37th edition of Panorama da Arte Brasileira (Panorama of Brazilian Art): Sob as cinzas, brasa

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During the emblematic period of the bicentennial of the independence of Brazil, the Museu de Arte Moderna de São Paulo will host, from July 23rd, the 37th Panorama da Arte Brasileira (Panorama of Brazilian Art), which proposes to deconstruct naturalized paradigms in relation to colonial Brazil. As a counterpoint, this year also celebrates the centenary of the Semana de Arte Moderna de 1922 (1922 Modern Art Week), a milestone for Brazilian modernism that brought about vast, new cultural scene, with artists from different regions of the country.

With a diverse curatorial group, consisting of Cauê Alves, Cristiana Tejo, Vanessa Davidson and Claudinei Roberto da Silva, this year’s edition, the 37th Panorama, emphasizes the problems and brutalities of a country that has not yet established itself as a civilization, reflecting this scenario with works by artists of different generations, with ethnic, racial and gender diversity.

The exhibition values the pedagogical dimension of art and looks for structural ruptures. Still in a pandemic world, the Panorama proposes to investigate how artists rooted in Brazil have faced the multiple problems caused by the expansionist development model adopted throughout the last centuries.

The curatorial project was based on signs that are subtly linked to embers, as a symbol of resistance but also reflecting an ambiguity of meanings, inviting a diversity of perspectives and lines of investigation.

Artists: Ana Mazzei | André Ricardo | Bel Falleiros | Camila Sposati | Celeida Tostes | davi de jesus do nascimento | Éder Oliveira | Eneida Sanches e Tracy Collins (LAZYGOATWORKS) | Erica Ferrari | Giselle Beiguelman | Glauco Rodrigues | Gustavo Torrezan | Jaime Lauriano | Lais Myrrha | Laryssa Machada | Lidia Lisbôa | Luiz 83 | Marcelo D’Salete | Maria Laet | Marina Camargo | No Martins | RodriguezRemor (Denis Rodriguez e Leonardo Remor) | Sergio Lucena | Sidney Amaral | Tadáskía | Xadalu Tupã Jekupé

Check out the artists’ presentation below:

 

Ana Mazzei (São Paulo, SP, 1980 – lives in São Paulo)

Ana Mazzei holds a bachelor’s degree in Visual Arts and a Master’s degree in Visual Poetics. Her works have recently been 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, UK (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).

 

André Ricardo (São Paulo, SP, 1985 – lives in São Paulo)

André Ricardo holds a degree in Visual Arts from the School of Communications and Arts of the University of São Paulo, has held several individual and group exhibitions in Brazil, Portugal and, more recently, in Spain.

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

 

 

 

Bel Falleiros (São Paulo, SP, 1983 – lives in New York, USA)

Bel Falleiros has a degree in Architecture and Urbanism from FAU-USP. Her practice focuses on understanding how contemporary built landscapes (barely) represent the diverse layers of presence that constitute a place. Walking is fundamental to her practice and was the focus of her first solo show, at CAIXA Cultural São Paulo, and her first artistic residency, at the Instituto Sacatar in Bahia, Brazil (both in 2014). Since arriving in the United States, her work has expanded to the scale of the landscape, where she creates spaces of connection with nature, the individual and the community. Among her works she has made a site-specific installation in Pecos National Park, New Mexico (2016), a work excavated from the earth in the community space of Burnside Farm, Detroit (2017), sculptures in collaboration with the indigenous women group Tewa Women United part from the Equal Justice Residency at the Santa Fe Art Institute (2018). In New York she has participated in residencies and exhibitions in spaces such as 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 thinking. She is currently a More Art Engaging Artist Scholar and is an artist-in-residence on the Dia Teens em Dia:Beacon program.

 

Camila Sposati (São Paulo, SP, 1972 – lives in Viena, Austria)

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 at different locations. In her work, Sposati juxtaposes material and historical processes to challenge official time and its meanings.

 

 

 

 

 

Celeida Tostes (Rio de Janeiro, RJ, 1929 – same, 1995)

Celeida Tostes 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 at the Escola Nacional de Belas Artes, in Rio de Janeiro. Shortly thereafter, between 1958 and 1959, Tostes was awarded a US government scholarship 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 to definitively bring 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 education, 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 started working with the community of Morro do Chapéu Mangueira, coordinating the project “Formation of Utility Ceramics Centers in the Communities of 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 increasingly gets closer, including in her own production. In 1989, she started teaching at the Escola de Belas Artes at UFRJ, where she remained on the faculty until 1982. Having enjoyed great recognition in the Latin American context, Celeida Tostes was honored at the II Barro de America Biennial (1995-1996) , in Caracas, Venezuela, shortly after his death.

