396 x 200 cm (each flag)
Digital print on fabric
Photo Filipe BerndtIn Dando Bandeira, Mônica Nador, bruno o. and JAMAC create flags that celebrate militant women in Latin America.
flag 1
Renata Carvalho
Claudia Celeste
flag 2
Débora Silva
Marielle Franco
flag 3
Carolina Maria de Jesus
Conceição Evaristo
flag 4
Maria da Penha
Nise da Silveira
flag 5
Nilce de Souza Magalhães
Joênia Wapichana
flag 6
Margarida Alves
Zuca Fonseca
Inaugurating MAM SP’s project of inviting artists to interfere in the museum´s façade, Mônica Nador + Jamac premiered the initiative by covering parts of the façade with modules of printed screens, measuring 15 meters in length, shielding parts of the museum´s, border between the marquise of the Ibirapuera Park and MAM’s Sculpture Garden.
Segue texto apresentação da exposição Dizer não, organizado pela Adriana Rodrigues, Edu Marin, Érica Burini e Thaís Rivitti no Ateliê 397 no período de 22 de Julho a 19 de Setembro, 2021.
Há uma pergunta insistente martelando hoje na cabeça de artistas, produtores e pensadores da cultura no Brasil: como reagir às barbaridades do presente? Do negacionismo do governo em relação à pandemia às mentiras deslavadas sobre a política ambiental do país; da condescendência com posturas racistas, transfóbicas, homofóbicas e misóginas à tentativa de flexibilização da posse de armas – até quando vamos tolerar que pessoas sejam mortas, pela covid-19, pela violência contra as minorias, pelas políticas ambientais que destroem, com uma canetada só, uma comunidade inteira, ou mesmo pela “insegurança alimentar” (novo nome da fome, velha conhecida do Brasil)?
É possível, neste momento, articular uma resposta crítica a partir do campo da cultura? Voltar a pôr a arte no debate público para que ela talvez consiga fazer, por seu questionamento agudo, pelas imagens que cria, pelos afetos que mobiliza, uma crítica ampla e contundente da situação em que nos encontramos? Como continuar produzindo, exibindo publicamente e financiando os projetos atuais? Como pensar nisso tudo quando, muitas vezes, a própria sobrevivência está em risco? Como trabalhar numa época de isolamento social, em pleno desmonte dos precários modos de financiamento das ações artísticas, num momento em que o governo rotula os artistas de “vagabundos”? Não seria necessário parar tudo, negar-se a continuar, a fazer qualquer coisa, numa espécie de recusa radical de tudo o que esse poder instituído representa?
São estas as perguntas a que este projeto se dirige: pode a arte Dizer Não? O que é viável colocar em marcha hoje? E, como fazê-lo? É possível refletirmos, em conjunto, sobre o que os artistas e demais agentes culturais devem – num sentido ético – fazer ou não fazer? O que cabe a nós nessa situação? Quais os limites de nossas ações?
There is a tradition of mural painting in Makwatcha, a town near Lubumbashi, in the Democratic Republic of Congo. They are made by women, with locally developed natural pigments.
Invited to participate in the 4th Biennial of Lubumbashi, the artist proposed to the local community a work similar to the one she develops at JAMAC, focusing on training and income generation through culture.
The prints that make up the work are the result of this partnership, photographed by Congolese Georges Senga.
Vista da exposição Dizer Não no Atelie 397, Barra Funda, São Paulo.
Exhibition view of Dizer Não [Say No] at Atelie 397, Barra Funda, São Paulo. On view from 22nd of July through September 19th, 2021.
Mural with stencil on the wall and serigraphy on fabric as shown during the group show Somos Muit+s: Experimentos sobre Coletividade [We Are Many: Experiments on Collectivity] na Pinacoteca do Estado de São Paulo em 2019.
Photo JamacView of the collective exhibition Somos Muit+s: Experimentos sobre Coletividade [We Are Many: Experiments on Collectivity] at Pinacoteca do Estado de São Paulo in 2019.
