A NEW BRAZILIAN BALANCE

Filipe Assis is the Brazilian art consultant for ABERTO, a pioneering platform founded to celebrate the dynamic relationship between architecture, art,and design. The mission of ABERTO is to showcase Brazil’s rich cultural heritage through curated exhibitions in modernist houses, which haveoften remained hidden from public view. ABERTO introduces a new way of experiencing both Brazilian and international art and design, all while paying homage to the architectural masters who shaped the country’s modernist identity. The initiative transforms historically significant private residences into immersive and intimate exhibition spaces, allowing the art to be in direct dialogue with the structure and ambiance of these architectural masterpieces. The inaugural edition of ABERTO in 2022 was hosted in the only private residence in São Paulo designed by Oscar Niemeyer, the master of Brazilian modernist architecture. Supported by the architect’s foundation, the event showcased not only Niemeyer’s and his daughter Anna Maria’s furniture designs but also works commissioned by Niemeyer himself. This allowed

for a deeper exploration of the connection between art and architecture, setting the tone for what ABERTO has come to symbolize: the convergenceof multiple creative disciplines within spaces of profound historical and cultural significance. The last edition of ABERTO (third issue) was evenmore ambitious than the previous ones, spotlighting lesser-known yet architecturally significant residence never opened to the public. This edition focused on the legacies of two extraordinary Asian-Brazilian women and their contributions to Brazilian modernism: the houses designed by architects Ruy Ohtake and Chu Ming Silveira, masters of brutalist architecture in Brazil, served as the setting for this year’s exhibition. Settled in São Paulo’s Morumbi neighborhood, the Chu Ming Silveira residence is a bold example of concrete and glass architecture, designed in the 1970s. Silveira, a trailblazing architect from Shanghai, left an indelible mark on Brazil’s architectural landscape.

Her home, part of ABERTO/03, stands as a testament to her commitment and capacity to designing spaces for living. Her youngest son, Alan Chu, showcases both his mother’s work and his own designs, edited by ETEL Gallery. The residence also features recent works by celebrated artist Anna Maria Maiolino, recent winner of the Golden Lion for Lifetime Achievement at the Venice Biennale 2024. Additionally, historical works by feminist artist Wanda Pimentel and rare masterpieces by Alfredo Volpi, Lygia Clark, and Lygia Pape are displayed. This thoughtful curation by Kiki Mazzuchelli weaves together the cultural and creative threads that have shaped Brazilian art and architecture for decades.

The second site of ABERTO/03 was atelier house of Tomie Ohtake, one of the earliest projects of her son, Ruy Ohtake. A vibrant expression of São Paulo’s brutalist architectural movement, the residence also reflects Tomie Ohtake’s own influence as an artist of Japanese descent whose legacy continues to resonate deeply within Brazil’s cultural milieu. Inside the 750sqm atelier house, curator Paulo Miyada presented an exhibition dedicated to Tomie Ohtake’s life and work, including personal items and artworks. Complementing the historical narrative, newly commissioned works by contemporary artists such as Antonio Tarsis, Sophia Loeb, and Yuli Yamagata were also unveiled. A special limited edition of furniture pieces designed by Ruy and Rodrigo Ohtake further enhanced the exhibition’s focus on intergenerational creativity.

ABERTO has evolved into a truly interdisciplinary platform where architecture, art, and design intertwine, creating a different kind of exhibition experience. “Our curation carefully uses architectural elements - openings, angles, and natural light - to place artworks, transforming each house into a canvas that blends form and function,” explains Claudia Moreira Salles, whose design expertise plays a crucial role in the success of ABERTO’s exhibitions.

One of the recurring themes that drives ABERTO is the idea of modernism as a living, breathing cultural force that continues to shape Brazil’s creative identity. “ABERTO takes root in the 1922 Modern Art Week, a cornerstone movement that brought together artists, architects, and writers. This event inspired our ongoing exploration of Brazilian modernism and its relevance in contemporary culture where art, design, and modern architecture come together” says Filipe Assis.

As ABERTO continues to grow, its international recognition has deepened, drawing curators, collectors, and visitors from all over the world. The event’s global reach is not only expanding Brazilian culture's visibility but also inspiring dialogues about the relevance of modernism and its intersections with contemporary art and design. These exhibitions highlight the vision of figures like Oscar Niemeyer, Villanova Artigas, Tomie Ohtake, and Chu Ming Silveira, whose architectural philosophies have left an indelible mark on Brazilian culture. By bringing their work back into the spotlight, ABERTO provides a platform for new discussions on the evolving role of architecture, design, and art in both local and global contexts.

