FICHA TÉCNICA Curador: Thierry Freitas Curadora adjunta: Flávia Muluc Projeto Expográfico: Anna Luisa Costa, Flora Gurgel, Juliana Ziebell e Rid Moura Execução do projeto expográfico: Pano de Roda Antônio Paiva Antônio Soares Cicero Sousa Elifas Sousa Francisco Ivanilton Jacqueline Medeiros Jocélio Santos José Jean Júlio Cesar Kelviane Lima Pedro Henrique
GOVERNO DO ESTADO DO CEARÁ Elmano de Freitas Governador do Estado do Ceará Jade Romero Vice-governadora do Estado do Ceará SECRETARIA DA CULTURA DO CEARÁ Luisa Cela de Arruda Coelho Secretária da Cultura Rafael Felismino Secretário Executivo da Cultura Gecíola Fonseca Secretária Executiva de Planejamento
The Tender Fury An imaginary ecosystem of colorful creatures with iridescent feathers and scales in a whirl of tender fury. Complex worlds that move between the fiction of fantastic fauna and flora and the direct relationship with individuals, peoples, and their territories. Through poetic language, bare of excesses and unadorned,
Da Silva and the Pirambu School The state of Ceará is by nature a place of invention and resistance. Its cultural tone gives content and form to creations that reveal its strength and delicacy. In this context, a singular phenomenon in the history of Brazilian art emerges. Chico da Silva
From walls to paper In the early 1940s, Chico da Silva worked informally: he made small repairs and produced stoves at a time when butane gas did not yet exist. During this period, the artist used charcoal, shards of tile, and foliage to draw on the walls of houses at
The consecration of the artist There is no knowledge about Chico da Silva’s visual production in the 1950s, although his work circulated in museums in Europe, introduced by Chabloz. In 1960, the Swiss artist returned to Brazil. To contribute to Chico da Silva’s return to the arts, he arranged a
Men at work Despite being fundamental to the constitution of Chico da Silva’s work as we know it today, the existence of a collaborative studio around the artist was misunderstood at the time. This resulted in persecution by both the media and agents in the artistic field, who considered the
Pirambu School Around 1963, Chico da Silva left the Art Museum of the Federal University of Ceará (MAUC) and created his own studio in the Pirambu neighborhood, where he lived. His work attracted attention, and youth living nearby began to visit his house. Out of friendship and interest in Chico
FICHA TÉCNICA Curador: Thierry Freitas Curadora adjunta: Flávia Muluc Projeto Expográfico: Anna Luisa Costa, Flora Gurgel, Juliana Ziebell e Rid Moura Execução do projeto expográfico: Pano de Roda Antônio Paiva Antônio Soares Cicero Sousa Elifas Sousa Francisco Ivanilton Jacqueline Medeiros Jocélio Santos José Jean Júlio Cesar Kelviane Lima Pedro Henrique
GOVERNO DO ESTADO DO CEARÁ Elmano de Freitas Governador do Estado do Ceará Jade Romero Vice-governadora do Estado do Ceará SECRETARIA DA CULTURA DO CEARÁ Luisa Cela de Arruda Coelho Secretária da Cultura Rafael Felismino Secretário Executivo da Cultura Gecíola Fonseca Secretária Executiva de Planejamento
The Tender Fury An imaginary ecosystem of colorful creatures with iridescent feathers and scales in a whirl of tender fury. Complex worlds that move between the fiction of fantastic fauna and flora and the direct relationship with individuals, peoples, and their territories. Through poetic language, bare of excesses and unadorned,
Da Silva and the Pirambu School The state of Ceará is by nature a place of invention and resistance. Its cultural tone gives content and form to creations that reveal its strength and delicacy. In this context, a singular phenomenon in the history of Brazilian art emerges. Chico da Silva
From walls to paper In the early 1940s, Chico da Silva worked informally: he made small repairs and produced stoves at a time when butane gas did not yet exist. During this period, the artist used charcoal, shards of tile, and foliage to draw on the walls of houses at
The consecration of the artist There is no knowledge about Chico da Silva’s visual production in the 1950s, although his work circulated in museums in Europe, introduced by Chabloz. In 1960, the Swiss artist returned to Brazil. To contribute to Chico da Silva’s return to the arts, he arranged a
Men at work Despite being fundamental to the constitution of Chico da Silva’s work as we know it today, the existence of a collaborative studio around the artist was misunderstood at the time. This resulted in persecution by both the media and agents in the artistic field, who considered the
Pirambu School Around 1963, Chico da Silva left the Art Museum of the Federal University of Ceará (MAUC) and created his own studio in the Pirambu neighborhood, where he lived. His work attracted attention, and youth living nearby began to visit his house. Out of friendship and interest in Chico
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