37th Panorama of Brazilian Art – Under the ashes, embers

Bachelor of Fine Arts and Master of Visual Poetics. His works were recently featured in important institutional exhibitions: Drama O'Rama at Sesc Pompéia (São Paulo), Glasgow International at The Pipe Factory; Feminist Stories at MASP (São Paulo); Padiglione d'Arte Contemporânea (Milan), 14th International Biennial of Cuenca, 32nd International Biennial of São Paulo.

Recent solo exhibitions: Sleepwalk at Green Art Gallery, Dubai, United Arab Emirates; Vesúvius, Galeria Jaqueline Martins, São Paulo, Brazil (2020); Drama O'Rama, Sesc Pompéia, São Paulo, Brazil (2019); Is-Montage!, Carlos/Ishikawa, London, United Kingdom (2019); Antechamber, Green Art Gallery, Dubai, United Arab Emirates (2018); DRAMAFOBIA, Galeria Jaqueline Martins, São Paulo, Brazil (2017) and Ghost Studies, Almine Rech Gallery, New York, USA (2017).

Graduated in Visual Arts from the School of Communications and Arts of the University of São Paulo, he held several solo and collective exhibitions in Brazil, Portugal and, more recently, in Spain.

His works are part of private collections and public collections such as the Inhotim Institute (Brumadinho/MG), Ribeirão Preto Art Museum (Ribeirão Preto/SP), Casa da Cultura da América Latina of the University of Brasília (Brasília/DF), Museu Casa do Look at Luiz Sacilotto (Santo André/SP).

Graduated in Architecture and Urbanism from FAU-USP. Her practice focuses on understanding how contemporary built landscapes (poorly) represent the diverse layers of presence that constitute a place. Walking is fundamental to his practice and was the central axis of his first solo show, at CAIXA Cultural São Paulo, and his first artistic residency, at Instituto Sacatar in Bahia, Brazil (both in 2014). Since arriving in the United States, her work has expanded to the landscape scale, where she creates spaces of connection with nature, the individual, and the community. Among her works, she made a site-specific installation in Pecos National Park, New Mexico (2016), a work excavated in the earth in the community space of Burnside Farm, Detroit (2017), sculptures in collaboration with the indigenous women's group Tewa Women United, part from the Equal Justice Residency at the Santa Fe Art Institute (2018). In New York, she participated in residencies and exhibitions at spaces such as the Spring Break Art Fair (2019) and The Clemente (2021), in addition to being selected for the Monuments Now exhibition at Socrates Sculpture Park (2020). In addition to her studio practice, she participates in collaborative projects across the Americas connecting art, education and autonomous thought. She is currently a More Art Engaging Artist Fellow and is an artist-in-residence at the Dia Teens program at Dia:Beacon.

Camila Sposati's works investigate transformation and energy processes, using methods that often resemble scientific research methodologies. She examined processes on a microscopic and global scale, such as the growth of crystals in laboratories and the geological effects on the Earth's crust in different locations. In her work, Sposati juxtaposes material and historical processes to challenge official time and its meanings.

When I was born as a small fry, in 1997, in the northern light of Minas Gerais, I was given the same name as my father, Davi de Jesus do Nascimento. I'm a Curimatá barranqueiro, a supporter of a muvuca and a trusted writer. Generated on the banks of the São Francisco River – the watercourse of my life – I work collecting affections from riverside ancestry and perceiving “almost-rivers”, in the arid. I was raised in the thicket of carranqueiros, fishermen and laundresses. the weight of carrying the river on my back drinks from the source of the first suns I cried in my life. Holding the frown on its back has made me feel the force of the wind from my bowed board following the loose tail that descended in a spiral gong snail wrapping towards my right heel like a snake, bait, fish and stone.

