Research carried out by the Institute for the Future points out that 85% of the professions that will exist in 2030 have not even been created yet. “The speed and sophistication of technological innovations are responsible for this percentage that challenges the present to imagine what the future of work and professions will be like. Transformations in professions do not occur in a linear or homogeneous way. Some regional and social markers define much of what each one ‘will be when they grow up'”, say André Couto, Maria Carla Corrochano and Paulo Pontes, who sign the curatorship.

In the exhibition, it is clear that transformations do not occur equally – gender, race, class, territory and education continue to dictate who accesses certain professions. In times of technological advancements and global challenges such as climate change and pandemics, work becomes increasingly unpredictable — but also full of new possibilities.

Accessible and provocative, the exhibition articulates past, present and future, based on data, real experiences, digital interactions and informative content about professions that are disappearing, reinventing themselves or being born in the face of new technologies and ways of life.

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With museological coordination and production by Expomus and curated by design historian Adélia Borges, the project brought together 930 items acquired over decades, since the mid-1960s, in the states of Rio Grande do Sul, Santa Catarina and Paraná, produced by European immigrants in southern Brazil between the second half of the 19th century and the beginning of the 20th century.

The collection represents the social imaginary and daily life of German and Italian immigrants and reveals personal aspects of the domestic universe of people who sought to build a new life. The works combine the memories, techniques and customs brought by immigrants from their homeland, on the one hand, and the conditions and materials they found in the land of adoption, on the other.

Divided into ten thematic sections and a video room, the exhibition was designed to emphasize the beauty and design of pieces that were not created for the elite, but for ordinary people, who contributed to the formation of a collective memory based on cultural exchanges. By coming into contact with the collection, the public will be able to recognize elements that may be part of their own stories. This identification happens because, as it is daily, the collection can gain personal meanings for each visitor.

A part of the collection was presented at the exhibition Artifacts of the South – Legacies of German and Italian Immigration, held in 2024, in Porto Alegre, in celebration of the 200th anniversary of German immigration in Rio Grande do Sul and the 150th anniversary of Italian immigration in Brazil. The exhibition had its early closure due to the floods that hit the state.

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O post Design and everyday life in the Azevedo Moura collection apareceu primeiro em Expomus.

Supported by a cultural and participatory program that intertwines the Jewish experience with Brazilian culture and contemporary art, MUJ was born committed to the coexistence between the various social groups and identities, to the fight against intolerance and prejudice, to education and intergenerational transmission, values at once universal and Jewish. The museum is housed in the building of the old Beth-El temple, in the central region of São Paulo, listed by the municipal heritage.

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O post Jewish Museum of São Paulo apareceu primeiro em Expomus.

This is the fifth museum of the Butantan Institute, which has been working with education, teaching and dissemination of knowledge since its foundation. In the long-term exhibition, the public can visualize the stages of conducting a scientific research of a vaccine, know the vaccine technological platforms, the functioning of the immune system and immune memory of the human body, the reaction of the vaccinated organism, among other interactive activities.

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O post Vaccine Museum apareceu primeiro em Expomus.

The exhibition was conceived from the collection of the Telefónica Foundation, one of the largest historical collections of telephony in Brazil. In So Far, So Close , visitors had the opportunity to know part of this set.

Among the telephone devices on display, the “Ericsson wall”, from 1884, one of the first models to arrive in Brazil on a commercial scale and the “Iron Foot”, from 1892, pioneered by allowing one to speak and hear in the same piece. There was also a fax used in 1950, a videophone from the 1970s and one of the first models of mobile phone, manufactured in the 1990s.

Among the historical documents, a selection of magazines Sino Azul, a pioneering institutional publication of the now defunct Companhia Telefônica Brasileira (CTB), forerunner of Telesp, was presented, which circulated from 1928 to 1989; reproductions of patents of some of the major technological inventions; a 1911 telephone directory from São Paulo, as well as historical photos that recorded the work routine of CTB employees.

The curatorship of the show was carried out by Peter Alexander Bleinroth Schulz, PhD in Sciences from Unicamp and the Universidad Autónoma de Madrid, who works as a professor of undergraduate and graduate studies in Physics and is a researcher in the area of Condensed Matter Physics.

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O post So Far, So Close 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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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.

The organization of the Bauhaus Imaginista project was the result of a collaboration with the Design Museum of China in Hangzhou; with the Independent Administrative Institution of the National Museum of Art/National Museum of Modern Art in Kyoto; and the Garage Museum of Contemporary Art in Moscow.

Among the overseas partners were also the Goethe-Institute of China, New Delhi, Lagos, Moscow, New York, Rabat, São Paulo and Tokyo.

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O post Bauhaus Imaginista: Reciprocal Learning apareceu primeiro em Expomus.

The recognition of the cultural richness of this pre-Columbian people began to spread throughout the world from the 19th century on. In the last decades of the last century, when its writing system was completely deciphered, Mayan culture definitely aroused multiple interests in various segments of society.

Brazil and Mexico have come together in an unprecedented partnership to present civilization that has flourished for centuries in much of the American continent. The result was an unprecedented exhibition in the country, capable of translating and revealing the cultural scope of the Mayan civilization in the fields of art, architecture and astronomical and mathematical studies.

The exhibition, which received 152,000 visitors, was a realization of the National Institute of Anthropology and History (INAH) of Mexico, the Embassy of Mexico, the Museum of the City – Oca and the City of São Paulo. It was supported by the Ministry of Culture, through the Federal Law of Incentive to Culture – Rouanet Law, and the sponsorship of Banco Itaú, Embratel, Claro and Caixa Seguros, in addition to the support of Femsa and Pullman. It also had the support of PROAC – Cultural Action Program of the Government of the State of São Paulo.

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O post Mayas: revelation of an endless time apareceu primeiro em Expomus.

Expomus worked in the design of the museum plan and coordinated the elaboration of executive projects of museography, expography, visual communication and technology and carried out museum monitoring and coordination of the execution of the requalification of the Museum. In May 2014, the end of the restoration, the Museum was opened to the public, with its refurbished facilities, a long-term exhibition and its collection again available for consultation and research.

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O post São Paulo State Immigration Museum apareceu primeiro em Expomus.