Domicio Pedroso
Urban Texture as Poetry
“Domício Pedroso, a Tessitura Urbana como Poesia” (“Domício Pedroso, Urban Texture as Poetry”) presents a retrospective of the Curitiba artist’s vast production ten years after his death. Curated by Fernando Bini and Maria José Justino, the exhibition has around 85 works that explore different techniques, including oil on canvas, plate and paper; serigraphy; Chinese ink on paper, and acrylic on canvas.
When delving into Domicio Pedroso's artistic career, his role as a cultural animator, exhibition designer, curator, painter, and engraver stands out. As one of the pioneers in creative and commercial screen printing, his works move between realism, cubism, and abstraction.
Artist
Domicio Pedroso
Curatorship
Maria José Justino and Fernando Bini
Exhibition period
From 11 de julho de 2024
Until 13 de outubro de 2024
Location
Room 7
Plan your visit
FIND OUT MORE ABOUT THE EXHIBITION
MON opens an exhibition by artist Domício Pedroso
“Domício Pedroso, a Tessitura Urbana como Poesia” (“Domício Pedroso, Urban Texture as Poetry”) is the new exhibition at the Oscar Niemeyer Museum, which will open on July 11th, at 7 pm, in Room 7. Curated by Fernando Bini and Maria José Justino, the exhibition displays around 85 works, which present a sample of the Curitiba artist's vast production.
“Museums are living spaces of knowledge that increase their repertoire and provide unique experiences to their audiences,” comments Juliana Vosnika, Director-president of the Oscar Niemeyer Museum. “By presenting the exhibition by this important artist from Curitiba, Domício Pedroso, who left us exactly ten years ago, the Oscar Niemeyer Museum does more than that: here we find belonging and appreciation of local culture,” she states.
The exhibition is divided into four sections: “Paris e Viagens, as Marinhas” (“Paris and Travel, the Seas”), “Autorretratos e Retratos” (“Self-Portraits and Portraits”), “Casarios e Favelas” (“Townhouses and Favelas”), and “Nova Figuração: Caminhos para a Abstração” (“New Figuration: Paths to Abstraction”).
The works present an enormous diversity of techniques, such as oil on canvas, plate, and paper; silkscreen, Chinese ink on paper, and acrylic on canvas.
“This exhibition aims to provide a retrospective of his artistic production and his role in Brazilian cultural life,” explain the curators. “The exhibition highlights the artistic energy of paintings, drawings, and engravings on themes from Seas to Favelas and Urban Settlements”.
According to the curators, the exhibition covers his vast artistic production from the 1950s to recent times, revealing the uniqueness of Domício's poetics, originally constructed in the gap between realism, cubism, and abstraction.
The artist
Domício Pedroso (1930-2014) was a painter and engraver. He began his studies in the studio of artist Guido Viaro, in Curitiba, at the end of the 1940s. He graduated from the School of Fine Arts of Paraná in 1952. Furthermore, he had his first solo exhibition in 1958 at the Public Library of Paraná. In Paris, between 1959 and 1962, he developed studies in visual communication. He interned at Radiodifusion Television Française and the UNESCO Information Center, obtaining a diploma from the École Normale Supérieure, in Saint Cloud as a specialist in Audiovisual Techniques. He returned to Brazil in 1962 and organized the Audiovisual Center of the Education and Culture Secretariat for the government of the State of Paraná. In the 1980s, he coordinated the National Art Foundation (Funarte), for the South region of the country.
Images
Museums are living spaces of knowledge that increase their repertoire and provide unique experiences to their audiences. By presenting the exhibition by this important artist from Curitiba, Domício Pedroso, who left us exactly ten years ago, the Oscar Niemeyer Museum does more than that. We find here belonging and appreciation for local culture.
As the largest art museum in Latin America, with a collection of 14 thousand works, MON has a vocation for visual arts, architecture, and design, with an emphasis on Brazilian art, especially art from Paraná. Artists from our state are always present in exhibitions and the institution's permanent collection. Establishing constant dialogues between them and their works with our visitors is one of MON's main objectives.
