The Galleries sector forms the commercial core of the fair. Admission depends on approval by an independent committee and means exhibiting alongside major players such as Gagosian, Hauser & Wirth, David Zwirner, and Pace. In this context, the simultaneous presence of six Brazilian galleries represents more than a quantitative advance: it signals the growing integration of Brazilian art into the international circuit.
Brazilian participation also extends beyond the booths. Gomide&Co and A Gentil Carioca are presenting projects in Unlimited, the sector dedicated to installations, sculptures, and monumental works that exceed the scale of a conventional stand. Luisa Strina and Fortes D’Aloia & Gabriel are also taking part in Parcours, the fair’s public art programme, curated by Stefanie Hessler. This presence across different sectors broadens the visibility of Brazilian artists and demonstrates that interest in the country’s art is not limited to the market, but also extends to the curatorial and institutional fields.
More broadly, one of the best-received experiences of this edition has been Basel Exclusive, an initiative that reserved major works to be unveiled only during the fair’s opening, without prior circulation through digital previews or pre-sales. Despite a smaller presence of American and Asian collectors and a public more concentrated in Europe, the initiative brought people to the booths to see the works, engage in conversation, and build relationships. The paradox is that, in seeking to innovate, Art Basel has recovered the original concept of the fair: a space for discovery, encounter, and lived experience. In a market increasingly mediated by digital tools, Exclusive reaffirmed that experiencing a work’s scale, materiality, and relationship to space remains irreplaceable, leaving visitors more enthusiastic, engaged, and connected.
The first transactions reveal the uneven nature of this recovery. Multimillion-dollar sales involving artists such as Pablo Picasso and David Hockney coexist with sales of contemporary names, large-scale projects in Unlimited, and more experimental presentations in sections dedicated to younger galleries. More than simply tracking international figures, however, this article examines how Brazilian galleries and artists positioned themselves in Basel, which works attracted the greatest interest, which sales were completed, and what these results reveal about Brazil’s presence in the global art market.
National Galleries
Almeida & Dale
Making its debut at Art Basel, Almeida & Dale presented a selection devoted to leading figures in Brazilian and Latin American art and reported a series of sales led by a significant work by Tunga, sold for $400.000, alongside a work on paper by the artist acquired by a Brazilian collector based in Europe. A painting by Lorenzato sold for $150.000. The gallery also placed five works by Chen-Kong Fang with international collectors, including buyers in Hong Kong and New York, at prices ranging from $20.000 to $80.000, as well as two works by Rayana Rayo for $16.000 each, one to an American collection and the other to a Spanish collection. A work by Leonilson was sold to an American collection while Miriam Inez da Silva, priced at approximately $30.000, is currently on reserve.
Among the artists featured, Rayana Rayo stands out for a painting practice shaped by imagined landscapes, hybrid organisms, and fantastical ecosystems connected to the geography and atmosphere of Recife. Her international trajectory has gained momentum through projects held in 2025, including a residency at Maison Édouard Glissant in Martinique and the solo exhibition Yo soy semilla at Travesía Cuatro in Guadalajara. In 2026, she participated in the group exhibition Naturaleza Arquitecta at the Museo de Arte Moderno de Buenos Aires, as well as in the 39th Panorama of Brazilian Art. Her works are held in the collections of the Pinacoteca de São Paulo and REC Cultural.
Rayana Rayo
As vezes do topo 3, 2026
Oil on canvas
122 x 88 cm
Sold: $16.000
A Gentil Carioca
A Gentil Carioca reported several additional sales from its booth, presented under the theme Nature and Freedom, the booth also presents works by Ana Silva, Arjan Martins, Denilson Baniwa, Laura Lima, Marcela Cantuária, Maria Nepomuceno, Pascale Marthine Tayou, Sallisa Rosa, and Vivian Caccuri, among others. The selection brings together practices that explore territory, spirituality, memory, and different forms of freedom.
