Guita Soifer has built a long career of singular importance to the history of Art in Paraná. Throughout her trajectory, she has moved across multiple languages, such as printmaking, drawing, painting, photography, video art, and installation, and constantly seeks new media to expand her creative processes. Drawing since childhood, she began to dedicate herself professionally to the visual arts in 1979. From then on, she participated in courses and worked actively in studios alongside leading figures of Paraná and Brazilian art.

A strong presence in Paraná’s art scene, consistently featured in Biennales and Shows, Soifer has held solo exhibitions at renowned institutions such as the Museum of Contemporary Art of Paraná, the Oscar Niemeyer Museum, Hebraica Art Gallery, the Patrícia Galvão Culture Center, Casa Andrade Muricy, the Metropolitan Museum of Art, the Museum of Printmaking of Curitiba, and the Alfredo Andersen Museum, in addition to participating in numerous group exhibitions.

Guita’s work has also reached international audiences through solo shows in Germany, the United States, Belgium, Argentina, Chile, Romania, and Paraguay, and with works exhibited in Japan, Poland, France, Puerto Rico, and Venezuela.

The strength of Verena Smit’s work blossoms from the human nature, appreciated as a profound prism of affections. She finds fertile ground in words, accessing the imagination to create visual narratives and poetic provocations that unfold in dialogue with the public.
By inviting viewers to take on the role of creators—or even become part of the artwork itself—Smit’s work achieves its fullest originality: an intimate, individual, and non-transferable identification.

Trained in Film and Photography, Smit is a multidisciplinary artist with a gaze that is both sensitive and incisive. Born in São Paulo in 1984, she has published two books, the most recent being Eu Você (Paralela, 2016). She served as the Brazilian creative collaborator for the Italian brand Gucci for five years, and her work has been featured in prestigious publications such as Vogue, Glamour, and Harper’s Bazaar. She has also collaborated with major brands such as Hering, Granado, and Johnnie Walker. In 2022, she launched the project “Poesia Concreto,” spreading eight works across downtown São Paulo on different supports.

She has exhibited in New York, Madrid, Mexico City, and Vienna. Her work is represented in both public and private collections in Brazil and abroad.

Aline Bispo (São Paulo, 1989) is a multidisciplinary visual artist, illustrator, and independent curator—currently a curator at Instituto Ibirapitanga and columnist at Nós Mulheres da Periferia (“We, Women from the Outskirts”). In her work, she investigates themes intersecting Brazilian miscegenation, gender, and ethnic and religious syncretism.

She is part of the group of artists with works exhibited and/or present in the collections of MASP, IMS Paulista, Pinacoteca de São Paulo, SESC, Museu Afro Brasil, Itaú Cultural, MAM-SP, MAC-RS, Latin Grammy, and Galeria Luis Maluf.

She has three large-scale murals at Minhocão Park in São Paulo, including Salve, Lélia!, honoring the intellectual Lélia Gonzalez.

Aline has also illustrated covers of significant books, including Torto Arado and Itamar Vieira Junior’s recent trilogy. She co-authored Serena Finitude with Anelis Assumpção and illustrates Djamila Ribeiro’s weekly column for Folha de São Paulo.

Multidisciplinary, she also entered the fashion space, launching her first collection, Brazilian Beauties Hering, created the prints that occupied the São Paulo Fashion Week catwalk, in the Fartura collection, by Naya Violeta and in 2025, alongside Flávia Aranha, entered the MASP collection, with the pieces Cio da terra I and II, produced during the MASP: Fashion Art program.

In 2024, Aline also launched the Caminhos do Sol collection in partnership with the large furniture and decoration retailer Tok&Stok.

Leandro Mendes – known as VIGAS – is a Brazilian multimedia artist who develops large-scale projections, light installations, 360° projections, and live performances. His public art projects explore an organic aesthetics and use viewer immersion as a starting point for unique experiences. His career includes performances at several national and international festivals, as well as directing and curating the Festa das Luzes in Joinville, Santa Catarina.

Renata Egreja (b. 1984, São Paulo) has developed an intimate connection with nature since childhood, cultivated on her matriarchal family’s farm amid the plantations of central-eastern São Paulo. This context has shaped her journey, which also includes the experience of motherhood and work as a doula. In 2019, she returned to her childhood home and now lives in Ipaussu with her husband and two daughters.