In the exhibition “Domício Pedroso: a Tessitura Urbana como Poesia” (“Domício Pedroso: Urban Texture as Poetry”), the public will find around 85 works, colored or monochromatic, which reveal a cross-section of the artist’s vast production. Widely recognized for his ability to combine artistic techniques and styles, Domício has always created a unique, intuitive, and innovative style.
Divided into four sections, the exhibition takes the public to “Paris e Viagens, as Marinhas” (“Paris and Travel, the Seas”, “Autorretratos e Retratos” (“Self-Portraits and Portraits”), “Casarios e Favelas” (“Townhouses and Favelas”) and “Nova Figuração: Caminhos para a Abstração” (“New Figuration: Paths to Abstraction”). These are the artist’s themes, as diverse as they are interesting.
We realize, when admiring such works, how art can communicate without words, allowing a link between people, worlds, and experiences. Enjoy it!
Juliana Vellozo Almeida Vosnika
Director-president of the Oscar Niemeyer Museum
Domício Pedroso's artistic career is marked by erudition and diversity: cultural animator, regional director of Funarte, exhibition photographer, curator, and, fundamentally, painter and engraver. Deep in the language of painting, a specialist in engraving, and a pioneer in artistic and commercial screen printing, he taught different techniques and worked on planning and assembling exhibitions (expography), in addition to carrying out brilliant curations.
This exhibition aims to provide a retrospective of his artistic production and his role in Brazilian cultural life. The exhibition highlights the artistic energy of paintings, drawings, and prints on themes from Seas to Favelas and Urban Agglomerates (in which the artist achieves a certain degree of abstraction). It covers his vast artistic production, from the 1950s to recent times, revealing the singularity of Domício's poetics, originally constructed in the gap between realism, cubism, and abstraction.
When he reached abstraction, he revealed himself to be a strongly intuitive artist. Intuition is not a mystical force but a work that does not dispense with reason; it is a constructive work. It is a deep way of seeing and perceiving, in which the eye is already spirited. Boats, houses, townhouses, overlapping houses, tangled surfaces of the roofs of shacks and slums, urban agglomerations... Forms that attracted the painter so much and that equally fascinate us.
His painting emerges from the great debate between figuration and abstraction in the 1960s and 1970s. He believed that all experiences and visions were reminiscent of reality. Starting from the most conventional, objective, realistic landscape, the artist simplifies and geometrizes until he creates images—or suggestions of images—that call for the observer's interpretation. Eliminating the lines of flight from a central perspective, he seeks the spatial structuring of the fabric of cities, giving rise to all of his poetics. From this personal look, the artist extends his vision to universal beauty.
Fernando Bini
Maria José Justino
Like every imaginative artist, Domício is a great traveler, both in the real and in the imaginary dimension. From the boats and sloops of Bahia to the gondolas of Venice and the old fishing boats of Volendam, the artist travels through Brazilian landscapes—the favelas of Rio de Janeiro, the shacks and settlements of Curitiba, the festival of colors in the stained glass windows of Chartres and Paris—through so many streets in so many places, giving rise to various imaginations. The artist invites us on deep journeys in the joy of discovering new worlds through the charm of ar
Self-portraits are always a conversation with intimacy. We find in Domício's self-portraits a certain detachment, someone who does not expose himself, a certain proximity to Cézanne's impersonality. But we also find, in portraits of him painted by other artists, different ways of trying to understand him: absorbed in De Bona, lyrical in Massuda, reserved in Wollerman, Cézannian in Wong. A difficult soul to reach. A deeply enigmatic man.
In Morro do Cabrito (RJ), Domício “felt the pictorial side of favelas, which, alongside their social problems, also offers an example of community integration” (Aramis Millarch). This first contact had a profound impact on his work, revealing a great empathy for the organic architecture of the favelas, which would occupy his palette and his imagination.