The presentation also coincides with growing international visibility for several artists in the gallery’s programme. Laura Lima recently held her first London solo exhibition at the Institute of Contemporary Arts, while Rodrigo Torres is presenting Água Mole em Pedra Dura, his first solo exhibition in Italy, at Rhinoceros in Rome. Mariana Rocha is also expected to participate in an upcoming Guangzhou biennial. Together, these developments reinforce the gallery’s role in connecting emerging and established Brazilian practices with audiences and institutions beyond Brazil.
Agrade Camíz
Depois do terremoto, 2026
Acrylic and oil pastel on canvas
150 x 100 x 4.5 cm
Gomide&Co
Gomide&Co opened the fair with the sale of a 1990 painting by Lorenzato for $220.000. The gallery also presented a particularly strong selection of Brazilian postwar art, including Geraldo de Barros’s Forma Objeto, 1952, available for $850.000; Hélio Oiticica’s Metaesquema MET 112, 1957, priced at $500.000; and Lygia Clark’s Bicho Pan-Cubismo 3, 1969–1970, offered for $300.000.
The gallery reported a particularly strong presence of European and Asian visitors, including a significant number of Chinese collectors.Among the works that generated the greatest attention were pieces by Leonora de Barros, Antonio Dias, and Geraldo de Barros. Even when visitors were unfamiliar with the artists, the works themselves prompted questions, conversations, and sustained interest, an indication of Brazilian art’s ability to engage international audiences beyond established names.
Helio Oiticica
Grupo Frente GFR 131, c. 1955
Gouache on cardboard
33 x 41.5 cm
Asking Price: $300.000
A major highlight of the booth is a work by Leonora de Barros, offered for $120.000 in an edition of three. Combining language, image, sound, and the body, her practice questions systems of communication and the boundaries between visual art and poetry. Her growing institutional visibility includes presentations at the New Museum, the Musée de La Poste, and the Pinacoteca de São Paulo, as well as her forthcoming participation in the next Yucatán Biennial. The booth also features an impressive work by León Ferrari from the collection of the artist’s family.
Lenora de Barros
Homenagem a George Segal, 1990/2013
Inkjet print on cotton paper
59 x 43 cm
Asking Price: $120.000
Luisa Strina
Returning to Art Basel, Luisa Strina occupies the fair with a selection that brings contemporary practices into dialogue with historical legacies. The presentation includes artists such as Cildo Meireles, Hélio Oiticica, Lygia Pape, Mira Schendel, Fernanda Gomes, Leonilson, Anna Maria Maiolino, Mona Hatoum, and Rivane Neuenschwander, among others. According to the gallery, while previous editions saw a significant presence of Asian buyers, demand this year has been led by European collectors, particularly from Germany and Italy. Acquisitions by American, Chinese, and Japanese collectors have also been recorded, with no sales to Brazilian buyers reported so far.
One of the main highlights is an installation by Leonor Antunes, originally developed in connection with discrepancies with W.W. (in company), her first solo exhibition in Vienna, presented at the University Gallery of the University of Applied Arts Vienna, and later adapted to the fair setting. Inspired by a bench by Charlotte Perriand and the beaded compositions of Sophie Taeuber-Arp, the work reflects the artist’s research into women of European modernism and her dialogue between sculpture, architecture, design, and craft. The presentation also includes Alfredo Jaar’s Tonight no Poetry Will Serve and a self-portrait by Bruno Baptistelli that connects identity, urban experience, the African diaspora, and hip-hop culture.
Alfredo Jaar
Tonight no poetry will serve, 2013
Seven pigment prints
mounted on dibond
183 x 183 cm
Fortes D'Aloia & Gabriel
With every work in its initial presentation sold on opening day, Fortes D’Aloia & Gabriel achieved notable results through the inaugural edition of the Basel Exclusive initiative. The presentation brought together works by Marina Rheingantz, Antonio Társis, Marcia Falcão, and Sophia Loeb, acquired primarily by European and American collectors, as well as by Brazilian buyers. Following the sales, the works were replaced with a new selection.
