consumption. The organization of chaos allows for new meanings and purposes for these previously disposable objects. It is the poetics of a new state of matter."
Marco Cavalcanti
MSc UFRJ
Laboratório de Atmosferas, 2023
We inhabit an ordered world; we see this in product design, in the centrality of furniture, all made for the average behavior of bodies and their unfolding in our way of thinking. The world as it opens to our perceptions already carries within its openness a way of being, which shows that Western tradition has unified a thought of totality as a binding measure.
At the same time that apparent order presents itself, we know that the nature we idealize is undergoing considerable transformation. It does not escape our notice that climate change, the pollution of rivers and seas, are harmful interventions in the environment. The natural world has always been hostile to us. Philosophy and science have enabled knowledge to somehow create patterns for capturing both order and causality, allowing us to try to curb the dominance of the elements.
To shelter ourselves from natural phenomena, we have built an intimate architecture in which not only our ways of being, culture, and art are climatized, but also the architectural and metaphysical constructions that have converged into a common vocabulary, in the celebration of the encounter with the other.
The appearance of the face as facial recognition was an achievement of hominids throughout history, giving rise to the intimate sphere. The painted faces, so fragmented and lost in the landscape of proportion/disproportion of the artist Adriana Nataloni, give us the opposite impression. More than ever, the discussion about totality and partiality reaches such prominence in our historical time. Can we only relate to the few vestiges that remain? Is there, in the fragmentary handling of form (and its editing), a very particular way of dealing with everything else? Are the inorganic remains thrown into the streets disconnected from the global dimension of the debate they solicit?
Discarded in impressive volumes and rendered invisible as a global problem, they take on an urban dimension when picked up for some possible purpose. Both artists and the hungry search through garbage bins. The former see potential sculptures; hence, the collection of industrial waste is not only linked to the pop culture of its packaging, but the very act of reintegrating it constitutes a work of art. Clearly, the artist is part of a long tradition in art history that stretches from Duchamp to the Conceptualist movement. By not hierarchizing materials, but manipulating them as art objects, not necessarily using them in the direction of a social stance (recycling), Adriana involves them in the surrounding environment of the world.
It is in this openness between artistic thought, worldview, and manipulation of life that the strength of Adriana Nataloni's artwork lies.
Aline Reis
Centro Cultural Municipal Sérgio Porto | Rio de Janeiro
GROUPAL
Abraço Coletivo, 2025
Abraço Coletivo is a project that aims to organize exhibitions in independent spaces, in order to affirm the potential of working with art in a free and self-managed way. Based on the premise of the power of collectivity as a mobilizing force for transformation, the project operates on the principle that all artists are welcome! In other words, it is an exhibition where the curatorship does not stem from specific research, judgments, themes, or anything else, but rather from the beauty found in our ability to organize ourselves for a common interest, in this case, art.
Its first edition took place in 2017 at Espaço SARACURA (2016-2019) in Rio de Janeiro, with the participation of over one hundred artists. In 2019, the project was hosted by Ateliê 397 in São Paulo and involved almost three hundred artists. Now, in its third edition, it will take place from April 26th to May 3rd at Canteiro, in São Paulo.
Canteiro - São Paulo
Projeto Antessala, 2025
Ateliê 31 | Rio de Janeiro
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Salve São Jorge 23, 2025
Portão Vermelho | Fábrica Bhering | Rio de Janeiro
Jardim de verão, 2025
Galeria Dobra and Artnova invite the public to a sensory immersion in a vibrant landscape, where nature overflows with colors, textures, and desires. "Jardim de verão" is a group exhibition that brings together artists whose works evoke the universe of botany, the tropics, heat, and libido. On the second floor of the iconic Fábrica Bhering in Rio de Janeiro, the show transforms the exhibition space into a vibrant garden, where leaves, fruits, flowers, and bodies intertwine in a voluptuous dance. The works move between painting, sculpture, photography, and installations, creating an environment where the aesthetic experience merges with the sensory. The viewer is enveloped by organic forms and warm atmospheres, by hues that evoke desire, by surfaces that seem to breathe and transpire under the heat of the Rio summer. The eroticism of nature is revealed in the latent force of the images, in the vitality that springs from the compositions. The tropical, here, is not just a landscape, but a state of intensity and surrender—a pulsation that crosses the gaze and awakens the senses. An invitation to let yourself be carried away by the warm breeze that permeates the season and the art.
