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A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

A Gomide&Co tem o prazer apresentar ‘Sandra Vásquez de la Horra: todo lo que vibra’, primeira exposição individual da renomada artista chilena no Brasil, reunindo desenhos produzidos nos últimos cinco anos. Com curadoria e texto crítico de Fernanda Morse, a mostra abre no dia 28 de maio, às 18h, e segue em cartaz até 18 de julho.

Radicada em Berlim, Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967) desenvolve uma prática singular centrada no desenho, frequentemente finalizado com um mergulho em cera, procedimento que intensifica a presença da linha e da cor, criando efeitos de profundidade e translucidez. Em suas composições híbridas, figuras humanas, animais e vegetais entrelaçam-se em narrativas que exploram relações entre corpo, espiritualidade, natureza e transformação.

Com trajetória internacional consolidada, Vásquez de la Horra participou da 59ª Bienal de Veneza (2022) e apresentou recentemente uma exposição panorâmica de carreira no Denver Art Museum (2024), com curadoria de Raphael Fonseca, e sua primeira retrospectiva institucional na Europa, na Haus der Kunst, em Munique (2025). Em 2023, recebeu o prestigiado Prêmio Käthe Kollwitz, concedido pela Akademie der Künste, em Berlim.

Sandra Vásquez de la Horra é representada pela galeria Sprovieri, a quem a Gomide&Co agradece por apoiar a realização da exposição.
_

(1-4) La Vulnerable, 2025
Aquarela, guache e cera sobre papel artesanal [Watercolor, gouache, and wax on handmade paper]
106 x 79 x 10 cm [41 1/2 x 31 x 4 in.]
📷 Sprovieri

#GomideCo #SandraVásquezdelaHorra #FernandaMorse

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
_

(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

For TEFAF New York 2026, Gomide&Co is pleased to present a selection that brings into dialogue two central figures of twentieth-century Brazilian culture: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995). The presentation articulates design and painting through structural and conceptual affinities, highlighting distinct approaches to the construction of a modernity rooted in the Brazilian context.

The section dedicated to Lina Bo Bardi brings together a rare group of furniture from the Studio d’Arte Palma (1948–1950), developed in collaboration with Giancarlo Palanti. Produced at an early moment in the architect’s practice in Brazil, these works reveal an experimental approach to design, based on the adaptation to available materials and local conditions of production.

In resonance, the presentation includes paintings by Lorenzato produced from the second half of the twentieth century onward, in which the artist developed a singular visual language grounded in the observation of everyday life. His landscapes—marked by dense surfaces and an earthy yet luminous palette—transform ordinary scenes into compositions of striking formal intensity.

Bringing together these two bodies of work, Gomide&Co proposes a reading of Brazilian modernity that moves beyond universalizing models, foregrounding instead a mode of production based on experimentation, economy of means, and the inventive force of everyday life.
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(2-3) Lina Bo Bardi (1914–1992)
Carrinho de chá em pau-marfim [Tea trolley in ivory wood], c. 1950
Compensado de pinho de araucária (Madeirit) [Araucaria pine plywood (Madeirit)]
65 x 50 x 97,5 cm [25 1/2 x 19 1/2 x 38 1/2 in.]
📷 Ruy Teixeira

(4-5) Amadeo Luciano Lorenzato (1990–1995)
Sem título [Untitled], Década de 1970 [1970's]
Óleo sobre placa [Oil on hardboard]
20 x 15,5 cm [8 x 6 in.]

(6-7) Sem título [Untitled], 1979
Óleo sobre cartão [Oil on cardboard]
25,7 x 17,7 cm [10 x 7 in.]

(8-9) Sem título [Untitled], 1984
Óleo sobre placa [Oil on hardboard]
40,2 x 34,3 cm [16 x 13 1/2 in.]
📷 Edouard Fraipont

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

The Sertaneja Armchair was conceived by Lina Bo Bardi in 1960 for the auditorium of the Museu de Arte Moderna da Bahia (MAM-BA), then temporarily installed in the foyer of the Teatro Castro Alves after a fire severely damaged the building. In collaboration with local carpenters and leather craftsmen, Bo Bardi designed a set of seats that transformed the access ramp to the audience into an informal auditorium marked by simple and effective solutions. Used during the period in which the museum occupied the theater, the armchairs were never subsequently produced.

