In 2021, the Site was reopened after undergoing a complete requalification process, under the general coordination of Intermuseus and with Expomus acting in the museological requalification. The project included the updating of the environments of the property, maintaining its essence as spaces inhabited by the great figure who was the landscape architect Roberto Burle Marx. The objectives were also to expand the capacity of the place and to receive visits in a more accessible and qualified way. The initiative was sponsored by BNDES.

In the same year of its reopening, the Roberto Burle Marx Site was considered a World Heritage Site by UNESCO.

Since 1985 the Site is a special unit linked to the Institute of National Historical and Artistic Heritage (Iphan), fulfilling the role of preserving, researching and disseminating the life and work of Roberto Burle Marx.

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O post Roberto Burle Marx Site apareceu primeiro em Expomus.

The set of pieces was organized in such a way as to convey information and sensations about a
quite peculiar artistic production. This universe is not perfectly translatable into words; they are windows that open to another world, with canvases, installations and murals in urban spaces, which play with the imagination of visitors, collectively or individually.

The exhibition attracted more than 833,000 visitors at CCBB Rio de Janeiro, between October 2022 and
January 2023, contributing to the institution entering the list of the 100 most visited of 2022 of the website The Art Newspaper. Later, it was also mounted at CCBB Belo Horizonte, where it ran from February to May 2023. There, he received the unpublished module “Thus I embroidered my dreams”, dedicated to the work of the mother of OSGEMEOS, Margarida Pandolfo.

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O post OSGEMEOS: Our Secrets apareceu primeiro em Expomus.

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O post Heritage of the Sacred: Masterpieces of the Vatican and Italian Museums apareceu primeiro em Expomus.

The exhibition provided a detailed and exciting overview of impressionist and post-impressionist painting. The artists of this 19th century movement, which emerged in France in the 1870s, painted from their sensations and direct contact with the landscape, without the concern for the fidelity of the image. His works depicted Paris from different angles, from urban life to quiet in the countryside.

Separated into six modules, it was possible to meet great consecrated masters of French painting – three of them dedicated to presenting the effervescence of modern Parisian life, with paintings by Pierre-August Renoir and Edgar Degas, for example, and three others who showed painters who escaped the hustle and bustle of the city, such as Vincent van Gogh and Claude Monet.

Undoubtedly, it was a unique opportunity, in which art lovers were able to confer the diversity of creation of this time in a grand exhibition, not only for its historical value, but also for its artistic importance.

Curated by the president and chief curator of the Musée, Guy Corgeval and Caroline Mathieu, and the director general of the Mapfre Foundation Culture Institute, Pablo Jiménez Burillo, the organization of the exhibition was the responsibility of Expomus, chosen by the director of the Musée museum and the MAPFRE Foundation.

Impressionism: Paris and Modernity had the support of the Ministry of Culture, through the Rouanet Law, and was only possible thanks to the idealization of Fundación MAPFRE and the Museu d’Orsay, the sponsorship of the Banco do Brasil insurance group and MAPFRE, Banco do Brasil and BBDTVM, and the support of Cielo and Brasilprev, with promotion of globo network.

With 886,226,000 visitors, at CCBB SP (4/8/2012 to 7/10/2012) and CCBB RJ (22/10/2012 to 13/1/2013), the exhibition was a record audience in the history of CCBB and won 4 awards: Best international exhibition, by the São Paulo Association of Art Critics – APCA; Best exhibition of 2012, by O Globo; Best exhibition of 2012 and Best event of the year 2012 by the Folha Guide – Popular Jury.

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O post Impressionism: Paris and Modernity apareceu primeiro em Expomus.

In 1950, Portinari began preparatory studies of the panels in the auditorium of the studios of the now defunct TV Tupi. For four years, he made about 180 sketches and maquees until he effectively began painting. After nine months brushing every inch of the two monumental canvases 14 meters high and 10 meters wide, in 1956 the greatest work of all life of the painter was completed and delivered to the Minister of Foreign Affairs Macedo Soares for donation to the UN in New York.

