Casa de Cultura do Parque presents its III Exhibition Cycle. The free program includes the exhibitions “Som e Fúria” [Sound and Fury] (Gallery), “Balada para um espectro” [Ballad for a Specter] (Cabinet), and “Corpo-a-Corpo” [Body-to-Body] (Project 280X1020). The cycle is built from the private collection of Regina Pinho de Almeida, founder and executive director of the Casa, and is guided by the plurality of languages and media represented in the collection, proposing a rupture of conventional literary, temporal, and audio structures. During the opening, the Casa will also raise new flags on its façade with “Para-luz” [Para-light], by Aline Ricci, as part of the project Dando Bandeira.

Curators Claudio Cretti and Tetê Lian highlight the relevance of the collection, composed of more than 500 works, including sound pieces, box-objects, motorized sculptures, experimental publications, and artist books—works that demand a different sense of time within the exhibition space.

“It became evident that building exhibitions from this collection enables greater freedom of experimentation in exhibition and curatorial methods. Unlike the curatorial procedures usually employed at Casa de Cultura do Parque, we selected works that often escape immediate visibility and challenge rigid classifications — which also presented an interesting challenge, as some works fit into more than one exhibition,” the curators state.
This is not the first time the curatorial team at Casa de Cultura do Parque has engaged with the founder’s collection. In 2019, the Casa opened to the public for the first time with an inaugural exhibition showcasing a selection from the Pinho de Almeida collection. Curated by Tadeu Chiarelli, “Tensão Relações Cordiais” [Tension, Cordial Relations] viewed the collection as a text in process, shaped by the collector’s taste — a taste molded by personal affinities, her support for independent projects, and a range of artistic trajectories.
“Som e Fúria” [Sound and Fury] (Gallery), with a curatorial text by Tetê Lian, employs automation, sound, and movement to explore a form of fury tied to human experience. The title references one of William Faulkner’s (1897–1962) most important novels, published in 1929 and marked by stream of consciousness and non-linear narrative. The expression also derives from a line in Macbeth (1623), by William Shakespeare (1565–1616), describing a state of turmoil, noise, and meaningless rage.
Participating artists include André Komatsu (São Paulo, 1978), Chelpa Ferro, Emmanuel Nassar (Capanema, 1949), Nuno Ramos (São Paulo, 1960), and Mariana Manhães (Niterói, 1977). Highlights include a work from the series Act of… (2013) by Komatsu, which uses construction safety items mounted within frames as both image and support structure, and the work of Nuno Ramos, who sublimates the physical dimension of semantic processes by layering materials.
The Cabinet is dedicated to boxes and books in “Balada para um espectro” [Ballad for a Specter], with a critical text by Ella Pacheco. The exhibition reflects on the concept of the collection, featuring works that extend beyond the two-dimensional plane. The selection includes artists such as Augusto de Campos (São Paulo, 1931), Cildo Meireles (Rio de Janeiro, 1948), Julio Plaza (1938–2003), Edith Derdyk (São Paulo, 1955), Marcel Duchamp (1887–1968), and Milton Marques (Brasília, 1971).
The historical multiple Boîte-en-Valise (1935–41, facsimile), by Marcel Duchamp, is part of the collection and gathers 68 works by the French artist in a foldable object presenting scaled reproductions of earlier paintings and sculptures, embodying the concept of the ready-made. Cildo Meireles is represented with Camelô (1998), inspired by childhood memories of trips with his family to Rio de Janeiro. Observing street vendors selling seemingly insignificant objects—such as pins and fishbones—the artist reflects on survival dynamics and the extensive labor chain behind such items.
Project 280×1020 hosts the exhibition “Corpo-a-Corpo” [Body-to-Body], exploring the presence of the body in contemporary production, where lived experiences are shaped by sociocultural contexts. With a critical text by Giovanna Bragaglia, the exhibition gathers works by Acelino Sales – MAHKU (Rio Jordão, 1975), Alex Cerveny (São Paulo, 1963), Bárbara Wagner (Brasília, 1980), Hudinilson Jr. (1957–2013), Regina Parra (São Paulo, 1984), among others.
The photo series Brasília Teimosa (2008) by Wagner, for instance, presents the result of a two-year documentation of a Recife neighborhood where residents gathered on Sundays with friends and family to bathe, eat, drink, and enjoy the day by the sea. The work captures gestures of celebration and pleasure as a form of collective affirmation, while also investigating the social dynamics of a community consistently pushed to the margins.
Finally, new flags occupy the Casa’s façade as part of Dando Bandeira. Alice Ricci (São Paulo, 1985) presents works deepening her research into the use of reflective fabrics and fluorescent yellow and orange tarpaulins—materials common in safety uniforms. In “Para-luz” [Para-light] (2024), each flag features geometric compositions cut into the fabric itself, evoking a suspended landscape. Through color, these materials shift visual perception, integrating the depicted landscape with the physical space of the work.
The exhibitions are under the artistic direction of Claudio Cretti and are an initiative of the Institute of Contemporary Culture (ICCo). The opening is supported by Casal Garcia and Interfood.