SP-ARTE 2022

SP-ARTE 2022
Rafael Kamada

SP-ARTE 2022

Stand G8 | April 06-10, 2022
Biennial Pavilion | Ibirapuera Park

We are pleased to announce our participation
at SP-ARTE 2022, presenting works by:

Alan fontes
Daniel Mullen
Felipe Góes
Fernanda Figueiredo
Isabelle borges
Mirela Cabral
Paulo lobo
Rafaella braga
Shizue Sakamoto

The Kogan Amaro Gallery participates in the 18th edition of SP-Arte, largest art fair in the southern hemisphere, with works by artists Mundano, Mirela Cabral, Shizue Sakamoto, Rafaella Braga, Felipe Góes, Fernanda Figueiredo, Daniel Mullen, Isabelle Borges, Alan Fontes and Paulo Lobo. The fair takes place between April 6th and 10th, at the Biennial Pavilion – Ibirapuera Park, and the gallery’s booth will be the G8.

The novelty for the occasion is the launch of the Kogan Amaro Digital Art Gallery. Expanding its area of operation, the gallery also starts to work with NFT, bringing this universe closer to artists, collectors, investors and the general public. From now on, with a specific curatorship, Kogan Amaro Digital Art Gallery will offer NFTs to the market, aiming to simplify the activities in this area and contribute to the formation of new audiences. With this initiative, the gallery, which has units in Brazil (São Paulo) and Switzerland (Zurich), reinforces its global performance, expanding its reach and facilitating the operations of digital portfolios.

Canvases by nine artists that contemplate Kogan Amaro São Paulo’s exhibition calendar in 2022. From mineiro Alan Fontes, works from the series Desconstruções #1 and #5, from abstract painter Daniel Mullen, born in Scotland, canvases from the series Interaction, Osmosis, among others. By Felipe Góes, an artist from São Paulo, the gallery is showing a series of paintings of landscapes, a recurring theme in his works that are not based on photographs, with striking colors and strokes. The artist is also showing the solo show Ciclo Circadiano (Circadian Cycle), at the Galeria Kogan Amaro, until May 14.

The artist Fernanda Figueiredo is represented with her colorful canvases where she plays with geometric shapes, among them Volpi / Sacilotto / Pape / Lauand / Oiticica / Bill and Souvenirs. From the Bahian artist Isabelle Borges, Window 1 and 2, and from Mirela Cabral, another artist from Salvador, ten works, the vast majority from the series Mantra, Sutura, Seroquel, 2022, where she uses the technique of embroidery on felt.

Another artist brought to the pavilion by the gallery is Mundano, from São Paulo, who has just presented the show Semana de Arte Mundana, at Kogan Amaro. His works, of an extremely political nature, are known for using mud from the criminal tragedy of Brumadinho, ashes from burnings in the cerrado, the Amazon, the Atlantic Forest, and the Pantanal, and oil that hit the beaches of the Northeast. Closing the list of artists, from Goias, Rafaella Braga, LALA, 2021 and Fronha de cotton, 2021, where the artist mixes acrylic, spray, gouache, among other elements; and from São Paulo, Shizue Sakamoto, the Untitled series N. 133 e 153, 2021 – 2020.



He has a master’s degree in Visual Arts from the Federal University of Minas Gerais. He is an artist, researcher, and professor of painting at the School of Fine Arts at the Federal University of Minas Gerais. He is part of the art research group Diagrama.

His main solo exhibitions and projects were Black House, at Volta NY in New York (2018); National Exhibition, at Luciana Caravello Gallery in Rio de Janeiro (2018); The Book of the Wind, at Emma Thomas Gallery, New York (2016); Poetics of a Landscape – Memory in Mutation, at Centro Cultural Banco do Brasil, Rio de Janeiro (2016); The House, at Paço das Artes, São Paulo (2007).

She has participated in group shows such as: Casa Carioca at MAR, Rio de Janeiro (2021), What Emanates from Water at Carbono Gallery, São Paulo (2019); The Designs of Contemporary Art in Brazil at MAC USP, São Paulo (2017); The Light that Sails the Body is the Same that Reveals the Canvas at Caixa Cultural, Rio de Janeiro (2017); To the Love of the Public I, at the Rio Museum of Art, Rio de Janeiro (2016); MAP Bolsa Pampulha Show, Pampulha Museum of Art, Belo Horizonte (2014) and Awarded FOCO International Art Rio Fair, Rio de Janeiro (2013).