The exhibition presented works by German artist Joseph Beuys, Brazilian artists Hélio Oiticica, Maurício Ianês, Mônica Nador + Jamac, Coletivo Legítima Defesa, Vivian Caccuri; the thai artist Rirkrit Tiravanija and Cuban Tania Bruguera. The curatorship was by Amanda Arantes, Fernanda Pitta and Jochen Volz. The central axis of the show built around a set of works by the German, Joseph Beuys, between videos, drawings, installation and collages.
Serigraphy
Photo JamacPattern developed for the expo Somos Muitos [We are many], at the Pinacoteca do Estado de São Paulo in 2019.
350 x 125 cm
Silkscreen on fabric Photo Vermelho286 x140 cm
Silkscreen on fabric Photo Filipe Berndt190 x 140 cm
Serigrafia sobre tecido Photo Filipe Berndt366 x 140 cm
Silkscreen on fabric Photo Filipe Berndt290 x 140 cm
Silkscreen on fabric Photo Vermelho122 x 45 cm
Silkscreen on fabric Photo Vermelho105 x 71 cm
Silkscreen on fabric Photo Filipe Berndt240 x 126 cm
[Silkscreen on fabric] Photo Filipe Berndt200 x 200 cm + dimensões variáveis
Silkscreen on fabric + stencil painting on wall Photo Filipe BerndtVista da obra Uma e três casas, mostrado na
07 Prêmio Marcantonio Vilaça, São Paulo
View from the project LabUrbe, Santo André
View of the projet LabUrbe, Santo André
View of the installation Namblá Xokleng by Mônica Nador + Jamac, at the Museu de Arte de Santa Catarina, in the city of Florianópolis, Brazil.
160 x 160 cm
Acrílico sobre tela
Mônica Nador accumulates in her academic education visual arts, architecture, pedagogy and history. This set of disciplines is reflected in her work as an artist and activist from early on in her career. From the visual arts, Nador employed techniques, trends, collective and radical actions to build a provocative and transforming repertoire.
In the early stages of her career through traditional supports like drawing and painting, she would challenge both form and content. And then, in the early 2000, she conceptualized and put into working practice, her life project Jamac.
Her architectural studies had led her to urbanism and, consequently, confronted her with disadvantaged communities in the urban peripheries. Her stint at studying pedagogy led her to include, among the resources she uses, methodologies related to her aim at horizontalizing knowledge. History provided her with knowledge about the social, political, and economic formation of the State.
In the late 1980s, Nador produced a series of monochromatic paintings, in ironic reference to the minimalist production of the 1960s. Nador’s monochrome paintings, however, all had ornamental elements, escaping the crisis of minimalist artists who thought they had reached the ultimate expression in artistic production. Nador’s monochromes did not suggest a final statement, her paintings were meant to delight.
In the early 1990s, the adornment the monochromes give way to the use of stylized motifs from a variety of references positioning her paintings between figuration and abstraction. At the 21st São Paulo Biennial (1991), Nador exhibited a set of large paintings made with repetitious manual patterns overlaid with verbs in the imperative. Nador´s choice of words, however, are invitations to physical and mental well-being. The confusion between order and enjoyment of the imperatives FRUA [ENJOY], VOE [FLY], and ENTRE [ENTER] operates on the same border as in Nador’s paintings: although rigorously executed, both words and paintings are invitations to pure delight.
In 1996, Mônica Nador is invited by curator Tadeu Chiarelli to participate in the Wall Project of MAM-SP (Museum of Modern Art in São Paulo). This project is an invitation to occupy a long wall in a narrow corridor that leads from the museum´s entrance to the main exhibition space. In this space, Nador creates the mural Uma Parede para Nelson Leirner[A Wall for Nelson Leirner], a tongue-in-cheek reference to her erstwhile teacher Nelson Leirner (1932-2020) and Brazilian pop art icon. This project was an epiphany for her and she establishes the project Paredes Pinturas [Walls Paintings] to occupy urban spaces with her visual research. Her intention: to make the world more beautiful and livable.
From here on, the Paredes Pinturas were done in houses and stores on the outskirts of the city of São Paulo making the otherwise monotone shades of browns and greys of bricks and concrete into colorful stretches of walls and passageways enlightening the drab suburbs.
