MANUELA RIBADENEIRAOBJECTS OF CERTITUDE, OBJECTS OF DOUBT

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El Arte de Navegar [The Art of Navigation], 2012table: 90 x 660 x 75 cm / 24 works

General view / first floor / Casa Triângulo, São Paulo

EL ARTE DE NAVEGAR: [THE ART OF NAVIGATION]

This title comes from the treatise of navigation written by Pedro de Medina in 1545, an instruction manual on how to use the science and scientific instruments available at the time to be able to read the stars and navigate the seas.

It is also the name I have given to a series of instruments and the name of the first piece in this collection.

Some of the objects in this series make a direct historical reference to instruments of navigation used in the voyages

that landed Europeans on the coasts of the Americas and that became, in the case of Portugal, the basis for their claim and possession of territories. Other instruments make reference to later scientific developments. Some are taken from airplanes or submarines and certain are made up with no direct reference to an existing instrument. Useful or useless as instruments, [found objects, ready--mades, ‘mades’ and a combination of both] they all suggest the need to be used.

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El Arte de Navegar [The Art of Navigation], 2011 is based on the shape and use of a nautical astrolabe. “The needle points to the sun, the sun passes through a small hole in small squares attached to the top and bottom of the needle. This produced a small circle of light [against the shadow of the squares] that fell upon numbers providing the height of the sun above the horizon [solar altitude]” - Patricia Seed.

In April of 1500 the Portuguese arrived in the coast of Brazil for the first time. One of the members of this expedition was Maestre Joao or Master John, the king’s physician and an astronomer. Upon arrival he performed one of the most important acts or rituals of possession and recorded it in a letter to the King. With an astrolabe he recorded the latitude of where they had landed. The Portuguese, unlike all other European powers at the time, based their claims of possession of territories on scientific discoveries that led to the development of navigational skills. They could navigate further, with more precious and were able to return again and again. In that same letter, Master John was the first one to identify the Southern Cross as the navigating reference for the Southern hemisphere.

El Arte de Navegar [The Art of Navigation], 2011 / bronze / 25 x 8 cm / edition of 3

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Reflecting instruments are those that use mirrors to observe two objects simultaneously while measuring the distance between the objects. A sextant [mid 18th century] is an instrument used to measure the angle between any two visible objects, mainly used to measure the angle between a star or the sun and the horizon. A small part of a sextant is called the horizon mirror and it allows you to see simultaneously in front and behind.

Horizon Mirror, 2012mirror, glass and brass37 x 20,7 x 6 cmedition of 3

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En sentido literal y en sentido figurado consists of a set of parallel rulers with no graduations and a set of parallel French or curved rulers. Parallel rulers are used by navigators to draw parallel lines on charts. The tool consists of two straight edges joined by two arms that allow them to be moved closer or further apart while always remaining parallel to each other.

En sentido literal y en sentido figurado, 2012wood and brass21 x 38 cm e 9 x 33 cmedition of 3

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Navigators at sea could determine the altitude of a celestial body [and therefore latitude] by measuring the angle between it and the true horizon. But sometimes at sea due to fog for example or in land where one does not have a natural and obvious horizon, it is necessary to use an artificial horizon [early 18th century], a “level reflecting surface that measures the altitude of a celestial body as half the angle between the body and its reflection”. [Collins English Dictionary]Artificial horizons are made from leveled reflective surfaces.

Artificial Horizon I, 2012 / painted metal, glass, painted mirror [diptych] / 12.5 x 8 x 8.5 cm / edition of 3

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These artificial horizons have adjustable feet so to arrange perfect height and level for an accurate reading.

Artificial Horizon II, 2012 / brass and painted glass / 12ø cm, adjustable height and 9 ø cm, adjustable height / edition of 3

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Visible and Invisible, 2012 / mirrors covered with aluminum and gold on a wood base / 3 x 18 x 11 cm / edition of 3

A pair of optical mirrors used in telescopes and other optical instruments. One mirror has an aluminium coating and reflects all visible rays. The other mirror has a gold coating and reflects both visible and invisible rays.

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Spatial D is what military pilots call spatial disorientation. “The summed result of the various perceptual illusions and degraded sensory perception. The total failure of situational awareness.” [Scientific American, May 2012]

Pilots are trained to be aware of deception and to read instruments that can give them factual information, but too many “factual” readings can also cause confusion and disorientation.