She was a sculptor and teacher, with a work marked by the use of clay in the exploration of archetypal symbols, related to the feminine and fertility. The artist began her career by graduating in 1955 from the National School of Fine Arts, in Rio de Janeiro. Shortly afterwards, between 1958 and 1959, Tostes was awarded a scholarship from the US government and attended the University of Southern California, where she expanded her knowledge of industrial ceramic techniques. It was at this university that the artist held her first solo show. She then remained in the United States and served as an assistant to artist Maria Martinez (1887-1980) in the state of New Mexico. This opportunity was fundamental in bringing Tostes closer to working with clay, to which she dedicated herself from then on. Back in Brazil, the artist also began to dedicate herself to artistic teaching, working, from 1975, as a teacher at the Escola de Artes Visuais do Parque Lage, an activity she carried out for more than twenty years. At the turn of the 1980s, Tostes began working with the community of Chapéu Mangueira hill, coordinating the project “Formation of Utility Ceramics Centers in Communities on the Urban Periphery of Rio de Janeiro”. The project promoted the use of local clay to make ceramics with residents of the community, with whom the artist became increasingly closer, including in her own production. In 1989, she started teaching at the School of Fine Arts at UFRJ, where she remained on the teaching staff until 1982. Having enjoyed great recognition in the Latin American context, Celeida Tostes was honored at the II Bienal Barro de América (1995-1996) , in Caracas, Venezuela, shortly after his death.

He has a degree in Artistic Education – Fine Arts from the Federal University of Pará, works mainly with painting and since 2005 he has developed his artistic research into the relationship between the themes of portraiture and identity, with the Amazonian individual as the theme.

Graduated in Architecture and Urbanism from UFBA, Eneida took free courses at the School of Fine Arts at the Federal University of Bahia and at the MAM Bahia workshops.

Since 1990 he began researching African and Afro-Brazilian aesthetics and between 1990 and 1995 he studied metal engraving at the Workshops of the Museum of Modern Art of Bahia.

Exhibits from 1992 to 2000 in Museums and Galleries in NY with tools for liturgical use of Yoruba Candomblé. She presents works related to the theme of Trance and starts to use engraving in an expanded field, as both structure and concept, in objects and installations.

He received the award at the XXIV Salão de Artes MAM Bahia and participated in residencies in the Netherlands (2008), Tanzania (2014) and Portland USA (2019).

Since 2011, he has brought together engraving and video installation through the series Transe – Displacement of Dimensions in a collaborative work with photographer and videomaker Tracy Collins (NY).

His works have been published in Revista N/Paradoxa (Olabisi Silva), Revista Contemporary& (text Alexandre Bispo) and Revista Transition (Boston USA)

Exhibits the video installation Transe at Festival Vídeo Brasil 2013 – SP in partnership with Tracy Collins. In 2015 she was nominated for the PIPA Prize and participated in the 3rd Bahia Biennial in partnership with Tracy Collins. In 2016 she presented her work at Itaú Cultural SP in the collective Diálogos Ausentes curated by Rosana Paulino and Diane Lima and in 2018 she participated in the PretAtitudes exhibition, curated by Claudinei Silva.

In 2020, she presented her works at the Women's Strategies Exhibition, Bienal Mercosul and Salão Anapolino de Artes Visuais where she received the Salon Prize.

In 2021 she is a guest artist at Panorama at Centro Cultural SP.

Eneida was born in Salvador, Bahia. She lives and works in São Paulo. Her studio installed in the Condomínio Cultural collective, Vila Anglo.

Tracy is a self-taught multimedia artist living in Brooklyn, New York, although he earned his BSEE from Brown University in 1985 and worked as an electrical engineer in Silicon Valley, California, for 15 years. His main medium is photography, with an emphasis on architecture, photojournalism and street photography. Recently, he has been working with 3D animation, video, video mapping, video installation, interactive electronics, motion graphics and artificial intelligence. His latest work in progress, word (word.threeceelabs.com), is a multichannel video, multimedia project started in 2016 that visualizes the language used in the most recent US presidential election in a real-time graphical representation; a dynamic “word cloud” of Twitter activity from media outlets, governments, politicians, businesses, academics, NGOs. Using artificial intelligence and software he is developing, this piece will explore the political biases of social media users (and bots ) in the 2020 US presidential campaign.