From New Figuration to Abstraction, Domício balances between cubism and abstraction and expands the constructive sense without reaching a stricto sensu abstraction, always trusting in intuition. Intuition demands a return to the phenomena (favelas), in which the forms fade away, and the allusive figuration is attenuated, denying all perspective and affirming the frontality of the pictorial surface. His painting asserts a new meaning in the use of horizontals, verticals and aplats, which gain sensual contours with the use of color. In abstract art, he appropriates transcendence. Inverno em Paris (Winter in Paris, 1961) and Comspiração Branco e Preto (Black and White Conspiracy, 2007) are perhaps the works closest to abstraction, ascending to a true game between verticals and horizontals, a procedure adopted in his last works. But it's the rudeness of the city that captivates him. It's a long road until the moment in which its favelas say goodbye to mere figuration and achieve refinement. He does not slip into geometric asepsis, being safe from it through the seduction of color. The path of purification and simplification takes place gradually, and it is this exercise that allows him an increasingly greater purification that leads him to flow into lyrical abstraction—an occasion in which geometric rigor definitively gives way to the order of the sensible and the rudeness of the city. Succumbs to lyricism, in which colors and lights create the party.
1930
On December 28th, Carlos Domício Moreira Pedroso was born in Curitiba, Paraná, son of Simeão Mafra Pedroso and Hilda Moreira Pedroso. Later, he simplified his artistic name to Domício Pedroso.
1943
He completed his elementary studies at Belmiro Cesar School in Curitiba.
1946
He began his artistic training in the studio of Guido Viaro, an Italian painter based in Curitiba.
1948
He enters the School of Music and Fine Arts of Paraná – EMBAP. Curitiba-PR.
1949
For the first time, he participated in a hall exhibition at Clube Concórdia‘s II Spring Fine Arts Hall, receiving an honorable mention for the work NATUREZA MORTA (STILL LIFE), in watercolor.
He participated in this Fine Arts Hall annually until the XV, in 1963. Curitiba-PR.
1952
He graduated from the drawing and painting course at the School of Music and Fine Arts of Paraná. Curitiba-PR.
Receives honorable mention at Clube Concórdia's 5th Spring Fine Arts Hall, with the work GUARATUBA, in watercolor. Curitiba-PR.1953
He enters the Federal University of Paraná (UFPR), in Engineering, studying until the third year.
At Clube Concórdia's VI Spring Fine Arts Hall, he received the 2nd award in Painting, with the work CABEÇA DE VELHO (OLD MAN'S HEAD -monotype, 1952). Curitiba-PR.
1956
He marries Leyla Gomes de Mattos, a teacher at the time and, later, a collaborator in his professional life.
At the XIII Paraná Hall, he received a Bronze Medal and Acquisition Prize for the work ÁRVORES (TREES). Curitiba-PR.
1957
His first daughter, Lenora, is born.
He graduated from the Public Relations course at Getúlio Vargas Foundation in Rio de Janeiro.
At the XIV Paraná Hall, he received the Acquisition award for his work RUA DO COMÉRCIO, RJ (COMÉRCIO STREET, RJ), a work currently in the collection of the Cultural Foundation of Curitiba.
He participates in the National Hall of Fine Arts-RJ, with the work PAISAGEM DO IATE CLUBE (LANDSCAPE OF THE YACHT CLUB).
1958
He writes the Visual Arts column in the local newspaper, O Dia (The Day).
At the XV Paraná Hall, he received the Acquisition Award for the work GUARATUBA III and an Honorable Mention in drawing, with FIGURAS (FIGURES), in Chinese ink. Curitiba-PR.
He holds his first solo exhibition at the Paraná Public Library, with 60 works including drawings, watercolors, and oils. Guido Viaro wrote the presentation text for the exhibition.
1959
He goes on a study trip to Europe. In Paris, where he stayed for three years, he attended several courses in the field of visual arts, keeping in touch with the most expressive avant-garde groups. He was the first Brazilian to graduate in audiovisual techniques at the Center Audio Visuel de Saint Cloud, with a diploma approved by UNESCO. Some abstract works from this period were carried out as technical exercises, as his work continued to focus on themes of the urban landscape.
1960
He graduated from the Contemporary Press course at the Institut d’Etudes Politique, in Paris.
1960
He graduated from the Educational TV Production Courses at the Institut Pédagogique National; Reception Techniques and Control at the Service de Tèlèvision Scolaire; Realization of Programs on Radiodifusion Télévision Française, in Paris. Closed Circuit TV Courses at the Lycée Pilote de Sévres; educational cinema and TV; exhibitions in graphic media at the Center Audio Visuel in Saint Cloud, France.
