Vetores [Vectors] brings together a significant set of works spanning different periods of modern and contemporary art. These include names from notable movements and groups in Brazilian art, such as Concretism, Neoconcretism, the Ruptura Group, and the 1980s generation, as well as prominent figures from international modernism.

Curated by Antonio Gonçalves Filho, cultural director of Almeida & Dale, the exhibition is divided into three sections—dedicated to sculpture, painting, and photography and prints—and takes place at the two gallery spaces on rua Fradique Coutinho, presenting Modernist works as vectors of renewal and experimentation that have reverberated in contemporary production over the last forty years.

The section dedicated to sculptures features works by Ernesto de Fiori, José Damasceno, José Resende, Lygia Pape, Nelson Felix, Sergio Camargo, Sérvulo Esmeraldo, Tunga, Victor Brecheret, and Willys de Castro, which treat three-dimensionality as a field of continuous experimentation: from volumetric synthesis to cutting, folding, suspension, or repetition, the pieces highlight different ways of thinking about space as matter.

The section devoted to painting brings together artists who, each in their own way, expanded the understanding of the pictorial plane: Aluísio Carvão, Arcangelo Ianelli, Cássio Michalany, Carlos Cruz-Diez, Dudi Maia Rosa, Eduardo Sued, Eleonore Koch, Judith Lauand, Lothar Charoux, Mira Schendel, Paulo Pasta, Rodrigo Andrade, and Volpi engage in dialogue with international figures such as Frank Stella and Lucio Fontana. The curatorship draws connections between the Concrete rationale and Fontana’s incisive gesture or the Neoconcretism search for the conquest of space and departure from the plane. The exhibition also links American painting to the generations that marked the experimental revival of painting in Brazil, with names such as Dudi Maia Rosa, Paulo Pasta, and Rodrigo Andrade.

Finally, photography and printmaking are explored as domains where time, light, and memory function as distinct forces. Works by Miguel Rio Branco and Hiroshi Sugimoto expand the concept of the image by relating it to atmospheres, rhythms, and presences that transcend mere register. Another connection between this section and the rest of the exhibition is established by a Metaesquema by Hélio Oiticica.

Together, these three sets do not aim to offer a definitive genealogy but serve as an overview, sometimes anchored in fundamental readings of art historiography, sometimes proposing unexpected connections. The exhibition presents modernism as a force in motion—an impulse that continues to generate developments, encounters, and new artistic possibilities.