Visual artist and researcher. PhD student at the Postgraduate Program at the Faculty of Architecture and Urbanism at the University of São Paulo (FAU USP). Master in Visual Poetics from the Postgraduate Program at the School of Communications and Arts at the University of São Paulo (ECA USP). In recent years she has produced objects and installations based on research into the relationships between architecture, space and history. She participated in solo and group exhibitions in Brazil and abroad and received acquisitive and artistic production awards. Recent exhibitions include 'Estratigraphy' at Paço das Artes, 'Totemonumento' at Galeria Leme, 'Provocar Urbanos' at SESC Vila Mariana, 'Estudo para Monumento' at Funarte, in São Paulo, 'Interaktion' in Berlin, Germany , '32nd Biennial of Graphic Arts', in Ljubljana, Slovenia, 'What is not a forest is a political prison', at Galeria Reocupa da Ocupação 9 de Julho – MSTC in São Paulo, 'Casa Carioca', MAR – Museu de Arte do Rio de Janeiro and 'Has always been dystopia', in Enschede, Netherlands. She was a resident artist at Pivô (São Paulo), Sculpture Space in Utica (New York), GlogauAIR (Berlin), AREHolland (Netherlands) and AIR Niederösterreich (Krems, Austria). Collaborator since 2017 with MSTC – Movimento Sem Teto do Centro.

Giselle Beiguelman is an artist and professor at FAUUSP. She researches the aesthetics of memory today, with an emphasis on the politics of forgetting, and the processes of updating colonialism through digital technologies. Her works are part of private and public collections, such as ZKM (Museum of Art and Media, Germany), Jewish Museum Berlin and Pinacoteca de São Paulo, among others. She has received several national and international awards and is the author of Memory of amnesia: politics of oblivion (Edições Sesc, 2019) and Politics of image: surveillance and resistance in the datasphere (UBU Editora, 2021), among several others.

He is an artist, researcher, educator. In his artistic practice, he reflects on the power structures that historically shape collective organizations, as well as their cultural and identity constitutions. He carries out hybrid works in which he uses different materials and disciplines to discuss relations of dominance, from which the processes of subjectivation in society are modulated. Thus, he has been interested in observing the role of the State, its administrative regimes, its authorities and institutions. In this process, he evokes the fields of sociology and geopolitics in his conceptual research, often making use of official symbols of the nation to tension their connotations. In addition to experimenting with formal synthesis and symbolic review procedures, he also proposes a debate on the mechanisms of power in devices within the arts system, approaching issues of archive, memory, space and place. Sometimes, his works emerge from specific community circumstances and come close to social processes linked to a given locality. In this sense, the notions of collaboration and dialogue have also been exercised in its production.

He was a painter, engraver and illustrator, recognized for the critical and, at the same time, humorous tone of his representations of Brazil and Brazilian culture. Rodrigues began painting as a self-taught artist in 1945, in his hometown. In 1949, he was awarded a scholarship by the city of Bagé and attended the Escola Nacional de Belas Artes, in Rio de Janeiro, for three months. Back in Rio Grande do Sul, the artist dedicated himself to engraving, joining the Bagé Engraving Club, which he founded alongside other artists, and the Porto Alegre Engraving Club. After moving to Rio de Janeiro in 1958, Rodrigues dedicated himself increasingly to painting, approaching, at first, abstraction. In the 1960s and 1970s, however, he turned to figuration and his painting became associated with what became known as “critical tropicalism” due to the pop character of his compositions. Making reference to historical narratives, such as the discovery of Brazil, and signs usually associated with Brazilian identity, such as the green and yellow of the national flag, carnival and tropical nature, in addition to occasionally appropriating images from Brazilian artists significant figures of the 19th century, Glauco Rodrigues' pictorial work was marked by the use of humor as a tactic to approach and question the stereotypes and ideals of Brazilianness.

