2012年8月3日，由白盒子艺术馆推出的夏季群展“直到中国和非洲相遇”和“细微之处”由路易斯·蒙福特教授策展，旨在向中国观众介绍巴西的当代艺术。

“直到中国和非洲相遇”展示了通过重铬酸盐光敏树胶印刷而成的摄影集。在印刷过程中，这些图片的感光乳剂和颜料通过手工涂在纸上。传统工艺中一张由重铬酸盐光敏树胶印刷过程处理的照片，需要四层感光乳剂。这是一个很慢的过程，通过这一过程，艺术家想象他能“控制时间”。所有展示的照片都经过一样的工序，虽然底片被印刷了许多次，但它抓住了印刷艺术古老历史的重要性和本质，寻找一张照片的多面性，这也是中国和非洲“相遇”的交点。

直到中国和非洲相遇，灵感来自W· H ·奥登的一段诗——“一天傍晚，当我突然离去”，由一个巨大的面具邀请公众去马戏团的售票处、一个镜子宫殿，或一个大剧院的舞台开始，在这里，几层帷帘之后，观众能够看见艺术家与他的艺术手段及创造性进程之间热烈的对话，重申詹姆斯·拉飞拉-哈飞林30多年前在他的作品中探究和预测的：“库尔特·肖威特斯、马赛·杜尚和 约瑟夫·康奈尔寻求的对话”，这个对话还包括罗伯特·劳森伯格和亨利·马蒂斯。虽然这些对话表面上看起来在时间和空间上不同，但最终通过蒙福特的作品，它们找到了一种巴西特性的强大的、诗意的价值，并且使观众感到犹如来自音乐般的和谐响亮，“朝着一个充满音乐和笑声的有魔力的地方前进。”

“细微之处，设定的轨迹”针对巴西现代艺术的道路建立了一种富有活力的表达方式，约瑟夫· 斯巴尼奥, 安德烈·雷奇·科埃略, 安娜·克劳迪亚·V·罗德里格斯和塔蒂亚娜·布拉斯等均由巴西圣保罗州立大学及其艺术学院推荐。

中国观众一定会欣赏展览中所体现的艺术家们努力的成果，即宝贵的人与人之间合作的可能性。

Till China and Africa Meet and Configured Scents are the exhibitions selected by Luiz Monforte to present some aspects of contemporary Brazilian art to the audience of People’s Republic of China.

Till China and Africa Meet is a collection of photographies that comprises approximately 700 images printed through the “gum bichromate printing” process, wherein the photosensitive emulsions and their pigments are applied by hand onto the surface of paper. Traditionally, a print made with the gum bichromate printing process requires only four layers of emulsion. In the case of Luiz Monforte’s works, the number of layers on a given image may reach 80 (eighty) prints. It consists of a slow process in which the artist imagines he can “control time”. All images presented herein are one of a kind. Even though the negatives has been printed several times, it is a search for multifaceted personality of a single photographic record that bears on its significance and essence an ancient history of the act of printing, and this is the point of convergence in which China and Africa meet.

This collection, inspired on the fragment of the poem “As I walked out one evening” by W. H. Auden, served as a pretext to celebrate the sixtieth anniversary of the artist. It starts with a great mask that invites the public to the ticket office of a circus, or a palace of mirrors, or the stage of a large theater, where behind the many layers of curtains one can see the intense dialogue that the artist maintain with his tools and constructive processes, reaffirming what James LaVilla-Havellin, more than three decades ago, has detected and predicted in his works: “a conversation stalked by Kurt Schwiters, Marcel Duchamp and Joseph Cornell”, conversation with which Robert Rauschenberg and Henri Matisse are not unrelated. And if in appearance such dialogues seem disparate in time and space, they eventually find a powerful and poetic meaning in the Brazilianness that Monforte imprints in the images of this collection, in which the last volute, caresses us with the harmonic sonority from a music of tones and modulations “moving toward a magical place, full of music and laughter”.

Configured Scents constitutes a vigorous expression on the paths taken by Brazilian contemporary art, in which the work of José Spaniol, André Coelho, Ana Claudia Rodrigues and Tatiana Blass, all linked to UNESP, Universidade Estadual Paulista (São Paulo State University) and its Instituto de Artes (Arts Institute) are exhibited.

To the People’s Republic of China’s audience is destined the appreciation of this effort brought to them as a palpable possibility of cooperation among men.