In 1989, Marcenaria Baraúna produced a prototype under the architect’s supervision for a retrospective exhibition at the Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAU USP). Later named “Sertaneja,” the piece corresponds to an individual version of the original project, initially conceived as fixed modules. This re-edition preserves the proportions, materials, and construction techniques developed in the 1960s, reaffirming the coherence between conception and execution that characterizes Bo Bardi’s work.

The piece is distinguished by its use of tensioned canvas and rope lashing, solutions that eliminate the need for internal upholstery and respond directly to the conditions of Brazil’s hot and humid climate. At the same time, it revisits the architect’s interest in vernacular material cultures and constructive methods associated with popular traditions, incorporating simple and accessible procedures that emphasize material adaptability, economy of means, and local artisanal knowledge.

During TEFAF New York 2026, Gomide&Co presents at booth 375 a special cowhide edition produced by Marcenaria Baraúna, a material that further reinforces the piece’s references to the sertão and to the traditional horseback-riding practices evoked by its structure and lashing system. The fair remains on view at the Park Avenue Armory through Tuesday (May 19th).
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📹 Erika Mayumi

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

More than buildings, Lina Bo Bardi (1914–1992) conceived spaces for coexistence, circulation, and collective transformation. Across architecture, design, scenography, and curatorial practice, her work developed through a sustained attention to forms of use, vernacular knowledge, and the relationships between culture and everyday life.

Trained in Rome and based in Brazil from 1946 onward, Bo Bardi forged a trajectory marked by the refusal of rigid hierarchies between the modern and the popular, the erudite and the artisanal, art and lived experience. In her projects, simple materials, exposed structures, and accessible constructive solutions become instruments for rethinking ways of inhabiting and sharing space.

From the free span of MASP to the collective architecture of Sesc Pompeia; from her research into popular culture in Salvador to the exhibition ‘A mão do povo brasileiro’; from her interventions at Teatro Oficina to the experimental intimacy of the Glass House, her production articulates technique, imagination, and social experience across multiple scales.

Rather than asserting a universal idea of modernity, Lina Bo Bardi proposed an architecture deeply rooted in the Brazilian context, shaped by adaptation, everyday invention, and the transformative potential of collective practices.

Furniture pieces conceived by the Italo-Brazilian architect between the 1940s and 1960s are currently on view at Gomide&Co’s booth 375 during TEFAF New York 2026, on view at the Park Avenue Armory through Tuesday (May 19th).
_

(1) Lina Bo Bardi, déc. 1980, 📷 Juan Esteves; (2) Vão livre do MASP, 2018, 📷 Romullo Baratto; (3) Pinacoteca do MASP, 1968, 📷 Paolo Gasparini; (4) Sesc Pompeia, 2013, 📷 Pedro Kok; (5-6) A mão do povo brasileiro, MASP, 1969, 📷 Hans Gunter Flieg; (8-10) Casa do Benin, 1988, 📷 Marcelo Ferraz; (11) Casa de Vidro, 1951-52, 📷 Chico Albuquerque; (12-13) Casa de Vidro, 2015, 📷 Nelson Kon; © Instituto Bardi | Casa de Vidro

#GomideCo #LinaBoBardi #TEFAFNewYork2026

TEFAF New York 2026 opened today (Thursday, May 14th) at Park Avenue Armory and remains on view through next Tuesday (May 19th). Visit Gomide&Co at booth 375, where we present a selection that brings into dialogue Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Lorenzato (Brazil, 1900–1995), articulating design and painting through structural and methodological affinities. The exhibition design is by Lucas Jimeno Dualde, who, through the use of colors and materials, emphasizes the simplicity and austerity of choices that connect both bodies of work. On this occasion, he also presents a sideboard specially conceived for the exhibition.

The section dedicated to Lina focuses on the period of Studio d’Arte Palma (1948–1950), when the architect developed furniture in São Paulo intended for everyday use, exploring materials responsive to local conditions. The selection also includes pieces designed by Bo Bardi and produced by Marcenaria Baraúna especially for Gomide&Co.