She began her training in Fine Arts at FAAP-SP and, between 2007 and 2013, settled in Paris, where she completed her undergraduate and master’s degrees at the École Nationale Supérieure des Beaux-Arts. Prior to that, she immersed herself in the world of Carnival, working with floats for samba schools such as Mocidade Independente de Padre Miguel (RJ) and Nenê de Vila Matilde (SP). Her work ranges from sculpture, ceramics, embroidery, installation, watercolor, and performance, but it is in painting that she finds her lifeblood. Her large-format canvases articulate expansive gestures, intense colors, and layers of paint that reveal research into rhythm, fluidity, overflow, and feminism. She has participated in solo exhibitions at galleries such as Zipper, Lume, and FAMA, as well as group exhibitions at institutions such as Instituto Tomie Ohtake, Paço das Artes, MAC Sorocaba, Museu de Arte de Curitiba, Sesc-SP, FAAP, and Pinacoteca Fórum das Artes. Abroad, she presented works in Milan, Frankfurt, New Delhi, and Miami.

Her works are part of collections such as those of the Itamaraty, MAC Sorocaba, and FAAP, and have been recognized by awards such as the Young Talents of the Université Paris-Dauphine (2010), Itamaraty Contemporary Art Award (2012), Sanskriti Foundation (2013), and the Artistic Trajectories Award of the São Paulo State Government. The artist recognizes herself within a constellation of women she admires and reveres, such as Sonia Delaunay, Tarsila do Amaral, Beatriz Milhazes, Georgia O’Keeffe, Louise Bourgeois, and Leda Catunda.

Illustrator Filipe Jardim, an avid traveler, shows his flexible style on the most wonderful beaches of the Antipodes. A native of Rio de Janeiro, he appreciates the natural beauty of his destinations, contributing to prestigious magazines (the New Yorker, Harper’s Bazaar, Air France magazine, etc.), fashion magazines (São Paulo Fashion Week, Vogue), and luxury magazines (Louis Vuitton, Hermès, Chanel, Tiffany & Co. etc.).

Coletivo Brutas is a group of five artists—Erica Storer, Estelle Flores, Gio Soifer, Jéssica Luz, and Pac Calory—who have gathered since 2015 to engage in dialogue about artistic processes.

With the subjectivity each of these bodies carries, we form a microcosm. Our common ground is words; our vocabulary becomes our history. Collective experience is woven through shared memory, a history that can only be written from different perspectives. The things we materialize confront issues in the public sphere because they stem from an intrinsically public situation. Sharing is political and, in the very act of converging, we experience the utopia of being the collective body. This moves, especially because five bodies together never stand still. The power of us as a solution overflows into the power of us as a question, as an active voice in a larger investigation that is life. And life is life collectively.

André Azevedo (Curitiba, Brazil, 1977) studied Industrial Design at the Federal University of Paraná (UFPR), and also graduated in Visual Arts from Centro Universitário Belas Artes in São Paulo. In a continuous experiment, he develops textile and linguistic construction techniques, manipulating the ordinary material of the world and adding symbolic layers to these elements.

His research on textiles draws on his personal and family experiences with fabric. From this practice, Azevedo came to understand textiles simultaneously as language, concept, and material, enabling countless modes of interaction with the world. His works often begin with the etymology of the word text and a quote frequently used by many authors: “Text means textile, and a line is a thread of linen cloth.”

Azevedo explores the structure of the weave within the world of storytelling, using notions of “following the thread,” “backdrop,” “no loose ends,” and other figures of speech. The fabric provides an opportunity to dwell on the idea that things occur through interweaving: that they follow phenomena of repetition, transmit processes, and consequently revive images. Azevedo begins with the assertion that fabric is a medium because it is in the middle—between man and the world, and between the world and all the things it also covers—and thus uses various malleable supports, such as books, screens, video, and sound installations.

In 2024, Azevedo completed the artist residency The55Project Art Foundation & El Espacio 23 in Miami, United States, and in 2022, the artist residency at the Josef and Anni Albers Foundation in Bethany, United States. He was a finalist for the International Emerging Artist Award (2014) in Dubai.