He has held the artist residencies: Pintura Além da Pintura, of CEIA, Belo Horizonte (2006); 5th Edition of the Bolsa Pampulha Program, Belo Horizonte (2013); and Baró Residency, São Paulo (2014). Among the latest awards received are Bolsa Pampulha 5th edition (2014); 1st Bradesco/ArtRio Focus Award (2013) and the I Contemporary CCBB Award.

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Abstract painter Daniel Mullen was born in Glasgow, Scotland, in 1985. Graduated in 2011 from the Gerrit Rietveld Academy in Amsterdam, where he currently resides. Mullen has had his works exhibited in London, Vancouver, New York, and more recently, held his first exhibition at the Direktorenhaus Museum in Berlin. Mullen’s artistic career started as a natural passion he exerts for architecture and spaces; what fascinates him is to create spaces, unoccupying them thereafter. He creates perspectives, toying with optical illusions, which come to place by combining pigmentation and geometry.

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Working mainly with images of landscapes and cosmos, Felipe uses painting to discuss the production and perception of images in contemporary times, and address issues related to nature, environment, and our existence on planet Earth.

The images are not based on photographs, or even on real places. For the artist, it is important that the final image emerges from the creative process, mixing memory and fantasy.

He has held solo exhibitions at Galeria Kogan Amaro (São Paulo, 2019 and 2022; and Zurich, 2022), Galeria Murilo Castro (Belo Horizonte, 2018), Instituto Moreira Salles (Poços de Caldas, 2017), Galeria Virgílio (São Paulo, 2016 and 2018), Central Galeria de Arte (São Paulo, 2014), Phoenix Institute of Contemporary Art (Arizona, USA, 2014), Museu de Arte de Goiânia (Goiânia, 2012) and Usina do Gasômetro (Porto Alegre, 2012).

He participated in the group exhibitions “Color Bind” (Kogan Amaro Gallery, São Paulo, 2021), “Utopia of collecting the pluralism of art” (Marcos Amaro Foundation, Itu, 2019), “Fragments of a pictorial discourse” (Roberto Alban Gallery, Salvador, 2017), “2nd International Biennial of Asunción” (Asunción, Paraguay, 2017) and “Mapping Spaces” (Kentler International Drawing Space, New York, USA, 2016).

He has participated in artist residencies at School of Visual Arts (SVA) online (New York, USA, 2021), Phoenix Institute of Contemporary Art (Arizona, USA, 2014) and Instituto Sacatar (Itaparica, BA, 2012).

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Fernanda Figueiredo studied Architecture and Urbanism at Universidade Presbiteriana Mackenzie and Visual Arts at Fundação Armando Alvares Penteado in São Paulo. She took part in open calls as SARP – Ribeirão Preto and Salão de Abril – Fortaleza; she has exhibited at institutions such as MAM – Rio de Janeiro, MAM – Bahia, Kunsthaus Kannen – Münster, Galerie im Körnerpark and Kunstquartier Bethanien in Berlin; and in commercial galleries as A Gentil Carioca in Rio de Janeiro. She has also received several awards, including Programa Rede Nacional FUNARTE de Artes Visuais, Goldrausch Künstlerinnenprojekt Stipendium from the Berliner Senat, and from Jakob und Emma Windler-Stiftung for an artist residency in Switzerland in 2021. Her work is represented in private collections and in the collection of the Museum of Modern Art in Rio de Janeiro and Bahia Museum of Art.

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Isabelle Borges was born in Salvador in 1966. Between 1985 and 1987, she studied Social Sciences at the University of Brasilia. Between 1988 and 1992 she lived in Rio de Janeiro, where she attended at the Escola Visual do Parque Lage and had professors as Beatriz Milhazes, Daniel Senise, Charles Watson, among others. In 1993 she immigrated to Germany, initially lived in Cologne and worked as an assistant to the studio of Antonio Dias and the American artist Jack Ox, who was doing research on Kurt Schwitters, a German dadaist artist. The contact with Schwitters’ work had a strong influence on the work of Isabelle Borges, especially in her collage series. Between 1996 and 1997 he worked as assistant to Sigmar Polke. Studied at the art academy in Düsseldorf. At the end of 1997, she moved to Berlin, where she currently resides and works.

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Mirela Cabral is an artist born in Salvador, Bahia, in 1992. She lives and works in São Paulo (SP), where she graduated in Media Studies with a major in Filmmaking at Fundação Álvares Penteado/FAAP. She researches both abstract and figurative expressions, focusing on ordinary depictions as well as images from her own memory and from observational sketches drawn on her diaries. Mirela interacts, bends and defies strokes, shapes and textures that range from painting to drawing and to embroidery as her media of choice.