1962
He graduated from the Research and Communication course at the Center de Documentation – UNESCO, in Paris, France.
Back in Brazil, after a quick visit to Recife and Salvador, he attempts to capture the tropical light of our rediscovered landscape on a series of canvases. The colonial houses, sloops, and rafts date back to this period.
Participates with Grover Chapman and Manuel Gella in the Festival of Art and Culture at the São Pedro Theater Hall, in Porto Alegre, RS.
At Clube Concórdia's XIV Spring Fine Arts Hall, he received a silver medal for his work. Curitiba-PR.
1963
He holds a solo show at the Guaíra Theater, exhibiting works produced during his stay in Europe. Without abandoning painting, he developed intense work in visual planning, having designed and implemented the Audiovisual Center for the Department of Education and Culture of the State of Paraná, holding the position of director in Curitiba.
1964
His second daughter, Daniela, is born.
1970
At the 27th Paraná Hall, he received the third prize in Painting for the work FAVELA.
This work is incorporated into the MAC/PR collection.
1971
Participates in the exhibition Plastic Artists of Paraná, at MAC/PR, in Curitiba and Brasília-DF.
1972
Participates in the exhibition Brasil Plástica 72 (Brazil Plastic 72), Bienal de São Paulo – MAC/PR and the Pre-Bienal. São Paulo-SP.
1973
He was invited by Karlos Rischbieter, CEO of the State Development Bank of Paraná – BADEP, to design the facilities for the Bank's Exhibition Hall, remaining for ten years as programmer and curator of the exhibitions held there. Curitiba-PR.
He is a guest artist with a special room at the 30th Paraná Hall. Curitiba-PR.
Participates in a group show at the School of Music and Fine Arts of Paraná. Curitiba-PR.
Participates in the MAC/PR traveling exhibition throughout the state.
1974
Winner of the commemorative poster competition for the inauguration of Guaíra Theater. Curitiba-PR.
1975
Participates in the exhibition Arte e Técnicas Artísticas (Art and Artistic Techniques) at the State Development Bank of Paraná – BADEP. Curitiba-PR.
1976
Participates in the exhibition Panorama da Arte do Paraná III (Panorama of Art in Paraná III) at the State Development Bank of Paraná, BADEP, Curitiba-PR.
Part of the MAC/PR press conference in Brasília-DF.
Participates with Suzana Lobo and Elvo Damo in an exhibition at the Cimo Móveis Art Gallery. Curitiba-PR.
1977
Participates in the MAC/PR exhibition Tempo de Cultura (Time of Culture), which travels throughout the interior of the state.
1978
He is part of the jury for the exhibition A Hora da Estrela (The Hour of the Star) at the School of Music and Fine Arts of Paraná. Curitiba-PR.
1979
He is the general supervisor of the Mostra Anual da Gravura Cidade de Curitiba (Annual Engraving Exhibition of the City of Curitiba), run by the Curitiba Cultural Foundation.
He participates in the IV Passarola Hall, being honored with the Passarola-Varig – Grafipar award. Curitiba-PR.
1980
He is the general producer of the exhibition Paraná Memória Momento for the government of Paraná, installed at the Government Palace in Curitiba, at the São Paulo Museum of Art – MASP and in the Exhibition Room of the Cultural Foundation of the Federal District, in Brasília.
He is part of the jury for the poster competition for the 37th Paraná Hall. Curitiba-PR.
He is honored with a special room at the IV Iguaçu Hall. Foz do Iguaçu-PR.
Participates in the National Meeting of Art Critics—Collective exhibition at the Guido Viaro Museum. Curitiba-PR.
He is part of the jury at the I National Humor Fair. Curitiba-PR.
Takes part with Wilson de Andrade e Silva and Jefferson Cesar in an exhibition at Acaiaca Gallery, Curitiba-PR.
He is invited to the exhibition Pintores Paranaenses (Artists from Ohio’s Brazilian Sister State – Hiestand Gallery). Ohio-USA.
1981
Assumes coordination of the FUNARTE regional office for the southern region of the country, located in Curitiba-PR.
