Individual and collective exhibitions (selected)
2025
BIWAKO BIENNALE 2025, FLUX. Curator: Yoko Nakata.
Site-specific for the former Omihachiman post office. 17 previously unseen translucent paintings, presumably created in Brazil with terracotta pigments, mining waste, and meteorite dust blown live onto silk and cotton canvases, backlit by windows positioned behind the paintings. Materials: heaven and earth.
On the floor will be several locally sourced stones, perforated and embroidered with silk threads and threads produced in the interior of Brazil.
PRAYING, Solo exhibition. Curator: Ana Avelar. Museu da Inconfidência, Ouro Preto, Minas Gerais, Brazil. Inspired by a poem by Carlos Drummond de Andrade, the exhibition is a single "body" of works, an installation: translucent paintings made with terracotta pigments, mining waste, and meteorite dust on silk and cotton canvases. Embroidered stone sculptures, paintings with meteorite pigments, and a performance with local female dancers. Note: The exhibition will travel to public spaces in five Brazilian capitals.
Patchwork, Six Latin American Women and the Diversity of Visual Proposals. Curator: Adon Péres. Espace_L Gallery, Geneva, Switzerland.
2024
"PORO, Essences," a solo exhibition, participating in the Ocupação Mulherio (Womanhood Occupation), featuring: Translucent paintings made with terracotta pigments, mining waste, and meteorite dust on silk and cotton canvas. Embroidered stone sculptures and paintings with meteorite pigments. Curators: Marcus de Lontra Costa, Viviane Matesco, and Rafael Peixoto.
Danielian Gallery, Rio de Janeiro, Brazil.
"SOPRO," Solo exhibition. Curator: Guilherme Bueno. Works: Translucent paintings made with terracotta pigments, mining waste, and meteorite dust on silk and cotton canvas. Embroidered stone sculptures and paintings with meteorite pigments.
AM Art Gallery. Belo Horizonte, Minas Gerais, Brazil.
2023
Reds
Espace_L, Geneva, Switzerland .
2022
“Klaxon – Mania”, Ricardo Fernandes Gallery, Paris, France.
“Elective Affinities”, AM Galeria, São Paulo, SP, Brazil.
2020
“Illuminations, Un regard féminin sur l'environnement” Niura Bellavinha, Victoire Cathalan, Ana Lombard, Noora Kulvik, Vivianne van Singer. Espace_L, Genève, Suisse.
2019
“Vermelhos/ Reds”, Espace_L, Geneva, Switzerland.
“Blue Imprecision”, Inaugural exhibition, Brisa Galeria, Lisbon, Portugal.
2018
Reds
Espace_L, Geneva, Switzerland .
2017
Reds
Espace_L, Geneva, Switzerland .
2016
Baroque Lithic iTa, Millan Gallery, São Paulo.
Book by Niura Bellavinha and Paulo Herkenhoff, launches in São Paulo, Rio de Janeiro, Belo Horizonte, Miami, Geneva, Punta del Leste, among other locations.
2015
iTa LíTica Barroca, Galeria Millan, São Paulo, Brazil. With the screening of the film NháNhá, the artist's first medium-length film.
2014
BIWAKO Biennale, Curator: Yoko Nakata. Work: Nhanhá, medium-length. Omihachiman, Japan.
Around the Light_ launch of the film NháNhá, [first medium-length film], Curated and written by Alberto Saraiva and Aïcha Barat, Oi Futuro Flamengo, Rio de Janeiro, Brazil.
Around the Light_ including NháNhá, [the first medium-length film], Curated and written by Alberto Saraiva, Oi Futuro Belo Horizonte, Minas Gerais, Brazil.
2013
Around the light, Oi Futuro Belo Horizonte | Oi Futuro Flamengo, Rio de Janeiro, Brazil, Launch of the film NháNhá, the artist's first medium-length film, Curated by Alberto Saraiva and Aïcha Barat.
2011/12
SEISMOGRAPH, video exhibition; curated by: Jacopo Crivelli Visconti, Palace of Arts, Belo Horizonte, Minas Gerais, Brazil.