In counterpoint, the presentation brings together paintings by Lorenzato produced from the second half of the twentieth century onward, within the context of Belo Horizonte’s urban expansion. His landscapes—featuring streams, vegetation, and peripheral areas—are constructed through an earthy palette and dense surfaces worked with improvised tools.

More than a direct encounter, the proximity between Lina Bo Bardi and Lorenzato reveals shared procedures: in both, the rejection of fixed systems and attention to the surrounding environment guide the construction of the work. Between design and fabrication, or between observation and surface, their practices converge in affirming a modernity based on experimentation and the inventive force of everyday life. The recent international recognition of both figures—culminating in Bo Bardi’s Golden Lion at the Venice Architecture Biennale in 2021, alongside recent exhibitions at Gladstone Gallery in New York and Lorenzato’s presentation in the same city by David Zwirner—reinforces the continued relevance of this discussion.
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📷 Dawn Blackman

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

TEFAF New York 2026 opened today (Thursday, May 14th) at Park Avenue Armory and remains on view through next Tuesday (May 19th). Visit Gomide&Co at booth 375, where we present a selection that brings into dialogue Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Lorenzato (Brazil, 1900–1995), articulating design and painting through structural and methodological affinities. The exhibition design is by Lucas Jimeno Dualde, who, through the use of colors and materials, emphasizes the simplicity and austerity of choices that connect both bodies of work. On this occasion, he also presents a sideboard specially conceived for the exhibition.

The section dedicated to Lina focuses on the period of Studio d’Arte Palma (1948–1950), when the architect developed furniture in São Paulo intended for everyday use, exploring materials responsive to local conditions. The selection also includes pieces designed by Bo Bardi and produced by Marcenaria Baraúna especially for Gomide&Co.

In counterpoint, the presentation brings together paintings by Lorenzato produced from the second half of the twentieth century onward, within the context of Belo Horizonte’s urban expansion. His landscapes—featuring streams, vegetation, and peripheral areas—are constructed through an earthy palette and dense surfaces worked with improvised tools.

More than a direct encounter, the proximity between Lina Bo Bardi and Lorenzato reveals shared procedures: in both, the rejection of fixed systems and attention to the surrounding environment guide the construction of the work. Between design and fabrication, or between observation and surface, their practices converge in affirming a modernity based on experimentation and the inventive force of everyday life. The recent international recognition of both figures—culminating in Bo Bardi’s Golden Lion at the Venice Architecture Biennale in 2021, alongside recent exhibitions at Gladstone Gallery in New York and Lorenzato’s presentation in the same city by David Zwirner—reinforces the continued relevance of this discussion.
_

📷 Dawn Blackman

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

TEFAF New York 2026 opened today (Thursday, May 14th) at Park Avenue Armory and remains on view through next Tuesday (May 19th). Visit Gomide&Co at booth 375, where we present a selection that brings into dialogue Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Lorenzato (Brazil, 1900–1995), articulating design and painting through structural and methodological affinities. The exhibition design is by Lucas Jimeno Dualde, who, through the use of colors and materials, emphasizes the simplicity and austerity of choices that connect both bodies of work. On this occasion, he also presents a sideboard specially conceived for the exhibition.

The section dedicated to Lina focuses on the period of Studio d’Arte Palma (1948–1950), when the architect developed furniture in São Paulo intended for everyday use, exploring materials responsive to local conditions. The selection also includes pieces designed by Bo Bardi and produced by Marcenaria Baraúna especially for Gomide&Co.

In counterpoint, the presentation brings together paintings by Lorenzato produced from the second half of the twentieth century onward, within the context of Belo Horizonte’s urban expansion. His landscapes—featuring streams, vegetation, and peripheral areas—are constructed through an earthy palette and dense surfaces worked with improvised tools.

