Persona Curada, Av. Infante Dom Henrique 85, Parque do Flamengo, Rio de Janeiro (2026)

Q: Qual é o endereço?

Av. Infante Dom Henrique 85, Parque Do Flamengo

07/01/2026

ꜱᴏᴍᴇᴛʜɪɴɢ ʙʀɪɢʜᴛ ᴀɴᴅ ᴛʜᴇɴ ʜᴏʟᴇꜱ explores sunlight in its material and metaphorical dimensions. On a beach in southeastern Brazil, a female figure captures the sun’s rays using optical devices, gradually becoming luminous herself upon her arrival in the city of São Paulo. Playing with abstraction, diffraction, and overexposure, the film positions light as both subject and agent, questioning the thresholds between perception, visibility, and disappearance.

The title is drawn from a passage in Pilgrim at Tinker Creek by Annie Dillard, in which the author describes the reactions of adults and children experiencing sight for the first time following the invention of cataract surgery—one of the leading causes of congenital blindness.

This project is presented in dialogue with the collection of FRAC Romainville

Cinematography and direction: Isadora Soares Belletti
With: Sofia Tomic
Camera assistant: Amara Barroso
Sound composition: Juliana R
Sound editing: Isadora Soares Belletti and Juliana R
Editing consultation: Clément Erhardy and Manoela Cezar
Sound mix: Pedro Santiago
Color grading: Dominik Zietlow
Development and scanning: Kafard Films

The exhibition is open until January 11th, and admission is free of charge.

📍 FRAC Romainville
43 rue de la Commune de Paris
93230 Romainville

16/12/2025

SOMETHING BRIGHT AND THEN HOLES
16mm film transferred to 2k video, color, 2.0
14’⁣

A project by Isadora Soares Belletti, recipient of the FoRTE #7 (Fonds régional pour les talents émergents).

Persona Curada is honored to have supported and accompanied Isadora in the development of this work.

This project is presented in dialogue with the collection of FRAC Romainville , featuring the work The Enemy (2015) by Oscar Santillan (.antimundo),
inkjet print,
101.4 × 151.1 × 1.5 cm.

The exhibition has been curated and coordinated by Cindy Olohou ().

The exhibition is open until January 11th, and admission is free of charge.

📍 FRAC Romainville
43 rue de la Commune de Paris
93230 Romainville

19/10/2025

‘s Take over.

In Observation at High Shadow (2025), the artist draws four lunar craters named after astronomers from Al-Andalus - the region of the Iberian Peninsula under Islamic rule between the 8th and 15th centurie - in a gesture that brings into proximity the inscription of these celestial territories and that of Córdoba (Argentina), her hometown, founded under the title Nueva Andalucía. By making the colonial inscriptions projected onto the sky and the earth converge, Estrada unsettles any notion of celestial neutrality and illuminates the shadows cast by every name, that which, like the moon, inscriptions conceal rather than reflect.

On linen fabrics, the artist draws the lunar craters Arzachel, Ibn-Rushd, Alpetragius, Al-Bakri, Ibn Firnas, and Geber, departing from their historical photographic observations. Right after, she detaches herself from them, creating a poetic cartography where graphic mapping and science fiction meet. The solidity of the charcoal is softened in expansive gestures that are overlaid with layers of gold leaf. Combined with the decorative (primarily floral) patterns of the fabrics, the interplay between transparency, opacity, image, and symbolic interpretation blurs the distinction between figuration and abstraction, territory and symbol, brightness and opacity. Stitching together the works’ concrete materiality and their shifting temporality, the Moon is multiplied as if seen through a fragmented, fractal mirror, where human agency encapsulates it in the desires of a particular era, increasingly distant from the original referent.

Texts by Ana Clara Simões Lopes and Lucas Albuquerque

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OBSERVAÇÃO À SOMBRA ALTA N5, N6 e N7, 2025
Charcoal on linen, gold leaf, velvet, silk and brass
85 X 59 cm

📸: Estudo em Obras

17/10/2025

‘s Takeover

Within the context of Western space exploration, lunar nomenclature served as a means to legitimize both scientific and political dominance, establishing landmarks of discovery and asserting power over a previously unknown territory, one whose resources and potential were imagined as part of imperial expansion.
Through a poetic and pictorial exercise, Estrada draws parallels between the names inscribed in selenography and the colonial toponyms of the so-called New World: the Moon as a mirror of the Earth, where European expansion is reflected through naming as a form of appropriation.

Within the context of Western space exploration, lunar nomenclature served as a means to legitimize both scientific and political dominance, establishing landmarks of discovery and asserting power over a previously unknown territory, one whose resources and potential were imagined as part of imperial expansion.
Through a poetic and pictorial exercise, Estrada draws parallels between the names inscribed in selenography and the colonial toponyms of the so-called New World: the Moon as a mirror of the Earth, where European expansion is reflected through naming as a form of appropriation.