Galeria Dobra e Artnova | Fábrica Bhering | Rio de Janeiro
Máscaras, 2024
The clay mask, applied to the face as an ephemeral material, carries within its essence the transience of its existence. When molded onto the skin, it assumes unique shapes and textures, creating a dialogue between the human and the organic. Its ephemerality reinforces the idea of transformation.
Ateliê Pluralistas | Fábrica Bhering | Rio de Janeiro
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Giro Abissal, 2024
The exhibition “Giro Abissal” deals with the decolonial historical ceiling as a visual bulwark for artists who, in their time, are experiencing the disintegration of the Eurocentric world, a relic of the imaginary repertoire we once inhabited, mirroring our artworks. Even steeped in European ontology and epistemology, and understanding that Contemporary Art remains close to the theoretical and visual developments of Europe and the United States of America, we have seen the decolonial paradigm erupt with full force in the Brazilian art circuit in these first decades of the 21st century. This means that the modus operandi of the Global North as a universal aesthetic, ethical, and political model of a society is being problematized, including in the diametrically opposed dynamic of the Global South, which did not go unnoticed by authors who previously wrote about the asymmetrical relationship between developed countries and subaltern Latin America, or as the sociologist Alain Touraine stated in his television analysis: “Latin America does not exist.” The shift would reach the historical sedimentation of social roles, the economic and territorial issues that maintain the abysmal asymmetry between the peoples of the Global North and South, operating directly on the colonized relations preserved in the coloniality of power, knowledge, and being.
Aline Reis
Consulado argentino | Rio de Janeiro
Feira de Arte Aberta, 2024
-The Feira de Arte Aberta was born with a clear purpose: to connect independent artists with the public – from art lovers and experienced collectors to those seeking their first acquisition. With works by more than 50 artists, a vibrant and energetic movement begins. "Admire and acquire" is our motto, and on the very first day of the inaugural edition, this experience came to life.
Fábrica Bhering | Rio de Janeiro
A Arte Que Nos Une, 2024
Luis Felipe Noé, Oscar Smoje, Xul Solar, Marta Minujín, and Antonio Berni are just a few of the renowned Argentine artists whom we Brazilians deeply admire. This artistic brotherhood between our countries resembles a family dynamic: love, competition, minor squabbles, but above all, much affection and mutual respect. Cultural differences exist, and the intensity of the Argentinians is evident in their actions. I had a clear perception of this at the Buenos Aires airport, when I found myself in the midst of a human whirlwind, without understanding what was happening. In fact, that frenzy was due to Maradona's arrival from a trip. Argentinians, driven by strong emotion, demonstrate immense veneration for their idols, something that is deeply reflected in their artistic expression. In Buenos Aires, when we visited the Malba Museum and encountered Tarsila do Amaral's work, Abaporu, we felt the importance and prominence that Argentinians give to Brazilian art. This feeling of recognition and appreciation transcends borders and is a strong link between our cultures. Similarly, we reciprocate this admiration, delighting in the works of Argentine artists. The exhibition of Marta Minujín at the Pinacoteca de São Paulo, for example, attracted endless lines of visitors eager to contemplate her dazzling and innovative works. The Argentine and Brazilian artists whose works we present here demonstrate this fraternity by adopting similar artistic principles. The vibrant colors, unique forms, and profound narratives of each artist demonstrate the intertwining of our cultural productions and the constant exchange of influences and inspirations. Each work in this exhibition is a living testament to the collaboration and artistic dialogue that enriches both sides. In this artistic universe created, we pay homage to the friendship between our sister countries, united also by art. Through the works exhibited, we celebrate not only the individual genius of each artist, but also the spirit of cooperation and respect that strengthens the relationship between Argentina and Brazil. May this exhibition serve as a reminder of the unifying power of art and the importance of valuing and promoting the culture of our neighbors.
