2022 - Presents the solo exhibition “Iole de Freitas: the flight of Pégaso”, curated by Ligia Canongia, at the Unimed-BH Minas Cultural Center in Belo Horizonte.
2021 - Presents the solo exhibitions “ Os Terra ”, at Galeria Silvia Cintra + Box4, in Rio de Janeiro, and “ RUBRO ”, at Galeria Raquel Arnaud, in São Paulo. Installs the public sculpture “ Drawing in the landscape ” next to Alalaô Kiosk, on the edge of Arpoador, for Art Rio. Participates in the group exhibition “ Vício impune: o artist collector ”, curated by Gabriel Pérez-Barreiro, a selection of nine artists represented by the Millan Galleries and the Raquel Arnaud Gallery, around the dialogue between their works and collections. And also, “ Constelação Clarice ”, at IMS Paulista, curated by Eucanaã Ferraz and Veronica Stigger, celebrating the work and legacy of the writer Clarice Lispector.
2020 - Participates in the collective “ Lights of Memory ” at the Institute of Contemporary Art (IAC), curated by Marilucia Bottalo and Ricardo Rezende. The exhibition Decupagem , curated by João Bandeira, is shown at Instituto Ling, Porto Alegre.
2019 - Performs installation at the event “ Selvagem ”, at the Tom Jobim theater, Jardim Botânico, Rio, curated by Ana Dantes. Participates in the exhibition “Jardim”, at Casa Roberto Marinho, curated by Lauro Cavalcanti. The exhibition Decupagem , curated by João Bandeira, is shown at Casa Firjan, Rio de Janeiro.
2018 - As of 2017, the reasoning of the work shifts from the interest in the work's relationships with the architectural spaces that house it, and starts to focus on the internal space of each sculpture, built by the relationships of its parts, in movements where the concave and the convex articulate and express. Appearing on paper and cardboard, they take on the corporeity of steel and return to the luminous fragility of paper as they are dyed a dull white and harsh to the eye. In April, the IAC holds the exhibition Decupagem, curated by João Bandeira, which addresses the wide documentary content of the artist's work, from the films and photographic sequences of the 1970s, to the latest sculptures. Participates in the exhibitions Radical Women: Latin American Art, 1960–1985, at the Brooklyn Museum, New York, and at the Pinacoteca do Estado de São Paulo; Brazil. Knife in the Flesh, curated by Jacopo Crivelli Visconti and Diego Sileo, at Padiglione d'Arte Contemporanea (PAC), in Milan; and MAM 70: Museum of Modern Art of São Paulo and Museum of Contemporary Art USP, at MAM-SP. Light Work is presented at the Historical Exhibition of the 13th Ouro Preto Film Festival. He holds the exhibition Papel de Aço, at Galeria Silvia Cintra, in Rio de Janeiro, when he exhibits the current sculptures in white.
2017 - In May 2017, the artist's documentary collection – which consists of more than 2,300 items, including models, drawings, photos and sketches – is transferred to the custody of the Instituto de Arte Contemporânea (IAC), in São Paulo. In October, on the occasion of the exhibition commemorating the institution's 20th anniversary, curated by Jacopo Crivelli Visconti, some items are exposed to the public. She participates in the exhibitions Radical Women: Latin American Art, 1960-1985, curated by Cecilia Fajardo-Hill, Andrea Giunta and Marcela Guerrero, at the Hammer Museum, Los Angeles; and Ways of Seeing Brazil: Itaú Cultural 30 Years, at OCA/Parque Ibirapuera, São Paulo, curated by Paulo Herkenhoff, and co-curated by Thais Rivitti and Leno Veras.
Presents the exhibition Dobradura Curva, with text by Elisa Byington, at Galeria Raquel Arnaud, in São Paulo. He makes the permanent installation Dora Maar e o Sonho, on the facade of the home of collectors Andrea and José Olympio, São Paulo.