At the booth, a work by Rivane Neuenschwander is offered at $55.000. Produced by pouring heated material into molds, the work fills the spaces left by previously printed images. At the end of the month, the artist will open an exhibition at Castello di Rivoli in Italy featuring Dream Lab, an installation conceived as a shadow theatre and previously presented at Itaú Cultural.
Pélagie Gbaguidi is another highlight, appearing in the Parcours sector with an intervention at St. Clara Church in Basel. Her practice addresses memory, historical violence, and social justice. At the 36th São Paulo Biennial in 2025, she presented paintings developed in collaboration with Carmen Silva and the Homeless Workers’ Movement, examining the right to housing and the Brazilian social and urban context.
Rivane Neuenschwander
Tempestuous lover, 2026
Beeswax, oil pastel, MDF and acrylic paint
120 x 81 cm
Mendes Wood
The acquisition of a work by Sonia Gomes by a Brazilian collection based in Switzerland marked Mendes Wood DM’s participation in Art Basel. The gallery’s broader presentation brings together artists such as Laís Amaral, Adriano Costa, Luiz Roque, Patricia Leite, Edgar Calel, Sanam Khatibi, and Mariana Castillo Deball, whose distinct practices converge around questions of body, memory, territory, and materiality. In addition, a dedicated room features works by Lygia Pape, Jaider Esbell, and Marina Perez Simão.
Lygia Pape
Livro dos Caminhos II – miolo 1, 1963 – 1976
White latex on wood and black acrylic tips
40 x 40 x 9 cm
Unlimited
Gomide&Co
In the Unlimited sector of Art Basel 2026, Gomide&Co joins Gió Marconi, Nara Roesler, and Sprovieri to present a historic installation by Antonio Dias, comprising two groups of works from the series The Illustration of Art, 1971–1974, originally shown at the 1973 Paris Biennale.
Antonio Dias’s practice embodies a profound dialogue between art, society, and systems of representation. Following his move to Italy in the late 1960s, the artist gradually shifted away from the tactile, protruding surfaces and politically charged visual language of his early Pop-inspired works toward a more restrained conceptual vocabulary. Monochromatic fields, geometric structures, and concise textual interventions became tools for investigating power, language, and the mechanisms through which meaning is constructed. Rather than functioning as autonomous objects, his works operate as conceptual models that invite the viewer to actively negotiate the relationship between image, space, and social reality.
The installation presented in Unlimited exemplifies this transition by extending the work beyond the physical boundaries of the canvas into the surrounding architectural space. The black surface engages in a silent dialogue with the white wall, transforming the exhibition environment into an integral component of the artwork and positioning the viewer as an active participant in its completion. This approach reflects the influence of Italian Conceptual Art and Arte Povera while situating Dias within a broader international discourse that challenged the autonomy of the art object in favor of process, perception, and institutional critique. His practice ultimately proposes art as a dynamic social structure, one that exists not only through material form but through the conceptual exchange established between artwork, space, and spectator.
A Gentil Carioca
In Art Basel Unlimited, A Gentil Carioca presents Safira, 2025, a monumental painting by Agrade Camíz that began taking shape in the artist’s studio in April 2025. Developed gradually over several weeks, the work was built layer by layer and first shown in June 2025 at the Grand Palais in Paris, as part of Horizontes — Pinturas Brasileiras. In Basel, its large scale allows viewers to experience the work as an immersive field of colour, matter, and movement.
Unfolding through deep layers of blue, Safira brings together recurring elements in Camíz’s practice, including reinvented landscapes, traces of popular architecture, displacement, shelter, and passage. These visible structures are interwoven with memories, desires, and persistent mental images, creating a painting that connects ancestral memory, transformation, permanence, and possible futures. The work also reflects the artist’s belief that painting is shaped not only by pigment, but by time, hesitation, bodily effort, and the life of the studio, eventually acquiring an existence beyond its maker.