He graduated from the Centro Universitário Belas Artes de São Paulo in 2010. Among his most recent exhibitions, the following stand out: Marcas, Fundação Joaquim Nabuco, Recife, Brazil, 2018; North of Rio, Sesc Santana, São Paulo, Brazil, 2018; Sweatshirt piercing toy, MAC Niterói, Rio de Janeiro, Brazil, 2018; Settlement, Galeria Leme, São Paulo, Brazil, 2019; In this land, when planting, everything works, Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, 2015; Self-portrait in White on Black, Galeria leme, São Paulo, Brazil, 2015; Impedimento, Centro Cultural São Paulo, São Paulo, Brazil, 2014; In Exhibition, Sesc, São Paulo, Brazil, 2013; and the collectives: Vaivém, Centro Cultural Banco do Brasil, São Paulo, Brazil, 2019; A Queda do Céu, CAIXA Cultural Brasília, Brasília, Brazil, 2019; Whoever doesn't fight is dead – arte democracy utopia, Museu de Arte do Rio, Rio de Janeiro, Brazil, 2018; Afro-Atlantic Stories, MASP and Instituto Tomie Ohtake, São Paulo, Brazil, 2018; The World's Game: Fútbol and Contemporary Art, Pérez Art Museum Miami, Miami, USA, 2018; 11th Mercosul Visual Arts Biennial, Atlantic Triangle, Porto Alegre, Brazil, 2018; Levantes, SESC Pinheiros, São Paulo, Brazil, 2017; Contemporary Art Festival Sesc_Videobrasil, São Paulo, Brazil, 2017; Metrópole: São Paulo Experience, Estação Pinacoteca, São Paulo, Brazil, 2017; WELT KOMPAKT?, frei_raum Q21, Vienna, Austria, 2017; How to Remain Silent, A4 Arts Foundation, Cape Town, South Africa, 2017; Totemonument, Galeria Leme, São Paulo, Brazil, 2016; 10TH Bamako Encouters, National Museum, Bamako, Mali, 2015; Colonial Company, Caixa Cultural, São Paulo, Brazil, 2015; Frente a Euforia, Oficina Cultural Oswald de Andrade, São Paulo, Brazil, 2015; Armadillo: football, adversity and caatinga culture, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil, 2014; Taipa-Tapume, Galeria Leme, São Paulo, Brazil, 2014; Independent Spaces: The Soul Is The Secret Of Business, Funarte, São Paulo, Brazil, 2013; has works in the public collections Escola de Artes Visuais do Parque Lage, Rio de Janeiro, Brazil; Joaquim Nabuco Foundation, Recife, Brazil; MAC Niterói, Niterói, Rio de Janeiro, Brazil; MAR – Rio Art Museum, Rio de Janeiro, Brazil; MASP – São Paulo Museum of Art, São Paulo, Brazil; Casa das Onze Janelas Museum, Belem, Pará, Brazil; Pinacoteca do Estado de São Paulo, São Paulo, Brazil and Schoepflin Stiftung: The Collection, Lörrach, Germany. With works marked by an exercise in synthesis between the content of his research and formalization strategies, Jaime Lauriano invites us to examine the power structures contained in the production of History. In audiovisual pieces, objects and critical texts, Lauriano highlights how the violent relationships maintained between institutions of State power and control – such as police, prisons, embassies, borders – and subjects shape the processes of subjectivation in society.

He has a master's degree from the School of Fine Arts, UFMG (2007) and a bachelor's degree in visual arts from Escola Guignard, UEMG (2001). He has received several awards, including the I Bolsa Pampulha (2003), I Concurso Itamaraty de Arte Contemporânea, Brasília (2011) and the Arte e Patrimônio Prize. He participated in the Project Season at Paço das Artes, in São Paulo, and the 8th Mercosul Biennial, in Porto Alegre (2011). In 2013, he participated in the 18th edition of the Videobrasil International Contemporary Art Festival and in the group exhibition Blind Field at the Karnnet Museum, Illinois / USA. In 2014, he carried out the Gameleira 1971 Project in Pivô, São Paulo. In 2016, he presented a work for a public space in New Cities Future Ruins, Dallas / USA, and was at the 32nd São Paulo Art Biennial with the work Dois Pesos, Duas Médicas, commissioned by the Fundação Bienal de São Paulo. In 2017, he was part of the collective exhibition Avenida Paulista at MASP (São Paulo) and also participated in the collective exhibition Condemned To Be Modern | PST:LA/LA. In 2018, he presented the new work commissioned by the Gwagju Biennale Foundation for the 12th Gwangju Biennale, and in 2019, he participated in the 13th La Hababa Biennale. In 2020, he became part of the exhibition Infinito Vão, at SESC, May 24, in São Paulo. The futures condenser, a project to occupy the Octagon of the Pinacoteca do Estado de São Paulo, took place between 2021 and 2022.