Through this approach to her work, Mônica Nador begins the process of building a collective project in Jardim Miriam, a marginalized neighborhood in the southernmost part of the city. The Jardim Miriam Art Club – Jamac, inaugurated in 2003, is based around the organization of workshops to teach the community the stencil technique as a way to empower its inhabitants. Jamac also served as a meeting place, an open stage to discuss art but also the many problems afflicting the locals. Later on, Jamac went on to host community organizations with talks from different areas – among other, art historian, critic and AIDS activist Douglas Crimp (1944-2019) – and hosted a local radio station, always involving and collaborating with the local environment.
The production of Jamac’s paintings leaves the canvas and the brushes for the stencil, and the production process becomes collective, as well as its authorship, which becomes collective. The critic and curator Thais Rivitti wrote in the catalog of the 2010 exhibition of Monica Nador and Jamac, held at the Estação Pinacoteca: “The permanence of the Walls Paintings at Jamac has allowed the technique of mural painting to be widely spread throughout the community: countless youngsters and adults have passed through Nador’s workshops. Many of them, today, are able to make, themselves, workshops to train others interested. Jamac is today a place open to discussions and practices that go beyond the Paredes Pinturas [Walls Paintings]”. Nador was on her way, not only making the hood more colorful, but she generated a transformation of its reality.
Mônica Nador + Jamac is represented by Vermelho since 2003. The gallery, with collaboration from several other artists, were vital in the foundation of Jamac. Mônica Nador + Jamac has participated in major exhibitions around the world, such as the 27th São Paulo Biennial (2006), the Lubumbashi Biennale, Congo (2015), the Museo de Antioquia, in Medellín (2016), the 21st Sesc Videobrasil Biennial (2019), and the 1st OsloBiennalen (2020).
In 2012, through a partnership with the São Paulo Municipal Secretariat of Culture, Jamac manages to implement a print shop at its headquarters in Jardim Miriam. The printing produced with stencils – and later with serigraphy – makes it possible to sell fabrics to maintain operations and to multiply Jamac’s project.
More recently, Mônica Nador + Jamac´s paintings have begun to occupy both sides of the fabrics, in the so-called Panos Pinturas [Fabrics Paintings]. Nador’s approach to painting reflects a manual and rigorous repetition that resonates with printed fabric patterns. This production of double-sided paintings, which are neither a one-sided canvas nor a utilitarian fabric, presents new problems: how to show double-faced paintings. The production of Mônica Nador + Jamac continues provocative, investigative and pioneering.
Mônica Nador accumulates in her academic education visual arts, architecture, pedagogy and history. This set of disciplines is reflected in her work as an artist and activist from early on in her career. From the visual arts, Nador employed techniques, trends, collective and radical actions to build a provocative and transforming repertoire.
In the early stages of her career through traditional supports like drawing and painting, she would challenge both form and content. And then, in the early 2000, she conceptualized and put into working practice, her life project Jamac.
Her architectural studies had led her to urbanism and, consequently, confronted her with disadvantaged communities in the urban peripheries. Her stint at studying pedagogy led her to include, among the resources she uses, methodologies related to her aim at horizontalizing knowledge. History provided her with knowledge about the social, political, and economic formation of the State.
In the late 1980s, Nador produced a series of monochromatic paintings, in ironic reference to the minimalist production of the 1960s. Nador’s monochrome paintings, however, all had ornamental elements, escaping the crisis of minimalist artists who thought they had reached the ultimate expression in artistic production. Nador’s monochromes did not suggest a final statement, her paintings were meant to delight.
In the early 1990s, the adornment the monochromes give way to the use of stylized motifs from a variety of references positioning her paintings between figuration and abstraction. At the 21st São Paulo Biennial (1991), Nador exhibited a set of large paintings made with repetitious manual patterns overlaid with verbs in the imperative. Nador´s choice of words, however, are invitations to physical and mental well-being. The confusion between order and enjoyment of the imperatives FRUA [ENJOY], VOE [FLY], and ENTRE [ENTER] operates on the same border as in Nador’s paintings: although rigorously executed, both words and paintings are invitations to pure delight.
