Maria-Carmen studied at the Sacré-Coeur de Jesus and got her baccalaureate diploma at the Santa Ursula School in Rio de Janeiro. In 1971, she Escola de Belas-Artes in Rio de Janeiro. Two years later, she travelled to Geneva where she graduated from l’Ecole Supérieure des beaux-arts where she often studied, among others, in Evelyne Gallopin’s serigraphy studio. On that occasion, in 1975, she produced a series of works in slate, Plexiglas and iron thread, which was exhibited in the Salle Patiño of the Centre d’Art Contemporain in Geneva, along with the works of all the students from her workshop.

Maria-Carmen studied at the Sacré-Coeur de Jesus and got her baccalaureate diploma at the Santa Ursula School in Rio de Janeiro. In 1971, she Escola de Belas-Artes in Rio de Janeiro. Two years later, she travelled to Geneva where she graduated from l’Ecole Supérieure des beaux-arts where she often studied, among others, in Evelyne Gallopin’s serigraphy studio. On that occasion, in 1975, she produced a series of works in slate, Plexiglas and iron thread, which was exhibited in the Salle Patiño of the Centre d’Art Contemporain in Geneva, along with the works of all the students from her workshop.

Back to Rio de Janeiro, she started developing a series of works on the Jogo do Bicho – a daily cl andestine Brazilian lottery game. To each number corresponds an animal. This work on the Jogo do Bicho was integrally shown in a room at the 14^th International Biennale of São Paulo. The work is made up of serigraphs – “Archives of a player”, twelve boards corresponding to each month of the year –“ In the pursuit of the image”, twelve serigraphs on squared paper – “Guide for beginners”, the twenty-five animals of the game; of objects – “The canned animals”, twenty-five jars with numbers floating on the water; of paintings – “ABC of the game”; of black and white slides – “The prognostics hunt”; and of a little book – pocket manual, dream interpretation.

Ainda em 1977 é convidada pelo diretor da Escola de Artes Visuais do The same year, Rubens Gerchman, the director of the Escola de Artes Visuais do Parque Lage, Rio de Janeiro, invited her to teach serigraphy with Dionisio del Santo. She also carried out the exhibition Plásticos that grouped the works of the students from her serigraphy studio. At that same time, she joined the Brazilian association of visual artists.   The Jogo do Bicho series, presented at the Biennale of São Paulo, was shown in Rio on the occasion of her solo show Letras at the Galerie de l’Alliance française of Botafogo.   In 1979, at the invitation of Regina Vater, she presented her photographic work Palmeiras during the exhibition Works on Paper at the Nobe Gallery in New York. At the gallery of the Centro Cultural C andido Mendes in Rio de Janeiro, she showed N Operações, an experimental project carried out with Rute Gusmão, made up of a Super-8 film playing on a loop, some objects, and a picture album. It was one of her first exhibitions at this cultural centre of Ipanema. The film shows two magicians doing the same magic trick simultaneously. The pictures from the movie compose a little picture album, and all the albums are displayed on supermarket st ands. A pyramid of moneyboxes is also presented on a glass shelf in the centre of the room.   The series Si-la-box was presented during a solo show at the César Aché gallery in Rio de Janeiro (1980). That work is composed of photographs of a red Callistemon flower on which juxtapose coloured bottle brushes, creating a mimetic effect. On each photograph, there are numbers and letters in relief. These works were also presented during the exhibition Ici-là-ailleurs at the Bernard Letu gallery in Geneva, at the invitation of Evelyne Gallopin.

In 1982, she created the exhibition Bicho de sete cabeças (Seven-Headed Beast) at the Museum of Modern Art in Rio de Janeiro, within the framework of the project Espaço ABC Funarte. It is a piece composed of ninety-six different objects hanged on seven rotary displays. The objects – gloves, knives, feathers, soles – are packed in plastic bags and labelled with popular sayings. She closed her serigraphy studio in Rio and travelled to New York where she made a large series of pastel drawings before taking the decisive step towards sculpture.   At the Pratt Institute in Brooklyn, she discovered three-dimensionality through clay.   After a series of conceptual works mixing common objects with text, she started the practice of drawing around 1982 in New York. She then began a long series of pastel drawings that depict every-day objects (Untitled {Scissors}, Untitled {Brush} in a freely realistic manner. (Stéphane Cecconi. “Drawing 1: Le geste du sculpteur”, Les Minutes du Cabinet des dessins. Genève: Musée d’Art et d’Histoire, 1999).

