Geraldo Dos Santos

spiritualiteit , sociaal-maatschappelijk , sculptuur , schilderen , natuur , keramiek , installatie , Globalisering , Geschiedenis , Figuratief , Educatie , Ecologie , Dekolonisatie , Conceptueel , beeldhouwen , Artistiek onderzoek , Analytisch

Lees voor

Geraldo Dos Santos (b. 1993, Amsterdam, NL) is a transnational artist whose life and practice have been shaped by moving across cultural, linguistic, and geographical landscapes in the Netherlands, Brazil, and Peru. He studied at the National Art University of Lima (Peru), specializing in Artes Plásticas, before returning to the Netherlands to further his exploration of contemporary art at the Gerrit Rietveld Academie, where he graduated from the Fine Arts department in 2020. In 2023, he completed a Master’s degree in Autonomous Contexts at Sint Lucas Antwerp, with minors in Narrative Strategies and Aesthetics. Parallel to his artistic practice, Dos Santos studied Art Education at the Willem de Kooning Academie, graduating in 2025.

Dos Santos’s research engages with the intimate past, focusing on memory, cultural hybridity, and the interplay of South American anthropological systems with personal narratives. His practice situates itself at the intersection of heritage, tradition, and materiality, often using everyday and ritual elements as vehicles to examine broader questions of identity. Working as both a colorist and a materialist, he investigates how personal and collective trajectories intersect, creating what he calls “strange relationships” – ambiguous, symbolic connections that resist straightforward categorization.

His works span painting, ceramics, drawing, and installation, and are marked by a sensitivity to narrative strategies that invite the viewer to reflect on their own memories and emotions. By using emulsion as a conceptual metaphor – the coexistence of different elements without complete fusion – Dos Santos mirrors the layered and unstable nature of belonging, memory, and cultural transmission.

Thematically, his work explores the complexities of human interaction and cultural symbiosis: how tradition and identity are negotiated, displaced, and reconfigured. He is particularly drawn to subconscious triggers of melancholia.

**Installation view at Art Rotterdam 2026, presented with Josilda da Conceição Gallery** - Péndulo Ojo de Buey (2026) 40 ceramic seeds, 8 ceramic sand coated Nails, 1 ceramic pendulum drop of water, installation of 380 cm. Huayruro Protocol (2026) — A wall-mounted ceramic sculpture consisting of 29 male and 29 female huayruro forms, combined with 10 ceramic scissors finished with sand and glaze, extending to a total length of 250 cm. Pendulum Huayruro (2026) 45 ceramic seeds, 5 ceramic huayruro fruts, 1 ceramic pendulum drop of blackwater, installation of 350 cm. In Amazonian traditions, certain seeds are valued not only for their natural beauty, but for their spiritual potency. These seeds are often used in spells and protective practices, where they function as carriers of intention and energy. Worn on the body, kept in small bundles, or placed within the home, they are believed to guard against harm, deflect negative forces, and attract balance and well-being. The use of seeds in ritual contexts is deeply connected to the relationship between humans and the natural world. Rather than passive objects, these seeds are understood as living elements—imbued with the soul of the forest and the memory of the land. Through touch, repetition, and belief, they become activated as tools of protection and transformation. Gifting these seeds is a meaningful act within many communities. To offer a seed is to offer care, protection, and good fortune. It establishes a bond between giver and receiver, extending the protective field beyond the individual into a shared space of trust and connection. In this sense, the seed becomes both an object and a gesture—material and symbolic at once. Whether used in ritual, worn as an amulet, or exchanged as a gift, Amazonian seeds embody a continuity of knowledge and belief. They carry with them histories of protection, healing, and resilience, remaining active participants in both traditional practices and contemporary reinterpretations.

**Huayruro Protocol (2026)** - A wall-mounted ceramic sculpture consisting of 29 male and 29 female huayruro forms, combined with 10 ceramic scissors finished with sand and glaze, extending to a total length of 250 cm. Huayruro Worship - The huayruro seed, known scientifically as Ormosia coccinea, holds a profound place within Andean and Amazonian cosmologies, where it is revered not merely as a natural object, but as a living vessel of protection and balance. Recognizable by its striking red and black coloration, the seed embodies a dual symbolism: red as life force, vitality, and abundance; black as protection, grounding, and the deflection of negative energies. This chromatic pairing reflects a broader worldview rooted in duality, where harmony emerges through the coexistence of opposing forces. Traditionally, huayruro seeds are carried as amulets, often in paired forms—understood as male and female—to activate their full protective potential. Worn on the body, placed in the home, or embedded within ritual objects, they function as guardians against misfortune, envy, and spiritual imbalance. Their presence is believed to attract prosperity while maintaining a protective boundary between the individual and unseen forces. Beyond their symbolic role, huayruros are deeply embedded in ritual practice. They are frequently combined with other natural elements—plants, fibers, or minerals—forming assemblages that connect the human body to the soul and to ancestral knowledge systems. In this sense, the seed operates not only as an object of belief, but as a mediator between material and spiritual realm