The artist’s works are part of collections such as TBA21 – Thyssen-Bornemisza Art Contemporary, Bredin Prat Foundation, Tisot Art Collection Trust, and Chen-Lan Foundation, among others.
International Galleries
Pace
The sale of a monumental work by Marina Perez Simão for $195.000 confirms the artist’s growing international recognition. In 2025, Marina participated in major exhibitions, including Diapasão at Instituto Tomie Ohtake, Echoes at Cahiers d’Art, Horizontes: Peintures brésiliennes at the Grand Palais, and the inaugural Bukhara Biennial in Uzbekistan. Her work is held in collections including ICA Miami, PAMM, Long Museum, Buffalo AKG Art Museum, Phoenix Art Museum, and Deji Art Museum, among others.
Marina Perez Simão
Untitled, 2026
Oil on linen
200 × 190 cm
Sold: $195.000
Lisson
An important group of works by Hélio Oiticica anchors Lisson’s presentation, reaffirming the artist’s continued strength in the international market. According to the gallery, Núcleo Grande was sold for $7.8 million to a collector who later donated the work to Dia Beacon. The same buyer also acquired an oil-on-canvas work from the Metaesquema series for $3 million, another Metaesquema sold for $500.000, while a Disco by Mira Schendel, priced at $850.000, is currently on hold. A central figure in 20th-century Brazilian art, Oiticica expanded the boundaries of painting and sculpture by proposing a sensory, spatial, and participatory experience of the artwork, becoming a fundamental reference for global contemporary art. Other available works include Relevo Espacial at $2.2 million and Objeto Gráfico at $450.000. The gallery is also planning an exhibition dedicated to the artist in New York next year.
Dalton Paula is also presented at the gallery, whose practice revisits overlooked Black histories through portraiture and archival research.
Hélio Oiticica
Untitled, 1958
Gouache on cardboard
49.5 x 67 cm
Sold
Dalton Paula
Criança Babá Egun, 2025
Oil and silver leaf on canvas
180 x 320 x 4 cm
Asking Price: $350.000
Kaufmann Repetto
Recent sales of one sculpture and two paintings confirm Diambe’s strong commercial performance at Kaufmann Repetto. The sculpture sold for $30.000, a larger-format painting was acquired for $25.000, and another work from the artist’s latest series remains available for $22.000. With production limited to approximately three paintings per year for the gallery, Diambe has attracted American, Italian, and Brazilian collectors. Following a successful exhibition at the Kunsthalle, Diambe will be presented in a new show at the gallery’s headquarters in Milan, scheduled for November and integrated into a program dedicated to Brazil, expanding the circulation of his work among the European public. His sculptures also stand out for a dreamlike and unique dimension, which evokes similarities with the surrealist universe of Maria Martins.
The gallery also began representing Clarissa Tossin and is preparing an exhibition of the artist’s work at its Milan location. Her work combines block printing and ink on canvas, exploring the integration between the human body, especially the female body, and the natural world. Associated with an ecofeminist perspective, Tossin employs earthy colors, rough surfaces, and organic textures to question the idea of separation between humanity and nature. The Pianti Vagabondi series, developed during her time at the American Academy in Rome, deepens this investigation into interdependence and transformation. A work in the format shown is available for $40.000, with smaller works also offered by the gallery.