In the Andalucía series -composed of six charcoal and metallic-leaf drawings on linen- the artist revisits myths surrounding the founding of her hometown, Córdoba, Argentina. The works depict lunar craters named after six astronomers from Al-Andalus, connecting celestial and earthly geographies. Founded in 1573 as Córdoba de la Nueva Andalucía, the city was named by the Spanish colonizer Jerónimo Luis de Cabrera in tribute to his wife’s family origins, declaring that he founded it “in a place where people are tall and dark, as in Andalusia.”

* * *

Geber, 2025Charcoal, silver leaf, brass, and b asalt on linen126 x 2 30 cm

Arzachel, 2025Charcoal, gold leaf, brass, and basalt on linen145 x 1 40 cm

📸: Thales Leite

15/10/2025

‘s Takeover, day two.

Sharing selected works from my latest series, based on the study of lunar geography and historical selenographic representations, together with archival reference materials.

“The moon does not shine; it reflects. It is surface and mirror, not origin. That is why it carries within itself the play between shadow and light, concealment and revelation. The artist knows this: she looks to the moon precisely to reveal how we see the Earth. Her practice highlights the moon as a surface of historical and ideological projection, a contested territory. After all, Western nations turned the naming of lunar formations into a strategy of colonial assertion. More than descriptive, this nomenclature serves to legitimize presences and inscribe political ambitions into the sky. Strategies such as analogy, metaphor, and allegory shape these names, turning the moon into a celestial mirror of human ambition. Estrada challenges this legacy, dismantling the grammars that transform celestial space into a territory to be possessed: Mares Lunares evokes the basaltic plains whose names project earthly ideas and disputes, yet its abstract composition undoes any cartographic structure of inscription.”

Text by

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Mar da Tranquilidade, 2025
Charcoal and dry pastel on linen, velvet, steel and basalt 104 X 150 cm

📸: Estúdio em Obra

14/10/2025

Starting off my takeover this week by sharing images from my works and research on lunar geography and historical selenographic representations, as well as a few shots from my studio and fragments of the research.

In Praise of the Shadow is a pictorial investigation into lunar geography, developed from an exploratory map that encompasses the Moon’s entire surface.
The research stems from the observation of representations of this celestial body throughout history, addressing the different meanings and interpretations it has acquired within Western scientific contexts and systematized in selenographic charts, as well as its social, philosophical, and poetic implications at the intersection of science, imagination, and space exploration.

Mapping and naming are fundamental gestures in processes of exploration and appropriation, establishing conventions and instruments of organization and control. The naming of a territory inscribes it within a specific symbolic, cultural, and political system, shaping relations of power. In the case of lunar geography, the nomenclature of craters, seas, and mountains reflects the interests of those conducting the exploration, transforming the Moon into a space of political and epistemological inscription.

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In praise of the shadow, 2025
Charcoal and iron oxide on linen, gold leaf, basalt and brass.
700 x 350 cm

Exhibition Formas das águasrio
Curation: Pablo Lafuente and Raquel Barreto

📸: Renato Mangolin

08/10/2025

Emilia Estrada (b. Córdoba, Argentina, 1989) will be the next guest featured in our Takeover Sessions. Beginning next Monday, Emilia will assume control of our Instagram account to share insights into her artistic practice and ongoing research.

Initiated in 2019, the Takeover Sessions were conceived as a means to maintain an active dialogue with the evolving currents of contemporary art in Latin America, while fostering direct exchange with our audiences in Europe. The program offers participating artists an uncensored platform to articulate their creative processes, critical perspectives, and individual inquiries within a broader transnational context.
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Emilia Estrada (b. Córdoba, Argentina, 1989) is an artist and researcher based in Rio de Janeiro. Her practice draws on themes of occupation and displacement, confronting the gaps in official archives and bringing buried memories to light in order to challenge hegemonic historical narratives. Working primarily through drawing, installation, and archival research, she investigates both terrestrial and celestial cartographies as instruments of erasure and domination, questioning the presumed objectivity of Western scientific knowledge.

By interweaving poetic, iconographic, and archival elements, Estrada creates speculative mappings that expose the arbitrariness of historiography and the symbolic structures shaping territorial imaginaries.

Her work has been exhibited at the Museu de Arte Moderna do Rio, Museu de Arte do Rio, Museu Nacional de Belas Artes, and SESC Pompeia, among others, and is part of public and private collections. She studied Visual Arts at Universidad Nacional de Córdoba (UNC) and Universidade Federal Fluminense (UFF), and was a grantee of the Contemporary Artistic Practices program at Escola de Artes Visuais do Parque Lage, Rio de Janeiro.