**Péndulo Ojo de Buey (2026)** - 40 ceramic seeds, 8 ceramic sand–coated Nails, 1 ceramic pendulum drop of water, installation of 380 cm. Inspired by ojo de buey, a South American protection seed traditionally carried as an amulet against misfortune, this work unfolds as a suspended, rhythmic system of balance and tension. The ceramic elements—seeds, needles, and pendulum—are arranged in a vertical composition that oscillates between stillness and potential movement, evoking both ritual precision and fragility. The repeated seed forms function as symbolic carriers of protection and continuity, while the elongated, sand-textured needles suggest acts of piercing, marking, or channeling unseen forces. At the center, the pendulum drop becomes an axis of orientation, recalling systems of divination and the search for equilibrium between material and spiritual realms. The presence of water introduces a reflective and temporal dimension, amplifying the work’s sensitivity to motion, gravity, and change. By translating an organic talisman into ceramic, the installation preserves and recontextualizes its protective function, transforming it into a contemplative structure. The work reflects on how objects migrate across contexts—shifting from intimate amulets to monumental forms—while retaining their symbolic charge as vessels of belief, protection, and transformation.

**Ofrenda de Ochosi (2026) - Joey Ramone Gallery - Rotterdam (2026)** - Ofrenda de Ochosi (2026) Ceramic sculpture composed of 72 individual pieces, spanning a total length of 4 meters. The work is accompanied by a handmade glass plate. 2026 The Way We Live Together Now. - Joey Ramone Gallery - Group show - Rotterdam (NL)

**Ofrenda de Ochosi (2026)** - Ceramic sculpture composed of 72 individual pieces, spanning a total length of 4 meters. The work is accompanied by a handmade glass plate. Ofrenda para los Orishas is a monumental installation consisting of seven beaded sculptures, vertically suspended between two and ten meters, each dedicated to an Orisha from the syncretic cosmologies of Santería and related South American traditions. The sculptures are not literal portraits, but symbolic vessels of human devotion. The glazed ceramic fruits act as offerings, sustaining the spiritual economy of exchange. The chromatic diversity reflects the specific color systems that devotees use to identify and invoke their Orishas, giving the work a layered cultural significance. The ceramic beads, rhythmically strung, function both as ornamentation and as an archive, preserving gestures of reverence while critically examining the transactional nature of ritual practice. The installation reinterprets handcrafted materials—beads and blown glass plates—as carriers of cultural memory, resisting their reduction to disposable objects. By referencing Santería’s circular rituals of reuse, Dos Santos creates a model in which objects carry meanings beyond their physical form, encompassing migration, dissemination, and transformation. The work highlights the interplay between devotion and exchange, illustrating how cultural systems can inspire alternative economies that counteract disposability. The beaded strands act as vertical altars, suspended between earth and sky, while the blown glass plates function simultaneously as ritual vessels and reflective mirrors, engaging the viewer actively in the exchange. Ultimately, Ofrenda para los Orishas investigates purification—not as mere cleansing, but as transformation. It raises questions about what endures, what is relinquished, and how culture sustains itself through the continuous ritual of giving, receiving, and remembering. Within this constellation of devotion, color, and material, the installation provides space for the contradictions and historical traces embedded in spiritual systems—complexities that do not vanish, but migrate and transform.

**Anís Estrellado (2026) — Oil on jute, 24 × 18 cm** - Anise and clove spices, combined with sacred coca leaves, have been used since ancient times in cleansing rituals for the body and spirit. The scent of anise opens the soul, clove protects the energy, and coca connects us to the memory of the earth and the wisdom of the ancestors. A ritual of purification, spiritual strength, healing, and inner renewal carried across generations and cultures.

**Commodity of Natural Resources (2026 -2027)** - 25 paintings on oil on jute, 24 x 18 cm. Shot of the exhibition Airtropology: The Space Between Us, Josilda da Conceição Gallery, 2026. Develops from an ongoing research into the circulation of natural materials, focusing on the historical and contemporary movement of flowers used in medicinal practices and bodily rituals. The project examines how flowers—transported in jute bags across local and transnational routes—transform in meaning as they shift between spiritual, therapeutic, and economic systems. Drawing from ethnobotany, trade histories, and ritual studies, the research considers flowers not only as organic matter, but as symbolic carriers of healing, protection, and cultural memory. Particular attention is given to informal economies and traditional markets, where natural resources circulate as both commodities and vessels of inherited knowledge. Through repetition in painting and the recurring presence of the jute bag as both sculptural motif and symbolic container, the work reflects on processes of preservation, displacement, and exchange. The series questions when and how sacred materials become commercial goods, and whether ritual value can coexist with market logic. By translating research into painterly compositions, the project connects material investigation with visual language, positioning flowers as active agents within broader systems of care, spirituality, and global trade.

