At SP–Arte Rotas 2025, Almeida & Dale presents at booths C01 and C04 a selection of works that reflects the diversity of voices and languages in contemporary Brazilian art while fostering a dialogue with globally recognized 20th-century artists. 

At booth C04, works by Heitor dos Prazeres, Lidia Lisbôa, Rebeca Carapiá, Marlene Almeida, and Maxwell Alexandre—participants in the 36th São Paulo Biennial—are highlighted alongside those by No Martins and Sidney Amaral. Through painting or sculpture, these artists explore themes ranging from subjectivity to persistent issues within Brazilian society, bringing these conversations to the international art scene. 

Engaging with samba, rap, and jazz, Prazeres, Maxwell, and Martins challenge long-standing biases that have marginalized Black cultures while also questioning the systems governing circulation in spaces dedicated to contemporary art and leisure. In a similar vein, Amaral’s works navigate between critiques of structural systems and a deeply personal, diaristic expression. 

Meanwhile, Lisbôa and Carapiá develop their own visual languages through materials shaped with the skill and strength of their bodies, embedding their works with unique lived experiences. Their pieces unfold as coded narratives that reveal themselves through the persistent gaze and movement of the viewer. The relationship between body and terrain shifts from insinuation to matter in the works of Marlene Almeida, who is dedicated to an in-depth study of Brazilian soils and their chromatic possibilities. 

Also on view are works by Ana Elisa Egreja, Beatrice Arraes, Cassio Michalany, Daiara Tukano, Dudi Maia Rosa, Guga Szabzon, Henrique Oliveira, Joseca Yanomami, Mariana Palma, Paulo Pasta, and Thiago Hattnher, alongside objects by Felipe Cohen, José Damasceno, Marina Woisky, Saint Clair Cemin, Túlio Pinto, Tunga, and Vanderlei Lopes. 

Whereas, at booth C01, media such as paper and tapestry are emphasized in works by Roberto Burle Marx, Lygia Pape, and Jaider Esbell, alongside paintings by Ivan Campos. The selection includes a tapestry by Burle Marx shown together with the painting that served as its model. In this rare opportunity to see them reunited, one can observe how the artist transposed the language of painting into textile art.

These works serve as a starting point for the booth’s core, which brings together artists dedicated to representing nature without necessarily resorting to direct figuration of the landscape. They point to different relationships between artists and the natural world, mediated by diverse languages, methods of abstraction, and worldviews.

In Burle Marx’s work, the interest in nature is shaped by botanical and landscape studies that valorize Brazilian flora—translated into drawings, paintings, and a process of abstraction culminating in the woven lines of the loom. In the works of Ivan Campos and Jaider Esbell, however, nature manifests itself beyond the status of an observed object, emerging as an autonomous entity. Their representations of the world are marked by a close relationship with the Amazon and, in Esbell’s case, by a cosmovision in which the relations among forest beings differ radically from those constructed in Western thought.

The booth also presents an important selection of works by Lygia Pape, spanning from the 1950s to the early 2000s. Comprising exclusively works on paper, the selection reflects the experimental character of her artistic research and includes pieces made with crayon, spray paint, collage, pure pigments, as well as dry pastel, ink, and silkscreen. Highlights include emblematic works such as those from the Tecelares series—woodcuts that mark the transition from a formal rationalism to organic forms influenced by the malleability of fabrics—and Livro da arquitetura nº II (1959), one of the artist’s book-objects developed alongside Livro da criação and Livro do tempo. In relation to the selection on view, Pape’s experiments with color as object and with the notion of constructed space help to challenge the dichotomy between culture and nature.

In the Mirante sector, organized by Rodrigo Moura, curator, art critic, and artistic director at MALBA in Buenos Aires, Almeida & Dale contributes large-scale historic works by Amilcar de Castro, Hélio Melo, and Jaider Esbell. Moura’s selection invites reflection on the history and sociocultural context of Brazil. 

The project Transe, curated by Lucas Albuquerque, features a new series of works by Marina Woisky, who since her participation in the 38th Panorama of Brazilian Art has incorporated bronze as a medium in her practice. 

Explore Almeida & Dale’s full selection of works at SP–Arte Rotas from August 27 to 31, at ARCA, São Paulo.