Visual artist, photographer and filmmaker. Born in Porto Alegre – RS (1993), currently lives in Salvador – BA. she constructs images as evocations of decolonization and new present/future narratives. she studied journalism, social sciences and arts; learned a lot from the street. Her works discuss the construction of images about LGBT people, indigenous people, street people – walking towards the disinvasion of Brazil.

Lidia has training in metal engraving from the Lasar Segall Museum, contemporary sculpture and ceramics from the Brazilian Sculpture Museum (MuBE) and Liceu de Artes e Ofícios. The artist participated in exhibitions at the galleries Fibra, Central das Artes, the Liceu de Artes e Ofícios de São Paulo and the Goethe-Institut São Paulo. Her work was awarded the Maimeri 75 Years Prize (1998) and the II National Prize for Afro-Brazilian Cultural Expressions (2012). Lidia Lisbôa works with sculpture – mainly in clay – engraving, painting, sewing and crochet. His artistic practice develops at the intersection between art objects, performance and ritual, and addresses the present and past through autobiographical, territorial and ancestral themes. Recently, a statue of hers was inaugurated in the Liberdade neighborhood (São Paulo, SP) in honor of the samba dancer Madrinha Eunice, as part of a project by the Municipal Department of Culture that celebrates black personalities from São Paulo culture. Lidia Lisbôa lives and works in São Paulo.

Luiz 83 is the stage name of Luiz dos Santos Menezes. Self-taught, his training stems from the experience acquired on the city streets as a “tagger”, an activity that offered the beginning of a plastic vocabulary that has been refined based on research that the artist develops with a considerable degree of inventiveness in more conventional means such as drawing , painting and sculpture. His professional experience as an art exhibition organizer also offers him the opportunity to remain in close contact with works of a classic and contemporary nature, an opportunity that results in sensitively assimilated knowledge. In his works it is possible to perceive a very peculiar and undoubtedly sophisticated type of concretism in the formal solutions and conceptual arrangements and of a POP nature, a quality also perceived through a chromaticism that generally favors bright colors with intense luminosity. The artist has also dedicated himself to performances where he questions the social place of black people and thematizes the relationship between the body and his artistic work and interactions with the city. The artist participated in several individual and collective exhibitions, including the solo exhibition “Z” at the Tato gallery and the collective exhibitions “Tendências da Street Art” at the Museu Brasileiro de Escultura and “Pretatitude: insurgencies, emergencies and affirmations in contemporary Afro-Brazilian art ” at SESC Ribeirão Preto, São Carlos, Vila Mariana and Santos”.

