fabio miguez
horizonte partida, 2015
oil and wax on linen
190 x 180 cm

Fabio Miguez began his artistic career in the 1980s when, alongside Carlito Carvalhosa, Nuno Ramos, Paulo Monteiro, and Rodrigo Andrade, he founded the artist’s space Casa 7. Miguez initially worked with painting, having participated in the 1980s in two editions of the Bienal de São Paulo: from that edition known as “Bienal da Grande Tela” (1985), curated by Sheila Leirner, and the 20th edition of the exhibition (1989).


During the 1990s, he started to produce, parallel to his paintings, the series of photographs entitled Derivas, later published with the name Paisagem Zero in 2013. In the 2000s, Miguez started to develope three-dimensional works, such as the installation Onde (2006), Valises (2007), and Pingpong (2008), which expands his line of research and his medium of choice: painting. His degree in architecture brings to his work a constructivist influence that dialogues with concerns regarding scale, material, and figuration. The artist often deals with modular forms in relation to combinatory logic, employing repetitions and operations of inversion and mirroring.


Fábio Miguez born in São Paulo, Brazil, 1962, where he lives and works. He was participated in several biennials, such as: Bienal de São Paulo (1985 and 1989), 2nd Havana Biennial, Cuba (1986), 3rd Cuenca International Biennial, Cuenca, Ecuador (1991), and 5th Bienal do Mercosul, Porto Alegre, Brazil (2005), as well as retrospective shows, such Bienal Brasil Século XX (1994) and 30x Bienal (2013), both promoted by Fundação Bienal de São Paulo. Main recent solo shows include: Fragmentos do Real (Atalhos) – Fábio Miguez, Instituto Figueiredo Ferraz (IFF), Ribeirão Preto, Brazil, 2018; Horizonte, Deserto, Tecido, Cimento, Galeria Nara Roesler, Rio de Janeiro, Brazil, 2016, and São Paulo, Brasil, 2015; Paisagem Zero, Centro Universitário Maria Antonia, São Paulo, Brazil, 2012; Temas e variações, Instituto Tomie Ohtake, São Paulo, Brazil, 2008; Fábio Miguez, Pinacoteca do Estado de São Paulo, São Paulo, Brasil, 2003, exhibition accompanied by publication of a monograph on his work; and Fábio Miguez, Centro Cultural São Paulo (CCSP), São Paulo, Brazil, 2002. Recent group shows include Oito Décadas de Abstração Informal, Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, Brazil, 2018; Auroras – Pequenas Pinturas, Espaço Auroras, São Paulo, Brazil, 2016; Casa 7, Pivô, Edifício Copan, São Paulo, Brazil, 2015; and Prática Portátil, Galeria Nara Roesler, São Paulo, Brazil, 2014. His works are including in important institutional collections, such as: Centro Cultural São Paulo (CCSP), São Paulo, Brazil; Instituto Figueiredo Ferraz (IFF), Ribeirão Preto, Brazil; Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, Brazil; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, Brazil; e Pinacoteca do Estado de São Paulo, São Paulo, Brazil.



  • a pintura reinventada Download

    a pintura reinventada

    antonio gonçalves filho, o estado de s. paulo 23.6.2018
  • pintura é estrela em mostras nos jardins Download

    pintura é estrela em mostras nos jardins

    folha de s.paulo - guia da folha 22.6.2018

Texto Crítico

  • fragments of real*

    rodrigo moura
    To start somewhere, first I should point out the unsettled nature I perceive in the paintings of Fábio Miguez over the past decade-and-a-half during which I have followed it from up close. It is as though the artist had slowly and consciously put in question several assumptions from his own practice, thereby taking it to realms which, if not alien, are unexpected to say the least. In 2002, for the eponymous exhibition at São Paulo’s 10,20 x 3,60 gallery, Miguez led his painting (which had by then already taken on more geometrical contours) outside the canvas, with transparent glass planes and bits of shape-color in space. Viewers were able traverse the exhibition as if they were walking inside a painting, and the whites in the pictures had transformed into the space itself. This gesture had a few implications in the works that followed. On the one hand, the empty spaces in his paintings grew denser, the chromatic masses standing out more evidently and giving compositions a more diagrammatic...