In 1996, Mônica Nador is invited by curator Tadeu Chiarelli to participate in the Wall Project of MAM-SP (Museum of Modern Art in São Paulo). This project is an invitation to occupy a long wall in a narrow corridor that leads from the museum´s entrance to the main exhibition space. In this space, Nador creates the mural Uma Parede para Nelson Leirner[A Wall for Nelson Leirner], a tongue-in-cheek reference to her erstwhile teacher Nelson Leirner (1932-2020) and Brazilian pop art icon. This project was an epiphany for her and she establishes the project Paredes Pinturas [Walls Paintings] to occupy urban spaces with her visual research. Her intention: to make the world more beautiful and livable.
From here on, the Paredes Pinturas were done in houses and stores on the outskirts of the city of São Paulo making the otherwise monotone shades of browns and greys of bricks and concrete into colorful stretches of walls and passageways enlightening the drab suburbs.
Through this approach to her work, Mônica Nador begins the process of building a collective project in Jardim Miriam, a marginalized neighborhood in the southernmost part of the city. The Jardim Miriam Art Club – Jamac, inaugurated in 2003, is based around the organization of workshops to teach the community the stencil technique as a way to empower its inhabitants. Jamac also served as a meeting place, an open stage to discuss art but also the many problems afflicting the locals. Later on, Jamac went on to host community organizations with talks from different areas – among other, art historian, critic and AIDS activist Douglas Crimp (1944-2019) – and hosted a local radio station, always involving and collaborating with the local environment.
The production of Jamac’s paintings leaves the canvas and the brushes for the stencil, and the production process becomes collective, as well as its authorship, which becomes collective. The critic and curator Thais Rivitti wrote in the catalog of the 2010 exhibition of Monica Nador and Jamac, held at the Estação Pinacoteca: “The permanence of the Walls Paintings at Jamac has allowed the technique of mural painting to be widely spread throughout the community: countless youngsters and adults have passed through Nador’s workshops. Many of them, today, are able to make, themselves, workshops to train others interested. Jamac is today a place open to discussions and practices that go beyond the Paredes Pinturas [Walls Paintings]”. Nador was on her way, not only making the hood more colorful, but she generated a transformation of its reality.
Mônica Nador + Jamac is represented by Vermelho since 2003. The gallery, with collaboration from several other artists, were vital in the foundation of Jamac. Mônica Nador + Jamac has participated in major exhibitions around the world, such as the 27th São Paulo Biennial (2006), the Lubumbashi Biennale, Congo (2015), the Museo de Antioquia, in Medellín (2016), the 21st Sesc Videobrasil Biennial (2019), and the 1st OsloBiennalen (2020).
In 2012, through a partnership with the São Paulo Municipal Secretariat of Culture, Jamac manages to implement a print shop at its headquarters in Jardim Miriam. The printing produced with stencils – and later with serigraphy – makes it possible to sell fabrics to maintain operations and to multiply Jamac’s project.
More recently, Mônica Nador + Jamac´s paintings have begun to occupy both sides of the fabrics, in the so-called Panos Pinturas [Fabrics Paintings]. Nador’s approach to painting reflects a manual and rigorous repetition that resonates with printed fabric patterns. This production of double-sided paintings, which are neither a one-sided canvas nor a utilitarian fabric, presents new problems: how to show double-faced paintings. The production of Mônica Nador + Jamac continues provocative, investigative and pioneering.
Mônica Nador
1955. Ribeirão Preto
Lives and works in São Paulo
Jamac [Jardim Miriam Arte Clube]
2005. Jardim Miriam, São Paulo
Exhibitions – Collective and Individual
2023
– O político na arte, de novo [Politics in art, again] – Galeria Vermelho – São Paulo-Brasil
– O espiritual na arte, de novo (Spirituality in art, again] – Galeria Leme – São Paulo-Brasil
2022
– blz, Mônica Nador + JAMAC [exhibition and public program] – Sesc Sorocaba – Sorocaba – Brazil
– blz, Mônica Nador + JAMAC [exhibition and public program] – Sesc Santo Amaro – São Paulo – Brazil
– Independência e Vida – Biblioteca Mario de Andrade – São Paulo – Brazil
2021
– Dizer Não – Ateliê 397 – São Paulo – Brazil
– Festival A Cidade Precisa de Você [The City Needs You Festival] – online exhibition
– Transe 2 – Fortes D’Aloia & Gabriel – São Paulo – Brazil – online exhibition
2019
– Paredes Pinturas [Walls Paintings] – Santo André [LabUrbe] – São Paulo – Brazil
– Dando Bandeira – 21a Bienal Sesc_Videobrasil – Sesc 24 de maio – São Paulo – Brazil
– Imagens de Makwatcha, 21a Bienal Sesc Videobrasil – Sesc 24 de maio – São Paulo – Brazil
– Casa de Daniel, Exposição Polis – Museu de Antioquia – Medellín – Colombia.