Diambe da Silva
Coração fetiche fantasias II, 2025
Bronze patinated with organic, mineral and synthetic pigments
49 x 11 x 11 cm
Sold: $30.000
Clarissa Tossin
Ervas Daninhas: Cincoenrama e Sherardia, Roma, 2025
Block Printing ink canvas
210 x 150 x 3 cm
Maureen Paley
The sale of Paulo Nimer Pjota’s Vasos Encantados, 2026 for $40.000 coincides with a period of growing institutional recognition for the artist. In 2025, he presented The Moon and I at the Kunstinstituut Melly in Rotterdam, an exhibition that resulted in a monograph published by Distanz. In 2026, he held In the Mouth of the Sun II at François Ghebaly in Los Angeles and inaugurated Enchanted at the South London Gallery, her first institutional solo exhibition in a public gallery in the United Kingdom. Marked by the encounter between urban culture, mythology, memory, and art history, his work combines painting, drawing, and visual references from different eras. His works are part of collections such as the Astrup Fearnley Museum of Modern Art, Denver Art Museum, MAC Lyon, Museo Jumex, Pérez Art Museum Miami, MAM São Paulo, and Fondation Carmignac.
Paulo Nimer Pjota
Vasos Encantados, 2026
Acrylic, oil, tempera on canvas
210 x 163 cm
Sold: $40.000
James Cohan
James Cohan Gallery reported the sale of a work by Alexandre da Cunha for $35.000. The Brazilian artist develops sculptures, installations, and wall-based works through the transformation of everyday objects and found materials, bringing together references to Modernism, Neoconcretism, Arte Povera, and Brazilian and British popular cultures. In 2025, he took part in the Royal Academy of Arts Summer Exhibition in London, reinforcing his longstanding presence in the British art scene. His work is held in collections including Tate, Pinacoteca de São Paulo, Instituto Inhotim, Museu de Arte da Pampulha, and the CIFO Cisneros Collection.
Alexandre da Cunha
Vitral (parlour), 2025
Shovel handiles, t-shirts, cleaning cloth, blanket, dishcloths, fabric cut outs
79 x 94 x 6 cm
Sold: $35.000
Max Hetzler
Max Hetzler presents a work by Janaina Tschäpe available for $150.000, at a time of great institutional visibility for the artist. Known for a body of work that spans painting, drawing, video, and installation, Tschäpe develops a visual universe marked by organic forms, imagined landscapes, and aquatic atmospheres, exploring the relationship between body, nature, and memory. On June 13th, the artist inaugurated Conversations with the Sea at Hastings Contemporary in the UK, her first major institutional solo exhibition in the country, bringing together paintings and works on paper in dialogue with the sea and the coastal landscape of Hastings. The artist also presents a solo exhibition at the Aître Saint-Maclou in Rouen, as part of the Normandie Impressionniste festival, an edition dedicated to the centenary of Claude Monet’s death, onview until September 27, 2026.
Janaina Tschape
Wandernebel, 2026
Oil and oil stick on linen
218.4 x 193 cm
Gió Marconi
Gió Marconi highlights With Desert, 1968, by Antonio Dias considered an essential figure for understanding the transition from Brazilian New Figuration, the political critique of the 1960s, and Brazilian Pop Art to an international conceptual language. His work engaged with the context of repression, censorship, and urban violence during the military dictatorship. His trajectory between Rio de Janeiro, Paris, and Milan, and his presence in collections such as MoMA, Museum Ludwig, MALBA, Daros, and MAM-SP, place the artist on a highly institutional level. Recent exhibitions such as The Illustration of Art, 1969–1971, at Sprovieri, London, in 2025, and Search for an Open Enigma, at the Sharjah Art Foundation, United Arab Emirates, in 2024, confirm the continuous international re-evaluation of his work, especially his conceptual and experimental production from his European period.
Antonio Dias
Desert, 1968
Acrylic and silver foil on paper
50 x 70 cm
Asking Price: €65.000
Peter Freeman
Three works by Fernanda Gomes are included in Peter Freeman’s presentation: one available for $50.000 and two smaller-format pieces offered at $30.000 and $32.000. The artist transforms everyday materials, such as wood, paper, fabric, threads, and found objects, into compositions that explore the relationships between space, light, matter, and perception. In 2025, she presented a solo exhibition simultaneously at Galerie Peter Kilchmann and Peter Freeman, Inc., in Paris, her first solo project in the French capital in over a decade. Her works are part of important public and institutional collections, such as MoMA, Centre Pompidou, Tate Modern, Museo Reina Sofía, Art Institute of Chicago, Pérez Art Museum Miami, Vancouver Art Gallery, Fundação de Serralves, MAM São Paulo, and MAM Rio.
