Leda Catunda (São Paulo, 1961). She has held numerous important individual and group exhibitions since the 1980s. Among the most recent ones, we can highlight Judy Chicago & Leda Catunda, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022); Leda Catunda & Alejandra Seeber, MALBA – Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires (2021); Project Wall | Modern Landscape, MAM – Museum of Art of São Paulo, São Paulo, Brazil (2019); I Love You Baby, Instituto Tomie Ohtake, São Paulo, Brazil (2016) and Leda Catunda and the taste of others, Galpão Fortes Vilaça, São Paulo, Brazil (2015). She also participated in the group exhibitions Zil, Zil, Zil, Centro Municipal de Artes Hélio Oiticica, Rio de Janeiro, Brazil (2022); 1981–2021 Brazilian Contemporary Art in the Andrea and José Olympio Pereira Collection, CCBB – Centro Cultural do Banco do Brasil, Rio de Janeiro, Brazil (2021); The Machine of the World: Art and Industry in Brazil 1901 – 2021, Pinacoteca de São Paulo, São Paulo, Brazil (2021); Casa Carioca, MAM – Museu de Arte do Rio, Rio de Janeiro, Brazil (2020) and Cities in Dust, Carpentry, Rio de Janeiro, Brazil (2020).

Daniel Albuquerque (Rio de Janeiro, 1983) lives and works in São Paulo. His artistic practice began in 2012. In the same year, he began his postgraduate studies in Art and Philosophy at PUC-Rio and courses at EAV Parque Lage. Among his recent exhibitions are the solo exhibitions “Cômodo”, Pivô, São Paulo; “Lipstick”, Cavalo, Rio de Janeiro (2018); “Oral”, BFA, São Paulo (2017). Of note are the group shows in which “36th Panorama of Brazilian Art” curated by Júlia Rebouças (2019) participated; “The House where you live forever”, curated by Marina Coelho, Garage Rotterdam, Netherlands (2019); “Perdona que não crea”, curated by Victor Gorgulho, Carpintaria, Rio de Janeiro (2019); “The third hand”, curated by Erika Verzutti, Fortes D’Aloia & Gabriel, São Paulo; “Cry and tears have no accent”, curated by Fernanda Brenner, Camden Arts Council, UK (2016); “Lastro em campo”, curated by Beatriz Lemos, SESC Consolação, São Paulo (2016); “Permanences and Destructions”, curated by João Paulo Quintella, Rio de Janeiro (2016). Since 2018, he is a master’s student in the Postgraduate Program in Social History of Culture at PUC-Rio.