**Floripondio Blanco (2026) - Oil on jute, 24 x 18 cm** - Floripondio Blanco is a potent flower recognized for its toxic qualities, yet within certain Indigenous traditions it has been used with great care and specialized knowledge. When prepared correctly and administered within a guided ritual context, it is believed to open spiritual gateways and shift perception. In some traditional practices, it has also been used in remedies related to respiratory conditions, such as asthma. Rather than existing as a simple medicinal plant, Floripondio Blanco belongs to a complex system of ancestral healing in which dosage, intention, and ritual structure are essential. Its significance extends beyond its physical properties, reflecting a worldview in which plants function as spiritual mediators embedded in cosmology, embodied knowledge, and collective memory.

**La Casa de Ofrendas (2025 -2026)** - Installation overview at Art Antwerp 2025, presented with Josilda da Conceição Gallery. “Ofrenda de Orula” – Ceramic sculpture composed of 45 individual pieces, spanning a total length of 5 meters (2025). & “Ofrenda de Yemaya” – Ceramic sculpture composed of 65 individual pieces, spanning a total length of 6 meters (2025). The project comprises seven hanging objects, entirely made from ceramic beads. These sculptural forms can be suspended from the ceiling or mounted on the wall, allowing flexible presentation within the exhibition space. Their positioning and arrangement can be adapted to the spatial dynamics and curatorial intent, inviting viewers to experience the installation from multiple perspectives. The delicate construction and tactile surfaces of each object emphasize materiality and rhythm, while their suspended nature evokes a sense of lightness and movement. This flexibility in display creates an immersive experience, where the objects engage in dialogue with the architecture of the space, transforming it into a dynamic environment of form and texture. My motivation for this project is deeply personal. This experience prompts reflection on how traditions and ritual systems function as carriers of love, resilience, and continuity. I explore the devotional practices I inherited from her, and how these structures remain meaningful within the complex interplay of migration, cultural identity, and independent life. The project becomes an investigation into the tension between personal experience and collective tradition, examining how rituals are transmitted and reshaped across generations.The result is a monumental installation of hanging bead sculptures. Together, they form a collective constellation in space, suspended between earth and sky, symbolizing the connection between the physical and the spiritual, between generations, and across cultural worlds. Their spatial arrangement creates a space for contemplation and interaction: viewers are invited to reflect on how personal memories and shared rituals influence one another, forming a symbiosis of tradition and love. Each object bears the marks of craftsmanship, material choice, and ritual significance, engaging the audience visually and symbolically. The bead sculptures function as carriers of stories and memories, where the personal and collective merge. Through the installation’s monumental scale, the relationship between humans, ritual, and matter becomes tangible. The floating nature of the sculptures evokes movement and transformation, while the composition choreographs attention and contemplation. In this way, a reflective environment emerges where tradition, love, and memory converge into a cohesive field of meaning and experience.

**“Ofrenda de Orula” 2025** - Ceramic sculpture composed of 45 individual pieces, spanning a total length of 5 meters (2025).The work is accompanied by a handmade glass plate.

Choppromise 2025 — **Choppromise (2025)** - Choppromise stages a haunting meditation on human intervention in natural cycles. The works present trees of varying scales, each “beheaded,” stripped of their crowns, transformed into mute witnesses of loss. This forest of truncated forms becomes less a landscape than a graveyard of memory, an archive of human gestures inscribed upon living matter. It is not merely about trees felled, but about promises severed, the fragile bonds between nature, memory, and human will. The project extends my ongoing research into ritual, hauntology, and the instability of cultural belonging. Just as names, symbols, or vows are once carved into bark, Choppromise interrogates how acts of inscription / both violent and tender / become embedded within material forms. These truncated trees hold absence as presence; they speak of what has been taken away yet linger as monuments to the uncanny persistence of memory. The installation positions the forest as a liminal space: simultaneously sanctuary and cemetery, archive and erasure. Each cut trunk is a vessel of silence, a paradoxical artifact of devotion and destruction. Within this silence, the viewer is invited to encounter the spectral, the unseen histories and unspoken promises carried by the materiality of wood. Operating at the intersection of personal mythology and collective consciousness, Choppromise challenges us to consider how cultural memory is constructed, interrupted, and remade. It suggests that every act of cutting, whether literal or symbolic, is also an act of rewriting, transforming living matter into a haunted text. By confronting this graveyard of trees, the work invites reflection on the ways we shape, and are shaped by, the landscapes of remembrance and forgetting.