Tanya Bonakdar
Sandra Cinto’s Between Two Infinities, 2026, available for $90.000, occupies a prominent place in Tanya Bonakdar’s presentation. Known for her poetic landscapes constructed from seas, skies, lines, and horizons, the artist articulates drawing, painting, and installation around themes such as time, memory, and transcendence. The market has shown increasing interest in her work, especially after the sale of Flight II, 2022, which reached $63.500 at Sotheby’s Contemporary Day Auction in November 2025. A reflection of this movement was the sale, during ARCOmadrid, of two works by Sandra Cinto by Galeria Triângulo to Brazilian collectors, including a piece from the series Prelude to the Sun and the Stars (après Mallorca), from 2026.
Tanya Bonakdar’s booth also features a sculpture by Ernesto Neto, offered for $60.000. One of Brazil’s most internationally recognised contemporary artists, Neto is known for immersive, sensorial environments made from textiles, crochet, spices, and organic materials, inviting visitors to experience art through the body, movement, and collective participation. His international institutional profile was recently reinforced by Nosso Barco Tambor Terra at the Grand Palais in Paris, presented from June 5 to July 25, 2025, as part of the Brazil–France cultural season. The monumental installation transformed the venue’s nave into a space of encounter and shared experience, bringing together crochet, bark, earth, and spices while addressing music, Brazilian history, community, and environmental concerns.
Sandra Cinto
Between Two Infinities, 2026
Acrylic on canvas
200 x 130 cm
Asking Price: $90.000
Ermesto Neto
Two Colonies Going Somewhere, 2007
Polyamide textile, glass seed beads in 23 parts
Installation dimensions variable
Alison Jacques
Alison Jacques also presents two important works by Lygia Clark: a Bicho and a Superfície Modulada, each priced at $650.000. A central figure of Brazilian Neoconcretism, Clark challenged the idea of art as a fixed and autonomous object. Her Superfícies Moduladas, developed during the 1950s, expand geometric painting beyond the traditional frame, using lines, planes, and intervals to activate the surrounding space. The Bichos, created from hinged metal plates, marked an even more radical shift: their forms can be repeatedly reconfigured, transforming the viewer from a passive observer into an active participant in the work.
The presentation coincides with renewed international attention to Clark’s legacy. Her major retrospective was shown at the Neue Nationalgalerie in Berlin in 2025 before travelling to the Kunsthaus Zürich, where it remained on view until March 2026. Bringing together her geometric paintings, participatory sculptures, and sensorial propositions, the exhibition demonstrated how Clark transformed the relationship between the artwork, the body, and space. Her works are held in major international collections including Tate, MoMA, the Art Institute of Chicago, Centre Pompidou, and Museo Reina Sofía.
Lygia Clark
Superficie Modulada, 1958-1984
Industrial paint on wood
42 x 63 cm
Sean Kelly
Two works by Janaina Tschäpe, offered at $20.000 and $190.000, are included in Sean Kelly’s selection. The artist develops a multidisciplinary practice that spans painting, drawing, photography, video, and performance, articulating body, landscape, water, myth, and organic transformation. Her international trajectory includes the solo exhibition A Sky Filled with Clouds and the Smell of Blood Oranges, presented by the gallery itself in New York in 2024, as well as projects carried out in 2026 in Tokyo, Stockholm, Rouen, and Hastings. Her works are part of important collections, including Centre Pompidou, Museo Reina Sofía, Guggenheim Museum, National Gallery of Art, Moderna Museet, Harvard Art Museums, and MAM Rio.