The Aviator’s Dilemma [Spatial D], 2012rotating plastic base and level

6,5 x 9 cm edition of 3

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Level Flight, 2012 tweezers, steel base, levellevel: 5 mm ø tweezers only no base: 16 cm long edition of 3

There is a tendency to perceive any relatively straight line in the visual field as a horizon, but often they are false horizons, and they are everywhere. While flying, illusions and misperceptions and false readings can lead you astray away from a level flight. This instrument is made with the smallest level found in the market, held with tweezers. It is a challenge to hold it in position for long periods. Readjustment is needed.

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Imantador, 2012magnet, steel and wood

14 x 6,5 x 6,5 cmedition of 3

Valued historically as both rare and precious, magnets were protected by non-magnetic materials [wood, silver, ivory] to preserve their special properties. An imantador was the magnet used to magnetize the needle on a compass.

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An educated guess, 2012acrylic and brass100 cm

A meter-long folding ruler without graduations.

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An ancient Chinese two-wheeled vehicle invented circa 250 AD, used primarily in strategic warfare, but also as a compass in navigation. The chariot carried a moveable pointer that remained fixed on a single, pre-selected direction no matter which way the chariot turned.

South pointing chariot [prototype], 20123D printing, plastic resin10 x 14 x 10 cm

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Ilumina, Iluminador, 2012mirror and brass

46 x 13 cm

This object is based on a heliostat, invented on the nineteenth century, a mirrored instrument that reflects the rays of the sun in one fixed direction to illuminate an object for observation.

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These words, which begin one of the verses in Fernando Pessoa’s Horizonte, describe an object, based on an old Norwegian handheld sundial, on which pre-established navigational routes have been engraved. To keep the course one needs to align the tip of the gnomon’s shadow with the desired route.

Buscar na linha fria, 2012wood and metal8 ø x 10 cm

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Lontananza is an instrument based on the cross-staff – an astronomical instrument invented in the fourteenth century and one of the first instruments of reflection that was used in navigation to determine latitude by measuring the angle of the sun, or another star, in relation to the horizon. The original cross-staff has horizontal pieces [the cross] that have been eliminated in Lontananza, but it kept a sliding piece with a mirror and a small slit through which one can see the horizon and the reflected image behind.

Lontananza, 2012wood and mirror

9 x 62 x 10 cm

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Duda y Certeza, 2012brass, convex and concave lenses 27 x 9 cm

A pair of adjustable lenses: one that is convex to focus light, the other concave to spread light.

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Shadow Instrument I, 2012steel 13 x 15,5 x 3 cm

This object is based on a nineteenth-century instrument called a Miner’s Dial, a compass--like instrument used for measuring angles of underground passages or mineral ore seams. Shadow instrument I is the open fold-up/fold-down sight of a Miner’s Dial .

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A sundial is an instrument that measures the passing of time by casting the shadow of a stationary arm, or gnomon [Greek for guide or master], on a calibrated surface marked to indicate the position of the sun. Depending on the position and size of the gnomon, one can measure different types of time (lunar or solar). One version, the Shadow caster, has an adjustable gnomon that can totally disappear, and is therefore a timeless sundial.

Shadow Caster, 2012wood10 x 21 x 15 cm

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When all else fails is a level used in submarines when all other instruments fail. Consulted as a last resource, it tells what is up and what is down, what is right and what is left. The British Navy has these levels made for all their submarines. The Navy due to a very minimal inaccuracy rejected this one.

When all else fails, 2012glass, pure water, copper ball bearingfrom tip to tip 48 cm length, 2 cm ø approx.

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A handheld mirror that produces an upside-down image.

Para verte major, 2012wood and mirror

7 x 3 ø cm

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This object is an original, nineteenth-century prism probably used for experiments with light, colour and polarization. It reminded me of the crystal called Sunstone, which was presumably used by Viking sailors. “When held up against the center of the sky, the sunlight would get polarized into an ordinary beam and extraordinary beam. By seeing how these two beams line up according to the angle of the sun, it can be used to locate the sun even though it is not visible. While there is sunlight this works, even though there are clouds blocking the sun or though it has gone a few degrees below the horizon.” www.ravingravens.com

Sunstone, 201219th c. prism33 x 23 x 10 cm

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Nivel, 2012acrylic, aluminum46,5 cm and sphere 2ø cm

This object, more than an instrument is an exercise. The long rod is not fixed in any way on the round base. It is a challenge to find the point of equilibrium so the strip balances on the ball.