More than a direct encounter, the proximity between Lina Bo Bardi and Lorenzato reveals shared procedures: in both, the rejection of fixed systems and attention to the surrounding environment guide the construction of the work. Between design and fabrication, or between observation and surface, their practices converge in affirming a modernity based on experimentation and the inventive force of everyday life. The recent international recognition of both figures—culminating in Bo Bardi’s Golden Lion at the Venice Architecture Biennale in 2021, alongside recent exhibitions at Gladstone Gallery in New York and Lorenzato’s presentation in the same city by David Zwirner—reinforces the continued relevance of this discussion.
_

📷 Dawn Blackman

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

Tomorrow (Friday, May 15, 10am–12pm), on the occasion of New York Design Week 2026 and TEFAF New York 2026, ESPASSO hosts a brunch and conversation dedicated to the work of Lina Bo Bardi (1914–1992), bringing together a selection of furniture designs conceived between 1945 and 1960.

Hosted by Hannah Martin (Senior Editor at Architectural Digest), the conversation brings together Thiago Gomide (Founder Gomide&Co), Lissa Carmona (CEO ETEL Design), and João Ferraz (CEO Marcenaria Baraúna) to discuss the work of the Italo-Brazilian architect in dialogue with the legacy of modern Brazilian design and its international circulation.

Founded in New York by Carlos Junqueira in 2002, ESPASSO has established itself as one of the leading platforms for the promotion of twentieth-century and contemporary Brazilian design abroad, bringing together collectors, architects, curators, and institutions around a tradition marked by constructive rigor, formal inventiveness, and the valorization of craftsmanship.
_

Amanhã (sexta-feira, 15.05, 10h–12h), por ocasião da New York Design Week 2026 e da TEFAF New York 2026, a ESPASSO promove um evento com brunch e conversa dedicados à obra de Lina Bo Bardi (1914–1992), reunindo uma seleção de móveis concebidos entre 1945 e 1960.

Com mediação de Hannah Martin (Senior Editor da Architectural Digest), a conversa reúne Thiago Gomide (fundador da Gomide&Co), Lissa Carmona (CEO da ETEL Design) e João Ferraz (CEO da Marcenaria Baraúna) para discutir a produção da arquiteta ítalo-brasileira em diálogo com o legado do design moderno brasileiro e sua circulação internacional.

Fundada em Nova York por Carlos Junqueira em 2002, a ESPASSO consolidou-se como uma das principais plataformas de difusão do design brasileiro do século XX e contemporâneo no exterior, aproximando colecionadores, arquitetos, curadores e instituições de uma tradição marcada pelo rigor construtivo, pela inventividade formal e pela valorização do fazer artesanal.
_

(2) Thiago Gomide, 📷 Bob Wolfenson
(3) Lissa Carmona, 📷 Andrés Otero
(4) João Ferraz, 📷 Marcenaria Baraúna
(5) Hannah Martin, 📷 Meghan Marin

#GomideCo #LinaBoBardi #TEFAFNewYork2026 #ESPASSO

Tomorrow (Friday, May 15, 10am–12pm), on the occasion of New York Design Week 2026 and TEFAF New York 2026, ESPASSO hosts a brunch and conversation dedicated to the work of Lina Bo Bardi (1914–1992), bringing together a selection of furniture designs conceived between 1945 and 1960.

Hosted by Hannah Martin (Senior Editor at Architectural Digest), the conversation brings together Thiago Gomide (Founder Gomide&Co), Lissa Carmona (CEO ETEL Design), and João Ferraz (CEO Marcenaria Baraúna) to discuss the work of the Italo-Brazilian architect in dialogue with the legacy of modern Brazilian design and its international circulation.

Founded in New York by Carlos Junqueira in 2002, ESPASSO has established itself as one of the leading platforms for the promotion of twentieth-century and contemporary Brazilian design abroad, bringing together collectors, architects, curators, and institutions around a tradition marked by constructive rigor, formal inventiveness, and the valorization of craftsmanship.
_

Amanhã (sexta-feira, 15.05, 10h–12h), por ocasião da New York Design Week 2026 e da TEFAF New York 2026, a ESPASSO promove um evento com brunch e conversa dedicados à obra de Lina Bo Bardi (1914–1992), reunindo uma seleção de móveis concebidos entre 1945 e 1960.

Com mediação de Hannah Martin (Senior Editor da Architectural Digest), a conversa reúne Thiago Gomide (fundador da Gomide&Co), Lissa Carmona (CEO da ETEL Design) e João Ferraz (CEO da Marcenaria Baraúna) para discutir a produção da arquiteta ítalo-brasileira em diálogo com o legado do design moderno brasileiro e sua circulação internacional.