Maria Laet was born in Rio de Janeiro, Brazil, in 1982, where she lives and works. She has been showing her work individually since 2010. She participated in the Biennials: 33rd São Paulo Biennial: Affective Affinities (2018); and 18th Biennale of Sydney: All Our Relations (2012). She held the solo exhibition Almost a Nothing, as part of the OTIUM #4 project at the Institute of Contemporary Art Villeurbanne / Rhône-Alpes. France (2019). She has participated in group exhibitions such as I Remember Earth (Magasin des Horizons, Grenoble, France, 2019); Matters of Concern (La Verrière, Foundation D'entreprise Hermès, Brussels, Belgium, 2019); Cosmogonies, au Gré des Éléments (MAMAC, Nice, 2018); Video Art in Latin America (LAXART, Los Angeles, 2017); La Vie Aquatique (Musée Régional d'Art Contemporain, Occitanie/Méditerranée, France, 2017); The Valise (The Museum of Modern Art, New York, 2017); Tangentes (MSK, Gent, Belgium, 2015); Encruzilhada (Parque Lage, Rio de Janeiro, 2015); Rumors of the Meteore (49 Nord 6 est – Frac Lorraine, Metz, France, 2014); Everydayness (Wyspa Institute of Art, Gdansk, Poland, 2014); From the Margin to the Edge (Somerset House, London, 2012); Invitation to Travel (Rumos Itaú Cultural, São Paulo, 2012); and O Lugar da Linha (Niterói Contemporary Art Museum and Paço das Artes in São Paulo, 2010). Her work is part of the collections of MAM, Gilberto Chateaubriand, Rio de Janeiro; MAC Niterói; 49 Nord 6 est – Frac Lorraine, Metz, France; MSK, Gent, Belgium; MAR, Rio de Janeiro; Patricia Phelps de Cisneros Collection; and MoMA, New York.

Marina Camargo's work is based on research that takes shape in drawings, installations, sculptures and videos. The notion of displacement present in his research refers to both a sense of physical and conceptual displacement, such as moving perception beyond codes and conventions and thus causing disturbances in an established order.

The relationship with spaces and places is fundamental to the artist's thinking: memory, migration, elements of material culture (found images, archives), historical dimension of the landscape, constructed nature / the naturalization of artificial landscapes, are some of the themes that permeate your job. Maps, which recur in her work, also indicate a direct relationship with spaces and places. In the act of mapping a space, a series of choices, distortions and erasures occur that reveal the presence of power mechanisms. With her work, Marina Camargo changes not only the shape of continents and borders, but mainly seeks to provoke disturbances in established narratives.

Marina Camargo studied visual arts at UFRGS, in Porto Alegre, and at AdBK (Munich, Germany). She currently lives in Porto Alegre and Berlin.

In 2013 he published the artist's book “How to Make a Desert”, where he investigates the origins and context of the Brazilian backlands. In 2019, the catalog “Marina Camargo: Der Ort danach | The place after” was published in Germany, bringing together several texts and records of her production. The artist's works are part of the collections of the Rio Art Museum, MARGS, São Paulo Cultural Center, MAC-RS, Aloísio Magalhães Art Museum, among others.

Comic book author, illustrator and teacher. He studied graphic design and has a degree and master's degree in fine arts. He published the album Cumbe (Veneta, 176 pages, 2014), which addresses the colonial period and black resistance against slavery in Brazil. The book was published in Portugal, France, Austria, Italy, Spain and the USA (Fantagraphics). Cumbe was selected by the 2019 literary PNLD for High School, Plano Ler + as a reading recommendation for schools in Portugal and awarded at the 2018 Eisner Awards in the Best US Edition of International Material category. Angola Janga – A history of Palmares (Veneta, 432 pages, 2017) deals with the ancient mocambos of Serra da Barriga, better known as Quilombo dos Palmares. Angola Janga was awarded the Grampo Ouro Award 2018, HQMIX 2018, Jabuti 2018 and the Rudolph Dirks Award 2019 (Best South American Screenplay). The work was selected by the 2019 literary PNLD for High School. The book was also published in France, Portugal, Austria, Spain, Poland and the USA. The work Encruzilhada (Veneta, 160 pages), relaunched in 2016, deals with violence, young black people and discrimination in large cities.