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Entre tú y yo, 2012dividers6,5 x 18 cm

A divider is an instrument used by mariners to measure distances on nautical charts.

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Son las tres de la tarde, aquí [Ringdial], 2012brass23 x 9 x 6 cm

A ringdial is a small portable sundial that uses light not shadow to determine time. Made in the shape of a cylindrical ring with one hole placed on the ring determined by latitude and an adjustable inner piece that can be moved depending on the season. To use one must hold the dial so that the Sun shines through the hole in the central ring. The point of light that appears on the inside shows you the time on a graduated scale. Son las tres de la tarde, aqui is a ringdial suspended in one hour and one place.

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Shadow Instrument II, 2012wood, string and metal hinges12 x 11 x 7 cm

Usually made of ivory, diptych dials like this were used from the fifteenth century onwards as portable instruments based on the principles of both horizontal and vertical sundials. Their gnomon [guide] is not a solid part, but a string that ‘points’ to the celestial North or South Poles; they also have three holes that can be adjusted to various heights depending on latitude.

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Suspension, 2012tweezers and glass45 x 24 x 7 cm

Not strictly a navigational instrument, this hollow glass shape, suspended between the tips of two tweezers, derives from an invention by Michael Faraday [1791-1867] known as the Faraday Egg, which was used by the British scientist to conduct experiments on electrical charges and conductivity. The glass shape corresponds to the bubble in a Level and its function as a finder of equilibrium, balance and direction.

I asked directions for getting lost, 2012

brassa quarter of a circle of 20 cm

in diameteredition of 3

A Quadrant, already very well known by the 1450’s, is, as the name implies, a quarter of a circle. They were made of metal with a small plummet that hangs from the centre point on a thread across a scale of degrees, which is marked along the edge. The quadrant was engraved with hour lines and lines showing the sun’s path through the signs of the zodiac. Many where also engraved with the names of landmarks at the points where the thread should fall.

In this particular quadrant, all scales and all lines, except one, were erased. The only landmark left is to ask directions for getting lost.

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Mira, 2012 bronze3,5 x 2,5 cm

Mira, definition: to see or aim.

Particles is a piece in opposition to the instruments in El Arte de Navegar. This piece starts from a story occurred in the Large Hadron Collider [LHC], the biggest scientific instrument or rather scientific facility existing today -27 kilometres in circumference beneath the Franco- Swiss border. The LHC is a particle accelerator built from 1998 to 2008, with the aim to test different theories of particle physics in particular to prove or disprove the existence of the Higgs boson, the particle that explains why other particles acquire mass. In 2009 the LHC suffered a fire that paralyzed the machine for several days

Particles, 2012bronze and acrylic

acrylic box: 11 x 14 cmbronze pieces: variable dimensions, 70g each

because an owl dropped a bread crumb in one of the ventilation ducts. Working with computer designers we created a mental image of a bread crumb, made a 3D printed model and then casted it in bronze as many times as possible until the mold broke. The resulting objects were placed in a box that comes out of the wall with an open face towards the viewer, mirrored faces above and bellow and transparent sides.

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Do rigor na ciência

“... Naquele Império, a Arte da Cartografia atingiu tal Perfeição que o Mapa de uma só Província ocupava toda uma Cidade e o Mapa do Império toda uma Província. Com o tempo, estes Mapas Desmesurados não satisfizeram e os Colégios de Cartógrafos levantaram um Mapa do Império, que tinha o Tamanho do Império e coincidia pontualmente com ele.”

(Suárez Miranda: Viajes de Varones Prudentes, livro IV, cap. XIV, Lérida, 1658.)

Borges, Jorge Luís. História universal da infâmia.

