Matheus Chiaratti

o detalhe do vidro que respira e entrega em guelras de areia o forte, a pedra: terras de cor, terras de fogo, terras de água. No centro, a estátua dos fantasmas dos livros assentada e também órgãos e chaves: a literatura do estúdio, o ateliê dos antigos, os testamentos todos embolados em fio cortante em que a gente se fere e que a gente desata. 🗝️ novo ateliê, outubro de 2024. República, São Paulo ✨✨✨✨✨✨✨✨✨ [the detail of the glass that breathes and delivers through sand gills, the stronghold, the stone: lands of colour, lands of fire, lands of water. In the centre stands the statue of the ghosts of books and also organs and keys: the literature of the studio, the workshop of the ancients, the testaments all wrapped up in sharp threads that wound us and that we untie. 🗝️new studio. October, 2024. República, São Paulo] artworks: 1: in progress; 2: Oil painting in progress; 3: Cocteau (Abetarda series) detail, 2021; 4: Mal me mexo por males e meles (Abetarda series), 2023 detail; 5: Fran, 2014. #artiststudio #ceramicsculpture #matheuschiaratti #copan #artistsoninstagram #ateliê

✉️ São Paulo, August 18th, 2025 On the eve of taking a night bus towards the sea, I think of you both. I collect your presence in the sea with the waves and the fragments of shells, because I know that in every grain of sand there is a flake of soul, the mist of a body, a love story or the trace of a shipwreck. I pick up a large shell as soon as I arrive at the shoreline that touches the ancient cobblestones, and I speak into its hollow the union of your names: felicianoleonilson. Immediately, a gap opens in the echo that unravels into the memory of a weave, a thread, a pin, and a voile. And then a vertigo comes. When I was a child, we had a little house where my grandmother had a Singer sewing machine, along with a complete wardrobe of my mother’s old clothes from the eighties: taffeta, fancy things, yet modest, handmade by the women in my little town, her mother, her aunt, her sister-in-law, clothes for the dances, for the country fairs, for the kisses with the young boys. And all the emotions were stitched to fabric, repeated through the mantra of sewing, like a lament, like a prayer. And all the emotions contained in the waters as well: this lament, this river that covers us. Back at this sea, I think of the centuries old shipwrecks that these waves have adorned; I also wonder if you were ever in these same waters. Leonilson, have you ever been to Paraty? Feliciano hasn’t, but he knows Mar del Plata. The fabrics are the waters. The waters are the fabrics. One of life’s greatest emotions is walking above the Iguaçu Falls and its veil (one third Argentine, one third Brazilian, and one third Paraguayan). This is the knot of our lives, the water-spirit, the saltwaters, the memory-waters, the recent-waters. If I had known I would be speaking to you through them, I would have lived on a boat or on a bridge that crossed our Tietê river. I would have woken up and slept with you. I would have reached you in 1991 as a ferryman, and asked to hear your story. Today, I live far away from my waters. Today, I am by the Thames, far from our Iguaçu, but all I have in my body is the memory of sand and a water soaked T-shirt. - 📸 @pedropedreira_ 🙌🏽

Matheus Chiaratti | SP–Arte 2026 A série Cadouço parte do encontro entre pintura e literatura, tomando como base o livro como dispositivo de organização de imagens, textos e referências. A partir dessa estrutura, Matheus Chiaratti constrói composições em fluxo, nas quais a pintura se desdobra como narrativa contínua. Em suas obras, o espectador é convidado a percorrer a superfície como quem acessa um segredo — um espaço de associação entre memória, autoficção e imaginação. A presença de elementos vegetais e referências às iluminuras medievais intensifica a dimensão simbólica e sensorial das imagens. ______ The Cadouço series emerges from the intersection between painting and literature, using the book as a structure to organize images, texts, and references. From this framework, Matheus Chiaratti develops compositions in flux, where painting unfolds as a continuous narrative. In his works, the viewer is invited to navigate the surface as if accessing a hidden secret — a space of association between memory, autofiction, and imagination. The presence of vegetal elements and references to medieval illuminations intensifies the symbolic and sensorial dimension of the images. ______ Matheus Chiaratti O amor dos loucos (Cadouço), 2026 ______ STAND F09 Pavilhão da Bienal – Parque Ibirapuera 08–12 de abril ______ Para informações e bilheteria: @sp_arte Fotos: @juliathompson_foto