Fundada em Nova York por Carlos Junqueira em 2002, a ESPASSO consolidou-se como uma das principais plataformas de difusão do design brasileiro do século XX e contemporâneo no exterior, aproximando colecionadores, arquitetos, curadores e instituições de uma tradição marcada pelo rigor construtivo, pela inventividade formal e pela valorização do fazer artesanal.
_

(2) Thiago Gomide, 📷 Bob Wolfenson
(3) Lissa Carmona, 📷 Andrés Otero
(4) João Ferraz, 📷 Marcenaria Baraúna
(5) Hannah Martin, 📷 Meghan Marin

#GomideCo #LinaBoBardi #TEFAFNewYork2026 #ESPASSO

Tomorrow (Friday, May 15, 10am–12pm), on the occasion of New York Design Week 2026 and TEFAF New York 2026, ESPASSO hosts a brunch and conversation dedicated to the work of Lina Bo Bardi (1914–1992), bringing together a selection of furniture designs conceived between 1945 and 1960.

Hosted by Hannah Martin (Senior Editor at Architectural Digest), the conversation brings together Thiago Gomide (Founder Gomide&Co), Lissa Carmona (CEO ETEL Design), and João Ferraz (CEO Marcenaria Baraúna) to discuss the work of the Italo-Brazilian architect in dialogue with the legacy of modern Brazilian design and its international circulation.

Founded in New York by Carlos Junqueira in 2002, ESPASSO has established itself as one of the leading platforms for the promotion of twentieth-century and contemporary Brazilian design abroad, bringing together collectors, architects, curators, and institutions around a tradition marked by constructive rigor, formal inventiveness, and the valorization of craftsmanship.
_

Amanhã (sexta-feira, 15.05, 10h–12h), por ocasião da New York Design Week 2026 e da TEFAF New York 2026, a ESPASSO promove um evento com brunch e conversa dedicados à obra de Lina Bo Bardi (1914–1992), reunindo uma seleção de móveis concebidos entre 1945 e 1960.

Com mediação de Hannah Martin (Senior Editor da Architectural Digest), a conversa reúne Thiago Gomide (fundador da Gomide&Co), Lissa Carmona (CEO da ETEL Design) e João Ferraz (CEO da Marcenaria Baraúna) para discutir a produção da arquiteta ítalo-brasileira em diálogo com o legado do design moderno brasileiro e sua circulação internacional.

Fundada em Nova York por Carlos Junqueira em 2002, a ESPASSO consolidou-se como uma das principais plataformas de difusão do design brasileiro do século XX e contemporâneo no exterior, aproximando colecionadores, arquitetos, curadores e instituições de uma tradição marcada pelo rigor construtivo, pela inventividade formal e pela valorização do fazer artesanal.
_

(2) Thiago Gomide, 📷 Bob Wolfenson
(3) Lissa Carmona, 📷 Andrés Otero
(4) João Ferraz, 📷 Marcenaria Baraúna
(5) Hannah Martin, 📷 Meghan Marin

#GomideCo #LinaBoBardi #TEFAFNewYork2026 #ESPASSO

Tomorrow (Friday, May 15, 10am–12pm), on the occasion of New York Design Week 2026 and TEFAF New York 2026, ESPASSO hosts a brunch and conversation dedicated to the work of Lina Bo Bardi (1914–1992), bringing together a selection of furniture designs conceived between 1945 and 1960.

Hosted by Hannah Martin (Senior Editor at Architectural Digest), the conversation brings together Thiago Gomide (Founder Gomide&Co), Lissa Carmona (CEO ETEL Design), and João Ferraz (CEO Marcenaria Baraúna) to discuss the work of the Italo-Brazilian architect in dialogue with the legacy of modern Brazilian design and its international circulation.