Clay’s malleability was replaced with marble’s hardness. In 1983, she bought a block of white Carrara marble, a hammer, scissors, and registered to the Art Students’ League of New York to learn how to sculpt and carve stone. In December of that same year, she presented the marble sculpture No 11 during the exhibition Small Sculpture at the Kouros Gallery in New York.   Two years later, she moved to Geneva and married Pavel Urban. Of Czech origin, Pavel enthusiastically joined in the development of this new sculpture work. Together, they went to Carrara in order to buy a few tons of marble and, since then, those trips remained frequent and became a joint project for the couple. Through his practice of dentistry, Pavel looks for technical solutions regarding the installation of some sculptures and also creates little solid gold reproductions of Maria-Carmen’s works.   Their son Gabriel was born in 1986, and their daughter Sophia in 1989. Only after the birth of the two children has the marble of the sculptures “softened,” so to speak.

She taught serigraphy at the Ecole Supérieure des beaux-arts in Geneva, as replacement for Evelyne Gallopin. The following year, in 1991, she presented some serigraphs with the ESBA students at the Palais de l’Athénée in Geneva.   That same year, she was invited to show her sculptures at the Château de Villa in Sierre (Valais), along with Jean-Paul Renko’s paintings. On that occasion, a catalogue was published – thanks to the support of Pierre Mirabaud, Rolf Bloch and Pierre Trembley – including the text “Between Body and Sculpture” by Ronaldo Brito and Sula Danowski’ graphic project. It was the first exhibition of her sculptures in Switzerl and. The white marble pieces laid-out in the castle’s numerous rooms contrasted with the building’s very dark woodwork.

I chose to work with that stone [Carrara marble] because of its dense matter, its resistance and its weight. The direct cutting technique requires quite a long creation time, and only after a few years did the marble soften, so to speak, to become a thin skin, always on the verge of breaking under the hammer. (Maria-Carmen during a conference organised by Sotheby’s at Uni Dufour, Geneva, June 1997).   In 1992, she exhibited at the Ruine gallery in Geneva. On that occasion, she met André L’Huilier, the artist’s first collector. The following year, the Union des Banques Suisses, through artistic consultant Roger Mayou, commissioned two large marble sculptures for one of the bank’s head offices. In 1993 she showed her sculptures for the first time in Rio de Janeiro at the Goudard gallery, and, back in Geneva, she took part to the exhibition In vitro in vivo along with paintings by Josée Pitteloud.   In 1994, she joined Raquel Arnaud, Ronaldo Brito and Guy Brett at Massa, in Italy, for the closing of Sergio Camargo’s studio – an artist whose work stimulated Maria-Carmen’s interest for marble. She exhibited her sculptures at the Gabinete de Arte Raquel Arnaud in São Paulo. On that occasion, a leaflet designed in Geneva by Lisa Parenti was published.   During a trip, I was carrying a sculpture in my h and luggage; an alabaster petal. When going through the security check, I could catch a glimpse of the contents of my bags on the screen. Even seen through X-Ray, my sculptures stayed the same; alabaster showed its inside. (Maria-Carmen during a Round Table at the HAP Galeria, Rio de Janeiro, November 2002).

During my childhood, we were told that for every lie, a little white speck appeared on the nails. To illustrate those little lies, alabaster seemed the ideal material to me, since it has lots of flecks as well as an organic appearance. (Maria-Carmen during an interview with Martine Jacques-Delacroze, Journal de Genève, June 23^rd 1996).   In 1996, she showed the Petits Mensonges (Little Lies) series at the Galerie Rosa Turetsky, in Geneva, which published a catalogue including a text by Michael Jakob.   (…) to reach that art of the living, to keep the fragility of the living, Maria-Carmen knew how to choose the ideal mineral: alabaster. That stone is endowed with astonishing translucence and relative hardness; its transparency and its undulating layers reveal the depth; everything in it seems to suggest living matter under the skin. By exploiting the irregularity of the alabaster’s veins, the artist expresses her vision in a material just as unique as the shape of a nail or a tear. (Michael Jakob. “Petits Mensonges”, Sculptures [Catalogue]. Genève: Galerie Rosa Turetsky, 1996).