🐎 Participo da @sp_arte com duas pinturas da série do Cadouço, no estande da Quadra 💫 🗿 𝕒𝕤 𝕔𝕠𝕣𝕣𝕖𝕟𝕥𝕖𝕫𝕒𝕤 𝕖 𝕠 𝕒𝕞𝕒𝕟𝕙ã, 2025, acrílica sobre tela, 30 x 40 cm 🍸 𝔒 𝔞𝔪𝔬𝔯 𝔡𝔬𝔰 𝔩𝔬𝔲𝔠𝔬𝔰, 2026, acrílica sobre tela, 30 x 40 cm @quadragaleria ~✧~✧~ A série parte do objeto livro como base para a organização de desenhos de referências, trechos de poemas meus, invocações de lugares além de reproduções de outras pinturas. Nela, uma narrativa contínua estimula o espectador a se aproximar da obra e a construir seu próprio percurso de leitura e associação, como um convite a um segredo que está miniaturizado, inscrito em esconderijos da tela. Como em outros trabalhos, a profusão de ramos, folhas e raízes ajuda a construir um ambiente não só vertiginoso, mas também invocativo de uma natureza que adensa emocional e simbolicamente o peso da cena e das recriações. 📖🫁🤏🏽

🌪️ 🤍 🖍️ imagem é véu, véu é morto, morto é pedra, pedra é osso, osso é tubo, tubo é voz, voz é gruta, gruta é eco e chamado, chamado é tremor, tremor é fantasma, fantasma é tatuagem, tatuagem é seiva, seiva é um gole, um gole é mar. . . . . . . . . . . . . . . . #studiopractice #workinprogress #contemporaryart #tinypaintings #ateliê

A exposição Quase-Novembro está em cartaz na Quadra e conta com obras do artista Matheus Chiaratti. “Matheus Chiaratti @matchrtti combina instâncias narrativas da história da arte à literatura, de personagens históricos a autoficções. Com obras em cerâmica que aproximam pintura e escultura, Chiaratti também trabalha com fotografia, áudio, bordado e poesia, construindo imaginários permeados pelo desejo e pelo erotismo em um trânsito entre afetos e narrativas.” ——— The exhibition “Quase-Novembro” [Almost-November] is currently on view at Quadra and features works by the artist Matheus Chiaratti. “Matheus Chiaratti brings together narrative instances from art history and literature, ranging from historical figures to autofictions. Through ceramic works that blur the boundaries between painting and sculpture, Chiaratti also engages with photography, audio, embroidery, and poetry, constructing imaginaries permeated by desire and eroticism in a fluid movement between affects and narratives.” 📅 05.02.2026 — 02.04.2026 Ter a sex, 10h às 19h [Tue to Fri, 10am to 7pm] Sáb, 11h às 16h [Sat, 11am to 4pm] 📍Rua Barão de Tatuí, 521 – Vila Buarque, São Paulo 1-2. Beba Crush, Matheus Chiaratti, 2025 3-6. A lâmpada e o livro (As Mariposas II /Texto II), Matheus Chiaratti, 2025 📷 @juliathompson_foto

❤️‍🔥 Na última semana de T͇h͇e͇ ͇R͇i͇v͇e͇r͇ ͇t͇h͇a͇t͇ ͇C͇o͇v͇e͇r͇s͇ ͇M͇e͇, na Cecilia Brunson Projects, em Londres, compartilho o generoso depoimento da artista Ana López, amiga e companheira de ateliê de Feliciano Centurión (1962–1996). Conversamos há alguns meses, enquanto afinava minha pesquisa e desenvolvia as obras que entrariam em diálogo com as de Centurión (e com a de Leonilson). Imediatamente, um filme passou pela minha cabeça: estas fotos de 2013 voltaram como imagens emprestadas da vida que Ana e Feliciano levaram juntos no final dos anos 1980 e início dos 1990. São fotografias analógicas que fiz há doze anos, quando vivi alguns meses em Buenos Aires. Era como se um novelo atemporal se entranhasse no espaço; uma rememoração de Ana e Feliciano que, de algum modo, também se tornou a minha. Exceto pela descoberta que atravessou a vida de ambos, em 1992. “Añoranza” é o nome de uma de suas obras. E é também o nome deste vídeo. Obrigado, Ana, pelo depoimento, pelo tempo e pelo carinho. Obrigado, Cecilia, Gisela, Anna, Shiobán e Matt, por este rio imenso. Viva ele. @analopezsoy @ceciliabrunsonprojects @giselagueiros @giselaprojects Fotos analógicas Buenos Aires, março a setembro, 2013. ♥️ ♦️ENG version in the comments #felicianocenturion #ceciliabrunsonprojects #giselaprojects #leonilson #matheuschiaratti #contax #buenosairesphotography