As ABERTO continues to grow in influence and ambition, its mission focuses on showcasing Brazilian cultural heritage on an international scale This commitment is driven by a deep belief in the richness of Brazil’s architectural, artistic, and design landscape. The initiative to expand abroad reflects ABERTO’s potential to serve as a global ambassador for Brazil’s vibrant creative scene. Through its carefully curated exhibitions and groundbreaking approach to art and architecture, ABERTO has established itself as a key player in celebrating and preserving the vibrancy of Brazilian modernism, while also fostering a contemporary cultural dialogue. Its future is as promising as the legacies it honors.

In the interview that follows, Filipe Assis provides deeper insights into the motivations, challenges, and future aspirations of ABERTO. He reflects on the platform’s origins, its curatorial philosophy, and the importance of modernist architecture in shaping the visitor’s experience. Assis also shares his thoughts on the international reception of ABERTO and what the future holds for the platform.

Q: What inspired you to create ABERTO, and how did the idea of showcasing Brazilian art and design within modernist houses come to life?

A: I was inspired to bring awareness to modernist architecture that I felt were being lost due to real estate expansion. Many of these incredible houses in Sao Paulo were torn down. Therefore, I connected this desire with my experience in marketing, real estate and art. Aberto was born and constructed, I believe, from my own professional history.

Q: Can you share how Oscar Niemeyer and his daughter Anna Maria’s furniture collection became the focal point of your inaugural edition? What does their legacy mean to ABERTO?

A: In fact the design pieces were not the focal point, but the art that Oscar Niemeyer commissioned to multiple Brazilian artists for his projects. For instance Alfredo Volpi, Candido Portinari, Paulo Werneck, among others. It is redudant to say that Oscar Niemeyer was an amazing architect, but he helped the arts by doing these commissions. Also, many scholars credit the construction of Brasilia as the key driver for the Neo concrete movement. Therefore, his legacy means a lot to Aberto and holds a dear place in my heart as the first edition was held in one of his houses.

Q: How do you select the architects and spaces that are part of ABERTO’s exhibitions? What criteria are most important to you in choosing these iconic locations?

A: I think ineditism. All of the houses that hosted Aberto so far were not open to the public, before. They also must have something unique, a special element.

Q: How do you approach balancing the historical significance of these modernist spaces with the contemporary art and design pieces displayed?

A: Usually we commission artists to do works based on the historical significance of the house, or the production of the architect as whole. For the design, we always launch pieces that are connected direclty to the architect.

Q: The architectural spaces themselves are integral to ABERTO. How do you think they shape the way visitors experience the art and design featured?

A: It is a new experience, outside of the white cube. We try to enjoy every corner of the house and link them to the artworks involved. It is an ongoing and direct dialogue.

Q: Villanova Artigas’ bookcase for his daughter was a key piece in your 2023 edition. Could you elaborate on how that specific piece reflects his architectural philosophy and how it resonated within the exhibition?

A: I believe the right angles, geometric forms and colours represents his architeture very well. Simple and elegant! We exhibited them in the Artigas room that had abstract geometric works. For instance a rare Grupo Frente painting by Lygia Pape.

Q: How has the support from institutions like the Niemeyer Foundation influenced ABERTO’s success? What role do partnerships play in your exhibitions?

A: It shows that we respect the legacy of these architects and their institutions. It also helps on the research side as well as material to show.

Q: ABERTO highlights the interplay between Brazilian art, design, and architecture. How do you see the platform contributing to the global appreciation of Brazilian culture?

A: During our 3 editions we had lots of international visitors. Collectors, Curators, Journalists – they were all impacted by our architecture. So I think with every edition, we bring more awareness and lastly appreciacition to our culture.

Q: How has international recognition impacted the way you curate or envision future editions of ABERTO?

A: It boosted my confidence that we should work more to export Brazilian culture. The country is so rich in architecture, design and art. It is time to revamp it.

Q: What are your plans for future editions of ABERTO? Are there specific architects, spaces, or themes you are excited to explore next?

A: For now I will keep with modernism in terms of architecture. We will always change design, themes and art according to the house / architect that we are exhibiting.

Q: How do you envision ABERTO evolving in terms of format, scope, or its relationship to Brazil’s cultural heritage?

A: I see ABERTO going abroad soon to export our cultural heritage.

Q: What has been the most rewarding or challenging aspect of curating ABERTO so far?

A: I really find it rewarding when I see people coming for the architecture, leaving interested in the artworks and vice versa.

Q: Could you share a moment or piece from ABERTO that you feel particularly connected to, and why?

A: Difficult to answer! But I would say the easel designed by Claudia Moreira Salles. It is called ABERTO and represents for me all the challenges that we had so far. I just love it!