That same year, Maria-Carmen took part in the International Uni-Dufour Competition in Geneva, organised by the Banque Darier Hentsch & Cie and the State of Geneva, and set up by START, Dominique Lévy and Simon Studer. It was her first project integrating vegetal species. That project, created with the collaboration of Christophe Beusch, Marc Junod and Alix Cooper, received the first prize, ex-aequo. The Projet vegetal (Vegetal Project) benefitted from the sponsorship of Fondation Moët & Ch andon Suisse pour l’Art. Created and inaugurated in 1997, at the same time as the work by Japanese artist Tatsuo Miyajima composed by light-emitting diodes, the Projet végétal is still visible outside and inside the university.   For the elaboration of the Projet végétal, we were convinced right away by the architectural quality of the building, by the richness of the spaces and by the attention given to the choice of materials. The project was meant to advantage the building through two intervention modes: firstly, through the vegetal in order to establish a dialogue between the edifice and its environment, and secondly through the creation of an esplanade integrating the Place René-Payot, in order to offer the conditions for a better perception of the building. We wanted to include the plants for their capacity to dialogue with the architecture and its surroundings. Three cypresses whose verticality highlights in counterpoint the edifice’s horizontality, are planted in front of the entrance façade, indicating their presence from afar. (Maria-Carmen. “Le deux centième”, Journal du bicentenaire de la Banque Darier Hentsch & Cie, no 7, Geneva, September 1996).   The following work, Aguas-vivas (Jellyfish), was exhibited at the Gabinete de Arte Raquel Arnaud in São Paulo, along with the series very dear to Maria-Carmen: Petits Mensonges and Soupirs (Sighs). Paulo Venâncio Filho wrote “Clepsydre” for the leaflet published on that occasion.   Objects carved in memory as if in alabaster, three-dimensional madeleines; it is even possible that memory is made out of alabaster. Because time is in stone like water in a clepsydra. (Paulo Venâncio Filho. “Clepsidra”, Aguas-vivas [leaflet]. São Paulo: Gabinete de Arte Raquel Arnaud, September 1996).   I appreciated her sculptures as much as the photographic image permits, and I was surprised by the way which she manages to overtake the false easiness promoted by alabaster’s visual and tactile richness, creating pieces that, through the material, hold in the transparency and the chromatic variations, but where they serve the pure form. (Letter from José Saramago to Maria-Carmen, April 19^th 1996).   In 1997, she was invited by Adelina Von Fürstenberg, director of Art for the World, to show the Lunatiques (Lunatics) at the Madrasa Ibn Youssef in Marrakech, during the exhibition Méditations. Each artist showed their work in a cell lit by natural light, and Maria-Carmen’s five alabaster moons were placed on the floor, one above the other.

In 1998, she created Coeur ouvert (Open Heart) for the park of the World Health Organisation (WHO) in Geneva, during the exhibition The Edge of Awareness set up by Art for the World under the direction of Adelina Von Fürstenberg, for the WHO’s 50^th anniversary.   Coeur ouvert is composed of two apple trees, thirty young vines, thirty dogwoods and seventeen smoke trees. The Merlot young vines, transplanted from the vineyard Les Perrières in Peissy, surround the two apple trees, outlining the shape of a heart on the grass. The grapes are red. Coeur ouvert is inspired by a heart transplant, a real open-heart surgery. That work became a permanent installation at the WHO.   Three sculptures – three hearts in alabaster and resin – were successively shown at the UN in New York and at the SESC Pompéia in São Paulo.