– Uma e três casas, 7º Prêmio Marcantonio Vilaça – São Paulo – Brazil
– Outras línguas – Somos Muit+s: experimentos sobre coletividade – Pinacoteca do Estado de São Paulo – São Paulo – Brazil
– Another Grammar for Oslo – osloBiennalen – Oslo – Norway
2018
– Namblá Xokleng, Mônica Nador + Jamac – Museu de Arte de Santa Catarina – Florianópolis – Brazil
2016
– Nós, por nós [Us, by us] – Museo de Antioquia – Medellín – Colômbia
– Paredes Pinturas [Walls Paintings] – Workshops and exhibition – Oficina Cultural Oswald Andrade- São Paulo – Brazil
2015
– Paredes Pinturas [Walls Paintings] – Biennale de Lubumbashi – Lubumbashi – Congo
– Mônica Nador + JAMAC + Paço Comunidade – Paço das Artes – São Paulo – Brazil
2013
– Paredes Pinturas [Walls Paintings] – Salão de Artes de Itajaí – Itajaí – Brazil
2012
– Paredes Pinturas [Walls Paintings] – Morro da Providência – Rio de Janeiro – Brazil
– Brasil por Coreia – Gwangju Biennale – Gwangju – South Corea
2011
– Parede Pinturas [Walls Paintings] [workshops part of the Artes nas Cotas project] – Cubatão – Brasil
– Construction of the Parque para Brincar e Pensar [Park to Play and Think] – in partnership with the Coletivo Contrafilé [Tenderloin Collective] in the Brás de Abreu favela – Jardim Miriam – São Paulo – Brazil
– Mônica Nador Autoria Compartilhada – Pavilhão das Culturas Brasileiros – São Paulo – Brazil
2010
– Jamac is selected and included as a Cultural Point Art Club by the Ministério da Cultura [Brazilian Ministry of Culture]
– Paredes Pinturas [Walls Paintings] – Jardim Pantanal – São Paulo – Brazil
– Teia e Tambores Digitais – National event aggregating Cultural Point Art Clubs in the state of Ceará – Brazil
– Botu África – Museu de Arte Contemporânea Itajahy Martins – Botocatu – Brazil
– Oficina de estêncil – Memorial do Imigrante – São Paulo – Brazil
2009
– Mônica Nador + Jamac Pintura na Margem da Cidade [11 years of Walls Paintings] – Museu da Casa Brasileira – São Paulo – Brazil
– Arte e Transformação do Território [Art and the transformation of territories] – Sesc Santo Amaro – São Paulo – Brazil
– III Agosto da Arte – Centro Cultural do Banco do Nordeste – Cariri – Brazil
– Pintura na Margem da Cidade [Painting at the margin of the city] – Museu da Casa Brasileira – São Paulo – Brazil
2008
– Cara Nova e Arte em Toda Parte – the first participation of the Paredes Pinturas [Walls Paintings] project in the federal government’s housing project
– Mônica Nador e Brodagem – Galeria Vermelho – São Paulo – Brazil
– Urgente! 41 Salón Nacional de Artistas de Colombia – Cali – Colombia
– Blooming Brasil-Japão – O seu lugar – Toyota Municipal Museum of Art – Aichi province – Japan
2007
– Transitivos [Oficina ministrada por Mônica Nador] – Sesc Pinheiros – São Paulo – Brazil
– Início dos Cafés Filosóficos, atividades de formação aberta para todos no Jamac [Inauguration of the formative activities of the Café Filosófico open to the public at Jamac – Jardim Miriam – São Paulo – Brazil
– The Big Easy: Relocating the Myth of the West – Halle 12 – Leipzig – Alemanha; ACC Galerie Weimar – Weimar – Germany
2006
– 27ª Bienal de São Paulo: Como viver Junto – Pavilhão Ciccillo Matarazzo – São Paulo – Brazil
– Virada Cultural [an annual 24h cultural event] – São Paulo – Brazil