Entre as dezenas de instrumentos cuidadosamente dispostos sobre a mesa que ocupa o espaço central da galeria, um objeto em particular pode ser considerado como emblemático das questões que permeiam toda a série A arte de navegar. Trata-se de El horizonte adelante, El reflejo de una estrella atrás (Espelho de Horizonte), 2012, uma peça cuja delicada estrutura em bronze sustenta, de um lado, um espelho e do outro, um vidro não reflexivo, perfeitamente alinhados e simétricos. Aqui, Manuela Ribadeneira recria o sistema de espelhos reflexivos empregado nos sextantes, instrumentos utilizados para calcular o ângulo entre os astros e o horizonte, assim determinando o posicionamento dos navios no oceano. É sobretudo interessante notar a coincidência entre forma e simbolismo neste objeto único que é capaz de expressar plenamente o olhar retrospectivo e prospectivo que caracteriza a obra de Ribadeneira. Assim como em trabalhos anteriores, esta série mobiliza referências históricas precisas a fim de produzir uma reflexão sobre o presente e sobre rumos futuros.

A arte de navegar é um projeto iniciado em 2011 para a Bienal do Mercosul, no qual temas centrais de sua obra como a noção de direito sobre um território e a transposição de sistemas de conhecimento europeus para as Américas em tempos coloniais são abordados especificamente em relação ao processo de colonização do Brasil pelos portugueses. A artista conta que, particularmente no caso de Portugal, a reivindicação da posse dos territórios ultramarinos fundamentava-se sobretudo nas descobertas científicas. Cita, como um dos mais fascinantes exemplos desta prática tipicamente portuguesa, a carta de Mestre João ao Rei D. Manuel de Portugal em 1500, na qual o autor relata a chegada da frota cabralina à costa brasileira . Logo no início deste documento, Mestre João recorre a seus conhecimentos da ciência da cartografia a fim estabelecer a latitude local por meio de um astrolábio. Especialmente significativo é o fato que neste mesmo documento o desenho da constelação do Cruzeiro do Sul

On exactitude in science

“... In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guild struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it.”

(Suárez Miranda: Viajes de Varones Prudentes, book IV, chapter XIV, Lérida, 1658.)

Borges, Jorge Luís. A Universal History of Infamy.

Among the several instruments carefully arranged on the long table that occupies the gallery’s main room, one object in particular can be considered to encapsulate the questions that permeate the whole series The Art of Navigation. El horizonte adelante, El reflejo de una estrella atrás (Horizon Mirror), 2012 is a piece formed by a delicate bronze frame-like structure which holds, on one side, a mirror, and on the other, a piece of non-reflective glass, perfectly aligned and symmetric. Here, Manuela Ribadeneira recreates the system of reflective mirrors used in sextants, instruments employed to calculate the angle between the stars and the horizon in order to determine the position of ships in the ocean. It is especially interesting to note the coincidence of form and symbolism in this unique object that can fully express the retrospective and prospective gaze that characterises Ribadeneira’s work. Like some of her previous projects, this series mobilises precise historical references in order to produce a reflection on present and future.

The Art of Navigation is a project started in 2011 for the Mercosul Biennial, in which some central themes of her work such as the notion of right over a territory and the transposition of European knowledge systems to the Americas in colonial times are examined specifically in relation to the Portuguese colonisation of Brazil. The artist says that, particularly in the case of Portugal, the claim of possession of overseas territories were based on scientific discoveries above all . As one of the most fascinating examples of this typically Portuguese practice, she mentions a letter from Mestre João to the King D. Manuel of Portugal in 1500, in which the author narrates the arrival of Cabral’s fleet on the Brazilian coast. At the very beginning of the document, Mestre João displays his knowledge of the science of cartography to establish the local latitude using an astrolabe. Significantly, it was in the same document that the Southern Cross constellation was first presented, henceforth becoming the main astronomical

MANUELA RIBADENEIRAOBJETOS DE CERTEZA, OBJETOS DE DÚVIDA

MANUELA RIBADENEIRAOBJECTS OF CERTITUDE, OBJECTS OF DOUBT

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tenha sido apresentado pela primeira vez, passando a ser o principal ponto de referência astronômica para a navegação do hemisfério sul e constituindo-se em um novo paradigma para determinar nosso lugar no mundo.

Em sua extensa e abrangente pesquisa acerca da colonização das costas brasileiras, e particularmente da idéia da tomada de posse de um determinado território por meio da ciência, Ribadeneira examinou não apenas os relatos históricos como buscou compreender, na medida do possível, o mecanismo de funcionamento dos antigos instrumentos de navegação utilizados pelos colonizadores portugueses para orientá-los na travessia do Atlântico. Reuniu, diligentemente, uma variedade de publicações que incluem descrições e ilustrações detalhadas sobre esses objetos e visitou locais peculiares como o Museu Marítimo de Londres e a fábrica de equipamentos para submarinos da Marinha Britânica a fim de recolher informações e amostras. Todos esses elementos contribuíram para a criação de uma série de objetos que referenciam mais ou menos explicitamente os instrumentos originais.