Founded in New York by Carlos Junqueira in 2002, ESPASSO has established itself as one of the leading platforms for the promotion of twentieth-century and contemporary Brazilian design abroad, bringing together collectors, architects, curators, and institutions around a tradition marked by constructive rigor, formal inventiveness, and the valorization of craftsmanship.
_

Amanhã (sexta-feira, 15.05, 10h–12h), por ocasião da New York Design Week 2026 e da TEFAF New York 2026, a ESPASSO promove um evento com brunch e conversa dedicados à obra de Lina Bo Bardi (1914–1992), reunindo uma seleção de móveis concebidos entre 1945 e 1960.

Com mediação de Hannah Martin (Senior Editor da Architectural Digest), a conversa reúne Thiago Gomide (fundador da Gomide&Co), Lissa Carmona (CEO da ETEL Design) e João Ferraz (CEO da Marcenaria Baraúna) para discutir a produção da arquiteta ítalo-brasileira em diálogo com o legado do design moderno brasileiro e sua circulação internacional.

Fundada em Nova York por Carlos Junqueira em 2002, a ESPASSO consolidou-se como uma das principais plataformas de difusão do design brasileiro do século XX e contemporâneo no exterior, aproximando colecionadores, arquitetos, curadores e instituições de uma tradição marcada pelo rigor construtivo, pela inventividade formal e pela valorização do fazer artesanal.
_

(2) Thiago Gomide, 📷 Bob Wolfenson
(3) Lissa Carmona, 📷 Andrés Otero
(4) João Ferraz, 📷 Marcenaria Baraúna
(5) Hannah Martin, 📷 Meghan Marin

#GomideCo #LinaBoBardi #TEFAFNewYork2026 #ESPASSO

Tomorrow (Friday, May 15, 10am–12pm), on the occasion of New York Design Week 2026 and TEFAF New York 2026, ESPASSO hosts a brunch and conversation dedicated to the work of Lina Bo Bardi (1914–1992), bringing together a selection of furniture designs conceived between 1945 and 1960.

Hosted by Hannah Martin (Senior Editor at Architectural Digest), the conversation brings together Thiago Gomide (Founder Gomide&Co), Lissa Carmona (CEO ETEL Design), and João Ferraz (CEO Marcenaria Baraúna) to discuss the work of the Italo-Brazilian architect in dialogue with the legacy of modern Brazilian design and its international circulation.

Founded in New York by Carlos Junqueira in 2002, ESPASSO has established itself as one of the leading platforms for the promotion of twentieth-century and contemporary Brazilian design abroad, bringing together collectors, architects, curators, and institutions around a tradition marked by constructive rigor, formal inventiveness, and the valorization of craftsmanship.
_

Amanhã (sexta-feira, 15.05, 10h–12h), por ocasião da New York Design Week 2026 e da TEFAF New York 2026, a ESPASSO promove um evento com brunch e conversa dedicados à obra de Lina Bo Bardi (1914–1992), reunindo uma seleção de móveis concebidos entre 1945 e 1960.

Com mediação de Hannah Martin (Senior Editor da Architectural Digest), a conversa reúne Thiago Gomide (fundador da Gomide&Co), Lissa Carmona (CEO da ETEL Design) e João Ferraz (CEO da Marcenaria Baraúna) para discutir a produção da arquiteta ítalo-brasileira em diálogo com o legado do design moderno brasileiro e sua circulação internacional.

Fundada em Nova York por Carlos Junqueira em 2002, a ESPASSO consolidou-se como uma das principais plataformas de difusão do design brasileiro do século XX e contemporâneo no exterior, aproximando colecionadores, arquitetos, curadores e instituições de uma tradição marcada pelo rigor construtivo, pela inventividade formal e pela valorização do fazer artesanal.
_

(2) Thiago Gomide, 📷 Bob Wolfenson
(3) Lissa Carmona, 📷 Andrés Otero
(4) João Ferraz, 📷 Marcenaria Baraúna
(5) Hannah Martin, 📷 Meghan Marin

#GomideCo #LinaBoBardi #TEFAFNewYork2026 #ESPASSO

#AQAVisita: Em visita à Gomide&Co, o AQA passou pela exposição de Alexandre da Cunha e Dudi Maia Rosa.

Com dezenas de trabalhos, a mostra reflete sobre as tensões e aproximações sobre o uso de materiais industriais e da química assumida pelos trabalhos.

