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Delson Uchôa, 1956


Was born, studied and lived in Maceio- Alagoas, Brazil until he graduated in medicine in 1981, in parallel began his studies of painting in Pierre Chalita Foundation. Party for a study trip to France where he meets the masters of painting and returns to Brazil with brief stay in Belo Horizonte. Place of residence in Rio de Janeiro and participates in the show "How are you? 80 Generation" organized by Marcus de Lontra Costa and Paulo Roberto Leal at the School of Visual Arts of Parque Lage.


From then it becomes part of the artists of Gallery Saramenha betting on young emerging talents of the eighties and there accomplishes two important individual in 1985 and 1988. It is Jorginho Guinle that presents the printed invitation emphasizing its popular imagery and plastic vitality his work: "the set of Delson jobs inevitably bring up issues such as the archetype and personnel, universal and regional, popular and kistch". His painting goes to interest Thomas Cohn Gallery adopting its pop-neoconcrete: "the use of paper exceeded even the quasi-mural, trompe l'oeil, the banner elements, fluctuations between the almost kitsch and almost stripped, among the raw and the refined in stimulated to open the range to the North and the Northeast, "so says Thomas Cohn about its importance on the national stage performing two single artist in the years 1990 and 1993.


Returns for brief periods to Maceio during this season Rio producing intensely. Participates in Workshop 93 sponsored by the Brazilian Teuto Summer Academy - Deutsh-Brasilianische Kulturelle Vereinigung (DBKV) / Goethe Institute / Foundation Pierre Chalita in Singapore where it is awarded a scholarship and the opportunity to hold an exhibition in Berlin Gallery Springer in August 1993.


Germany's return and permanent residence in Singapore with the intention of bringing together its collection.

Three years later, in 1996, performs his greatest solo exhibition in two major sugar warehouses in Jaragua which covers a period of approximately fifteen years of painting, from generation 80 to the 1996 work called "next-generation mixed race" and whose invitation to the public was through billboards scattered throughout the city's main points to give a show the scale and dimension of their work.


In 1998 participates in the XXIV Biennial curated by Paulo Herkenhoff that replaces the cannibalistic question in order to discuss cultural diversity and the inserts in the Historic Center project in the matter of color and latitude that runs from modernism, through the neo-concretism to the contemporary: ".. ... the redneck color southeastern not aware of Brazil Uchoa extracts brightness and cultural stridency of color Northeast His paintings depict movements of the roi-roi, the popular toy they built" is what it claims Herkenhoff in the introductory text of the exhibition catalog.

In 2001, TV Senac makes a documentary about his work, displayed in the Brazilian National Art series circuit which is filmed two of his greatest works: Cathedral, 10 meters high, and Curral Beach, six meters wide. Works that needed to be hoisted by steel cables on construction site has not opened Cultural Center of Maceió.


In 2002, participates in a residency program in a village in the mountainous region of Paraná called Faxinal of the Arts and for two weeks involved a hundred artists from all over Brazil. This experience exchange with artists of various generations replaces the in the south-southeast axis arts circuit.


In 2003 he is invited by Aguinaldo Farias to exhibit in Gallery Tomie Otake on a great show and two other painters in different positions: Caetano de Almeida and Cassius Michalany.


In 2005 occupies the spaces of MAMAM - Museum of Modern Art Aloísio Magalhães - in Recife curated by Moacir dos Anjos and also receives invitation from the Fine Arts Museum of Rio de Janeiro to integrate, with two works, the contemporary art collection of the Institution . With this acquisition the Museum of Fine Arts, expands its participation in important contemporary art collections in the country because it is already part of Gilberto Chateaubriand acquis (MAM-RJ), of Sattamini (MAC-Niterói), the MAMAM-Recife and Infraero which acquired a panel for the new Maceió International Airport.


  • 2007

80/90 Modern, postmodern, etc. Tomie Ohtake Institute, São Paulo


  • 2008

Contradictory: Panorama of Brazilian Art 2007 Alcalá room 31, Madrid, Spain

Parallel, Arts and Crafts Lyceum, Sao Paulo, Brazil


  • 2009

10th Biennale de la Havana, Havana, Cuba

53rd Biennale di Venezia, Venice, Italy


  • 2010

12th Biennial of Cairo, Egypt

Shows tripod, SESC, São Paulo, Brazil

Breakeven, Tomie Ohtake Institute, São Paulo, Brazil


  • 2011

Fragments of a prism, Centro Cultural José Maria Barra, Uberaba, Brazil

Giant by nature, IVAM, Valencia, Spain

Open Window # 3, Amparo Gallery 60, Boa Viagem, Recife, Brazil


  • 2012

Torrid Zone, One Northeast Painting, Santander Recife, Brazil


  • 2013

International Biennial of Curitiba Museu Oscar Niemeyer, Curitiba, Brazil

Fire-fáuto, YES Gallery, Curitiba, Paraná, Brazil

Transgressions Park, YES Gallery and Simões de Assis Art Gallery, Curitiba, Brazil \

Unifor Plastic, Cultural Unifor, Fortaleza, Brazil


  • 2014

Meeting Worlds, MAR, Rio Art Museum, Rio de Janeiro, Brazil

Double Look, Paco das Artes, São Paulo, Brsail

Tatu: Football, Adversity and Culture of Caatinga, MAR Rio Art Museum, Rio de Janeiro, Brazil

  • 2015

Generation 80: Daring & Affirmation, Simões de Assis Art Gallery, Curitiba, Brazil

Delson Uchôa, SIM Gallery, Curitiba, Brazil

Delson Uchôa, Zipper Gallery, Sao Paulo, Brazil

Squares and Patterns - Delson Uchôa, Ludwig Museum, Koblenz, Germany

  • 2016

Inhabited Painting, The Armory Show, New York

At Marina Monumental, curator Marc Pottier, Marina da Glória, Rio de Janeiro, Brazil

13th Naïfs Brazil Biennial, Sesc Piracicaba, Brazil

The Color of Brazil, curators Paulo Herkenhoff and Marcelo Campos, MAR - Rio Art Museum, Brazil

Decoration of Brazil Indigenous: contemporary resistances, SESC Pinheiros, São Paulo

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