2016 - Participates in the exhibitions The Many and the One: Brazilian Contemporary Art in the Andrea and José Olympio Pereira Collection, at the Instituto Tomie Ohtake, in São Paulo; and Engraving Club: 30 years, curated by Cauê Alves, at MAM-SP. It carries out permanent installation in Vila Aymoré, in Rio de Janeiro, as part of the activities carried out by the Jacarandá group. He holds the exhibition Iole de Freitas: the Writing of the Movement, at Roberto Alban Galeria, Salvador, curated and written by Marc Pottier.
2015 - Holds the exhibition O Peso de Cada Um, curated by Ligia Canongia, at the Museu de Arte Moderna of Rio de Janeiro, with a work specially designed for the museum´s Espaço Monumental, also presenting a series of works in glass entitled Escrito na água. Holds a solo show at Galeria Silvia Cintra, in Rio de Janeiro.
2014 - Presents the exhibition Sou Minha Própria Arquitetura, at Galeria de Arte Raquel Arnaud, São Paulo. Carries out the permanent installation at the Hotel Hilton/Barra, Rio de Janeiro. Her films from the 1970´s are shown at the exhibition On the Edge: Brazilian Experiments of the 1960s to Early 1970s, at MoMA, New York. Takes part in the shows Artevida, at Casa França-Brasil, Rio de Janeiro; Afinidades, Raquel Arnaud 40 Anos, at Instituto Tomie Ohtake, São Paulo, and at Instituto Figueiredo Ferraz, Ribeirão Preto; Trajetórias, at Galeria de Arte Raquel Arnaud; and Abstrações - Collection Fundação Edson Queiroz and Collection Roberto Marinho, at Espaço Cultural Unifor, Fortaleza.
2013 - At the time of Casa Daros´ opening, in the show Para (Saber) Escutar, occupies a room with a large installation, with polycarbonate sheets printed in green, entitled Para que Servem as Paredes do Museu? Launches a book about this work with interview given to Eugenio Valdés Figueroa. Holds a show at Galeria Silvia Cintra and does a permanent installation in the lobby of Fundação Getulio Vargas’ building, both in Rio de Janeiro.
2012 - Exhibits a large sculpture at ArtRio, in the Pier Mauá, Rio de Janeiro.
2011 - Participates in the Fundação Museu da Imagem e do Som´s project Depoimentos para a Posteridade, interviewed by Armando Strozenberg, Lauro Cavalcanti, Paulo Sergio Duarte and Paulo Venancio Filho. Based on this interview, the artist creates, together with the designers Rara Dias and Paula Delecave, the book O Desenho da Fala, launched at ArtRio, in 2012. Holds an exhibition at Galeria de Arte Raquel Arnaud, São Paulo, with a text pubished by João Bandeira in the folder. Eugenio Valdés Figueroa, Casa Daros´ Art and Education Director in Rio de Janeiro, invites her to the Residency Research Programme, when she developes the project Para que Servem as Paredes do Museu? Shows an installation on the institution´s front staircase, at the time of the meeting with Julio Le Parc, at Casa Daros and CCBB-RJ (and Sônia Salzstein´s participation), as part of the Programa Meridianos. Takes part in the show Figueiredo Ferraz Estate, that opens the Instituto Figueiredo Ferraz, Ribeirão Preto.
2010 - Shows a great installation in the courtyard of the building of the Pinacoteca do Estado de São Paulo. The catalogue of the exhibition presents an interview with Paulo Sergio Duarte, Paulo Venancio Filho and Sônia Salzstein. Participates in the exhibition O Desejo da Forma, curated by Luiz Camillo Osorio and Robert Kudielka, at the Akademie der Künste, Berlin.
2009 - In Rio de Janeiro, carries out site specific for Casa França--Brasil, and also exhibits at Galeria Laura Marsiaj.
2008 - Shows at Fundação Iberê Camargo, in Porto Alegre, work of large dimensions designed for the building´s courtyard, conceived by Álvaro Siza. The text of the exhibition´s catalogue is by Sônia Salzstein.