🪬Last days to visit T͇h͇e͇ ͇R͇i͇v͇e͇r͇ ͇t͇h͇a͇t͇ ͇C͇o͇v͇e͇r͇s͇ ͇M͇e͇ at Cecilia Brunson Projects. ✨For the show, I created a new body of works titled “Diamond Lover series”, freely inspired by Frida Kaho’s self-portrait “Diego and I", 1949. The frames are filled with little poems and fragments of thoughts: attempts to cast spells around this body (as a relic, as a sacred narrative). In the exhibition, these two paintings were accompanied by the linen shirt "Bellezza che cade" created while I was studying Pasolini’s life, works, and death, during the time I lived in Milan three years ago. I wanted to inscribe his story onto one of my own shirts, as if this fabric could become a kind of a cloak. Pasolini was brutally murdered in 1975 under still uncertain circumstances, initially confessed by a 17-year-old boy named Pino. Adding another tragic resonance, in 2015, the cultural secretary of my hometown, Giovani Machado, the person who had first invited me to hold my debut solo exhibition, was murdered in similar conditions. So I wrote his name here, alongside Pasolini’s memory, as a sort of monument, a body-worn homage. 💎Angoscia and the wounds, the wounds, the wounds (diamond-lover series), 2025 Oil on canvas and acrylic on wood 35 x 30 x 4 cm each 🔹Bellezza che cade [Beauty that Falls], 2022 Acrylic on artist’s linen shirt 31 x 135 cm Ph. Eva Herzog and Emanuele Sosio Galante @ceciliabrunsonprojects @giselaprojects @giselagueiros #theriverthatcoversme #ceciliabrunsonprojects #leonilson #felicianocenturion #matheuschiaratti #giselaprojects #pasolini #viafariniinresidence

🪞Elogio: corpalto pra lua (Cadouço) [Praise: body high on the moon (Cadouço series)] 2025 Acrylic on canvas 30 x 40 cm (11 3/4 x 15 3/4 in) Ph. Eva Herzog "New works by Chiaratti construct a dialogue with Centurión and Leonilson, two artists who gave soft and poetic form to queer identity in Latin America in the 1980s-90s. An imaginary friendship between these artists from two different generations, who never crossed paths, is articulated by Chiaratti through letter writing, visual references and a shared artistic sensibility centred around love, passion and intimacy. (...) Works by Brazilian artist Matheus Chiaratti function as an emotional cartography – a way of sorting out the world from a restless and deeply curious perspective. Throughout Chiaratti’s practice, his maternal grandmother’s gardens are restored as a territory of desire, memory and theatricality. Nature emerges as a scenery of abundance, a romantic monument to the most primal feelings. Across textile, ceramics, painting and photographic collage, the investigation of words and their poetic capacity is a central theme in Chiaratti’s production. Through evocative images of nature, art historical reference and a mapping of images and thoughts, he arranges his universe as a visual diary, a sketchbook: a world that is mythical and banal, intimate and sacred." The show runs until November 20 ✨ T͇h͇e͇ ͇R͇i͇v͇e͇r͇ ͇t͇h͇a͇t͇ ͇C͇o͇v͇e͇r͇s͇ ͇M͇e͇ Matheus Chiaratti (b. 1988), Feliciano Centurión (1962 – 1996) and José Leonilson (1957 – 1993) at Cecilia Brunson Projects, London in collaboration with Gisela Projects. 💎 @ceciliabrunsonprojects @giselaprojects @giselagueiros #leonilson #felicianocenturion #cocteau #matheuschiaratti #giselaprojects #ceciliabrunsonprojects #fridakhalo

