Here you will find all what you need to know about me in 13 pictures before you move on:

01. I was born in an artsy family, my dad was offering engravings to my mum while she was pregnant of me. Isn’t that romantic? 1977


02. So, it was natural and logic that I ended up making engravings and printing other people’s at an early age (1981).

Joao C @ Artist's Studio

03. What interested me, however, was the business side of the arts. Brazil had more talents than art imprezarios, so I got started. Here is a painting I reluctantly negotiated when I was 13. 1990. (I wanted to have kept it in my collection).


04. I also liked to cause trouble (as I still do – this has not changed) so I asked artists to make provocative clothes for me in reference to Bill Clinton’s scandal. Some teachers did notice it was both a flame and a vagina and told me of at school. 1995

Hillary Clinton's

05. Acting in São Paulo art world was not enough. I wanted to be international. I moved to Paris, but my dad and Wesley persuaded me that London was the grand centre of the art market in Europe. (1996 I guess, strong emotions sometimes compromise memory).

06. So I moved to London and had no money, no contacts, no visa, nothing. BUT, I had faith in destiny. I quickly devised a money making cards game that allowed me to move on with my projects (2002).

Untitled 6

07. This and other creative moves got me to launch a gallery in Regent Street, with a mission of giving visibility to modern Latin American art. Creative moves continued to happen at the gallery thereafter. 2004.


08. During this stay in Europe I got to met many great artists like Jesus Soto, Armando Morales, David La Chapelle, Henry Cartier-Bresson and Takashi Murakami. Guess what? They don’t see the world as most people do… and I could learn from that. (No dates here, as these are timeless events).

09. I also negotiated paintings by artists who were no longer alive such as Frida Kahlo (in the pic), Magritte and Picasso. Well, in fact, I did not sell this particular portrait because we had doubts about its provenance. 2005.


10. But I wanted to feel intellectually connected with my time so I set up a discussion group with a new mission: help me, and others, to better understand contemporary art – 750 members, 200 events made, and counting. The group’s name? I Know What I Like. 2011.


11. In 2012 I moved to São Paulo and continued to put my ideas across. We got to say what we think. Talks were done in coordination with big players like Itau Private, Sotheby’s Institute (below), University of São Paulo, and Santander Bank. I got published on Capital Aberto, Art Democracy, Valor, Exame, and many others. 2013.


12. Most importantly, got good collections build and talents spotted too which is how I make my living. Here is a 1970’s picture by Julio Le Parc which I acquired for a client recently at a significant discount. I love helping my clients buy more for less.

Le Parc
 You know what, the truth is that I can’t stay put because deep down I think that the world is not in good order and it is our responsability to do something about it. Disseminating culture whenever we get the chance is one way of doing it (Art Industry Forum, Madrid, Arco). 2014.

2014-02-23 03.06.30
Culture is an agent of change. Culture is a navigation tool to steer human evolution towards a more universal condition. The concept of culture alone is a call to action.

But the world needs help. BADLY. So yes, if this looks like an ultimatum, a strong call to action. It is.

Your contribution is urgent.

Sem juízo 7


PS. I always had personal logos. Companies spend millions on them, don’t they? Why shouldn’t individuals who experience much deeper existential and identitarian questioning care about having one? This is my latest which was made by an artist old friend of mine.



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