Galeria Nara Roesler is pleased to announce “Fragmentos do Real (Atalhos),” a traveling exhibition of paintings by Fabio Miguez. The exhibition at Galeria Nara Roesler | São Paulo follows its presentation at Figueiredo Ferraz Institute, Ribeirão Preto, Brazil, from March to May 2018. During the opening of the exhibition on June 23th, the gallery will also launch Miguez’s monograph “Atalhos” [Fragmentos] by Rodrigo Moura, who also authored a text for the exhibition.

“Fragmentos do Real” presents Miguez’s Fragmentos, an ongoing series which the artist has been developing since 2011. The presented pieces isolate elements present in Miguez’s practice, which are at once unique and repeated in sub-series that present formal and chromatic variations.

Selected pieces dialogue with art history through the presentation of fragments of paintings by artists, including Piero della Francesca, Alfredo Volpi and Henri Matisse. The series also engages with architectural forms, such as houses, walls, pavements of stones and bricks. The display of the exhibition seeks a linear arrangement, fostering the encounter between works that employ varied colors, textures, forms, and movements, fomenting a relationship between figuration and abstraction. According to Rodrigo Moura, Fabio Miguez’s works "are less like idealized pictorial spaces than fragments of the real."


The book “Fragmentos” is supported by Galeria Nara Roesler, edited by APC - Association for Contemporary Patronage.

Exhibition Views

vista da exposição -- fabio miguez: fragmentos do real -- galeria nara roesler | são paulo, 2018


  • 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

Critical Essays

  • 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...