Em alguns casos, como em El Arte de Navegar (2011), trabalho que possui o mesmo título da série, a relação com o instrumento original é mais evidente. Esta pequena peça em bronze, na forma do ponteiro de um antigo astrolábio, com uma pequena perfuração que permite que um foco de luz seja projetado em uma de suas abas, evoca vivamente a imagem deste instrumento ao mesmo tempo em que o transforma em objeto poético. De fato, este objeto não possui funcionalidade alguma, pois nele foram omitidos outros elementos necessários para determinar a navegação. Este apagamento remete, ainda, a uma certa imprecisão característica desses instrumentos. Pois, como demonstra o pequeno conto de Borges que abre este texto, a ciência só é capaz de produzir uma representação perfeita do mundo na medida em que coincide absolutamente com ele. Curiosamente, ao ser apresentado em São Paulo (ou Porto Alegre), este objeto igualmente escultórico, cuja forma o aproxima da produção tridimensional de artistas como Max Bill ou Franz Weissmann, passa a integrar um diálogo com a tradição construtiva da arte brasileira.

Em meio aos objetos que envolvem a reconstrução e a subversão do instrumento original, Ribadeneira inclui também alguns ready-mades que fazem referência a desenvolvimentos científicos posteriores. O enigmático e fascinante tubo de vidro curvado em cujo interior preenchido de um líquido transparente encontra-se uma esfera de bronze nos parece perfeitamente aceitável como objeto artístico, embora sua utilidade prática seja mais duvidosa. Mas, justamente este objeto frágil e belo é ainda hoje utilizado pela Marinha Britânica em seus submarinos em situações de emergência nas quais todos os modernos equipamentos eletrônicos de navegação param de funcionar. A artista simplesmente apropriou-se deste instrumento e batizou-o de When all else fails (2012).

Esses desvios poéticos aos quais o conjunto de A Arte de Navegar é submetido intensificam seu caráter misterioso. Somos tomados por um desejo instintivo de manipulá-los a fim

reference for navigating the southern hemisphere and constituting a new paradigm for determining our place in the world.

In her extensive and broad research around the colonisation of the Brazilian coast and particularly around the idea of taking possession of a certain territory through science, Ribadeneira examined not only historical narratives but also sought to understand, as far as possible, the functioning mechanism of old navigation instruments employed by the Portuguese colonisers to guide them in their Atlantic crossings. She diligently gathered a variety of publications including detailed descriptions and illustrations about these objects and - in order to collect samples and information - visited peculiar places such as the National Maritime Museum, in London, and the factory that manufactures equipment for Royal Navy submarines in order to collect samples and information. All these elements have contributed to the creation of a series of objects that reference, more or less explicitly, the original instruments.

In some cases, such as in The Art of Navigation (2011), a work that shares its title with the series, the relationship with the original instrument is more evident. This small bronze piece, shaped like the pointer of an old astrolabe, with a small perforation through which light can be projected onto one of the flaps, vividly evokes the image of the original instrument, at the same time transforming it into a poetic object. In fact, this object is completely useless, as it omits many of the elements necessary for navigation. This effacement also relates to a certain imprecision that characterises these instruments. Indeed, as demonstrated by Borges’ short story that opens this text, science is only capable of producing a perfect representation of the world when it absolutely coincides with it. Curiously, when shown in São Paulo (or Porto Alegre), this equally sculptural object, formally akin to the three-dimensional works of artists such as Max Bill or Franz Weissmann, enters into a dialogue with the constructive tradition of Brazilian art.

Among objects which involve the reconstruction and subversion of the original instruments, Ribadeneira also includes some ready-mades that reference later scientific developments. The enigmatic and fascinating curved glass tube filled with a clear liquid and containing a bronze sphere seems perfectly acceptable as an artistic object, although one may doubt its practical utility. However, this highly fragile and beautiful object is employed today by British Navy submarines during emergencies in case all modern electronic navigation devices fail to work. The artist simply appropriated this instrument and called it When All Else Fails (2012).