2007 - Participates in Documenta 12, curated by Roger M. Buergel and Ruth Noack, at the Museum Fridericianum, Kassel. Shows installation which occupies the second floor of the museum and expands to the outside area, hanging, around the front area and side of the façade. Also holds an exhibition at Galeria Laura Marsiaj, Rio de Janeiro, and at Gabinete de Arte Raquel Arnaud, São Paulo, besides taking part in the show Puntos de Vista – Daros Collection, at the Bochum Museum of Art.
2006 - Holds an exhibition at Galeria Márcia Barroso do Amaral, Rio de Janeiro.
2005 - At Centro Cultural Banco do Brasil, Rio de Janeiro, stages an exhibition curated by Sônia Salzstein. Designed for the site, it occupies the institution´s four rooms on the second floor with the works Estudo para Superfície e Linha and Estudo para Volume e Flecha. Participates in the 5thMercosul Biennial, in Porto Alegre, curated by Paulo Sergio Duarte, where she shows a great installation entitled Estudo de Superfície e Linha.
2004 - Executes a site specific - curated by Sonia Salzstein - at the Museu Vale do Rio Doce, Vitória, presenting a work that expands from the inner to the outer area of the institution, integrating architecture, exhibition space and landscape. Takes part in the show Arte Contemporânea: Uma História em Aberto, at Gabinete de Arte Raquel Arnaud, São Paulo.
2003 - Shows the installation Expansão, on the façade of the Centro Cultural Banco do Brasil, Brasília, curated by Marcus de Lontra Costa.
2002 - Holds an exhibition at the Centro Universitário Maria Antônia / USP. Launching of the book Sobrevoo – Iole de Freitas, organised by Lorenzo Mammi and published by Cosac Naify. Exhibits at Gabinete de Arte Raquel Arnaud, São Paulo, and at Galeria Anna Maria Niemeyer, Rio de Janeiro.
2001 - Participates in the exhibitions Experiment/Experiência, at the Museum of Modern Art Oxford, and O Espírito de Nossa Época - Coleção Dulce e João Carlos de Figueiredo, at the MAM-SP.
2000 - Holds, at the Centro de Arte Hélio Oiticica in Rio de Janeiro, an exhibition curated by Sônia Salzstein, in which she displays a work specially designed for that space and architecture, interconnecting rooms and involving the façade. Participates in the show Brasil + 500 Mostra do Redescobrimento, at Fundação Bienal de São Paulo.
2000 - 2014 - From 2000 on, the work seeks a relation of tension and power with the architectural spaces of museums and cultural centres. At times, her works physically break through the museum walls, extending outward, onto the façades, questioning the territorialisation of art.
1999 - Presents Território Vazado, at the Museu de Arte da Pampulha, Belo Horizonte; solo show at Gabinete de Arte Raquel Arnaud, São Paulo; and the installation Dora Maar na Piscina, at the Espaço de Instalações Permanentes do Museu do Açude, Rio de Janeiro.
1998 - Participates in the exhibitions 24th São Paulo International Biennial, at Fundação Bienal de São Paulo; Espelho da Bienal, at the Museu de Arte Contemporânea de Niterói; and in the I Premio Johnnie Walker, at the Museu de Arte Moderna, Mexico.
1998 - 2000 - The work seeks a specific activation of the chosen space, installing in it planes and twisted lines which, in magnetizing the air, confer speed to the course.
1997 - Exhibits at Galeria Anna Maria Niemeyer, in Rio de Janeiro and holds solo show at Gabinete de Arte Raquel Arnaud, São Paulo. Paulo Venancio Filho curates the retrospective O Corpo da Escultura: A Obra de Iole de Freitas 1972-1997, at the MAM-SP and at Paço Imperial, Rio de Janeiro. One of her sculptures, from the Transparências series, shown in this exhibition, is donated by AT&T to the MAM-SP.