Fluids and Fixed Project_living water, including Performed Painting_Balm & Poison [short and stop motion], Performed Painting_Infiltration, Galeria Anita Schwartz, Rio de Janeiro, Brazil.
2010
BIWAKO Biennale, Fluids and Fixed Project, installation with 8 water mattresses, containing water from Pampulha Lagoon and water from Lake Biwa, Curator: Yoko Nakata. Omihachiman, Japan.
Fluids and Fixed Project_living water, including Performed Painting_Vestige, [super8], Luciana Brito Gallery, São Paulo, Brazil.
2009
Fluids and Fixed Project_living water, Graça Brandão Gallery, Lisbon, Portugal.
Fluids and Fixed Project_living water, Graça Brandão Gallery, Porto, Portugal.
Between Salons 1969 >> 2000, Pampulha Art Museum, MAP, Belo Horizonte, MG, Brazil.
Gilberto Chateaubriand Collection, Museum of Modern Art of Rio de Janeiro, MAM, Brazil.
Delcir da Costa Collection, Belo Horizonte, MG, Brazil.
Painting, João Sattamini Collection, Niteroi Museum of Contemporary Art, Rio de Janeiro, Brazil.
2008
Fluids and Fixtures Project - Água Viva, Graça Brandão Gallery, Lisbon, Portugal.
2007
Twilight, Nara Roesler Gallery, São Paulo, Brazil.
80/90 Modern, Postmodern, Etc. Tomie Ohtake Institute, São Paulo, Brazil. Curated by: Agnaldo Farias.
Paintings, Museum of Contemporary Art of Niterói, Brazil. Curated by: Guilherme Bueno.
2006
Reflexa Project, Pampulha Art Museum, Belo Horizonte, Brazil. Includes the performance "Balm and Poison" and the performed painting "Bálsamo e veneno - short film." Pre-curated by Rodrigo Moura and post-curated by Janaina Melo and Marconi Drummond.
Turnaround Generation, 10 + 1: The Recent Years of Brazilian Art, Tomie Ohtake Institute, São Paulo, Brazil. Curated by: Agnaldo Farias and Moacir dos Anjos.
Parallel to the São Paulo Biennial, PRODAN, São Paulo, Brazil. Curated by: Daniela Bousso.
A Century of Brazilian Art – Gilberto Chateaubriand Collection, São Paulo State Art Gallery, São Paulo, Brazil.
It's Today – Gilberto Chateaubriand Collection, Santander Cultural Space, Porto Alegre, Brazil. Curated by Fernando Cocchiarale.
2005
Transformers, Manoel Macedo Gallery, Belo Horizonte, Brazil. Includes rain painting - urban interference.
Infiltrations, Arte 21 Gallery, Rio de Janeiro, Brazil.
IN_OUT Translucent, video installation, Paço das Artes, São Paulo, Brazil.
5th Mercosur Biennial, Mercosur Visual Arts Biennial Foundation. Porto Alegre, Brazil.
El Sutil Vértigo de la Imagen, Centro Cultural de España de Rosario, Argentina. Curator: Cláudia Laudanno.
Occupation, Paço das Artes, São Paulo, Brazil. Curated by: Daniela Bousso.
In parallel, it included the ReTurner series, from 2004, São Paulo International Biennial, Brazil. Curated by Moacir dos Anjos.
2004
To Life – Painting Reflection Poem, Nara Roesler Gallery, São Paulo, Brazil.
Mobile Mirror - urban interference, MAP – Pampulha Art Museum, Belo Horizonte, Brazil. Curated by Vanda Klabin and Rodrigo Moura.
Mobile Mirror – ReTurner at the Encounter with Art, Casa Cor, Belo Horizonte and Rio de Janeiro, Brazil. Curated by Vanda Klabin.
Parallel, São Paulo Biennial, Brazil. Curated by Moacir dos Anjos.
Painting and Drawing 90/00, Museum of Contemporary Art of Niterói, Brazil. Curated by: Guilherme Bueno.
