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Poetic investigation into the artificiality of advertising images and the fetish of merchandise. In this exhibition, interventions were made in images of fashion catalogs. The action consists of questioning the artificiality of advertising images, replacing the aseptic and pasteurized composition typical of these commercial images with dreamlike landscapes. Small pieces of advertising are left as a way to highlight the constituent layers of the pictorial composition. In small-format canvases, the materiality of the ink and the paper collages create subversions of the patterns of luxury, beauty and consumption of the photographic bases resulting from advertising.





In 2019 the Gallery Artist walks through the streets of downtown Rio de Janeiro, inspired by the “one man band” concept, a musical artist who performs in the urban center by playing multiple instruments by himself, often also selling his CDs.

In the work intitled “The body is the work” by Antonio Manuel, the piece of art becomes the body of the artist himself, who was exposed naked as a statue in a vernissage, a work of art that had also been submitted and refused in 1970, at the 19th Salão de Arte Moderna do Rio de Janeiro.

“Parangolés”, by Hélio Oiticica, a 1967 work that arose from Hélio Oiticica’s experience with the community of the Estação Primeira de Mangueira samba school, in Rio de Janeiro, is performed with the mixture of songs . The work takes the passivity away from the audience, and it is an invitation to interaction.

Video performance of the Artist Gallery in downtown Rio de Janeiro, 2019

The Gallery Artist discusses the illusion that artists, especially newcomers, have that their careers would be settled if they managed to attract the attention of a dealer or a gallery. It discusses the white cube (the neutral white space, with little interference, adequate lighting, ventilation, neutral floor), transforming the exhibition space and turning his body into his gallery. Therefore the artist becomes the assembler, the manager, the dealer and often the curator of his own art, taking his work with him and reaching out to the audience, who no longer needs to move and go to a space meant for the exhibition of an artistic production. It gets the artist and the art to come together, and the work has the city landscape as a backdrop. As the graffiti spread over the walls, interacting with historical buildings, the Gallery Artist interacts with the Municipal Theater of Rio de Janeiro, with Cinelândia square and the subway station. The Gallery Artist is also part of the comprehension of urban art: he abstracts from the concept of time and space, developing and walking in urban centers.

This project gains power by using locative media – a term coined in 2003 by Karlis Kalnins, which means a set of technology and information method. In his performance, the Gallery Artist carries a sign with a printed QR Code that directs to the Gallery Artist website.


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The Gallery Artist took part in the collective exhibition "Assim se Conta essa História", curated by Jozias Benedicto and Isabel Sanson Portella, which was held at Espaço Cultural Municipal Sérgio Porto, from 02/13 to 03/29/2020. With a transmedia nature, the work connected both a performance side and a virtual side, and the audience in the gallery saw it through a live broadcast on Instagram that was displayed on a tablet device attached to the wall and properly framed. The artist Pedro Castello Mandarino went from a spot in the Jardim Botânico neighborhood to the gallery at Espaço Sérgio Porto, where he met the audience that accompanied the live broadcast.

Performance at the opening of the exhibition "Assim se Conta essa História"


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The carnival period was full of samba, meetings, hashtags and new connections. Rio's thievery interrupted the schedule when the Gallery Artist was robbed during the Carmelitas carnival block, but he remains fine.

Performance in the Suvaco do Cristo, Carmelitas and Céu na Terra carnival blocks, 2020

Perform in the Suvaco do Cristo block, 2020

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