An allusion to a literal and materially broken heart, to surgery and pain trauma. However, the artist also suggests that, despite its hardness, a shared heart also exposes itself to the experience and vulnerability of love. (Ariella Budick. “Healing Heart”, Newsday, September 16^th 1998).   The same year, Maria-Carmen showed the work Livres (Books) on the occasion of the exhibition Transitive Shapes at the Gabinete de Arte Raquel Arnaud in São Paulo – curated by Paulo Sérgio Duarte.   The fragility of that stone, when confronted with harder stones, seems to be the paid price for the light supply and the rare meeting between opacity and transparency. We could say that in Maria-Carmen’s shapes, art behaves like weird domestic animals: we would like to pet them because they are so familiar and attractive. But we know with certainty that we have never seen them before. (Paulo Sérgio Duarte. Transitive Shapes [catalogue]. São Paulo: Gabinete de Arte Raquel Arnaud, 1998).   […] I create the sculptures myself: I cut the stone with a hammer, I polish, send dust up, much dust. I like that physical activity, that noisy and dusty chaos, that brutality. Only after polishing, when the water s anding work is done, does the stone appear in all its splendour, in its most beautiful transparency, letting come through its mass any surrounding light intensity. Magic is there. (Maria-Carmen during an interview with Jacqueline Girard-Frésard, Genève XXI, 2001)   Invited to present an artistic pre-project for the Suva Clinic in Sion in 1997, she started to work with the architecture studio 2BM2 – Bénédicte Montant and Verena Best-Mast, architects. The Point de Rosée (Dew Point) project was selected and created for the pool of the clinic’s re-education centre. Point de Rosée is a low-relief made up of seventy-three alabaster “water drops” scattered across two twelve-metres high concrete walls.

Still in 1999, the Banque Cantonale de Genève exhibited part of its collection at the Musée Rath in Geneva. The work Petits Mensonges, two alabaster pieces, was part of the show.   The Musée d’Art et d’Histoire of Geneva organised the exhibition Le geste du sculpteur at the Cabinet des dessins where the artist presented her pastel drawings made in New York between 1982 and 1983.   She presented Monnaies (Coins) and Livres (Books) during the exhibition Change Directory organised by Culture and Development at the Kunsthalle of Bern in 1999. In August of that same year, Maria-Carmen showed her large series of recto-verso alabaster sculptures at the Centro Cultural Banco do Brasil in Rio de Janeiro. That exhibition – a tribute to her father, an employee of the bank at the agency the cultural centre currently is – was organised and presented by Franklin Pedroso. A catalogue was published, including a text by Ronaldo Brito, and the graphic project by Danowski Design (Sula Danowski and Adriana Cataldo). That exhibition was next presented at the Gabinete de Arte Raquel Arnaud in São Paulo.   I imagine his worktable: a dark solid wood desk, with a penholder, stamps, cashbooks, drafts of h and-made calculations; everything tidy. I open a drawer of that desk, and I find an antique blotter on which his signature is engraved, along with the department stamp, where he cut the dimension of his world: to carry out a project to the end, to put his heart and soul into an activity and be proud of it, to be a man like all others, to love being a man like all others.    The alabaster sculptures represent office objects and other personal ones: things for everyday use that take place in desire’s most intimate part, things useful for work and life production. (Lygia Perlingeiro. Text displayed in the exhibition room at the Centro Cultural Banco do Brasil, Rio de Janeiro, 1999).   Alabaster, it is evident, lends itself wonderfully to simulate the imaginary’s diffuse action with its faded colouring, a little distant, and its epidermic qualities, so to speak. However, it acquires here content of material truth: a sensitive membrane that separates and joins universes together – past and present, dream and wakefulness, physical and psychic.

She created, with the architecture studio 2BM2, the prize-winning project Les Lances d’Ucello (Ucello’s Spears) for the exhibition Lausanne Jardins 2000 – curated by Lorette Coen. The architect Bénédicte Montant and all the studio team fully committed to the artistic and vegetal projects Maria-Carmen was developing for public spaces. The garden, Les Lances d’Ucello, planted on the western clearing of the Montriond hill in Lausanne, is constituted with one single plant (in 400 units): the Sansevieria – a tropical plant with sword-shaped, greyish-green marbled leaves. The primary interest is Sansevieria’s “artificial” appearance: its thick leaves, its geometry and sculptural form remind us of a synthetic object while it is entirely vegetal. This project is a tribute to the Battle of San Romano by the painter Paolo Ucello.

