At Galeria Millan, Emmanuel Nassar creates a sort of game in which he mixes works from different phases and media to reinforce some of the questions that have motivated his investigations for decades. Deeply sardonical and averse to his work being classified by criteria such as date, technique or even authorship, this northern Brazilian artist – currently living partly in São Paulo and partly in Belém – decided to transform the gallery’s largest wall into a framework for a large, rhythmical collage comprising various elements, which he has entitled ‘The collector’. This is a clear reference to the artist’s work process, which absorbs, recreates and reconstructs items from his day-to-day life using different techniques and styles of composition.
Henrique Oliveira uses the recently inaugurated annex of the Galeria Millan, called Anexo Millan, to present a pot-pourri of his most recent creations and to show the public the new developments emerging from his studies. Ten years after his first individual gallery exhibition, Henrique still shows great versatility, simultaneously exploring different techniques and paths while also working on painting, sculpture and installation, with enormous national and international success. However, his more recent works, such as those exhibited in Paris last year, contain subtle but striking changes, resulting in more harmony between the various paths the artist has forged. Rather than belonging to two completely different fields, the two-dimensional and three-dimensional languages are clearly drawing closer to each other and there is more integration between these universes. His more recent paintings, for example, seem to be making overtures to the earth and pink tones that dominate his famous installations, made from the remains of construction hoardings.