These poetic detours - which the series The Art of Navigation is subjected to - intensify its mysterious character. We are taken by an instinctive desire to manipulate these pieces in order to try to figure out their purpose, which remains inevitably obscure. According to Ribadeneira, her objects ask the following questions: Where am I? Where am I going? How do I get back to where I came from? Moreover: How can

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de experimentar e desvendar seu propósito, que permanece inevitavelmente obscuro. Segundo Ribadeneira, seus objetos levantam as seguintes questões: Onde estou? Para onde vou? Como posso retornar a meu ponto de origem? Ou ainda: Como nos perdemos? Nesse deslocamento e entrelaçamento de sentidos, estas perguntas se tornam quase metafísicas. Mas, acima de tudo, a artista está interessada na “falta de certeza em toda a aparente certeza que os sistemas nos dão”. A astronomia, a cartografia e outros sistemas científicos são portanto invocados em seu trabalho para comentar sobre o período de enorme dúvida em que vivemos hoje, quando é extremamente difícil prever o que vai acontecer nos próximos anos ou acreditar em qualquer tipo de sistema (econômico, político, religioso).

Seu interesse pelos instrumentos científicos é também a base do outro conjunto de trabalhos que integra a mostra Objetos de certeza, objetos de dúvida. Desta vez, Ribadeneira parte de um episódio recente, no qual uma migalha derrubada acidentalmente por uma coruja dentro de um dos ventiladores do Grande Colisor de Hádrons (LHC), em Genebra, causou seu superaquecimento e interrompeu seu funcionamento por alguns dias. Para esta série inédita de trabalhos, a artista produziu dezenas de objetos moldados em bronze que conferem materialidade à uma imagem mental desta migalha. Sua forma orgânica e a maneira um tanto desordenada como estão dispostas no primeiro andar da galeria, evoca a idéia de caos em contraponto à ordem que reina no piso térreo. Mais uma vez, a exatidão da ciência é colocada em cheque: o acaso provoca o colapso de um dos mais sofisticados instrumentos científicos da atualidade. É ironicamente apropriado, portanto, que este trabalho esteja sendo apresentado pela primeira vez no Brasil, onde o nome popular da famosa partícula de Bóson-Higgs foi largamente traduzido pela mídia local como “Partícula de Deus”, a partir do inglês God particle, ou Partícula-Deus, aquela que supostamente daria origem à matéria.

Kiki MazzucchelliOutubro de 2012

we get lost? In this shifting and interweaving of meanings, these questions become almost metaphysical. But above all, the artist is interested in “the lack of certitude in all apparent certitude that systems provide”. Astronomy, cartography and other traditional scientific systems are thus invoked in her work in order to comment on the period of enormous doubt we live in today, when it is extremely hard to predict what will happen next or to have faith in any kind of system (economic, political, religious).

Her interest in scientific instruments is also the foundation of another group of works in the exhibition Objects of Certitude, Objects of Doubt. This time, Ribadeneira takes as her starting point a recent episode in which a breadcrumb was accidentally dropped by an owl into one of the vents of the Large Hadron Collider, in Geneva, causing it to overheat and disrupting its functioning for a few days. For this new series of works, the artist produced several bronze cast objects which give a material existence to the mental image of the breadcrumb. Its organic shape and the disorderly manner in which they are displayed on the gallery’s first floor evoke the idea of chaos that contrasts with the order that reigns on the ground floor. Once more, the exactitude of science is called into question, as pure chance provoked the collapse of one of the world’s most sophisticated contemporary scientific instruments. It is also ironically fitting that this work is being shown for the first time in Brazil, where the popular name for the famous Higgs-Bosom particle that supposedly originates matter is largely translated by the local media as “God’s Particle”, as opposed to the original English term “God Particle”.