ARCO'04, Madrid, Spain.
Besieged Image, Sesc Copacabana - itinerant, Rio de Janeiro, Brazil. Curated by: Armando Mattos.
2003
Mobile Mirror Project - urban interference, Rodrigo de Freitas Lagoon, Rio de Janeiro, Brazil.
Mobile Mirror Project - photographs. Sérgio Porto Cultural Space, Rio de Janeiro, Brazil.
Mobile Mirror Project - paintings. Laura Marsiaj Gallery, Rio de Janeiro, Brazil.
Sabará-Mangueira Project. Includes the performance "To Language" and the video and painting "To Language." Unstable Zone Project, Stables of the Parque Lage School of Visual Arts, Rio de Janeiro, Brazil.
2002
1st SP Dry Art. OCA, Brasil Connects, Nara Roesler Gallery, São Paulo, Brazil.
Parallel, São Paulo Biennial, Brazil.
New Acquisitions - Gilberto Chateaubriand Collection, Museum of Modern Art, Rio de Janeiro, Brazil.
Art Chicago, United States.
2001
Translúcidos-Sabarás Project, Museum of Modern Art, Rio de Janeiro, Brazil. Includes the installation/painting He Passed - paintings with meteor dust - and the work The Outside. Curated by Fernando Cocchiarale.
Translucent-Sabarás Project, Nara Roesler Gallery, São Paulo, Brazil.
Marked Plan, Cândido Mendes Gallery, Rio de Janeiro, Brazil. Curated by: Paulo Sérgio Duarte.
Art Chicago, United States.
2000
Translucent-Sabarás Project, Museum of Modern Art in Rio de Janeiro, Brazil. It included the installation / painting He passed - Meteor powder paintings - and the work The outside. Curated by Fernando Cocchiarale.
Translucent-Sabarás Project, Nara Roesler Gallery, São Paulo, Brazil.
1999
Doors, Palace of Arts, Belo Horizonte, Brazil.
Brazil in the Century of Art – The MAC/USP Collection, SESI Art Gallery, São Paulo, Brazil.
Journeys of Identities, Casa das Rosas, São Paulo, Brazil. Curated by José Roberto Aguilar.
Mirror of the Biennial, Museum of Contemporary Art of Niterói, Brazil.
1998
Private – Aurora, Millan Gallery, São Paulo, Brazil. Aurora, Imperial Palace, Rio de Janeiro, Brazil.
Mirror of the Biennial, Museum of Contemporary Art of Niterói, Brazil.
Seen from Above, It Looks More Like Heaven on the Ground, Museum of Modern Art, Rio de Janeiro, Brazil. A landmark exhibition parallel to the 16th National Visual Arts Salon. Curated by: Agnaldo Farias.
Brazil Collective, Casa de América, Madrid, Spain.
1997
...Backwards…, Anna Maria Niemeyer Gallery, Rio de Janeiro, Brazil.
...Backwards…, Millan Gallery, São Paulo, Brazil.
1st Mercosur Biennial, Porto Alegre, Brazil. Curated by Frederico de Moraes.
Inaugural Exhibition of MAC Niterói, Brazil.
New Talents Project, Planalto Palace, Brasília, Brazil. Curated by: Ronaldo Brito.
1996
See and Not See.., Banco do Brasil Cultural Center, Rio de Janeiro, Brazil.
BETWEEN, Graphic Gesture Gallery, Belo Horizonte, Brazil.
Three Brazilian Artists, Cynthia Bourne Gallery, London.
1995
See and Not See .., Banco do Brasil Cultural Center, Rio de Janeiro, Brazil.
ENTER, Gesto Grafico Gallery, Belo Horizonte, Brazil.
1994
24th International Biennial of São Paulo, Brazil. Curated by Aguilar.
Brazil 20th Century Biennial, São Paulo Biennial Foundation.
Imperial Palace, Rio de Janeiro, Brazil.
1993
Interstices, Millan Gallery, São Paulo, Brazil.
