“Jardim da Guiné”, the solo show by Moisés Patrício at Galeria Karla Osorio in São Paulo, is one of the must-see exhibitions this January and deserves to be at the top of any cultural itinerary. The exhibition is conceived as a true territory of experimentation, bringing together mostly three-dimensional, previously unseen works that expand the artist’s research into symbols and objects connected to Latin, Afro-Brazilian, and African cultures, creating an immersive and sensorial environment. Curated by Igor Simões, the show opens a dialogue between tradition, spirituality, memory, and urban everyday life, while reinforcing Patrício’s central role in the contemporary art scene, also present at the 36th Bienal de São Paulo. On view until January 31 at the São Paulo branch of Galeria Karla Osorio (Rua França Pinto, 1.100, room 1, Vila Mariana), “Jardim da Guiné” is free admission and open Monday to Friday, from 10 a.m. to 7 p.m., and on Saturdays, from 10 a.m. to 5 p.m., offering a rare opportunity to closely experience the poetic and political strength of this body of work.
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In addition to “Jardim da Guiné”, the recommended itinerary features other exhibitions in São Paulo that are well worth a visit in January, such as the Atoriē project at Casa Iramaia, which brings art into daily life through furniture and lighting pieces signed by different artists, the large retrospective “Joaquín Torres García – 150 years” at CCBB São Paulo, the show “José Antônio da Silva: Pintar o Brasil” at MAC USP, and “Minerva Cuevas: Social Ecology” at MASP, which concludes the “Histories of Ecology” cycle with a powerful reflection on the environment and social structures. To explore all the details about each exhibition, including schedules, addresses, and visit tips, it is highly recommended to read the full article.
https://elle.com.br/lifestyle/exposicoes-em-sao-paulo-janeiro-2026
“Jardim da Guiné” is also highlighted by VEJA São Paulo, which emphasizes the set of never-before-seen three-dimensional works by Moisés Patrício as a key turning point in his career, moving away from figurative painting to delve deeper into themes of faith, tradition, and the tension between the organic and the concrete, in close dialogue with his participation in the 36th São Paulo Biennial