As a l andscape-artist, Maria-Carmen Perlingeiro took part in the Anis Vert project created by the architecture studio 3BM3 for the refitting of the Auberge de Floris in Anières. That project received the first prize.   Still in 2001, Charlotte Moser invited her for an exhibition at her gallery in the old town, Geneva. The show Natures Mortes was composed with alabaster recto-verso sculptures, as well as a whole wall of alabaster Cadernos (Notebooks) lit from the inside.   In alabaster, we have examples of the solitary existence of things before (or after) the contact that establishes between them – the placental state or pre- (or post-) still lives. Those sculptures combine in their strict disenchanted formalization the wild post-pop ambience, the comics’ irreverent humour, the extreme vulgarization of daily life, and finally the classic dignity and simplicity in a piece of stone; absolutely contemporary stele, incomplete monolith and defined in the undefined fragment of alabaster. A piece of the “world’s flesh,” the contemporary opposite of the classical Greek delimitating exteriority. (Paulo Venâncio Filho. “La naissance des choses communes”, Maria-Carmen Perlingeiro [catalogue]. Genève: Galerie Charlotte Moser, 2001).

In 2002, she took part in the exhibition of the collection Figueiredo Ferraz, O espirito da nossa época, at the Museum of Modern Art of São Paulo, where the Livres (Books) were presented. The following year, she hung for the first time the alabaster pendulums during the exhibition 12 sculptures at the Gabinete de Arte Raquel Arnaud; those pieces announce the subject developed in the next floating sculptures.   In the following exhibition Alabastros at the HAP Galeria in Rio de Janeiro, along with paintings by Jacqueline Adam, the artist presented a series of drops on two walls, and seven alabaster and gold Cadernos (Notebooks) on a drawing cabinet lit from the inside. That piece of furniture was designed by the architect Eduardo Hue.

When I was a young student, there were power cuts almost every day in Rio; I did my homework at the end of the day by c andlelight. I played with hot paraffin and observed my h and through that yellowish light that became red when going through my skin. I could thus see through my body. In a way, this image illustrates the stone I work and the light I attempt to translate through my alabaster sculptures. (Maria-Carmen during a Round Table at the HAP Galeria, Rio de Janeiro, November 2002). She took part, once more, in collaboration with the architecture studio 3BM3, Geneva, in the exhibition Lausanne Jardins 2004 with the project Palmiers en transit. The team, formed by Bénédicte Montant, Patricia Guaita, Nancy Bidiville and the architects of 3BM3, physically participated in the installation of that garden, creating a real artistic event. They arranged, on an open-air corridor, forty palm trees of different kinds in rail transport crates. That space turned to a fictional company – Palm trans SA. The collaboration with the architecture studio 3BM3 – Bénédicte Montant and Carmelo St andardo – was always positive in Maria-Carmen’s practice, as thanks to them, her work reached the public spaces.

In February 2005, she had the visit of photographer Richard de Tscharner in her Place-Verte Studio to create a photo report. The pictures of that encounter, in black and white, reveal the studio atmosphere on a snowy day and suggest a conversation between the artist and the photographer.