Encounters and Trends, Museum of Contemporary Art, University of São Paulo, Brazil. Curator: Agnaldo Farias and co-curator: Ricardo Resende.
National Contemporary Art Salon – Acquisition Award, Rio de Janeiro, Brazil.
Collection, MAP – Pampulha Art Museum, Belo Horizonte, Brazil.
1992
Niura Bellavinha, Fernando Pedro Art Office, Belo Horizonte, Brazil.
Immersed Human Project - x-rays, São Paulo Cultural Center, Brazil. Curated by Sônia Salzstein and José Leonilson.
Annual Exhibition of the São Paulo Cultural Center - guest artist, Ibirapuera Pavilion, São Paulo Biennial, Brazil. Curated by: Sônia Salzstein and commissioned by José Leonilson.
Environment, Commercial Art Subdistrict Gallery, São Paulo, Brazil. Curated by: João Manoel Sattamini
The Proof of Nine, CEMIG, Belo Horizonte, Brazil. Curated by: Angelo Oswaldo.
1991
Immersed Human Project - x-rays. Commercial Art Subdistrict Gallery, São Paulo, and Saramenha Gallery, Rio de Janeiro. Brazil.
12th National Contemporary Art Salon – Acquisition Award, Brasília, Brazil.
National Salon of Fine Arts IBAC/Funarte – Acquisition Award, Rio de Janeiro, Brazil.
1990
Immersed Human Project - radiographs. Exhibition Hall, Belo Horizonte, Brazil.
22nd National Salon of Visual Arts IBAC/Funarte – Grand Prize, MAP – Pampulha Art Museum, Belo Horizonte, Brazil.
8th Paulista Salon/São Paulo Biennial, Brazil.
1985
Immersed Human Project - radiographs. Exhibition Hall, Belo Horizonte, Brazil.
Main Awards and Participations
1991
Acquisition Award, National Fine Arts Salon IBAC/Funarte, Rio de Janeiro, Brazil.
Acquisition Award, National Fine Arts Salon, Brasília.
1990
Grand Prize 22nd National Visual Arts Salon IBAC/Funarte.
MAP – Pampulha Art Museum, Belo Horizonte.
Main Collections
Rio de Janeiro Museum of Art - MAR, Brazil.
Itaú Cultural Foundation, São Paulo, Brazil.
Museum of Modern Art of Rio de Janeiro - MAM, Brazil.
Gilberto Chateaubriand Collection – Museum of Modern Art, Rio de Janeiro, Brazil.
Niterói Museum of Contemporary Art - MAC, Rio de Janeiro, Brazil.
Newton Paiva Foundation and University, Belo Horizonte, Brazil.
Father Anchieta Foundation, Sao Paulo, Brazil.
Museum of Contemporary Art of Brasília, Brazil.
Chemical Bank, London, England.
São Paulo Museum of Art, Brazil.
Museum of Contemporary Art of the University of São Paulo - MAC/USP, Brazil.
Usiminas, Belo Horizonte Brazil, Brazil.
Pampulha Art Museum, Belo Horizonte, Brazil.
National Museum of Fine Arts, Rio de Janeiro, Brazil.
Roquete Pinto Foundation, São Paulo, Brazil.
Federal University of Juiz de Fora, Brazil.
Federal University of Viçosa, Minas Gerais, Brazil.
IBAC/Funart, Brazil.
Inhotim, Brumadinho, Brazil.
Clovis Salgado Foundation, Belo Horizonte, Brazil.
Main Collections
AM Gallery, Belo Horizonte.
Anita Schwartz Gallery, Rio de Janeiro.
Luciana Brito Gallery, Sao Paulo.
Celma Albuquerque Gallery, Belo Horizonte.
Espace_L, Geneva Switzerland.
Graça Brandão Gallery, Lisbon, Portugal.
Numerous private collections in Brazil and abroad.
Main Publications, Articles and Interviews
HERKENHOFF, Paulo Mulheres do Presente, clarity in the Shadows, 2016
HERKENHOFF, Paulo (artistic director MAR - Museum of Art of Rio de Janeiro). NIURA BELLAVINHA, Rio de Janeiro, 2014/2015. Book. Publisher COBOGÓ
RUBIN, Nani (critic). About the individual In Torno da Luz, at Oi Futuro Flamengo, O Globo, Rio de Janeiro.