Kiki MazzucchelliOctober 2012

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SOLO EXHIBITIONS2012Objects of Certitude, objects of doubt, Casa Triângulo, Sao Paulo, Brazil

2011Impromptu op.23, Arte Actual- Flacso, Quito, Ecuador

2010Los Incorruptibles, adhoc galería, Vigo, Spain

2009 Change is around the corner, dpm gallery, Miami, USA Cortes y Recortes, Galería Vértice, Lima, Peru

2008To be born in a stable does not make you a horse [o de la patria por nuestra voluntad], curated by Virginia Pérez-Ratton, Teorética, San José, Costa Rica

2005De Jardines y Líneas Imaginarias, dpm gallery, Guayaquil, EcuadorTraslado: la Mitad del Mundo llega a la Casa de la Cultura, Artes No Decorativas S.A., Casa de la Cultura, Quito, Ecuador

2002Crítica Ready-made, Artes No Decorativas S.A., Museo Banco Central, Guayaquil, Ecuador

2001Sobremesa, Artes No Decorativas S.A., Casa Madeleine Hollaender, dpm gallery, Cuenca, Ecuador; Guayaquil, Ecuador; Museo de la Ciudad, Quito, Ecuador

2000Organigrama, Artes No Decorativas S.A., Museo de la Ciudad, Quito, Ecuador El Rollo que es hacer cualquier cosa y el hilo que se necesita para no perderse, Artes No Decorativas S.A., El Pobre Diablo, Quito, Ecuador Artes No Decorativas S.A., Casa de la Cultura, Cuenca, Ecuador

MANUELA RIBADENEIRANASCEU EM [BORN IN] QUITO, ECUADOR, 1966VIVE E TRABALHA EM [LIVES AND WORKS IN] LONDON, UK

GROUP EXHIBITIONS2012A House of Leaves, curated by Vincent Honoré, David Roberts Art Foundation, London, UK

20118ªBienal do Mercosul, Porto Alegre, BrazilParadas em Movimento, Centro Cultural São Paulo, Brazil

2010 Pasado Imperfecto ASAB ,Bogotá, Lugar a Dudas, Cali, Centro Fundación Telefónica, Lima, Grossman galleries, Easton, USA Playlist, lo mejor del arte contemporáneo ecuatoriano, curated by Rodolfo Kronfle, Procesos Casa de la Cultura de Cuenca Bienal de Cuenca, Museo Municipal de Guayaquil

2009At your service, curated by Cylena Simonds David Roberts Art Foundation, London, UK

2008Somewhere, Nowhere, Cardoso, Ribadeneira, dpm Gallery, Miami, USA Tatton Park Biennale, Cheshire, UK Something less something more, curated by Vincent Honoré Gallery One One One, London, UK

2007 The (S) Files 007, curated by Rodolfo Kronfle/ Elvis Fuentes, Museo del Barrio, New York, USA52ª Venice Biennale, Italy, Latin American Pavillion Bienal del fin del Mundo, Ushuaia, Argentina

2006 Piedra y palabra suelta no tienen vuelta, intervention in a public space, Architecture Biennale, Quito, Ecuador Forest Art Path, intervention in a public space, Darmstadt, Germany Tres nudos trescientos tajos Brito Cardoso Ribadeneira, Galería Animal, Santiago, Chile

2005Space Protocol, curated by L. Garrett Parnu, Rael Artel Project Space, Estonia

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Cloud and Vision: William Blake in Lambeth, curadoria de [curated by] Danielle Arnaud Museum of Garden History, London, UK

2004Infiltrate, curadoria de [curated by] Louise Garrett The Substation, Singapur Thirtysecondslivequake, curadoria de [curated by] Cecilia Canziani, Galerie Jacky Strenz, Berlin, Germany Definitively Provisional, curadoria de [curated by] Canziani/ Haugaard, Whitechapel project space, London, UK, The Appendix, Copenhaguen, Denmark

2003 8th Havana Biennale, Artes No Decorativas S.A., Cuba Vestido de Mujer, curadoria de [curated by] Lupe Álvarez dpm gallery, Guayaquil, EcuadorMade in UK, Arch Gallery, London, UK Arte Ecuatoriano contemporâneo, Artes No Decorativas S.A., Museo Pedro de Osma, Lima, Peru

2002ES2002, Standard Biennale, Tijuana, Mexico

2001 Mujeres, curadoria de [curated by] Lenin Oña, Museo de América, Madrid, Spain

2000Diálogo Ecuador/Brasil, Memorial de America Latina, São Paulo, Brazil; PUCE, Quito, Ecuador

OTHER PROJECTSManuela Ribadeneira is founder and co-editor with Vincent Honoré of the contemporary art journal Drawing Room Confessions [2011-]www.drawingroomconfessions.comManuela Ribadeneira, is together with Nelson García, one half of the artistic collective Artes No Decorativas S.A. [1998-]