La Santeria de Mama - 2023 /2025 — **La Santeria de Mama (2023 -2026)** - Between 2023 and 2025, during my MFA at Sint Lucas, my research has unfolded through a sustained investigation into South American oral traditions and the ways in which these narratives are transmitted across generations. My focus lies on ritual objects and artifacts as carriers of memory, resilience, and cultural imagination. In particular, I explore how practices of storytelling and craft serve as vehicles of continuity in diasporic and multi-emigrated identities, while also functioning as sites where colonial imprints can be contested, unsettled, and reimagined. Central to this research is ceramics, not only as a technical process but as an epistemological tool. Clay becomes a repository of embodied knowledge, where material intervention intersects with ancestral oralities. I approach ceramic glazes as an act of ritual transformation, experimenting with unconventional and symbolically charged materials: melted shards of beer and wine bottles, traces of silver and gold as percussive metals, tree bark, and sand. These interventions generate surfaces that are simultaneously alchemical and mnemonic, layering material residues with cultural signification. Each glaze becomes a spectral skin, bearing both the fragility and endurance of memory. This method is inseparable from the conceptual trajectory of La Santeria de Mama, an installation that operates at the threshold of parafiction, narratology, and ritual artifact. Here, the Amaryllis flower functions as a central motif, a symbol chosen not only for its resilience but for its ambivalent status within Western hierarchies of botanical value. By dismantling the exoticization and commodification of such blooms, I reposition the Amaryllis as a metaphor for survival, multiplicity, and cultural tenacity within the Latin American diasporic condition. Each ceramic petal within the installation is conceived as a chapter in an unfolding saga of resilience, where displacement, hybridity, and devotion converge. My artistic approach is grounded in the idea of “make-believe” as both strategy and critique. I deploy postcolonial specters and parafictional gestures to expose how narratives of identity are constructed, staged, and reinforced through hegemonic systems. Rather than reproducing linear stories, I construct layered assemblages where fragments of oral tradition, ritual objects, and crafted surfaces collide. In this sense, my work resists closure: it is deliberately unstable, forcing the viewer to navigate contradictions, disruptions, and gaps in the narrative. La Santeria de Mama also operates as a sanctuary of cultural decolonization. Its vibrant palette and glimmering ceramic skins reject the monochrome of dominant identity discourses, insisting instead on the heterogeneity and opacity of multi-emigrated subjectivities. By transforming ritual materials into contemporary sculptural forms, I seek to activate memory as an embodied, sensorial experience, one that calls viewers into a dialogue with their own inherited stories, silences, and displacements. The installation does not remain confined to the space of art. Its interrogation of hierarchical systems and its disruption of exoticized symbols extend into broader socio-cultural landscapes, challenging fixed notions of identity and heritage. By weaving together postcolonial critique with personal memory and material experimentation, La Santeria de Mama reclaims agency over narrative construction. My practice, therefore, moves between making and unmaking, between memory as archive and memory as living presence. Through ceramics, installation, and narrative complexity, I attempt to trace how oral traditions persist and transform across generations, and how they can become powerful tools to resist, reinvent, and reclaim cultural belonging.

Installation, Lacunae manifestation,(2024) Riverstons with ceramic sculpture — **Lacunae Manifestation (2024)** - Close-up of the installation Lacunae (2024), featuring river stones with embedded glazed ceramic sculpture, presented at Josilda da Conceição Gallery during Amsterdam Art Week 2024. In my conceptual approach, I aim to blend natural elements with handmade artwork, creating installations that explore the passage of time, transformation, and the interconnection of natural and human-made forces. By working with materials like riverstone, I reflect on the erosion and the inevitable flow of time. Riverstones, shaped and weathered by the forces of nature over long periods, serve as metaphors for the slow but consistent process of change and decay. These stones, worn down by the river’s current, become symbols of resilience and the passage of time, a theme that is central to my work. I incorporate sculptures that represent the burning end of a candle, which is a deliberate reference to the process of time, the act of completion, and the inevitable dissolution of energy. The candle, with its flame that slowly extinguishes, represents the fleeting nature of time. As the candle burns, it leaves behind remnants, wax, smoke, and a sense of finality. In my installations, I place these sculptures within the context of riverstones, which further emphasizes the continuity of natural cycles and the human desire to mark or alter these cycles. The juxtaposition of the riverstone, symbolizing nature's eternal flow, with the candle, symbolizing human temporality, creates a tension between the natural world and our attempts to grasp or understand it. The riverstone, eroded over millennia, and the candle, consumed in moments, come together in a dialogue about change, decay, and memory. In these installations, I aim to create an immersive experience where the viewer is invited to reflect on the passage of time in both personal and collective terms. The use of the riverstone alongside the sculpture of the candle evokes an awareness of life’s impermanence, while also connecting the viewer to the enduring presence of nature, which continues to evolve regardless of individual human existence. Through this approach, I seek to manifest a deeper understanding of the interconnectedness between the natural world and human experience. My work does not simply focus on the aesthetic appeal of the materials but aims to engage the viewer in a meditation on the effects of time, the inevitability of change, and the presence of memory in the objects and elements around us.