The production of No Martins articulates the languages ​​of painting, installation and performances, through which Martins investigates everyday interpersonal relationships, mainly the coexistence of the black population in urban daily life, questioning social conflicts such as racism, mortality due to violence and the over-incarceration of Brazilian population. His works are in collections of museums such as MASP – São Paulo Museum of Art, Pinacoteca do Estado de São Paulo, Inhotim and Museu da Escravatura, Luanda – Angola.
Among his most recent exhibitions, solo exhibitions stand out: Political Encounters at Galeria Mariane Ibrahim in Paris – France; Social signs at Jack Bell Gallery in London – UK (2020); Everything under control, at the 29th CCSP (Centro Cultural São Paulo) exhibition program, in São Paulo – Brazil (2019); To those who have passed away, to those who are here and to those who will come, at the Instituto Pretos Novos, Rio de Janeiro – Brazil (2019). And the group exhibitions: The discovery of what it means to be Brazilian, at Mariane Ibrahim Gallery, Chicago – USA (2020); 21st Sesc VideoBrasil Contemporary Art Biennial, in which he received the Sesc Contemporary Art Award (2019); and Afro-Atlantic Stories at MASP (São Paulo Art Museum) and ITO (Tomie Ohtake Institute), São Paulo – Brazil (2018).

Interested in a wide range of subjects, Lucena entered and then left the bachelor's degree courses in physics and psychology, both at the Federal University of Paraíba (UFPB), in João Pessoa, unfinished. In 1982, he began studying drawing and painting techniques with the artist Flávio Tavares (1950). He spent a period in Chapada dos Guimarães and, upon his return to João Pessoa, in 1988, he began to live with the ideas of the Armorial Movement, by Ariano Suassuna, which valued popular expressions and their founding myths, which considerably influenced the early years of its production. It was at this stage that he began painting in oils.

The starting point of his pictorial work lay in the representation of invented and fantasy beings. The typical figurations of this early career made reference to the fantastic northeastern imagination, in which the present and permanent interest that runs through his entire career was already identified: the complex and mysterious relationship between light and shadow. Upon moving to São Paulo, in 2003, he began to dedicate himself to painting gods, hybrid beings or chimeras which, little by little, gave way to the luminous research that has taken over his production for almost two decades.

Since then, Lucena's painting (always sensitive to the forces of nature) reveals his direct reference to the landscapes of the backlands, rescued from his childhood memories, in generally large-format canvases that suggest landscapes with a horizon as far as the eye can see. In more abstract works, the horizontal line is diluted into fields of color, with a delicate infinite gradient. As a true invitation to contemplate the immensity and variety of reflections of his colored lights produced from an immense range of pigments, his paintings are constructed with a lot of accumulation of matter, carrying a weight of paint that seems to contradict the lightness and finesse of the rarefied ones. brushstrokes and stains that he applies to the canvases.

Throughout his career, the artist participated in numerous exhibitions, in Brazil and abroad. Among the main institutions he visited are: the Pinacoteca do Estado de São Paulo, the Museum of Contemporary Art (MAC-USP), the National Museum of the Republic, in Brasília, the Centro Cultural dos Correios (in Brasília, Rio de Janeiro and Salvador), the MuBE-Brazilian Sculpture Museum (São Paulo) and the São Francisco Cultural Center and Contemporary Art Center, both in João Pessoa. He also held workshops, exchanges and artistic residencies in Denmark, Germany (Berlin) and the United States (Washington and Seattle). Among the publications, we can highlight the catalog raisonné, from 1999, and the book Projeto Deuses, with the series of paintings of the same name, launched in 2007. Furthermore, it received awards in the main art salons in the country and, in 2012, , was awarded by the Brazilian Association of Art Critics (ABCA) with the Mário Pedrosa Prize, in the Contemporary Artist category.

As a duo, our work interrogates visible and invisible imposed boundaries, such as the separation of nature and culture, of contemporary art and popular art, of modern architecture and vernacular architecture, of technology and para-technology, of artist and critic, of curator and researcher. , authorship and collaboration. Divisions, binaries that separate us from our integrity and from the complex matrix of life, in which contradictory and complementary forces alternate and merge. Currently, two issues permeate our work, the first, materials and materiality and, the second, artistic/cultural practices and the production of works for the art system.
In recent years, from immersions in different contexts and territories, and choosing the most diverse materials, but mainly clay, we have tried to expand the concept of sustainability, beyond the logic of consumption and productivity – and in alliance with other modes of life. We develop research and work that invests in a critical view of coloniality (mainly academic), we exalt the ancestral wisdom of the human relationship with nature, through artistic practices that ensure the use of materials that are not harmful to life and that do not produce waste not recyclable. Thus, we carry out actions and dialogues that result in films, photographs, objects and installations that use methodologies, concepts and reflections coming from Anthropology with the aim of questioning Western ethnography that documents, describes or narrates a cultural practice, simply systematizing, without recognizing this ancestral knowledge as a sustainable alternative to the collapsing world resulting from the ideas of modernity and progress.