1996 - Integrates the exhibition Entretelas, at the Museo Alejandro Otero, Caracas, alongside Beatriz Milhazes and Eliane Duarte, with text written by Paulo Herkenhoff and Ruth Auerbach. Shows the installation Corpo sem Órgãos, in the exhibition Utopia, at Casa das Rosas, São Paulo. Participates in the Bienal Rio, at the , taking part in the exhibition Transparências.
1995 - Holds solo show at the Museu Nacional de Belas Artes, displaying eight works from the series Teto do Chão and takes part in the project Ateliê FINEP, at Paço Imperial, both in Rio de Janeiro.
1995 - 1997 - The sculptures developed in this period become fluid, immaterial. The forms dissolve in space. Semitrans-parent stones start to contain inscriptions: nome líquido [liquid name], escrito na água [written in water]. The work expands in space, loosens itself from the walls, determines territories.
1994 - Participates in Bienal Brasil Século XX – Segmento Anos 70 e 80, curated by Walter Zanini and Cacilda Teixeira da Costa. Takes part in the ProjectArte Cidade: a Cidade e seus Fluxos, at the Espaço Banco do Brasil. Exhibits at Gabinete de Arte Raquel Arnaud her latest works Teto do chão, on metal meshes and slate. All the events take place in São Paulo.
1993 - Is invited as artist in residence by the Winnipeg Art Gallery, Canada, to carry out a large sculpture for the exhibition Cartographies: 14 Latin American Artists, curated by Ivo Mesquita. This show travels, until 1995, to another five museums: Biblioteca Luis Angel Arango, Bogota; Museo de Artes Visuales Alejandro Otero, Caracas; National Gallery of Canada, Ottawa; The Bronx Museum of Arts, New York; and to La Caixa, Madrid. Exhibits at Galeria Anna Maria Niemeyer, Rio de Janeiro.
1992 - Holds solo show at Paço Imperial. The catalogue of the exhibition presents Paulo Venancio Filho´s text “Inquietude do infinito”. Stages a solo show at Gabinete de Arte Raquel Arnaud, São Paulo.
1991 - Receives the Vitae Arts Grant and does large sculptures, which are exhibited at Paço Imperial, Rio de Janeiro. Participates in the Morumbi Chapel project, curated by Sônia Salzstein. This work was part of the artist´s 1992 solo show, at Paço Imperial.
As of 1991, some sculptures are designed for specific sites, such as the Morumbi Chapel, São Paulo; the Galpão Embra, in Belo Horizonte; and the Banco do Brasil, in São Paulo. In these works, the issues already developed in the work dialogue with the architectural elements of the given space.
1990 - Exhibits large sculptures in solo show at Gabinete de Arte Raquel Arnaud and in the catalogue is presented Paulo Venancio Filho´s text “Delicadeza traumática”.
1989 - Participates in the exhibition 10 Escultores, at Gabinete de Arte Raquel Arnaud, SP.
1988 - Holds solo show at Gabinete de Arte Raquel Arnaud, SP. The catalogue presents Ronaldo Brito´s text “Fluidos concretos”.Integrates the exhibition Panorama de Escultura, at the Museu de Arte Moderna de São Paulo (MAM-SP).
1987 - Presents a solo show at the Museu de Arte do Rio Grande do Sul (MARGS). From 1987 to 1989 takes over the board of directors of the Instituto Nacional de Artes Plásticas, Funarte, Rio de Janeiro.
1986 Receives the Fulbright-Capes Grant, for a research at the Museum of Modern Art (MoMa), New York.
1985 - Holds solo show at Galeria Paulo Klabin, Rio de Janeiro.
1984 - Holds solo show, at Galeria Arco, in São Paulo, of sculptures entitled Aramões, the catalogue of which includes Paulo Sergio Duarte´s text “Eu não sei”. Takes part in Tradição e Ruptura, invited by Walter Zanini, at Fundação Bienal de São Paulo. Exhibits esculptures and photographic sequences at Gallerie Grita Insam, Vienna.