Mario Camargo
Mosaico de Instantes, 2024
The central question of her research presents one of the most pressing discussions across the globe: the complexity of the Anthropocene. By working with inorganic materials discarded by consumer society, she recovers their sculptural potential, incorporating them into her drawings and paintings. In collecting industrial waste, she engages with the historical context of Pop Art, transforming it into sculptures, assemblages, objects, and installations. In her self-portrait photography, she questions the deconstruction of the face through the incorporation of drawing and painting, thus bringing together a multi-faceted approach in her work.
Aline Reis
Casa Gerson | Rio de Janeiro
Ciclo Expositivo, 2024
Galeria Tato presents the CICLO EXPOSITIVO 10 and 11, a show that brings together approximately 30 works by 28 artists who participated in two editions of Casa Tato, the gallery's main program, which focuses on including promising artists in the art system. The opening will be at its headquarters in Barra Funda, a vibrant art district in São Paulo. The curators are Sylvia Werneck and Claudinei Roberto da Silva, with assistance from Maria Eduarda Mota. In this exhibition, the artists who participated in editions 10 and 11 of Casa Tato meet midway. The first group concludes its mentoring cycle, while the second begins it. They are, respectively: Adriana Nataloni, Anna Vasquez, Bianca Lionheart, Desirée Hirtenkauf, Edu Devens, Gela Borges, Glenn Collard, Isabel Marroni, Janice Ito, Jaqueline Pauletti, Marcelus Freschet, Marina Marini Mariotto Belotto, Neto Maia, Tomaz Favilla.
Sylvia Werneck
Galeria Tato | São Paulo
Bioma Bhering, 2024
In the curatorial texts, words/concepts act as if they were joints – knees, elbows, wrists, ankles, shoulders – of a body that needs to move to constitute, collectively, a mass of more than thirty artists eager to show in an art exhibition the life that permeates both the various studios and art galleries and the other social worlds that nourish coexistence at Fábrica Bhering. The common desire to create an “immunological greenhouse” capable of acclimatizing future developments, partnerships, and actions is traversed by a historical time that sometimes shouts and sometimes murmurs “answers” to the art circuit, born from the current world. Themes such as nature, ecology, and the Anthropocene, among other discussions, are put “into play” in the relationships between the participants who inhabit the same geographical space, although diversity is one of their most significant differences. A trained eye on the various forms of “inhabitation” shows how we deal with space in both an ordered and a disorganized way. Regardless of whether the works are objects, paintings, sculptures, installations, or performances not yet visible, everything seems to contain symbols that inspire sharing, such as: nests, animals, telescopes, arrows, pennants, windows, landscapes, doors, photos, notes, questions... The works of art resonate and instill the desire of the other, shelter the hostile world, pour into the common space of culture, preserving a geometry vital to our existence.
Aline Reis
Fábrica Bhering | Rio de Janeiro
Cromatografia do Tempo, 2024
The exhibition proposes a unique experience by occupying the ruins of Parque Glória Maria with floating artworks, collectively weaving a large installation.
Artists from different Brazilian states present themes such as memory, time, space, and the relationship with the form and materiality of things.
Plural Produções
Parque Glória Maria | Rio de Janeiro
Que dizer de nós?, 2024
Galeria Tato inaugurates the group exhibition “Que dizer de nós?” at its headquarters in Barra Funda, a vibrant art district in São Paulo. The show brings together approximately 30 works by 28 artists who participated in two editions of Casa Tato, the gallery's main project, which focuses on including promising artists in the art system. The exhibition is curated by Katia Salvany and Sylvia Werneck, with assistance from João Pedro Pedro.