Participates in the exhibition Painters of Curitiba-Miguel Bakun Room, State Government Department of Education and Culture. Curitiba-PR.
He is part of the jury at the 5th Iguaçu Art Hall – Foz de Iguaçu-PR.
He is part of the jury at the Salão dos Novos in Jacarezinho-PR.
Participates in the exhibition A Arte da Serigrafia (The Art of Serigraphy), State Development Bank of Paraná – BADEP. Curitiba-PR.
1982
His work PAISAGEM (LANDSCAPE) is now part of the collection of MASP, São Paulo Assis Chateaubriand Museum of Art, cataloged under number 761.
Exhibits with Wilson de Andrade e Silva and Fernando Velloso at the Ida e Anita Art Gallery. Curitiba-PR.
Participates in the exhibition Caixa de Arte Livre, at the Public Library of Paraná, touring the USA.
Participates in the Paraná Collective exhibition in Switzerland – Aarau City Museum, Canton of Algal-Switzerland.
He is the author of the project and execution of the Desenbanco Exhibition Room at the State Development Bank of Bahia and is the curator of the inaugural Poty exhibition. Salvador-BA.
1983
Holds an exhibition with Fernando Velloso, Wilson de Andrade e Silva, and Erico da Silva – Pintura em 4 Tempos (Painting in 4 Times), at Masson Gallery. Curitiba-PR.
Participates in the exhibition at the Swiss-Brazilian School of the Artists, which held the collective exhibition in Switzerland. Curitiba-PR.
He is part of the jury of Primeira Fotosul – FUNARTE, Curitiba-PR.
He is part of the jury at the Clube Curitibano Photography Hall. Curitiba-PR.
He is part of the jury of the 1st Rosicrucian Meeting of Visual Artists, Curitiba-PR.
1984
Participates in the exhibition Artistas Paranaenses (Artists from Paraná) at the Álvares Penteado Foundation Cultural Hall. São Paulo-SP.
Participates in the exhibition Brazilian Painters at Midd Fest'84 in Ohio, USA.
1985
He is the curator of the exhibition Portinari at Clube Curitibano, Curitiba-PR. Collection of the São Paulo Museum of Art – MASP-SP.
He is part of the jury of the III Visual Arts Hall of the Círculo Militar do Paraná. Curitiba-PR.
Assumes the vice presidency of the Paraná Association of Plastic Artists -APAP-PR. Curitiba-PR.
1986
Holds solo exhibition at Casabrannka Art Gallery. Curitiba-PR.
Participates in the exhibition Paraná Cor e Forma (Paraná Color and Form) in the Bernardelli Room, National Museum of Fine Arts – RJ, with thirteen artists from Paraná. The painting FAVELA N°84 (acrylic on canvas, 100×100 cm. 1956) is incorporated into the collection of the National Museum of Fine Arts – RJ.
Participates in the exhibition Most Awarded Artists in the 42 Editions of the Paraná Hall, MAC/PR. Curitiba-PR.
He is part of the jury at the VII TELEPAR Visual Arts Exhibition. Curitiba-PR.
Assumes the presidency of the Paraná Association of Visual Artists – APAP-PR. Curitiba-PR.
1987
He is part of the jury for the XII COPEL Plastic Arts Competition. Curitiba-PR.
He holds a solo exhibition at the Contemporânea Art Gallery, Curitiba-PR. In this exhibition, in addition to the houses, the artist returns to the theme of seascapes.
He is honored with a special room at the 44th Paraná Hall, MAC/PR.
He is the author of the project for the material installations for the exhibition room of the Cultural Space of IBM's Palacete Leão Jr. and the general coordinator of the inaugural Arte & Mate exhibition. Curitiba-PR.
Participates with Erico da Silva, Estela Sandrini, Suzana Lobo, and Wilson de Andrade e Silva in the 3rd exhibition at the Uffizi Art Gallery. Curitiba-PR.
1988
He curates the exhibition Lasar Segall held at Clube Curitibano. Collection of the Lasar Segall Museum in São Paulo, SP.
Participates in the collective exhibition EMBAP Year 40. MAC/PR. Curitiba-PR.