– Sem Título, 2006. Comodato Eduardo Brandão e Jan Fjeld – MAM SP, Museum of Modern Art – São Paulo – Brazil
– A cidade para a cidade – Galeria Olido – São Paulo – Brazil
2005
– Festival Rio loco [obras da série Paredes Pinturas* no Ano do Brasil na França] – Toulouse – France
– Monica Nador + Jamac – Galeria Vermelho – São Paulo – Brazil
– Rencontres Parallèles, Centre D ‘Art Contemporain De Basse-Normandie – Centre D’Art Contemporain de Basse-Normandie – France
2004
– Inauguração do Jardim Miriam Arte Clube [Inauguration of Jamac, Jardim Miriam Art Club] – Jardim Miriam – São Paulo – Brazil
– 14th Biennale of Sydney [mural paintings with patterns created at the Vila Rhodia favela] – Sydney – Australia
– Fragmentos e Souvenires Paulistanos – Galeria Luisa Strina – São Paulo – Brazil
– Título de Pintura – AteliêAberto – Campinas – Brazil
– Onde Está Você Geração 80? – Centro Cultural Banco do Brasil [CCBB] – Rio de Janeiro e Museu do Estado – Recife – Brazil
2003
– Observações Sobre o Espaço e o Tempo – Universidade Cruzeiro do Sul [UNICSUL] – Campus Anália Franco – São Paulo – Brazil
– Palavra Extrapolada – Sesc Pompéia – São Paulo – Brazil
2002
– Mônica Nador paints the façade Arquiteturas da Vermelho and shows works from the Paredes Pinturas [Walls Paintings]* series done with the residents from Jardim Miriam – Galeria Vermelho – São Paulo – Brazil
2001
– Paredes Pinturas (Antonina) [Walls Paintings], pintura de uma casa como participação no XI Festival de Inverno da Universidade Federal do Paraná – Antonina – Brazil
– Panorama da Arte Brasileira 2001 – MAM SP, Museum of Modern Art – São Paulo – Brazil
– Imagem Experimental 2001 – MAM SP, Museum of Modern Art – São Paulo – Brazil
– Virgin Territory – The National Museum of Women in Arts – Washington – USA
– São ou não são gravuras? – MAM SP, Museum of Modern Art – São Paulo – Brazil
– 1ª Bienal de Artes do Cariri – Juazeiro do Norte – Brazil
2000
– Paredes Pinturas* (São Remo) [Walls Paintings], projeto desenvolvido com a Bolsa Fundação Vitae de Apoio à Cultura que envolvia a pintura de uma série de casas na Vila São Remo – São Paulo – Brasil
– Paredes Pinturas (Okán Odara), pintura no Proyecto Cultural Comunitário Okán Odara, como parte da VII Bienal de Havana – Havana – Cuba
– Cutting Edge – Arco’00 – Madri – Espanha
– Diálogo Arte Contemporânea Brasil/Equador – Memorial da América Latina – São Paulo e Centro Cultural de la Universidade Católica – Quito – Equador
– III – Galeria Brito Cimino – São Paulo – Brasil
– Panorama das Artes – Museu de Arte Moderna [MAC] – Niterói – Brasil
1999
– Biblioteca (Viagem ao céu), parede pintada na biblioteca do Assentamento Carlos Lamarca do Movimento Sem Terra – Itapetininga – Brasil
– Paredes Pinturas** (Vila Rhodia), projeto desenvolvido em São José dos Campos (São Paulo), que envolvia pinturas internas e externas das casas do bairro Vila Rhodia – São José dos Campos – Brasil
– Panorama da Arte Brasileira – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
– Ausência – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
1998
– Zambiapunga. Programa Universidade Solidária – Espaço Cultural Nilo Peçanha – Nilo Peçanha – Brasil
– Coreto. Programa Universidade Solidária – Praça central de Coração de Maria (Bahia) – Brasil