🫁 ᵀʰᵉ ᴿⁱᵛᵉʳ ᵗʰᵃᵗ ᶜᵒᵛᵉʳˢ ᴹᵉ at Cecilia Brunson Project, London 📸 installation shots by Eva Herzog - - - - - - link in bio for the list of works - - - “Cecilia Brunson Projects is pleased to announce a forthcoming group exhibition featuring Feliciano Centurión (1962 – 1996), José Leonilson (1957 – 1993) and Matheus Chiaratti (b. 1988), produced in collaboration with Gisela Projects. New works by Chiaratti construct a dialogue with Centurión and Leonilson, two artists who gave soft and poetic form to queer identity in Latin America in the 1980s-90s. An imaginary friendship between these artists from two different generations, who never crossed paths, is articulated by Chiaratti through letter writing, visual references and a shared artistic sensibility centred around love, passion and intimacy. (...) Works by Brazilian artist Matheus Chiaratti function as an emotional cartography – a way of sorting out the world from a restless and deeply curious perspective. Throughout Chiaratti’s practice, his maternal grandmother’s gardens are restored as a territory of desire, memory and theatricality. Nature emerges as a scenery of abundance, a romantic monument to the most primal feelings. Across textile, ceramics, painting and photographic collage, the investigation of words and their poetic capacity is a central theme in Chiaratti’s production. Through evocative images of nature, art historical reference and a mapping of images and thoughts, he arranges his universe as a visual diary, a sketchbook: a world that is mythical and banal, intimate and sacred. His composite images take notes from Centurión and Leonilson, and other queer guides – Leonilson’s fountains, Centurión’s flowers, Frida Kahlo’s intense and violent love for Diego Rivera branded on her mind and her skin, and Jean Genet’s explicit writings. Amongst his own deeply personal expression is the inheritance of a culture created before him.” @ceciliabrunsonprojects @giselaprojects 📝📝📝📝 #leonilson #felicianocenturion #giselaprojects #ceciliabrunsonprojects #matheuschiaratti #elríoquemecubre #cocteau

💧ᵀʰᵉ ᴿⁱᵛᵉʳ ᵗʰᵃᵗ ᶜᵒᵛᵉʳˢ ᴹᵉ at Cecilia Brunson Projects, in London, in collaboration with Gisela Projects 👇🏽 Centurión: el amor (Cadouço) [Centurión: the love (Cadouço series)], 2025 Acrílica sobre tela [Acrylic on canvas] 120 x 150 x 4 cm | Ph. Eva Herzog In this new series of works called Cadouço, I expand the books I’ve been painting on canvas and ceramic pieces since 2021. Here the large book becomes a space for a free-flowing process of drawing, where one element leads to another. Some symbols reappear throughout my practice (in painting and writing): lagoons, maps, and birds. This piece is dedicated to Feliciano Centurión (1962-1996), whose portrait is painted on the left page. 🖌️ The show runs until November 21st 🎡 @ceciliabrunsonprojects @giselaprojects @giselagueiros 📃📄📃 #felicianocenturion #leonilson #ceciliabrunsonprojects #matheuschiaratti #giselaprojects #cocteau #illuminatedmanuscript #iluminuras #rimbaud #friezelondon

Please join us next Wednesday 8 October from 6-7:30pm for a private view celebrating the opening of ‘The River that Covers Me: Feliciano Centurión, José Leonilson and Matheus Chiaratti.’ Produced in collaboration with @giselaprojects , this inter-generational exhibition imagines a friendship between three artists, sharing an artistic sensibility centred around love, passion and intimacy. ‘Leonilson and Centurión represent the essence of the personal being political, blurring lines between private and public. Their groundbreaking works explore themes from loneliness, sickness and mortality to desire, queerness and love — hinting at the spiritual. They use similar media, including paintings on canvas (which we see in the exhibition) and embroidered work on ready-made textiles, all tied by the very frequent use of written words as almost-laments. The bittersweet messages may intersect truth and fiction, vulnerability and courage, grief and humour, affection and fear. The two counterparts had brutally short careers – both artists died in their 30s from HIV-related complications.  Susan Breyer refers to Feliciano’s practice in the Brooklyn Rail as “proffering both courageous perspective and tender wisdom” — which I believe applies to all three artists.  The works presented by Chiaratti function as an emotional cartography — trying to digest the world through genuine curiosity. He tends to his subjects with the passionate dedication of a gardener, while also using poetry as a fundamental part of this visual diary.  ‘The River that Covers Me’ tends to the mysterious flow that connects Leonilson, Centurión and Chiaratti beyond time. It is all part of the same chant, the same fabric, the same river… a river that is constantly passing, constantly changing. Never-ending.’ - Gisela Gueiros Private view: Wednesday 8 October, 6 - 7:30pm Exhibition dates 8 October - 20 November, 2025 —— Image 1: Matheus Chiaratti, photography by Pablo Saborido Image 2: Feliciano Centurión Image 3: José Leonilson