SARAIVA, Alberto (curator of Oi Futuro Flamengo). Niura Bellavinha, Rio de Janeiro, 2014. Book. Publisher NAU
LOPES, Fernanda (curator). Fluids and fixed - Água viva, Luciana Brito Galeria, São Paulo, 2010. Exhibition catalog.
DUARTE, Luiza (curator and art critic). Lusco-fusco, Galeria Nara Roesler, São Paulo, 2006. Folder of the exhibition.
MOURA, Rodrigo (curator of the Pampulha Art Museum). “Two lenses”, on the individual show Transformadores, at Galeria Manoel Macedo, Belo Horizonte, 2006. Catalog of the exhibition.
ASSIS, Júlio (critic). "Resonances of the world", about the individual show Transformadores, at Manoel Macedo Art Gallery, O Tempo, Belo Horizonte, 2005.
ARRUDA, Victor (visual artist). Interview about the individual show Infiltrations, at Galeria Arte 21, Rio de Janeiro, 2005. Catalog of the show.
CANONGIA, Lígia (curator and art critic). “The real as a painting”, about the performed painting À Linguagem - The measure of the impossible, in the Stables of the School of Visual Arts of Parque Lage; the Sabará-Mangueira exhibition, Rio de Janeiro, 2003; and the Mercosul Biennial, Porto Alegre, 2005.
FARIAS, Agnaldo (critic and curator). “Lights over painting”, about the individual IN OUT Translúcido, Paço das Artes, São Paulo; À Vida, Galeria Nara Roesler, São Paulo; shows and urban interference Mirror Mobile, Museum and Lagoa da Pampulha, Belo Horizonte, 2005.
SEBASTIÃO, Walter (curator and art critic). About the individual In Torno da Luz, Oi Futuro BH, State of Minas, Belo Horizonte, 2005.
SEBASTIÃO, Walter (curator and critic). “The prose of painting”, about the individual show Transformadores, Manoel Macedo Art Gallery, State of Minas, Belo Horizonte, 2005.
KLABIN, Vanda (curator of Encontro com Arte 2004). “Color as poetics of construction”, on Urban Interference and Mirror Mobile exhibitions, 2004.
ARAGÃO, Helena (journalist), “Water painted in the landscape”, about the exhibitions Urban Interference and Mobile Mirror, at Lagoa Rodrigo de Freitas and at Espaço Cultural Sérgio Porto, O Globo, Rio de Janeiro, 2003.
HIRSZMAN, Maria (critic). About the individual Sabará-Mangueira, at the Stables of the School of Visual Arts of Parque Lage, State of São Paulo, São Paulo, 2003.
HIRSZMAN, Maria (critic). “Niura Bellavinha's sensory dive”, about the individual A Seco, Oca, at Galeria Nara Roesler, State of São Paulo, São Paulo, 2003.
NAMI, Daniela (critic). “Niura transforms architecture into painting”, about the individual exhibition Sabará-Mangueira, at the Stables of the School of Visual Arts of Parque Lage, O Globo, Rio de Janeiro, 2003.
OSÓRIO, Camilo (curator and critic). “Niura Machado Bellavinha”, about the individual painting exhibition at Laura Marsiaj Arte Contemporânea and the photo and video exhibition at Espaço Cultural Sérgio Porto, O Globo, Rio de Janeiro, 2003.
SILVA, Beatriz Coelho (critic and journalist). “Niura dyes Parque Lage red”, about the individual show Sabará-Mangueiram, at the Stables of the School of Visual Arts of Parque Lage, Jornal do Brasil, Rio de Janeiro, 2003.
FARIAS, Agnaldo (critic and curator), “Atelier in motion”, about the individual exhibition Sabará-Mangueira, at the Cavalariças of the School of Visual Arts of Parque Lage, Projeto Zona Instável, Rio de Janeiro.