He has held solo exhibitions such as “Writing-Mirage” (2025), Simões de Assis, São Paulo; “Consonant” (2025), Massapê Projetos, São Paulo; “Text (T)” (2024), Fundación Pablo Atchugarry, Miami, USA; “Obverse” (2022), Simões de Assis, Curitiba; “Anthropology of Entanglement” (2020), Simões de Assis, São Paulo; “Poems” (2020), Simões de Assis, Online Exhibition; “André Azevedo & James English Leary” (2017), Simões de Assis, Curitiba; and “Tropical Reminiscence”, Joyce Gallery, Beijing.

Among group exhibitions, highlights include: “Craft Front & Center: Conversation Pieces” (2024), Museum of Arts and Design, New York, USA; “Weavings and Interlacings” (2023), Simões de Assis, São Paulo; “Brazilianness – Postmodernism” (2022), CCBB, São Paulo and Rio de Janeiro; “Masks: Fetishes and Phantasmagorias” (2022), Paço das Artes, São Paulo; “Affinities” (2021), Oscar Niemeyer Museum, Curitiba; “22^nd Curitiba International Biennale, Light versus Light” (2015), Museum of Contemporary Art of Paraná, Curitiba.

His works are part of important collections, such as those in the MAD – Museum of Arts and Design, New York, USA; The Josef and Anni Albers Foundation, Bethany, USA; Instituto Pipa, Rio de Janeiro; MAR – Museum of Art of Rio, Rio de Janeiro; MON – Oscar Niemeyer Museum, Curitiba; and MAC-PE – Museum of Contemporary Art, Olinda, Brazil.

Mariana Palma creates unique pictorial spaces, built through the juxtaposition of elements from distant families. On her large, saturated-color canvases, tiles coexist with foliage, drains with anemones, theater curtains with flowers, patterned fabrics, draped and unraveled. In her watercolors and photographs, natural and artificial elements generate improbable hybrids.

The result is unexpectedly harmonious and enigmatic compositions that, by provoking a sense of strangeness, invite the viewer to take time for observation. Contemplation reveals genetic traces. Grandeur, dramatic intensity, emotional exuberance, vitality, the construction of movement, the use of contrasting textures, and luxurious materials reveal a dialogue with Baroque painting of the 16^th and 17^th centuries, evoking reflections on sensuality, the transience of beauty, and the bombardment of contemporary images. The use of pure colors recalls Flemish painters, while subtle perspective-based effects suggest mastery of Renaissance lessons (and their subversion).

The artist draws on the assumptions of pictorial tradition to address her concerns. The references filter the emotional repertoire and generate a work in which the apparent overflow of elements ultimately follows a precise organization.

She graduated in Fine Arts from Fundação Armando Alvares Penteado – FAAP, in 2001. Among the exhibitions she has participated in are: The Vanity of the Caged Bird, Galleria Vistamare, Milan, Italy; Painting as a Verb, Galeria Millan, São Paulo, Brazil; Inner Lake, Casa da Ópera Municipal Theater, Ouro Preto, Brazil, 2022; Affinities, Oscar Niemeyer Museum (MON), Curitiba, Brazil, 2021; As in the Gardens, Palácio das Artes, Belo Horizonte, Brazil, 2021; Lumina, Tomie Ohtake Institute, São Paulo, Brazil, 2020; Soma, Casa Triângulo, São Paulo, Brazil, 2017; The Light that Veils the Body is the Same that Reveals the Canvas, Caixa Cultural, Rio de Janeiro, Brazil, 2017; The World Machine – Works from the Fabio Szwarcwald Collection, Z42 Arte, Rio de Janeiro, Brazil, 2016; Piece by Piece – Building a Collection, Kemper Museum of Contemporary Art, Kansas, USA, 2015; among others.

Her works are part of important institutional collections such as: Oscar Niemeyer Museum (MON), Curitiba, Brazil; Museum of Art of Rio (MAR), Rio de Janeiro, Brazil; Itaú Cultural Institute, São Paulo, Brazil; Banco Itaú S.A. Collection, São Paulo, Brazil; among others.