The exhibition features works by Adriana Nataloni (Argentina), Alessandra Mastrogiovanni (SP), Alexandre Vianna (SP), Anna Guerra (PE), Anna Vasquez (BA), Bet Katona (RJ), Bianca Lionheart (SP), Danilo Villin (SP), Desirée Hirtenkauf (RS), Diogo Nógue (SP), Edu Devens (RS), Flávia Matalon (SP), Gela Borges (MG), Giovanna Vilela (SP), Glenn Collard (SP), Isaac Sztutman (SP), Isabel Marroni (RS), Jamile Sayão (SP), Janice Ito (SP), Jaqueline Pauletti (SC), Júnia Azevedo (RJ), Laura Martínez (Mexico), Luciano Panachão (SP), Marcelus Freschet (SP), Marina Marini Mariotto Belotto (PR), Neto Maia (BA), Rogo (TO) and Tomaz Favilla (SP). Created in 2020 with the goal of boosting the careers of promising artists, the Casa Tato program is now in its tenth edition. “Over six months, participants undergo an immersion of more than 100 hours of meetings and exchanges with various professionals from the art system in Brazil and abroad,” explains Tato DiLascio, director of the gallery and creator of the project. The resident curators for editions 9 and 10 were Kátia Salvany and Sylvia Werneck. Among the guest curators are: Agnaldo Farias, Alice Granada, Andrés Duprat, Daniela Bousso, Francela Carrera, Filipe Campello, Javier Villa, Lorraine Mendes, Lucas Benatti, Ludimilla Fonseca, Marcello Salles, Nancy Rojas, Paula Borghi, and Rejane Cintrão.
In this exhibition, the artists who participated in editions 9 and 10 of Casa Tato meet midway. The first group concludes its monitoring cycle, while the second begins it. “With quite specific research and varied poetics, we can say that, in their work, the groups share a desire to scrutinize the everyday and, hopefully, glimpse some connection in the adventure of existence,” says Katia Salvany. “Dealing with the transient, finding the body's place in the city, trying to rebuild the broken link with nature, or understanding memory are some of the issues addressed by the artists. The artistic languages are as varied as the paths chosen for immersion in their processes,” summarizes Sylvia Werneck.
Katia Salvany e Sylvia Werneck
Galeria Tato | São Paulo
Superfícies se aproximam, 2023
Adriana Nataloni's work mobilizes concepts such as nature, ecology, and the Anthropocene when it shows the plastic traces that inhabit our daily lives. These traces emerge as images, allowing for the free association of ideas to be projected onto the viewer's interpretative horizon. At this point, some questions arise: if we start from the familiarity we have with images, the result of much "training," can we see the artwork beyond itself? Why do we talk about images today and not about works of art? How many exchanges of distinct apprehensions (and unequal readings) are necessary to construct a contemporary artwork? These questions are more necessary for enjoyment than merely a curatorial resource to be answered. A new perspective on the world of algorithms is necessary.
Aline Reis
Fábrica Bhering | Rio de Janeiro
Territórios insustentáveis, 2022
The group exhibition at the Antonio Berni Gallery features twenty-seven artists from different regions of the country and the world, occupying various "territorialities" of contemporary art: painting, sculpture, installation, object, video, and intervention. The works converge on discussions within the art circuit: space from a geographical perspective, time in the political field of social relations, and corporealities, not only in new non-normative bodies, but also within new dominant paradigms. The two interpretative vectors – Decolonial thought and the Anthropocene – appear in the visuality of the works: from portrait to landscape, from faces to vestiges, from animals to lichens. The unsustainability of inhabiting a historical world governed by the speed and velocity of technology, and its globalized character of absorption and exchange, mobilizes us and leaves us overwhelmed for an exhausting amount of time. Contemporary art enables this respite by creating its own atmosphere of withdrawal from the demands that imprison us. Quoting the artist Anselm Kiefer: “What does an artist do? Establishes relationships between things. Ties together the invisible threads between them. Immerses himself in history, whether it be the history of humanity, the geological history of the Earth, or the beginning and end of the Cosmos.
Aline Reis
Consulado Argentino | Rio de Janeiro
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