In September of the same year, she presented for the first time Il meraviglioso mondo delle cose fluttuanti in the San Felice fountain in Volterra, participating in the 2^nd Sculpture Symposium organised by Roberto Bianchi.   Built in the 14^th century, below the enclosure of the Etruscan village, that Romanesque fountain evokes the poetic universe of Tuscan l andscapes. Of different sizes and shapes, these sculptures are suspended by steel cables, creating the illusion of floating on the surface of the water and of being reflected endlessly. The organic and natural context the artist chose to create her installation brings the viewer to appreciate it according to different sensory modes. The alabaster’s apparent smoothness, the lapping of water, the surrounding vegetation and the movement of the sculptures indeed awaken all the senses. The viewer can thus let him/herself get carried and escape to Maria-Carmen’s wonderful world of floating objects. A magical, inspiring, and particularly soothing experience. (Felipa de Almeida. Press release of the Meraviglioso mondo delle cose fluttuanti, Volterra, 2005).   In November, at the Espace Topographique de l’Art in Paris, directed by Adon Peres, she participated, with The Wonderful World of Floating Objects, in the exhibition Espace Urbain x Nature Intrinsèque curated by Evangelina Seiler. That exhibition was part of the official programme of the year of Brazil in France and presented installations, sculptures and videos by contemporary Brazilian artists.   Maria-Carmen’s Wonderful World of Floating Objects is made out of alabaster and floats in the gallery where the installation seems extracted from the wall. The stone of each sculpture merges with the space’s stone and old roughcast. The steel cables supporting them end up being unseen, and the floatation effect is guaranteed. The installation is in harmony with the exhibition’s subject, since that wonderful world perfectly integrates the urban context of the Parisian space, until merging with it. (Felipa de Almeida. Press release of The Wonderful World of Floating Objects. Paris: Espace Topographique de l’Art, 2005).   Part of that exhibition was then presented at the Fri-Art of Fribourg, Switzerl and, under the direction of Sarah Zürcher, in February 2006. The exhibition, titled STOPOVER enabled the happy encounter between Maria-Carmen’s Wonderful World of Floating Objects and the photographic installation of Swiss artist Nils Nova.   At the end of 2005, she was invited to create a garden project for the Elna building in Geneva. That garden, a “modernist esplanade,” is a permanent installation composed with ivy floors of different colours and yuccas. That garden was realised with the interior designer Senka Perc who also participated in the conception of the exhibition space at the Paço Imperial in Rio de Janeiro.   In March 2006, at the invitation of Lauro Cavalcanti and Lucia de Meira Lima, she returned to Brazil to present, at the Paço Imperial in Rio de Janeiro, her main works from the previous four years. In that exhibition she presented: The Wonderful World of Floating Objects in its larger version, fifty-two suspended sculptures; fifteen white and yellow gold Piercings; the Lunatiques placed on the floor; the Maestà – a tribute to Duccio di Buininsegna – made up of forty-two discs in alabaster and yellow gold; and When the Mountains Meet, a reference to the Swiss mountains.   Spontaneous and without pretension, it is a work that singularizes and distinguishes its exemplars through progressions or divisions in series – leaving behind the canonical concept of a formal unity – to give itself entirely to mimetic impulsions. By correcting alabaster’s deceptive aspect, those mimetic impulsions are quick and direct and produce a chain reaction. Each series answers, even nominally, to a certain imaginary association. Simple stone pieces or fragments, almost ready-mades barely altered, can thus transform into mountain skylines or lunar detritus. A quiet mimetic voracity seems to appropriate now Maria-Carmen Perlingeiro’s sculpture. It is a moment of existential openness, of sensitive investment on the prodigious diversity of the world of life. All things deserve a second skin. (Ronaldo Brito. “Uma segunda pele.” Leaflet from the exhibition at the Paço Imperial, Rio de Janeiro, 2006).   On the occasion of the exhibition at the Paço, the HAP Galeria organised a conference by Ronaldo Brito at the Paço Imperial in the Maestà room: “Maria-Carmen Perlingeiro’s Work and Modern and Contemporary Sculpture in Brazil.”   For the reopening of the Château de Nyon, Switzerl and, Vincent Lieber, museum curator, invited Maria-Carmen to participate in the exhibition Une mémoire de céramique. The sculptures of The Wonderful World of Floating Objects were suspended in two turrets of the castle, facing the Lake panorama. Familiar pieces. One recognized, here and there, a shape from daily life, a plate, a cup… Indeed, they float, suspended in space as if an invisible Chinese juggler was making them turn in the air.   And there is also the feeling of that aerial transparency highlighted by the weightlessness in which the artist has suspended her strange reinvented objects for a memory that never existed. And it is also that choice of material that seems smooth and yet remains a little disturbing, with its milky transparency that will never reveal all its secrets. (Vincent Lieber. Exhibition room Une mémoire céramique, Château de Nyon, 2006).   In July 2006, Maria-Carmen worked once more in Volterra, accompanied by the designer Alex andre Thursten who, since 2003, collaborated with the artist on the presentation of her images. In the Volterra studio, she created her series Carabinieri and Eclipses – they would be exhibited at the Museu da Chácara do Céu in Rio de Janeiro in 2007.