Installation close up, The Orphic eggs. (Burnt ceramic bisque with glazed drips, 30 x 15 x 15 cm — **The Orphic Eggs, (2024)** - Burnt ceramic bisque with glazed drips, 30 x 15 x 15 cm - The Orphic Eggs from a Peruvian perspective, explores the egg as a profound symbol of purification and transformation within the context of Andean spirituality. In this artwork, the egg is not merely a biological object but a ritualistic element that embodies a process of cleansing and renewal, integral to the spiritual practices of the Andes. The piece delves into the ancient traditions where the egg is used in purification rites, acting as a vessel that holds the potential for both spiritual and physical rejuvenation. The work intricately merges the symbolism of the egg with the representation of the potato, another cornerstone of Andean culture. The potato, much like the egg, carries significant cultural weight in the region, representing nourishment, connection to the earth, and the cycle of life. By incorporating these two symbols, the artwork creates a dialogue between purification, sustenance, and rebirth, offering a visual metaphor for the cyclical nature of life in the Andes. In addition, the artwork draws on oral and shamanic traditions that have been passed down through generations. These traditions emphasize the importance of rituals in connecting with the spiritual world and the natural forces that govern existence. The use of the egg and potato as central motifs reflects the ongoing connection between these symbolic practices and the land itself. The artwork becomes a meditation on how these sacred objects and rituals bridge the gap between the physical world and the metaphysical, facilitating a deeper understanding of the interconnectedness of all things. Through this fusion of elements, the piece invites reflection on the notion of purification not only as a physical act but also as a spiritual journey. It calls attention to the ways in which ancient Andean rituals continue to resonate in contemporary contexts, urging the viewer to consider the power of tradition and the enduring influence of the land and its rituals on the people who inhabit it. The Orphic Egg thus becomes an evocative exploration of cultural heritage, sacred practices, and the timeless quest for balance and harmony in the world.

Esterism predictions (54 pieces), (2024) Glazed ceramic painting - 25 x 20 x 4 cm each — **Esotericism Predictions (2024) - 54 glazed ceramic paintings** - Installation Esotericism Predictions (2024), 54 glazed ceramic paintings (25 × 20 × 4 cm each), wall installation presented at Josilda da Conceição Gallery during Amsterdam Art Week 2024.South American Esotericism encompasses a rich make believe of spiritual beliefs deeply rooted in indigenous traditions, syncretism, and mystical practices. One prominent aspect of these belief systems is the profound reverence for the power of candles. Across various cultures in South America, candles hold symbolic significance and are integral to spiritual rituals and ceremonies. In many indigenous traditions, candles are seen as conduits of energy, representing the connection between the material and spiritual realms. The flickering flame is often associated with the presence of spirits, and the act of lighting a candle is a gesture of invoking their guidance and protection. The belief in the spiritual significance of candles has been seamlessly integrated into syncretic religions that emerged from the blending of indigenous beliefs and colonial influences. One such example is the fusion of indigenous practices with Catholicism, creating unique religious expressions like Santería, Candomblé, and Espiritismo. In these syncretic religions, candles play a central role in rituals aimed at communicating with deities, spirits, or ancestors. The colors of the candles hold specific meanings, with each hue representing different intentions or energies. Red candles, for instance, are often used to invoke the power of love, passion, and vitality. White candles symbolize purity and spiritual illumination, while green candles may be employed for matters related to health and prosperity. The act of arranging candles in specific patterns or configurations during ceremonies is believed to amplify the ritual's efficacy. Moreover, South American Esotericism places a strong emphasis on the intention behind the lighting of candles. Practitioners believe that infusing each flame with a specific purpose or desire empowers the ritual. The process becomes a form of meditation, fostering a deep connection between the individual and the spiritual realm.

**Esterism predictions N2, (2024)Glazed ceramic painting - 25 x 20 x 4 cm** - Tear falling on the left side: Signifies that the request or desire will not be fulfilled immediately. It does not have a pessimistic interpretation; rather, it speaks of a negative response, doubt, or uncertainty. It indicates that things will take much longer than we had planned.

**Esterism predictions N3, (2024) Glazed ceramic painting - 25 x 20 x 4 cm** - Tears stopping halfway and accumulating: If you notice that the wax drops from your candles stop halfway and accumulate, it is a good sign. Your wishes will be fulfilled sooner than expected.

**Installation, Manifestation Black-out, 2023 Master Fine Arts -Sint Lucas Anywerp (BE)**

**Persuasion by tears (2023-2024)** - Persuasion by Tears (2023–2024) is an installation comprising eight ceramic sculptures that explore the dramatic character of candlelight, the vulnerability of wax, and the passage and layering of time. The sculptures investigate the transformative qualities inherent in ephemeral materials, reflecting on human emotion, care, and attentive presence. Through this work, I aim to engage viewers in an intimate encounter with impermanence, ritual, and the subtle energies conveyed by ordinary actions. The installation draws its conceptual framework from the esoteric interpretation of candle “tears”—the droplets of wax that descend as a candle burns. In ritual practice, these drips carry a symbolic meaning beyond the physical melting caused by fire: they signify an energetic charge received during a prayer, spell, or request. The behavior of the wax—its color, speed of dripping, and the direction from which it falls—can be read as a form of divination, providing insight into the potency or outcome of the intention being set. This reading of candle behavior reflects the belief that matter retains traces of spiritual or emotional energy. By translating these ephemeral, ritualistic phenomena into permanent ceramic forms, the installation captures the tension between fragility and endurance, process and preservation. The flowing lines and shapes of the sculptures echo the motion of molten wax, while the ceramic medium allows for a reflection on time and memory: the fleeting becomes tangible, the impermanent solidified. Each sculpture embodies a layered narrative, connecting physical transformation with human affect, care, and contemplation. Ultimately, Persuasion by Tears invites viewers to consider how small gestures of attention or caring for a flame, observing its behavior, responding to its subtle signals—can carry profound meaning. It engages with the intersection of ritual, materiality, and human emotion, offering a space to reflect on vulnerability, transformation, and the invisible currents of connection that flow through acts of devotion.