He is the organizer and curator of the exhibition Poty Ilustrador (Poty Illustrator). IBM, Curitiba-PR, taken to the National Museum of Fine Arts, RJ, the Brasília Art Museum-DF, and the Lasar Segall Museum-SP.
He is part of the jury at Curitiba Arte 4. Curitiba-PR.
Participates in the inaugural exhibition at the Municipal Art Museum – MUMA. Curitiba-PR.
Participate in the exhibition 40 Works from the BANESTADO Collection at BANESTADO Art Gallery. Curitiba-PR.
He is an advisor to the Administration of the BANESTADO Art Gallery. Curitiba-PR.
Participates in the exhibition VIII Mostra da Gravura Cidade de Curitiba (VIII City of Curitiba Engraving Exhibition). Curitiba-PR.
Participates in the exhibition 20 Artists from Paraná at the Himeiji Art Museum-Japan (Paintings from the Overseas Sister Cities).
1989
With Jair Mendes, he holds an exhibition at the Artestil Art Gallery. Curitiba-PR.
He is a member of the MAC/PR Advisory Board. Curitiba-PR.
He is a member of the Supervisory Board of the Paraná Association of Visual Artists – APAP/PR. Curitiba-PR.
He is a member of the founding group of the Development Council of the Pontifical Catholic University of Paraná – PUC/PR. Curitiba-PR.
He is part of the jury at the IV Mostra Cascavelense de Artes Plásticas (IV Cascavel Visual Arts Exhibition). Cascavel-PR.
Participates in the exhibition 6 Artistas e Suas Cores (6 Artists and Their Colors) - Verité Artes. Pato Branco-PR.
Holds an exhibition with Fernando Velloso and Jair Mendes at Arte Atual Gallery. Londrina-PR.
Participates in the exhibition Coletiva Cocaco 30 Anos (Cocaco Collective 30 Years). Cocaco Gallery. Curitiba-PR.
Participates in the committee for selecting exhibitions in the Curitiba Cultural Foundation spaces. Curitiba-PR.
Participate in the event Panel: A Gravura Brasileira e o Mercado de Arte (Brazilian Engraving and the Art Market), II Art Engraving Seminar at the VIII Engraving Exhibition. Curitiba Cultural Foundation. Curitiba-PR.
He is part of the jury of the VII BANESTADO Hall of New Artists. Curitiba-PR.
He is part of the jury at the 46th Paraná Hall. Curitiba-PR.
1990
He is part of the jury at the 31st Salão dos Novos (Hall of the New Ones). Antonina-PR.
He participates in the III Paraná Museum Meeting, where he teaches a course on Exhibition Mounting Techniques. Campo Mourão-PR.
Participates in a collective at BANESTADO Art Gallery. Londrina-PR.
Receives an acquisition award at the 1st Curitiba Hall – Clube Curitibano, with work N° 352– FAVELA/89. Curitiba-PR.
He is a member of the fine arts selection committee of the Paraná Arts and Crafts Project, of Caixa Econômica do Paraná. Curitiba-PR.
He is a member of the organization committee of the Curitiba Arte 6 Hall. Curitiba-PR.
1991
Participates in the MAC/PR Collection exhibition – Abstract Phase. Curitiba-PR.
He is part of the organizing committee of the Curitiba Arte 7 Hall. Curitiba-PR.
Participates with Álvaro Borges, Érico da Silva, and Fernando Calderari in the exhibition 4 Mestres da Pintura Paraná (4 Masters of Paraná Painting), Aria ArtGallery. Cascavel-PR.
Also at the Gilda Cunha Art Gallery in Ponta Grossa-PR and the Rafain Palace Hotel in Foz do Iguaçu-PR.
1992
Teaches Exhibition Assembly classes in the Museological Training Course at the Paraná Museum. Curitiba-PR.
He is a guest artist at the III National Religious Art Exhibition. PUC/PR. Curitiba-PR.
He is part of the jury for the XIII Plastic Arts Competition of the COPEL Foundation. Curitiba-PR.
1993
Participates in the exhibition commemorating 300 Years of Curitiba – Museu da Gravura Cidade de Curitiba (Engraving Museum City of Curitiba-PR).
Holds a solo exhibition at the Pontifical Catholic University of Paraná. PUC/PR. Curitiba-PR.