✨ Quer acesso antecipado, visitas exclusivas e conteúdos feitos especialmente para você?

Torne-se um membro AQA através do link na bio.

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
_

(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

What brings together a landscape observed from an airplane and a chair conceived through the intersections of Brazil, Africa, and European modernism? In the dialogue proposed by Gomide&Co between Lina Bo Bardi and Lorenzato for TEFAF New York 2026, affinities emerge through the reduction of form, attention to context, and the transformation of lived experience into visual structure.

Produced in the 1980s, Lorenzato’s painting derives from one of the rare airplane journeys taken by the artist, during a trip between Belo Horizonte and Rio de Janeiro. Sugarloaf Mountain appears reduced to chromatic fields and curved masses, in a composition suspended between horizon, light, and abstraction. More than representing landscape, Lorenzato transforms the experience of travel into a surface of intense formal economy.

Conceived by Lina Bo Bardi in collaboration with Marcelo Ferraz and Marcelo Suzuki for Casa do Benin in Salvador, the Girafa chair also emerged from the circulation of distinct references. Developed from memories of European modern furniture and reinterpreted through Brazilian materials and techniques, the piece combines constructive simplicity, structural lightness, and a direct relationship with artisanal making.

Between Lorenzato’s aerial gaze and the precise verticality of the Girafa chair, a connection emerges less through immediate visual resemblance than through shared modes of construction: in both, the reduction of forms and refusal of excess converge in a modernity rooted in everyday experience.

The works will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening tomorrow, May 14 (Thursday).
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(1-2, 4) Lorenzato (1900–1995)
Untitled, 1980's
Oil on hardboard
5 1/2 x 17 in.
📷 Edouard Fraipont

(3) 📷 Marco Giovanelli

(5-8) Lina Bo Bardi, Marcelo Ferraz e Marcelo Suzuki (1914–1992)
Girafa Chair (Marcenaria Baraúna Special Edition for Gomide&Co), 1986/2026
Ipê wood
31 x 15 1/2 x 16 in.
Ed. 6
📷 Ruy Teixeira

(9) Minister of Benin at the Glass House, 1980s

#GomideCo #LinaBoBardi #Lorenzato #TEFAFNewYork2026

The Girafa chair emerged in the late 1980s through the collaboration between Lina Bo Bardi, Marcelo Ferraz, and Marcelo Suzuki, within the context of projects developed in Salvador, including the restaurant at Casa do Benin. Conceived in 1986, the piece inaugurated the so-called Girafa line, later unfolded into different typologies produced by Marcenaria Baraúna.

Drawing on a distant reference to the furniture designed by Alvar Aalto for the Paimio Sanatorium, Bo Bardi reworked the project in relation to Brazilian material conditions, exploring solid wood, direct construction methods, and accessible solutions. Defined by its tall T-shaped backrest, which gives the chair its name, the Girafa combines structural lightness, spiral stacking, and functionality.

In his interview for Gomide&Co, Marcelo Ferraz recalls the process behind the creation of the piece and its relationship to the space conceived by the architect for Casa do Benin: “It is exactly what you see.”

The Girafa chair is part of the collection of The Museum of Modern Art (MoMA), New York, and is currently on view in the exhibition ‘Collection 1880–1950: Living Forms.’ The piece will also be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, which opens this Thursday (May 14th).
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📹 Erika Mayumi

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Developed for the living room of the Bittencourt House, the P6 Armchair ranks among the most emblematic designs conceived by Lina Bo Bardi in the context of the Studio d’Arte Palma (1948–1950), a pivotal initiative in the introduction of a modern language in Brazil grounded in local materials and vernacular knowledge. Crafted from thick plywood, the piece features a taut canvas seat and backrest secured at the rear—an approach that underscores the synthesis of structural rigor and economy of means central to the Italo-Brazilian architect’s practice.

Designed by Vilanova Artigas in São Paulo in the late 1940s, with furnishings later conceived by Bo Bardi, the Bittencourt House marks an early moment in her work in Brazil, in which architecture and furniture are conceived as an integrated whole. The pieces developed for the residence within the framework of the Studio d’Arte Palma reflect a totalizing approach to the domestic setting, in which each element adheres to a shared constructive logic. Here, furniture assumes a structuring role, articulating function, formal clarity, and direct engagement with local materials and techniques.