**Persuasion by tears I, (2023) - 12 x 8 x 5cm glazed ceramic** - The dripping of drops from a lit candle carries a meaning beyond the melting of wax by fire. In esotericism, this behavior is known as "tearing" and signifies an energetic charge received during the ritual or request. When we perform a prayer, ritual, or spell, the request is often accompanied by a candle. If you wish to predict how effective or powerful your desire was, reading the language of candles can be highly beneficial. Lit candles convey various hidden messages that can be interpreted based on how they melt, the behavior of the flame, and the residue they leave when finished. The meaning of candle tears depends on many variables, such as the side from which the drops drip, the speed, and the hue, as explained by specialized sites like

Colluding Paradox

Datum: 12-07-2026 t/m 02-08-2026

Locatie: Pieter Aertszstraat 70 1073 SR Amsterdam The Netherlands

In samenwerking met: josilda da Conceicao Gallery, Amsterdam (NL)

Colluding Paradox brings together artistic practices that explore contradiction as a productive force. The exhibition reflects on the coexistence of opposing realities: intimacy and distance, collapse and renewal, individuality and collectivity, control and vulnerability. Through different media and perspectives, the participating artists examine how tensions shape contemporary life and how conflicting systems often become dependent on one another.

https://www.josildadaconceicao.com/

15 Mysteriën van de rozenkrans

Datum: 09-07-2026 t/m 25-10-2026

Locatie: Verwersstraat 41 5211 HT 's‑Hertogenbosch

In samenwerking met: Het Noordbrabants Museum

De rozenkranscyclus, bestaande uit vijftien schilderijen van onder meer Rubens, Jordaens, Van Dijck en Teniers, bevindt zich sinds de zeventiende eeuw in de noordelijke zijbeuk van de Sint-Pauluskerk in Antwerpen. Deze tentoonstelling belicht zowel de kunsthistorische waarde van de cyclus als de historische banden tussen Antwerpen en Brabant. Door de werken in een nieuwe context te presenteren, ontstaat een verdiepend perspectief op barokke devotie en schilderkunst, waardoor het publiek de cyclu

https://www.hetnoordbrabantsmuseum.nl/bezoek/tentoonstellingen/15-mysterien/

Art Brussels 2026

Datum: 23-04-2026 t/m 26-04-2026

Locatie: Brussels Expo, Place de Belgique 1, 1020 Brussel (Laeken).

In samenwerking met: Josilda da Conceicao Gallery, Amsterdam

This series of five ceramic works reflects on fire tables as spaces of gathering, celebration, and collective memory. Inspired by fleeting moments of dancing flames shared around a table, the pieces explore the fragility of connection and the sense of loss that remains when such moments pass. Through glazed ceramic forms, the works preserve traces of warmth, presence, and togetherness, capturing a temporary experience in a lasting material. Each work measures 14 × 11 cm.

https://artbrussels.com/

Art Rotterdam 2026

Datum: 26-03-2026 t/m 29-03-2026

Locatie: Rotterdam Ahoy Ahoyweg 10 3084 BA Rotterdam

In samenwerking met: Josilda da Conceicao Gallery, Amsterdam

In Amazonian traditions, certain seeds are valued not only for their natural beauty, but for their spiritual potency. These seeds are often used in spells and protective practices, where they function as carriers of intention and energy. Worn on the body, kept in small bundles, or placed within the home, they are believed to guard against harm, deflect negative forces, and attract balance and well-being. The use of seeds in ritual contexts is deeply connected to the relationship between humans.

https://www.artrotterdam.com/

The Way We Live Together Now. - Joey Ramone Gallery

Datum: 21-03-2026 t/m 03-05-2026

Locatie: Josephstraat 166 - 168 3014 TX Rotterdam

In samenwerking met: Kiki Petratou - Joey Ramone Gallery

The Way We Live Together Now returns at JOEY RAMONE, moving from its original Limassol apartment* to a gallery space. The exhibition translates the intimacy of its first edition into a new context, where domestic gestures, everyday objects, and the poetics of life meet public reflection and dialogue. While the gallery differs architecturally from the apartment, the works continue to explore hospitality, coexistence, and the ways we share space and attention.

https://www.joeyramone.nl/group-exhibitions/2026-the-way-we-live-together-now/2026-the-way-we-live-together-now.html