He is a guest artist with a special room at Clube Concórdia's XXIII Spring Fine Arts Hall. Curitiba-PR.
He is curator of the retrospective 1951–1993 Configuration by Wilson de Andrade e Silva. PUC/PR. Curitiba-PR.
He is honored as Plastic Artist of the Year by the Federal Railway Network (RFF) in celebrations celebrating the 36th anniversary of the RFF. Curitiba-PR.
Receives an award for Quality of Work at the IV Hall of the Clube Curitibano. Curitiba-PR.
1994
Holds solo exhibition at the BANESTADO Art Gallery. Curitiba-PR.
Participates in the exhibition Artistas do Paraná – Geração 60 (Artists of Paraná – Generation 60) – Joinville Cultural Foundation-SC.
1995
He curates the exhibition Acervo à Mostra (Collection on Display). MAC/PR. Curitiba-PR.
Holds a solo exhibition Pinturas Recentes (Recent Paintings). Banco do Brasil Cultural Space. Curitiba-PR.
He is the curator of the exhibition Imagens de um Certo Instante (Images of a Certain Instant) – a solo exhibition by Wilson de Andrade e Silva at the PUC/PR University Museum. Curitiba-PR.
Participates in the exhibition 50 Years of Paraná Hall – Retrospective at MAC/PR. Curitiba-PR.
1996
Participates in the exhibition of works from the BANESTADO collection at the BANESTADO Cultural Space. Curitiba-PR.
He is the Artist of the Month for the Alfredo Andersen Museum Project. Curitiba-PR.
Participates in the VII Curitiba Hall – Hors Concours. Clube Curitibano, Curitiba-PR.
1997
Participates in the VIII Curitiba Hall – Hors Concours. Clube Curitibano. Curitiba-PR.
He is elected President of the Sociedade de Amigos dos Museus (Society of Friends of Museums). Curitiba-PR.
1998
Participate in the collective in a special tribute to the former presidents of APAP, in the Osmar Chromiec room in the APAP Art Gallery. Curitiba-PR.
He curates the exhibition A Obra Monumental de Poty (The Monumental Work of Poty) at Caixa Econômica. Curitiba-PR.
He is the curator with Fernando Bini, of the exhibition Arte Paranaense: Movimento e Renovação (Paraná Art: Movement and Renewal) at Caixa Econômica. Curitiba-PR.
1999
Participates in the exhibition PUC 40 Years Art and Culture—collective PUC/PR. Curitiba-PR.
He is re-elected president of the Society for Friends of Museums. Curitiba-PR.
2000
Participates in the exhibition Brazil 500 Years – APAP, a traveling exhibition throughout Paraná.
2001
Participates in the exhibition BADEP Collection with the work FAVELA, silkscreen. Curitiba-PR.
He is a member of the Cultural Council of the State Department of Culture. Curitiba-PR.
He is a member of the Cultural Sector of Clube Curitibano. Curitiba-PR.
2002
Participates in the BANESTADO Collection collective at Casa Andrade Muricy. Curitiba-PR.
Participates in the opening exhibition of the Oscar Niemeyer Museum – MON – Panorama of Paraná Art. Curitiba-PR.
2003
He is part of the jury of the V Religious Art Hall at PUC/PR. Curitiba-PR.
It is part of the Poty Collection at MUMA the Municipal Art Museum. Curitiba-PR.
Participates in the exhibition Visões Urbanas (Urban Visions), a collective exhibition from the MAC/PR collection. Curitiba-PR.
Participates in the exhibition Um Olhar Sobre a Arte Paranaense (A Look at Paraná Art) at the Oscar Niemeyer Museum – MON. Curitiba-PR.
Holds a solo exhibition at Clube Curitibano. Curitiba-PR.
Participates in the exhibition Memória e História (Memory & History) – Guaíra Theater 50 Years. Curitiba-PR.
Receives the Medal of Cultural Merit Barão do Serro Azul – Clube Curitibano. Curitiba-PR.
2004
Participates in the exhibition Arte França Brasil – Semana da França (France Brazil Art—France Week), Clube Curitibano. Curitiba-PR.