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Using art to mark his social, environmental and political positioning, the São Paulo native MUNDANO has been effectively exercising artivism as a tool for social transformation for over 15 years. An advocate for environmental causes and universal human rights, in 2012 he founded the NGO Pimp My Carroça, and the Cataki app, both aimed at connecting waste generators and recyclable material collectors. The result of his work opened doors to replicate these artivist actions worldwide – more than 20 countries visited performing murals, exhibitions, graffiti, lectures, partnerships, and integrating global programs such as TED Fellows.

In the last years, he has been developing an intense research on materials, collecting residues from the biggest environmental crimes in the country’s history, thus creating his own inputs from these waste products: toxic mud, ashes from forest burning, and oil spilled on the beaches of the northeast.

These residues are transformed into works of denunciation, whether through graffiti, sculptures, canvases, or on the gables of buildings. His latest work, of over 1000m2, pays homage to the forest brigades that put out criminal fires – in a new version of Cândido Portinari’s “O Lavrador de Café”, Mundano uses ashes from the burning of 4 Brazilian biomes: Amazon Forest, Atlantic Forest, Cerrado (savanna), and Pantanal to create this gigantic painting as a symbol against illegal deforestation.

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Paulo Lobo (1990, SP, Brazil) earned his BA in Fine Art from FAAP (São Paulo, BR) in 2015. In his multidisciplinary research, that starts from inquiring his relationship with painting, he explores the fields of sculpture, literature, video, action and photography stressing their potential of joint construction and the political possibility of their points of contact.

He worked as an assistant to the artist Nuno Ramos between 2015-2017, with whom he held 3 major exhibitions, Houyhnhnhnms (Estação Pinacoteca 2015), O direito a preguiça (CCBB BH 2016) and O Globo da morte de tudo (Sesc Pompeia 2016). As a founder of Ateliê São in 2017 in an old factory building in the neighborhood of Cambuci, São Paulo, he spent the first 3 years of activity focusing on developing his own work – today, the studio has 11 artists sharing the 700m2 space. He also assisted the artist Janaina Tschape in a 3000x1500cm mural, specially made for Sesc Guarulhos in the outskirts of São Paulo in 2018. In 2020, he moved to Itatiba and started the construction of a new way of working: outdoors, where the exploration of scales, forms and interactions proposed in the in his former large scale studio is expanded in the search for other limits – in direct dialogue with nature.

In 2020 he also ran as a councilman for the city of São Paulo with the Rede Sustentabilidade party, focusing on environmental policy and reforestation. In the same year he started the dramaturgy project Um Pássaro Canta, finalized and printed in 2021. The book brings five dramaturgies that are based on visual series developed by the artist in the last years of work in São Paulo’s studio. Currently, the artist divides himself between the Ateliê São, in São Paulo, and Ateliê Chão, in Itatiba. Among his next works we can highlight the group show Do sagrado e do profano (Sacred and profane) at Karla Osório Gallery in Brasília (June/2021) and the launch of his first publication Um Pássaro Canta at the independent space Olhão in São Paulo.

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Born in Goiânia, Brazil, 1998. Rafaella Braga began tracing her own path in arts through graffiti and later finding herself in painting, exploring it freely and without any pre-conception. She has been developing and materializing her ideas mostly on large scale canvases, that can take up entire walls, revealing a physically intense working method.

Using the canvas as a diary, her practice has the body as primer matter, investigating the self outlined by her vulnerabilities and secrets, and revolves around the interplay between reality and fantasy, identity and time, offering a dreamlike alternative to reality.

The artist have been developing her own projects, collaborating with international initiatives as so group exhibitions. Rafaella Braga is currently based in Berlin.

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Shizue works with painting and performs a delicate research of colors. It investigates the transience in the relationship between colors, and between the painting and the observer that are revealed before a look far from the speed. She participated in the course “Painting: Practice and Reflection” with Paulo Pasta, “Creative Process” with Charles Watson at the Tomie Ohtake Institute and “History of Art” with Rodrigo Naves.

She held individual exhibitions at Galeria Kogan Amaro (SP, 2020), Galeria Tato (SP, 2017) and Galeria Deco (SP, 2011). Participated in group exhibitions, Novas Representações (Galeria Kogan Amaro, 2019), Collective (Auroras, SP, 2018); PMG (Galeria Tato, SP, 2017); 3rd Ponta Grossa Contemporary Art Salon (Paraná, 2016); 46 ° Piracicaba Contemporary Art Salon (Piracicaba, 2014), “Marcas do Tempo” (Galeria Deco, SP, 2012), “Vestígio para o Futuro, Vestigios de 30 Anos” (Galeria Deco, SP, 2012), Great Exhibition of Arts Bunkyo (SP, 2010).

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