Airthropology - What Floats Between Us

Datum: 10-01-2026 t/m 08-02-2026

Locatie: Pieter Aertszstraat 70 1073 SR Amsterdam The Netherlands

In samenwerking met: Josilda da Conceicao Gallery

Rituals for a Sky in Repair brings together the practices of Geraldo Dos Santos and Mel Chan, whose works explore healing, memory, and transformation in a fractured world. Dos Santos draws on ancestral cleansing rituals, creating suspended sculptures of ceramic and dried flowers that evoke offerings and sites of purification. Chan approaches the sky as an archive of emotion and history, transforming images of conflict and ecological crisis into contemplative paintings. Together, they propose new

https://www.josildadaconceicao.com/

Art Antwerp 2025 - Sedimented Terrain

Datum: 11-12-2025 t/m 14-12-2025

Locatie: Jan van Rijswijcklaan 191

In samenwerking met: Josilda da Conceicao Gallery

In Sedimented Terrain explores how matter, memory, and place accumulate, erode, and transform over time. The exhibition unfolds as a layered landscape where personal gestures and collective histories coexist. Through sculpture, installation, painting, and site-specific works, the artists examine belonging, transformation, and material memory. Fragments, traces, and remnants become active agents, revealing how places are continually rewritten and how new relationships emerge from the residue

https://art-antwerp.com/

The Tangible Silence of Coming Home.

Datum: 10-09-2025 t/m 14-09-2025

Locatie: Nap+ 2025 - Centrale Markthal, Amsterdam

In samenwerking met: josilda da conceição gallery, Amsterdam

NAP+ 2025 | 11–14 Sept, Amsterdam
The Tangible Silence of Coming Home brings together Geraldo Dos Santos, Baoyang Zhao, Nathan Joshua Bastien, and Maria van der Togt. Through painting, installation, and sculpture, they unravel the fragility of home, memory, and identity—probing how collective ideals and personal mythologies shape belonging in shifting realities.

https://www.napplus.nl/

The Gesture of Giving

Datum: 27-08-2025 t/m 12-09-2025

Locatie: kunstuileen Rotterdam - Goudsesingel 268, 3011 KG Rotterdam

In samenwerking met: kunstuileen Rotterdam

From 27 August to 10 September 2025, the Spotlight Wall at Goudsesingel 268 presents a solo showcase by Geraldo Dos Santos. Spanning works from 2023 to 2025, the exhibition brings together paintings, ceramics, and installations exploring memory, tradition, and identity. Dos Santos weaves personal narratives with collective histories, transforming ritual objects and intimate gestures into reflections on belonging and cultural resilience.

https://kunstuitleenrotterdam.nl/geraldo-dos-santos-in-onze-spotlight/

Poeira Herdada

Datum: 06-06-2025 t/m 08-06-2025

Locatie: Art Island 2025 - Forteiland Ijmuiden

In samenwerking met: Art Island 2025 & josilda da conceição gallery - Amsterdam

For Art Island 2025, Josilda da Conceição Gallery presents Poeira Herdada (Inherited Dust), a group show with works by Geraldo Dos Santos, Tyron Winter, Vincent Verhoef, Filipp Groubnov, and guest artist Johan Arens. Through sculpture, video, installation, and painting, the artists explore how memory, myth, and matter accumulate and transform across generations. Visit us at Booth 25.

https://www.art-island.nl/

BEDROCK | Young Collectors Circle

Datum: 04-05-2025 t/m 07-09-2025

Locatie: Capital C Weesperplein 4B 1018 XA Amsterdam

In samenwerking met: Young Collectors Circle - josilda da conceição gallery - Amsterdam

For BEDROCK, Dos Santos is research-based about Astrophilia, the artwork exploring the relationship between time, trees, and stars. It examines how ecological systems express wisdom and questions how this understanding can deepen social and political awareness of environmental interconnectivity. Through this work, the interplay of cosmic and terrestrial rhythms reveals new perspectives on morphology forms.

https://amsterdamart.com/agenda/bedrock-young-collectors-circle/

Art Brussels 2025

Datum: 24-04-2025 t/m 27-04-2025

Locatie: Art Brussels 2025

In samenwerking met: Kick Cancer collection - Art Brussels - josilda da conceição gallery - Amsterdam

Art Brussels 2025 | 24–27 April | Brussels Expo

Art Brussels presents the 4th edition of the KickCancer Collection at its 40th fair. Gallery artists are invited to donate postcard-sized artworks for charity. Displayed anonymously, each piece is sold at €400 to benefit the Belgian KickCancer Foundation, supporting the cure for childhood cancer. Contact your artists and share the guidelines to join this meaningful initiative.

https://artbrussels.com/kickcancer/

NAP+ 2023

Datum: 11-09-2024 t/m 15-09-2024

Locatie: Donauweg 11, Amsterdam

In samenwerking met: Nap+ & Josilda da conceição gallery - Amsterdam

At NAP+ 2023, Geraldo Dos Santos presents La Santeria de Mama, an installation using the Amaryllis flower as a metaphor for cultural resilience. Through narrative fragments, he challenges hierarchies, questions multi-emigrated identity, and reclaims agency from colonial structures. Each petal embodies stories of migration and hybridity, inviting viewers into a dialogue on memory, resistance, and cultural strength.

https://www.napplus.nl/

”La Santeria de Mama II ''