– O Moderno e o Contemporâneo na Arte Brasileira. Coleção Gilberto Chateaubriand – Museu de Arte de São Paulo [MAM SP] – São Paulo – Brasil
– Brito Cimino Arte Contemporânea e Moderna – Galeria Brito Cimino – São Paulo – Brasil
– Caminhos e Parcerias – Sesc Vila Mariana – São Paulo – Brasil
1997
– Mônica Nador – Galeria Brito Cimino Arte Contemporânea e Moderna – São Paulo – Brasil
– 15 Artistas – Museu de Arte Moderna [MAM RJ], Rio de Janeiro e Museu de Arte Moderna [MAM BA], Salvador – Brasil
– Ao Cubo – Paço das Artes – São Paulo – Brasil
1996
– Parede para Nelson Leirner [Projeto Parede)** – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
– Parede para ser vista – Hospital das Clínicas de Uberlândia – Uberlândia – Brasil
– 15 Artistas – Museu de Arte Moderna de São Paulo [MAM SP] – São Paulo – Brasil
– Pequenas Mãos – Paço Imperial – Rio de Janeiro e Centro Cultural Alumni – São Paulo – Brasil
1995
– Mônica Nador – Centro Cultural São Paulo – São Paulo – Brasil
– Mônica Nador – Casa Thomas Jefferson – Brasília – Brasil
– Mônica Nador – Fundação Cultural Curitiba – Curitiba – Brasil
– United Artists – Casa das Rosas – São Paulo – Brasil
– Das Vanguardas Européias e Modernismo Brasileiro à Visualidade Contemporânea – Museu de Arte Contemporânea [MAC] – São Paulo – Brasil
– Anos 80. O Palco da Diversidade – Museu de Arte Moderna [MAM RJ], Rio de Janeiro e Galeria de Arte do Sesi – São Paulo – Brasil
– XI Mostra da Gravura Cidade de Curitiba – Fundação Cultural de Curitiba – Curitiba – Brasil
– Galeria Luisa Strina/20 Anos – Museu de Arte de São Paulo [MASP] – São Paulo – Brasil
1994
– Nexus Foundation for Today’s Art – Philadelphia – EUA
– School of Art’s Gallery – Northern Illinois University – Delkab – EUA
– Mônica Nador – Galeria Luisa Strina – São Paulo – Brasil
– Brasil Imagens dos Anos 80 e 90 – Museu de Arte Moderna [MAM RJ] – Rio de Janeiro e Casa das Rosas – São Paulo – Brasil
1993
– Coletiva de Gravura – Espaço Namour – São Paulo – Brasil
– Brazil Images of the 80’s & 90’s – Art Museum of Americas – Washington – EUA
– Pequeno Formato Latinoamericano – Galeria Luigi Marrozzinni – San Juan – Porto Rico
1992
– Mônica Nador – Centro Cultural São Paulo – Pavilhão da Bienal – São Paulo
– Arte Brasileira na Coleção: Anos 70, 80 e 90 – Museu de Arte Contemporânea [MAC USP] – São Paulo – Brasil
– Arte Moderna Brasileira – Casa da Cultura de Poços de Caldas – Minas Gerais
– Um Olhar Sobre o Figurativo – Galeria Casa Triângulo – São Paulo
1991
– 21a Bienal Internacional de São Paulo – Pavilhão Ciccillo Matarazzo – São Paulo – Brasil
– Br 80. Pintura Brasil Década de 80 – Instituto Cultural Itaú – São Paulo – Brasil
– Casa Triângulo no Centro Cultural de Convivência – Centro de Convivência – Campinas – Brasil
1990
– Arte Engajada – Casa Triângulo – São Paulo – Brasil
1989
– Arte Contemporânea São Paulo. Perspectivas Recentes – Centro Cultural São Paulo [CCSP] – São Paulo – Brasil
– Coleção Eduardo Brandão – Galeria Casa Triângulo – São Paulo – Brasil
– Arte Híbrida – Funarte – Rio de Janeiro, Museu de Arte Moderna [MAM SP] – São Paulo, Espaço Cultural Francês e Brasileiro – Porto Alegre – Brasil
– Panorama Atual da Arte Brasileira – Pintura – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
1988
– Mônica Nador – Galeria Luisa Strina – São Paulo – Brasil