HERKENHOFF, Paulo (artistic director MAR - Museum of Art of Rio de Janeiro). “Painting with blood of stars”, about the individual Translúcidos-Sabarás, National Museum of Modern Art, Rio de Janeiro, 2001.
MARTINS, Alexandra (journalist). “Niura Machado Bellavinha in double dose”, about the individual show Translúcidos-Sabarás, at the Museum of Modern Art in Rio de Janeiro and Galeria Nara Roesler, São Paulo, 2001.
SEBASTIÃO, Walter (curator and critic). “Articulated poems”, about the book of poems CLIPS, by Laís Corrêa de Araújo in partnership with Niura Machado Bellavinha, State of Minas, Belo Horizonte, 2000.
OLIVA, Fernando (critic). “Bellavinha reveals plenty of colors”, about the individual exhibition Particular, Galeria Millan, São Paulo, 1998.
WEISS, Ana (journalist). “Niura digs the paint to paint”, about the individual exhibition Particular, Galeria Millan, São Paulo, 1998.
ÁVILA, Cristina (historian). “The footsteps of passion in the eyes of Niura Bellavinha ou Noturno”, on the work Noturno [on the work Noturno], for the 1st Mercosul Biennial, and the individual ones… On the other hand…, Anna Maria Niemeyer Gallery, Rio de Janeiro, and Private, Millan Gallery, São Paulo, 1997/1998.
ÁVILA, Cristina (historian). “The eternal return of creativity”, about Niura Bellavinha's participation in the 1st Mercosul Biennial, O Tempo, Belo Horizonte, 1997.
EVALDO, Mokarzel (journalist). “Niura works the fragmentation of the end of the century”, about the artist's production and projects, State of São Paulo, São Paulo, 1997.
MILLEN, Manya (critic). “Canvas and silk bathed in red”, on the exhibition… On the other hand…, Anna Maria Niemeyer Gallery, O Globo, Rio de Janeiro, 1997.
RUBIN, Nani (critic). “The urgency of the red”, about the exhibition… On the upside…, Anna Maria Niemeyer Gallery, O Globo, Rio de Janeiro, 1997.
SEBASTIÃO, Walter (curator and critic). “Essays of the pictorial language”, about the individual… Ao Revés…, Galeria Anna Maria Niemeyer, Estado de Minas, Belo Horizonte, 1997.
CUNHA, Alécio (critic). “Niura's flight”, about the individual See and Not See…, CCBB Rio de Janeiro, Brazil, and the exhibition Treis Artistas Brasileiros, Cynthia Bourne Gallery, London, England, 1996.
FARIAS, Agnaldo (critic and curator). “Niura Bellavinha”, about the individual Ver e Não Ver…, CCBB Rio de Janeiro, 1996.
MAMMI, Lorenzo (critic). “Questions of painting”, about the series of paintings presented at the 22nd São Paulo International Biennial, Guia das Artes, São Paulo, 1994.
SALZSTEIN, Sônia (critic and art historian). “The vulnerability of form”, about the series of paintings presented at the 22nd São Paulo International Biennial, 1994. Catalog and book of the exhibition.
DUPRAT, Camila (critic and curator). “Niura Bellavinha”, about the individual Humano Imerso, Galeria Subdistrito Comercial de Arte, São Paulo, 1991.
GIANNINI, Sílvio (journalist). “Good, beautiful and cheap”, about the individual Humano Imerso, Galeria Subdistrito Comercial de Arte, São Paulo, 1991.
GUIMARÃES, Cao. “Humano Imerso”, about individual exhibitions at Galeria Subdistrito Comercial de Arte, São Paulo, and Saramenha, Rio de Janeiro, 1990/1991.
FARIAS, Agnaldo (critic and curator). “Niura Sala Corpo”, about the Human Immersed exhibition, Sala Corpo de Exposições, Belo Horizonte, 1990.
OSWALDO, Angelo. “Despintura”, about the individual exhibition Humano Imerso, Sala Corpo de Exposições, Belo Horizonte, 1990.