2005
Participates in the VI Paraná Museums Meeting, Cascavel-PR, teaching an exhibition assembly workshop.
2006
Participates in the exhibition Fragmentos da Modernidade (Fragments of Modernity) at the Oscar Niemeyer Museum – MON, Curitiba-PR.
Participates in the exhibition Acervo do MON – Gravuras (MON Collection – Engravings), Oscar Niemeyer Museum, Curitiba-PR.
He is the curator, with Suely Deschermayer, of the exhibition Estanislau Traple, at Oscar Niemeyer Museum – MON. Curitiba-PR.
2007
Participates in the exhibition Gravuras do Acervo (Engravings from the Collection) at the Oscar Niemeyer Museum – MON, Curitiba-PR.
Participates in the exhibition Acervo: Aquisição (Collection: Acquisition) at the Oscar Niemeyer Museum – MON, Curitiba-PR.
Participates in the exhibition Espaço, Tempo, Estrutura, Abstração – Diálogo Entre a Arte e a Matemática (Space, Time, Structure, Abstraction – A Dialogue Between Art and Mathematics) at the UFPR Art Museum – MUSA. Curitiba-PR.
2008
Participates in the exhibition Paraná Caminhos da História da Arte (Paraná Paths of Art History), which travels throughout the state. Secretary of State for Culture of Paraná, Curitiba-PR.
Participates in the exhibition Arte no Espaço e no Tempo (Art in Space and Time). Works from the collection of the Oscar Niemeyer Museum – MON. Curitiba-PR.
2009
Participates in the exhibition Diálogos de um Acervo – Museu na Escola (Dialogues of a Collection – Museum at School) at the Oscar Niemeyer Museum – MON. Curitiba-PR.
He is the coordinator of the exhibition Renault de Doisneau . Casa Andrade Muricy. Curitiba-PR.
Holds an art workshop at the Projeto Artista do Acervo (Collection Artist Project). Oscar Niemeyer Museum-MON. Curitiba-PR.
Holds a solo exhibition and the launch of the book Domício Pedroso. Solar do Rosário Art Gallery. Curitiba-PR.
2010
He is the curator of the exhibition Acervo Artístico (Artistic Collection) of the Commercial Association of Paraná and the launch of the exhibition catalog, Curitiba-PR.
Participates in the traveling exhibition Paraná Caminhos da História e da Arte (Paraná Paths of History and Art), Paraná State Secretariat of Culture, Telêmaco Borba-PR.
Participates with 10 works in the exhibition Pintura Quase Sempre… (Painting Almost Always…) at the Museum of Contemporary Art of Paraná, MAC/PR with the artists Antonio Arney, Fernando Calderari, Fernando Velloso, Ida Hannemann de Campos, and João Osório Brzezinski.
Participates in the exhibition A Sensibilidade da Abstração (The Sensitivity of Abstraction) – Fernando Velloso and Domício Pedroso 80 Years. UFPR Art Museum – MUSA, Curitiba-PR.
2011
Launch of the book Domício Pedroso Variações em torno do tema (Domício Pedroso Variations on the theme). Casa Andrade Muricy – CAM, Curitiba-PR.
Participates in the exhibition Desejo de Salão (Hall Desire). Oscar Niemeyer Museum – MON, Curitiba-PR.
2012
Participates in the exhibition Kunstler Portraits by German photographer Barbara Klemm. Kestner Gesellschaft, Hannover, Germany.
He appears in the catalog of the same exhibition, Kunstler Fotografien 1968–2011, Barbara Kleem. Nimbus Publisher, Germany.
Participates in the exhibition Falando de Arte (Speaking of Art). Guido Viaro Museum, Curitiba-PR.
2014
Participate in the exhibition Tupi or not Tupi. Oscar Niemeyer Museum – MON. Curitiba-PR.
He passed away in Curitiba on July 7th.
2015
Exhibition Domício para sempre (Domício Forever). Municipal Art Museum – MUMA. Curitiba-PR.
2024
Exhibition Domício Pedroso, A Tessitura Urbana como Poesia (Domício Pedroso, Urban Texiture as Poetry). Oscar Niemeyer Museum – MON. Curitiba-PR.
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