Share Leonardo Finotti began his career in the field of architecture, graduating from the Federal University of Uberlândia in 2001, after developing an interest in photography in 1997 under the guidance of Thomaz Harrell. His artistic practice is structured through photography, articulating two complementary axes: a rigorous investigation of modern architecture and the observation of anonymous or informal urban spaces. After completing a postgraduate program at the Bauhaus Dessau Foundation in Germany, he began his career as a photographer in Portugal, where he lived for six years and collaborated with local architects, developing a keen sensitivity to the construction of space and the circulation of architectural forms across different contexts.
Throughout the 2000s, Finotti established collaborations with leading architects such as Álvaro Siza, Paulo Mendes da Rocha, Isay Weinfeld, and Thiago Bernardes, while also developing authorial projects focused on the documentation and reinterpretation of modern architecture. In 2007, he carried out the project 100 Years, 100 Photos, 100 Works, dedicated to the production of Oscar Niemeyer, bringing together the photographic record of approximately 200 buildings. Among his projects and publications, Pelada (2014), Latinitudes (2015), Rio Enquadrado (2016), and Brutiful (2017) stand out, in which he articulates city, landscape, and visual culture across different geographies.
His work has been presented in solo and group exhibitions in Brazil and abroad, including participation in two editions of the Venice Architecture Biennale, the Shenzhen Biennale, and the 10th Mercosur Biennial. In 2008, he was invited by Barry Bergdoll, then Chief Curator of Architecture and Design at the Museum of Modern Art (MoMA), to take part in the exhibition Latin America in Construction: Architecture 1955–1980, the result of a seven-year project dedicated to revisiting modern Latin American architecture. His work was included in the exhibition, incorporated into the museum’s permanent collection, and featured in the catalogue in the form of a portfolio.
Leonardo Finotti’s works are part of institutional collections such as the Museum of Modern Art – MoMA, New York; Harvard Art Museums, Cambridge, United States; Carnegie Museum of Art, Pittsburgh, United States; the Museum of Contemporary Art Tokyo, Tokyo, Japan; Buendner Kunstmuseum, Chur, Switzerland; Architekturzentrum Wien, Vienna, Austria; Bauhaus Foundation, Dessau, Germany; Deutsches Architekturmuseum, Frankfurt, Germany; Foto Colectanea, Barcelona, Spain; Cité de l’Architecture & du Patrimoine, Paris, France; Museo nazionale delle arti del XXI secolo – MAXXI, Rome, Italy; Brazilian Embassy, Rome, Italy; Serralves, Porto, Portugal; Casa da Arquitectura, Matosinhos, Portugal; Câmara Municipal de Cascais, Cascais, Portugal; Fundação EDP, Lisbon, Portugal; Museo de las Artes de la Universidad de Guadalajara – MUSA, Guadalajara, Mexico; Museo Pumapungo, Cuenca, Ecuador; Universidad del Azuay, Cuenca, Ecuador; Museu Nacional, Rio de Janeiro, Brazil; Museu de Arte do Rio – MAR, Rio de Janeiro, Brazil; Museu de Arte Moderna – MAM-Rio, Rio de Janeiro, Brazil; Museu da Cidade, São Paulo, Brazil; Centro Cultural São Paulo – CCSP, São Paulo, Brazil; Itaú Cultural, São Paulo, Brazil; Museu Brasileiro da Escultura e Ecologia – MuBE, São Paulo, Brazil; Museu da Casa Brasileira, São Paulo, Brazil; Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil; Centro Municipal de Cultura, Uberlândia, Brazil, among others.

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