Dennis Rodriguez e Leonardo Remor They are artists, curators and researchers. They reflect on the binomial Art and Nature in projects that focus on the countryside, the land and the transmission of knowledge and ancestral technologies from popular creators and the original peoples of Eastern South America. Since August 2020, they have lived in Igatu, Chapada Diamantina , Bahia, where they founded Mirante Xique-Xique, a para-institution that promotes research residencies in different areas: environment, architecture, cuisine and arts. Through cultural activities, exchanges and environmental education, the non-governmental, non-profit organization's mission is to safeguard the region's architectural and intangible heritage.

Sidney Amaral was a visual artist and art teacher in the public school system. Through different languages, he dedicated himself both to the subversive exploration of the meanings of the material and contextual displacement of objects, and to the approach to ethnic-racial themes, including the condition of the black population and, in particular, of black men in Brazil, addressed, often through his self-portrait. Sidney Amaral began his career in the 1990s, when he studied at the Liceu de Artes e Ofícios de São Paulo, the Escola Panamericana de Artes and the ECOS Escola de Fotografia. In 1998, he graduated in Artistic Education from Fundação Armando Álvares Penteado. The following year, he was a student of artist Ana Maria Tavares (1958-) in the orientation and development of artistic projects course at the Brazilian Museum of Sculpture and Ecology. In 2001, he held his first solo exhibition at Centro Cultural São Paulo. His work received relevant recognition, such as the II Funarte Prize for Black Art and the artistic residency at the Tamarind Institute (New Mexico, USA) in 2012, and he participated in important exhibitions, such as “Histories Mestiças” (2014) at the Instituto Tomie Ohtake , and “Dialogues Ausentes” (2016-2017) at Itaú Cultural. At the beginning of 2017, Sidney Amaral was diagnosed with pancreatic cancer, which, within a few months, led to his premature death.

Tadáskía (b. 1993, Brazil) is a black and trans artist and writer based in Rio de Janeiro and São Paulo. His work in drawing, photography, installation and textiles mobilizes histories, geographies and the material and immaterial relationships that can arise between the world and living beings. Through her practice, she also seeks to elaborate the visible and invisible experiences of the black diaspora, resulting from familiar and unusual encounters. Tadáskía has already exhibited at the Rio Art Museum, Paço Imperial and EAV Parque Lage, in Rio de Janeiro; at Framer Framed, in Amsterdam; at ISLAA in New York; at the Astérides Triangle in Marseille; in Madragoa, in Portugal; and at Sé, Pivô, Auroras and the Casa de Cultura do Parque, in São Paulo.

Xadalu Tupã Jekupé is a mixed-race artist who uses elements of screen printing, painting, photography and objects to address the tension between indigenous and Western culture in cities in the form of urban art. His work, the result of experiences in villages and conversations with wise men around the campfire, became one of the most powerful resources of visual arts against the erasure of indigenous culture in Rio Grande do Sul. Dialogue and integration with the Guarani community Mbyá allowed the artist to rescue and recognize his own ancestry. Xadalu has an origin linked to the indigenous people who historically inhabited the banks of the Ibirapuitã River. The waters that bathed his childhood carry the story of Guaranis Mbyá, Charruas, Minuanos, Jaros and Mbones — as well as the artist's great-grandparents and great-great-grandparents. The work made for the Collectors Club features an indigenous head, like those carved on the base of the Porto Alegre cathedral, which symbolize the dominance of Christianity over indigenous culture and the extermination of original peoples. In Guarani, the artist writes “There is a city above us”, in a clear allusion to the buried indigenous territory and the archaeological remains found in the region.