– Novas Aquisições e Doações – Museu de Arte Contemporânea [MAC USP] – São Paulo – Brasil
1986
– IV Salão Paulista de Arte Moderna – Pavilhão da Bienal – São Paulo
– V Bienal Americana de Artes Gráficas – Museu de Arte Moderna de La Tertúlia – Cali – Colômbia
1985
– Gráfica Contemporânea – Galeria Humberto Tecidos – São Paulo – Brasil
– VIII Salão Nacional de Artes Plásticas – Funarte – Rio de Janeiro – Brasil
– Desenhos – Centro Cultural Bonfiglioli – São Paulo – Brasil
– E o Desenho? – Galeria Humberto Tecidos – São Paulo – Brasil
– Seis Artistas – Museu de Arte Contemporânea [MAC USP] – São Paulo – Brasil
– Caligrafias e Escrituras – Funarte – Rio De Janeiro – Brasil
– III Salão Paulista de Arte Moderna – Pavilhão Ciccillo Matarazzo – São Paulo – Brasil
– Brasil Desenho. VII Salão Nacional de Artes Plásticas – Palácio das Artes – Belo Horizonte; Funarte – Rio de Janeiro; Museu de Arte do Rio Grande do Sul – Porto Alegre; Museu de Arte Contemporânea de Campinas – Campinas – Brasil
– Desenhar – Galeria Itaú – Ribeirão Preto
1984
– Geração 80, Como Vai Você? [How Are You, Generation 80] – Parque Lage – Rio de Janeiro – Brazil
1983
– Desenhos – Museu de Arte Contemporânea [MAC USP] – São Paulo – Brazil
– I Salão de Arte Moderna de São José dos Campos – Casa da Cultura – São José dos Campos – Brazil
– 17a Bienal Internacional de São Paulo – Pavilhão Ciccillo Matarazzo – São Paulo – Brazil
1982
– Arte e Mulher. Festival das Mulheres nas Artes [Art and Women, Festival of Women in the Arts – MAC USP, Museu de Arte Contemporânea – São Paulo – Brazil
Public Collections and Private Collections open to the Public
– Pinacoteca do Estado de São Paulo – São Paulo – Brasil
– Museu de Arte Moderna de São Paulo [MAM SP] – São Paulo – Brasil
– Museu de Arte Moderna do Rio de Janeiro [MAM RJ] – Rio de Janeiro – Brasil
– Museo de Antioquia – Medellin – Colômbia
– Museu da Arte Contemporânea, MAC-USP – São Paulo – Brasil
– Itaú Cultural – São Paulo – Brasil
– Acervo SESC – Serviços Social do Comércio – São Paulo – Brasil
– Coleção da Secretaria Municipal de Cultura – São José dos Campos – Brasil
– Coleção da Secretaria Municipal de Cultura – São Paulo – Brasil
– Fundação de Arte Marcos Amaro, FAMA – Itú – Brasil
Prêmios
2018 – 27º Prêmio Montblanc de Cultura, São Paulo, Brasil
2011 – Prêmio Governador do Estado para a Cultura, São Paulo, Brasil
2002 – The Pollock-Krasner Foundation, Inc.
2000 – Bolsa Vitae De Apoio a Cultura, São Paulo, Brasil
1995/1997 – Fundação Para o Amparo à Pesquisa do Estado de São Paulo [FAPESP], São Paulo, Brasil
1994 – Mid-America Arts Alliance em colaboração com United States Information Agency e Institute of International Education
1990 – Prêmio Brasília de Artes Plásticas – Museu de Arte de Brasília – Brasília
*”Mônica Nador created her Paredes Pinturas [Walls Paintings] project in 1996 when the artist gradually abandoned painting on traditional supports to dedicate herself to making large paintings on walls of houses and walls in the periphery (of the city), involving the local community in this activity. The versatility of the stencil technique allows, in addition to painting walls, also for painting on fabrics creating, for example, dishcloths and T-shirts,.” Excerpt from text The Jamac Today by Thais Assunção (2012).