Janaina Tschäpe
Ocean Heart, 2025
Oil and oil stick on linen
203.2 x 280 x 5.1 cm
Asking price: $240.000
White Cube
Two works by Lygia Pape are presented by White Cube, one of them with an asking price of $240.000. A central figure in Brazilian Concretism and Neoconcretism, Pape developed a multidisciplinary body of work encompassing woodcut, painting, sculpture, installation, film, and participatory actions, exploring the relationships between geometry, body, space, and sensory experience. Between September 2025 and January 2026, Weaving Space, at the Bourse de Commerce – Pinault Collection in Paris, marked his first solo exhibition in France, featuring Ttéia 1, C. In 2026, the exhibition Sendo, presented by Mendes Wood in São Paulo, brought together emblematic works and rarely exhibited pieces. His work is part of collections such as MoMA, Tate, Centre Pompidou, Museo Reina Sofía, and The Metropolitan Museum of Art.
Carlos/Ishikawa
Founded in London by Brazilian gallerist Vanessa Carlos, Carlos/Ishikawa celebrates its 15th anniversary in 2026 with a presentation that reflects the gallery’s longstanding commitment to discovering artists at an early stage and supporting the development of their careers over time. The booth includes works by Antonio Tarsis, whom the gallery began representing at the outset of his career, as well as Maxwell Alexandre and Marlene Almeida, both of whom joined the programme in 2025.
Their presence underscores Carlos/Ishikawa’s role as an important international platform for Brazilian artists, whose works are placed predominantly in collections outside Brazil. Based in London, a city defined by migration and cultural exchange, the gallery is closely connected to collectors, institutions, and curators from different regions. As Vanessa Carlos explains, its programme has always sought to engage a broad and diverse audience while building long-term relationships with artists and accompanying their growth from the earliest stages of their careers.
The gallery report the sale of several works by Maxwell Alexandre at the fair, mainly to European collectors, as well as acquisitions from the Asian market, including a Chinese buyer. Smaller-format works were offered for between $10.000 and $15.000. Known for representing Black bodies, scenes from Rocinha (a favela in Rio de Janeiro), and symbols linked to power, religiosity, and popular culture, the artist frequently uses brown paper and supports of biographical value. In 2025, he participated in the 36th São Paulo Biennial and held his first institutional solo exhibition in the United Kingdom, at the Delfina Foundation. His works are part of collections such as the Pinacoteca de São Paulo, MASP, MAM Rio, MAR, Museo Reina Sofía, and Pérez Art Museum Miami.
Gregor Podnar
With three works by Marcius Galan in its exhibition, including one available for €22.000, Gregor Podnar reaffirms its long-standing relationship with the artist, whom it has represented for approximately 14 years. While the gallery has maintained a consistent presence in Latin America and participated in art fairs in the region for years, Galan occupies a unique position in its program as the Brazilian artist with whom it has developed the most continuous collaboration. His work was also recently presented in Vienna in the exhibition Flags & Barriers, which brought together Galan and Tobias Putrih and revisited works previously seen in his trajectory with the gallery.
Beneath a geometric, precise, and sometimes silent appearance, Galan’s work introduces friction, violence, and resistance to power structures. In Black Flag, for example, the flag ceases to function as an affirmation of territory and authority, becoming its opposite: an emblem of refusal. Another work is based on a low-resolution image attributed to the CIA, related to vessels suspected of transporting drugs near Venezuela. By reproducing the visual precariousness and pixelation of the image, the artist questions how states and institutions employ ambiguous records to produce political narratives, legitimize actions, and manipulate public perception.
Galan’s presence at Gregor Podnar reinforces the bridge built by the gallery between Brazil and Central and Eastern Europe. Artists such as Julije Knifer establish formal dialogues with the geometry and perception present in Brazilian concrete and neo-concrete art, a connection also evidenced by the Susana and Ricardo Steinbruch Collection at the Museo Reina Sofía.
Marcius Galan
Low resolution, 2026
Wood and charcoal
44 x 44 cm
Asking Price: €22.000.00
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