1983 - 1994 - The body no longer emerges as the work´s mediator, but is, otherwise, replaced by the gesture itself, which adds body and sews, with meshes and threads, to the hollow volumes that unfold and become the new works: the body of the sculpture. The sculptural issues, gravity, weight and lightness, which now rise, reveal the poetics of the work by means of fragmentation, transparency and the tribute to the surface.
1981 - Participates in the 16th São Paulo International Biennial, displaying the installation Glass Pieces, Life Slices, in which images of the body are fragmented in the space and surface of emulsified glass plates.
1980 - Participates in the show Camere Incantale-Espansione dell’Imagine, at the Palazzo Reale, Milan. Integrates the exhibition Quasi Cinema, curated by Antonio Dias and Ligia Canongia, presented at the Centro Internazionale di Brera, Milan.
1978 - Does installation and performance entitled Exit, at the Studio Marconi, Milan. Participates in Art and Cinema, curated by Vittorio Fagone, at the Venice Biennale. Returns to Brazil, and Raquel Arnaud organises an exhibition of her 1970 works (videos, films, photographic sequences), at Galeria Arte Global, São Paulo.
1977 - Integrates the exhibitions L’Occhio dell’Immaginario, at Galleria d’Arte Moderna, Milan; Pas de Deux, curated by Anne-Marie Boetti and Gian-Battista Salerno, at Galleria la Salita, Rome; Corpo e Figura, at the Palazzo della Permanente, Milan; Fotografia come Analise, at the Teatro Gobetti´s Salla delle Colonne, Turin; and 03 23 0 – Premières Rencontres Internationales d’Arte Contemporain, Montreal.
1976 - Holds solo show with installation and photographic sequences at Galleria Giancarlo Bocchi, Milan. Participates in several publishings and exhibitions that register the develop--ment of body art during the 1970s, such as Korpers-prache, at the Frankfurt Kunstverein and the Haus am Waldsee, Berlin. Also takes part in publications and exhibitions which result from researches on the female dynamics in art such as Womem in Art, at the Neue Gesellschaft für Bildende Kunst, Berlin; Frauen Machen Kunst and Feminist Art, at Gallerie Maggers, Bonn; and Women Art New Tendencies, at Gallerie Krinzinger, Innsbruck.
1975 - Integrates the IX Paris Biennial with the installation and photographic sequence of the series Glass Pieces, Life Slices, invited by the critic Tommaso Trini. Participates, as artist in residence, of the Festival of Expanded Media, in Belgrade. In Milan, exhibits in the shows La Fotografia come Strumento per l´Artista, at Galleria Il Milione; and Campo Dieci, at Galleria Diagramma, Milan.
1974 - Holds solo show of photographic sequences, at the MAM-RJ. The catalogue presents Paulo Sergio Duarte’s text “Ontogênese e filogênese”. Takes part in the exhibition Nuovi Media, at the Centro Internazionale di Brera, and holds solo show at Galleria Ortelli, Milan.
1973 - Shows her first experimental films Light work and Elements, at Galleria Diagramma, Milan. Curates the exhibition Fotolinguagem, presenting works by Christian Boltanski, Annette Messager, Duane Michals, among others, at the Museu de Arte Moderna do Rio de Janeiro/MAM-RJ.
1973 - 1981 - The language of the work is made up with the support of photographic sequences, experimental films and installations, backed up by texts. The artist comes from an eighteen year experience of contemporary dance, thus the body emerges as a structuring element of the work, which appears mirrored, reflected and fragmented, addressing issues related to the female identity and to the organization of the body´s own image. The performances, always carried out individually, never in the presence of spectators, are recorded by the artist herself in a closed circuit where body, camera and reflected image build the structure of the work
MUSEUMS AND PUBLIC COLLECTIONS
Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil
Pampulha Art Museum, Belo Horizonte, Brazil
Museum of Modern Art of Sao Paulo, Sao Paulo, Brazil
Museum of Modern Art of Rio de Janeiro, Rio de Janeiro, Brazil
Museum of Contemporary Art of Niterói, Niterói, Brazil
National Museum of Fine Arts, Rio de Janeiro, Brazil