Portrait, courtesy of the artist (c) Karina Santa Rosa. Visuals

08/10/2025

Emilia Estrada (b. Córdoba, Argentina, 1989) will be the next guest featured in our Takeover Sessions. Beginning next Monday, Emilia will take control of our Instagram account to share insights into her artistic practice and ongoing research.

Initiated in 2019, the Takeover Sessions were conceived as a means to maintain an active dialogue with the evolving currents of contemporary art in Latin America, while fostering direct exchange with our audiences in Europe. The program offers participating artists an uncensored platform to articulate their creative processes, critical perspectives, and individual inquiries within a broader transnational context.
———————————————

Emilia Estrada (b. Córdoba, Argentina, 1989) is an artist and researcher based in Rio de Janeiro. Her practice draws on themes of occupation and displacement, confronting the gaps in official archives and bringing buried memories to light in order to challenge hegemonic historical narratives. Working primarily through drawing, installation, and archival research, she investigates both terrestrial and celestial cartographies as instruments of erasure and domination, questioning the presumed objectivity of Western scientific knowledge.

By interweaving poetic, iconographic, and archival elements, Estrada creates speculative mappings that expose the arbitrariness of historiography and the symbolic structures shaping territorial imaginaries.

Her work has been exhibited at the Museu de Arte Moderna do Rio, Museu de Arte do Rio, Museu Nacional de Belas Artes, and SESC Pompeia, among others, and is part of public and private collections. She studied Visual Arts at Universidad Nacional de Córdoba (UNC) and Universidade Federal Fluminense (UFF), and was a grantee of the Contemporary Artistic Practices program at Escola de Artes Visuais do Parque Lage, Rio de Janeiro.

Portrait, courtesy of the artist (c) Karina Santa Rosa. Visual identity

06/09/2025

𝘍𝘰𝘵𝘰𝘴 𝘎𝘳𝘢𝘵𝘪𝘴 (2022–2025) by .mebarek, & as part of the Discovery Award – Louis Roederer Foundation at .

The project is on view at the Monoprix space until October 5th, 2025.

Curator: César González-Aguirre
With support from the Louis Roederer Foundation

Images courtesy of Jeanne Bruc, , Aurore Valade, & Mélody Rondenet.

03/07/2025

Persona Curada is pleased to announce its participation in the upcoming edition of the Rencontres d’Arles, presenting 𝘍𝘰𝘵𝘰𝘴 𝘎𝘳𝘢𝘵𝘪𝘴 (2022–2025) by Daniel Mebarek, as part of the Discovery Award – Louis Roederer Foundation.

The project will be on view at the Monoprix space from July 7th to October 5th, 2025.
 The Persona Curada team will be present in Arles during the opening week.

Conceived by Bolivian-Algerian, Paris based artist Daniel Mebarek, Fotos Gratis stems from an intent to engage with the vibrant urban life of El Alto, Bolivia. The artist set up a mobile studio within the Feria 16 de Julio (the largest open-air market in the region) offering free portraits to passersby. Situated at the intersection of daily life and photographic tradition, the project reimagines portraiture as a participatory and dialogical space.

Curator: César González-Aguirre.
With support from the Louis Roederer Foundation.
 Artwork: Untitled, from Fotos Gratis (2022–2025), c-print by Adrián Cuahtémoc Wong
  .mebarek

29/05/2025

On view in 𝐵𝒾𝓈𝑜𝓊 𝑀𝒶𝑔𝒾𝓆𝓊𝑒 𝓍𝑜𝓍𝑜 𝑭𝒊𝒏𝒂𝒍 𝑷𝒂𝒓𝒕 through June 7th, 2025 at .club

Rosario Aninat
Hands on a hardbody (2/3), 2023
Diminished tin coins
⌀ 40 cm each

Sofia Bonilla Otoya
Una corona para tus ojos de plata [a crown for your silver eyes / une couronne pour tes yeux d’argent], 2023
Aluminum foil, fantasy crystals, stainless steel chains
30 x 190 cm

Omar Castillo Alfaro
Cozcatl 1 (Amantecas, Chapter 2: Le vol des images, series), 2025
Alabaster and stainless steel
23 x 15 x 11 cm
 Omar Castillo Alfaro
Cozcatl 3 (Amantecas, Chapter 2: Le vol des images, series), 2025
Marble, tin, and stainless steel
45 x 53 x 4 cm

Samir Laghouati-Rashwan
Diamond, Gold, Brown, 2025
video 4”

These are the last days to visit the exhibition:
tuesday to saturday • 2 pm - 6 pm

📷 Images courtesy of the artist and sissi club, marseille

Persona Curada

07/01/2026

16/12/2025

19/10/2025

17/10/2025

15/10/2025

14/10/2025

08/10/2025

08/10/2025

06/09/2025

03/07/2025

29/05/2025

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