The War and Peace panels were installed in the entrance hall of the General Assembly room in 1957, the most important space of the UN headquarters.

The Portinari Project has always dreamed of exposing the panels to the general public and, in 2007, with the disclosure of a reform in the UN building, this desire became possible.

In 2010, the panels were brought to Brazil and presented at the Municipal Theater of Rio de Janeiro, bringing together more than 40,000 people in the first days of exhibition. At the beginning of the following year, still in the city of Rio de Janeiro, a restoration studio was set up open to the public at the Exhibition Hall of the Gustavo Capanema Palace, which allowed more than 7,000 people to observe the interventions for the preservation of the works, carried out by Brazilian restaurateurs. This restoration work enabled the scientific documentation of the panels.

After this stage, the panels and preparatory studies began to roam in an exhibition presented first in São Paulo, at the Latin America Memorial, receiving about 200,000 visitors. In the same year, this was elected the Best Exhibition of 2012 by the Brazilian Association of Art Critics and won the Aberje Award – São Paulo 2012, besides being nominated for the Best Exhibition in 2012 by the newspapers Folha de São Paulo and Estado de São Paulo.

In 2013, panels and studies went to Belo Horizonte and could be visited at Cine Theatro Brasil Vallourec. The exhibition was considered by Veja BH magazine as the best of the season in the city, seen by more than 80,000 people.

In 2014, the exhibition was exhibited for the first time in Europe, from May 7 to June 9, at the Hall of Honor of the Grand Palais in Paris, France. There were exhibited 37 preparatory studies of the artist, between drawings and paintings. After this exhibition, the roaming ended with the return of War and Peace to UN headquarters, in a major event entitled The Second Unveiling.

The entire museum coordination project was carried out by Expomus, together with the Portinari Project, in order to bring to the public a unique opportunity to get to know the masterpiece of this great Brazilian artist.

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O post War and Peace apareceu primeiro em Expomus.

Presented at CCBB São Paulo, where it received more than 235,000 people, and ccbb Rio de Janeiro, with 620,000 visitors, Picasso and Spanish Modernity was the most visited exhibition in the world among post-impressionist and modern art in 2015, according to the magazine’s ranking The ArtNewspaper.

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O post Picasso and Spanish Modernity apareceu primeiro em Expomus.

The exhibition, an exhibition of the Musée d’Orsay, was organized in 4 modules and presented 74 works from the museums d’Orsay and l’Orangerie, from more than 30 artists who sought new paths to painting, starting an aesthetic revolution in the arts through the use of color. The curatorship was pablo Jimenez Burillo, director of Culture of fundación MAPFRE, and Guy Cogeval, president of the Musée d’Orsay. The scientific curatorship was by Isabelle Cahn, curator of the Musée d’Orsay.

The Triumph of Color it was the second exhibition held by the Musée d’Orsay in Brazil, preceded by the exhibition Impressionism: Paris and modernity – Masterpieces of the Musée d’Orsay , also performed by Expomus.

The exhibition received an audience of more than 922,000 visitors in 137 days (between São Paulo and Rio de Janeiro), representing a milestone in the formation of public and a unique opportunity to contact emblematic works of the world heritage.

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O post The Triumph of Color – The Post Impressionism apareceu primeiro em Expomus.

In 10 modules, paintings, papers, prints, drawings and personal objects of Klee, the exhibition announced the trajectory of the artist and thinker. Paul Klee is an artist to whom you cannot simply attribute a particular style. ‘I am my style,’ he recorded self-confidently in his diary in 1902.

The set of selected works covered the entire period of Klee’s artistic life, presenting rare and little-known works from his youth, still at the end of the 19th century. It was therefore a fundamental exhibition about the artist.

The show was exhibited at the CCBBs of São Paulo, Rio de Janeiro and Belo Horizonte, from February to November 2019.

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O post Paul Klee – Unstable Balance apareceu primeiro em Expomus.