2007 MARCH Launch of the book Maria-Carmen Perlingeiro by In Folio VD publishers at the Travessa bookshop, Rio de Janeiro.   APRIL Book launch at the Gabinete de Arte Raquel Arnaud, São Paulo.   APRIL-OCTOBER Roundabout of Cologny, Palmiers en Transit with the collaboration of the architecture studio 3BM3. Presentation of the series of palm trees in their transportation crates.   MAY Exhibition Histoire de peaux and book launch at Simon Studer Art, Geneva. The exhibition included works of many years of artistic production in marble, alabaster, gold and wild boar skin.   JULY Book launch + exhibition of Aquatiques at the Archigraphy bookshop, Geneva, with the installation of the Aquatiques on the shop’s walls.

SEPTEMBER Exhibition Alabastros at the Espace Topographique de l’art in Paris, at the invitation of Adon Peres. In a beautiful space, a series of Floating Objects, recto-verso pieces, Aquatiques, Pierced Mountains and Illuminated Mountains were shown.

OCTOBER Exhibition Aquaticas at the Gabinete de Arte Raquel Arnaud in São Paulo, as well as a series of Floating Objects in the middle of a large room and the whole Maestà in a dedicated space.   2008 APRIL Installation at Atrium UBS, Geneva. Presentation of the work The Wonderful World of Floating Objects on a water mirror.

SEPEMBER Pinacoteca Civica di Volterra. Presentation of alabaster works previously created in Volterra. The underground space of the Pinacoteca and its ancient style dem anded an integral lightening of the sculptures, from the inside to the outside. The whole of the exhibition became magical. The Lunatiques were at the entrance, and the Monnaies in lightboxes were in a small cave. Three bases of “Fiore” illuminated, there was a room with The Beauty and the Beast, the Torsos and the Ziegenfell. In another room were the recto-verso sculptures; the Pierced Mountains were upstairs, and there was a last room for the illumitated Cadernos. 2009 FEBRUARY Report on the artist and her modernistic house in Vessy in “Trajectoire Magazine,” Geneva.   MARCH Stay in Luxor – Valley of the Kings – for a special project: creation of sculptures in Egyptian alabaster on location. Work with artisans from the Valley of the Kings on the series Heads and Egyptian Cones   JUNE Art Basel, Galerie Denise Renée, presentation of the series Prismas in alabaster and white gold. SEPTEMBER Participation in a group exhibition on the subject of “The beauty of mistake” at the LX Factory in Lisbon, organised by Puppenhaus and created by Joana Astolfi, Cristina Bravo and Felipa de Almeida. Presentation of the work Bicho de sete cabeças created in 1981 and exhibited in 1982 at the Modern Art Museum in Rio. The work consisted of seven metal displays with 82 plastic bags containing different objects and humoristic proverbs in Portuguese.   OCTOBER A revista VISO, de Zurich, convida a arquiteta Inês Lamunière e a escultora Maria-Carmen para um diálogo artista-arquiteta. Publicação de fotos do atelier da artista e de projeto (casa) do escritório Lamunière-Devanthéry. de Genebra.   Exposição na FIAC dos Cones e Poliedros, no Gabinete de Arte Raquel Arnaud e dos Prismas na galeria Denise Renée.   2010 FEBRUARY  At the Z’ART in Zermatt, the artist installed a piece created with the skin of a mountain goat; the work is titled Ziegenfell. She also exhibits Full Moon in Zermatt made of alabaster and white gold.

During the year 2010 her works were exhibited at the Lausanne Palace SPA. The Piercings were installed at the entrance, the Aquatiques in the corridors as well as a Pierced Mountain. On the wall of a massage room there were three angels from the Maestà. Going towards the pool, alabaster drops dripped from a wall. The display cases facing the lake showed the Cadernos and the thin Pierced Mountains. And towards the ver anda, the Floating Objects were suspended in the niches of the outer façade.

Apresentação dos Cones iluminados na galeria Denise Renée, na Art Basel.

Apresentação dos Solados, de uma montanha furada, e de Segredos na galeria Laura Marsiaj no Volta Basel.