The P6 is distinguished by its formal refinement and its refusal of visible fastening elements: screws and joints are concealed, so that its constructive logic is fully understood only from within, as anticipated in Bo Bardi’s pencil studies. This strategy reinforces the almost “invisible” quality of the piece’s construction while emphasizing its sculptural presence in space. The armchair further encapsulates Bo Bardi’s commitment to an experimental yet accessible mode of production, bringing together references from European modernism with techniques rooted in the Brazilian context.

The piece will be on view at Gomide&Co’s booth 375 during TEFAF New York 2026, opening this Thursday (May 14th).
_

(1, 4-5) Instituto Bardi | Casa de Vidro

(2, 3, 6) P6 armchair, c. 1950
1.3 in-thick Araucaria pine plywood (Madeirit), rustic cotton or tarpaulin, string (tied)
31 1/2 x 25 x 29 in.
📷 Ruy Teixeira

(7) Furniture estimate, 1950

#GomideCo #LinaBoBardi #TEFAFNewYork2026

Gomide&Co revisits the medium-length film ‘4 notas sobre Lorenzato’ [4 Notes on Lorenzato], produced following the artist’s solo exhibition ‘E você nem imagina que Epaminondas sou eu’ [And You Cannot Even Imagine That Epaminondas Is Me], curated by Rivane Neuenschwander and Alexandre da Cunha, presented at the gallery in 2014.

With a text written by curator Rodrigo Moura and narration by Gregório Duvivier, ‘4 notas sobre Lorenzato’ offers a documentary perspective on the artist’s work, including interviews with James Green, Manoel Macedo, Marcia Fortes, Mauro Restiffe, Ricardo Homen, Rodrigo Moura, Thiago Gomide, and Vilma Eid. The video is available on Gomide&Co’s YouTube channel (link in bio).

The revisiting of the film takes place in the context of Gomide&Co’s participation in TEFAF New York 2026, which opens this week, from May 14th to 19th. For this edition of the fair, the gallery presents a selection that brings into dialogue Lina Bo Bardi (Italy, 1914 – Brazil, 1992) and Amadeo Luciano Lorenzato (Brazil, 1900–1995), articulating design and painting through structural and methodological affinities. The exhibition design is by Lucas Jimeno Dualde, who, through the use of colors and materials, emphasizes the simplicity and austerity of choices that connect both bodies of work.
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📷 Paulo Laborne
📹 Vivian Gandelsman

#GomideCo #Lorenzato #TEFAFNewYork2026

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki

Shoko Suzuki’s first solo exhibition in the United States, currently on view at Salon 94, presents a group of works that highlights the singularity of the artist’s ceramic research, developed over more than seven decades between Japan and Brazil.

Born in Tokyo in 1929, Suzuki immigrated to Brazil in 1962 and established her studio in Cotia, São Paulo, where she built the country’s first ‘noborigama’ kiln in 1965. Traditionally associated with Japanese ceramic production, the kiln became a central element of her practice, defining not only the firing processes, but also fundamental aspects of the form, surface, and temporality of her works.

Produced through a continuous engagement with clay, firewood, fire, and glazes developed by the artist herself using ash and oxides, her vessels, containers, and sculptures reveal a body of research marked by technical rigor and a careful attention to the transformation of matter. Through incisions, textures, and earthy tones, her work articulates Japanese ceramic tradition and diasporic experience in Brazil, consolidating a singular language developed in constant dialogue with landscape and the tropical environment.

The exhibition was developed by Salon 94 with the artist and her family, in partnership with Gomide&Co, and is accompanied by the release of the book ‘Shoko Suzuki’, published by Act. Edited by Eduardo Vasconcellos, the volume brings together a critical essay by Tie Jojima and a previously unpublished interview with the artist conducted by Rachel Hoshino, in addition to extensive visual documentation and biographical material. The publication is now available through Gomide&Co’s online store (link in bio).

📷 Salon 94

#GomideCo #Salon94 #ActArte #ShokoSuzuki