Datum: 29-01-2024 t/m 03-03-2024

Locatie: Art Rotterdam 2024

In samenwerking met: Josilda da Conceicao Gallery Amsterdam

https://www.geraldodossantos.nl/projects/la-santeria-de-mama-ii-2024

Connecting the future

Datum: 08-07-2023 t/m 10-09-2023

Locatie: josilda da conceicao Gallery Amsterdam

In samenwerking met: Dots Gallery & josilda da conceição gallrery - Amsterdam

In this unique showcase, we invite you to witness the dynamic interplay of diverse artistic styles, themes, and visions. The collaboration between these galleries paves the way for an immersive experience that transcends boundaries and embraces the beauty of unity within the arts.

https://dotsgallery.org/

Teach me to forget

Datum: 01-07-2023 t/m 01-08-2023

Locatie: Arttelex Antwerp (BE)

"Teach Me to Forget" art show following your graduation from the Autonom Master:
Embarking on a new chapter post-graduation, this art show, aptly titled "Teach Me to Forget," is a reflection of my transformative journey during and after completing my Autonom Master. Delving into the realms of memory, growth, and metamorphosis, the exhibit invites viewers to witness the evolution of my artistic expression.

https://www.arttelex.be/

Autonomous context MFA - Sint Lucas Antwerp (BE)

Datum: 08-06-2023 t/m 26-07-2023

Locatie: Sint Lucas Antwerp (BE)

In samenwerking met: Sint Lucas Antwerp MFA

Master EXPO – Autonomous Context (MFA Exhibition)
My research explores ritual objects passed down through generations, focusing on their symbolic and emotional weight. Through a South American perspective, I investigate devotion and the cultural meanings embedded in these objects, questioning how heritage, memory, and belief shape their contemporary relevance.

https://www.sintlucasmasters.com/2023/students/geraldo-dos-santos/

Spring board Art fair

Datum: 06-06-2023 t/m 11-06-2023

Locatie: Utrecht’s Werkspoorkathedraal

In samenwerking met: This art fair - The pool

From 8 to 11 June, a one-time-only, experimental art fair will take place in Utrecht’s Werkspoorkathedraal. During Springboard Art Fair, more than 100 artists who graduated during the corona period (2019-2021) will have the opportunity to profile themselves and sell their work. Alumni from almost all Dutch art academies come together for a large group event. The artists present their own work, which varies from painting and photography to multimedia and installations.

https://springboardartfair.nl/

The End of Highlights

Datum: 17-05-2023 t/m 28-05-2023

Locatie: Josilda da Conceicao Gallery Amsterdam

In samenwerking met: Josilda da Conceicao Gallery

Geraldo Dos Santos' artwork focuses on the use of candles in different cultural practices and their symbolic significance in contemporary society. He explores how the lighting of candles evokes human emotions and how these emotions regulate cultural systems in social life. Through his art, he emphasizes the importance of memory-heritage, connection, extension, confrontation, desire, and semiosis in shaping our understanding and interactions with the world around us.

https://www.josildadaconceicao.com/

Art Rotterdam 2023

Datum: 02-02-2023 t/m 05-02-2023

Locatie: Art Rotterdam - Van Nellefabriek

In samenwerking met: Art Rotterdam - josilda da conceição gallrery - Amsterdam

Group Show | 9–12 February 2023

Featuring works by Rob Bouwman, Christian Henkel, Patricia Werneck Ribas, Sophie Stiller, Vincent Verhoef, Joeri Woudstra, Jo Wu, and Geraldo Dos Santos.

https://www.artrotterdam.com/

Big ART 2022

Datum: 23-06-2022 t/m 26-06-2022

Locatie: Zaandam (NL)

In samenwerking met: Big Art Fair & josilda da conceição gallrery - Amsterdam

Polymorfism explores dreams and memories through large-scale paintings built from fragments of found photos. Ordinary moments tied to images, objects, and places unlock the subconscious, evoking melancholic reflection. My work challenges viewers to reinterpret imagery and revisit personal memories. Vulnerable yet alluring visuals contrast with staged spaces, while color and atmosphere invite a shift between dimensions.

https://bigart.nu/

Celebraco

Datum: 02-02-2022 t/m 13-02-2022

Locatie: Josilda da Conceicao Gallery Amsterdam

In samenwerking met: Josilda da Conceicao Gallery Amsterdam

Josilda da Conceição Gallery celebrates its new permanent home with a group show featuring all represented artists. What began as a project space in Amsterdam’s Westerpark has grown into a gallery dedicated to young and emerging talents. This exhibition pays tribute to the artists who shaped its journey and welcomes art lovers to share in the celebration of a new chapter.

https://www.josildadaconceicao.com/celebra%C3%A7%C3%A3o

NO PART OF THIS

Datum: 17-06-2021 t/m 25-07-2021

Locatie: josilda da conceição gallery Amsterdam

In samenwerking met: Amsterdam Art & Josilda da conceição gallery

This exhibition is a collective approach towards the different views of disciplines and necessity that we are using in the art world. We want to invoke the context to the indisplinairy approach of the indualistic practice. The artists that are on view propose an intervention instaging and questioning the dif

https://www.josildadaconceicao.com/no-part-of-this

Deze kunstenaar heeft nog geen toekenningen.