 

davi de jesus do nascimento (Pirapora, MG, 1997 – lives in Pirapora)

when I was born alevim, in 1997, in the north of Minas Gerais, they bathed me with the same name as my father, Davi de Jesus do Nascimento. I’m a curimatá barranqueiro, a muvuca breadwinner and a writer on credit. generated on the banks of the São Francisco River – watercourse of my life – I work collecting affections of riverside ancestry and perceiving “quasi-rivers”, in the arid. I was raised inside the emboloso of the cumbuca of carranqueiros, fishermen and washerwomen. the weight of carrying the river on my back drinks from the source of the first suns I cried in my life. sustaining on the cacunda the frown has made me feel the force of the wind of my bent bamboo following the loose tail that descended in a spiral gong snail wrapping to the right heel like a snake, bait, fish and stone.

 

 

Éder Oliveira (Timboteua, PA, 1983 – lives in Belém)

Éder Oliveira has a degree in Artistic Education – Fine Arts from the Federal University of Pará, works mainly with painting and since 2005 has been developing his artistic investigation in the relationship between portrait and identity themes, having the Amazonian individual as a theme.

 

 

 

 

 

 

Eneida Sanches and Tracy Collins (LAZYGOATWORKS) 

Eneida Sanches (Salvador, BA, 1962 – lives in São Paulo, SP)

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

Since 1990 she has been researching African and Afro-Brazilian aesthetics since 1990 and between 1995 and 2000 she studies metal engraving at the Workshops of the Museum of Modern Art in Bahia.

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

She received the award from the XXIV Salão de Artes MAM Bahia and participated in residencies in Holland (2008), Tanzania (2014) and Portland USA (2019).

Starting in 2011, she brings together printmaking and video installation through the series Trance – Displacement of Dimensions in a collaborative work with photographer and videomaker Tracy Collins (NY).

She has her works published in Revista N/Paradoxa (Olabisi Silva), Revista Contemporary & (text Alexandre Bispo) and Revista Transition (Boston USA)

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

In 2020, she presents her works at the Mostra Estratégias do Feminino, Bienal Mercosul and Salão Anapolino de Artes Visuais where she receives the Salão Prize.

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

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

 

Tracy Collins (Nova York, EUA, 1963 – lives New York)

Tracy is a self-taught multimedia artist living in Brooklyn, New York, despite earning a BSEE from Brown University in 1985 and working 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 multi-channel 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, companies, 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.

 

Erica Ferrari (São Paulo, SP, 1981 – lives in São Paulo)

Visual artist and researcher. Doctoral student at the Graduate Program at the Faculty of Architecture and Urbanism at the University of São Paulo (FAU USP). Master in Visual Poetics from the Graduate 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 around the relationship between architecture, space and history. She has participated in individual and group exhibitions in Brazil and abroad and has received acquisitive and artistic production awards. Recent exhibitions include ‘Estratigrafia’ 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 Graphic Arts Biennial’, in Ljubljana, Slovenia, ‘What is not a forest is a political prison’, at Galeria Re Ocupação 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, Holland. She was artist-in-residence at Pivô (São Paulo), at Sculpture Space in Utica (New York), at GlogauAIR (Berlin), at AREHolland (Holland) and at AIR Niederösterreich (Krems, Austria). Collaborator since 2017 of the MSTC – Movimento Sem Teto do Centro.

 

Giselle Beiguelman (São Paulo, SP, 1962 – lives in São Paulo)

Giselle Beiguelman is an artist and professor at FAUUSP. She researches the aesthetics of memory today, with an emphasis on forgetting policies, and the processes of updating colonialism through digital technologies. Her works are part of private and public collections, such as the 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: Policies of Oblivion (Edições Sesc, 2019) and Image Policies: Surveillance and Resistance in the Dataosphere (UBU Editora, 2021), among many others.

 

 

 

 

Glauco Rodrigues (Bagé, RS, 1929 – Rio de Janeiro, RJ, 2004)

Glauco Rodrigues 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 in 1945, in his hometown. In 1949, he was awarded a scholarship by the city hall 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, integrating the Clube de Gravura de Bagé, which he founded alongside other artists, and the Clube de Gravura de Porto Alegre. After moving to Rio de Janeiro in 1958, Rodrigues increasingly devoted himself 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 the compositions. Referring to historical narratives, such as the discovery of Brazil, and the signs usually associated with Brazilian identity, such as the green-and-yellow of the national flag, carnival and tropical nature, in addition to punctually appropriating images of Brazilian artists. 19th century, the pictorial work of Glauco Rodrigues was marked by the use of humor as a tactic to approach and question the stereotypes and ideals of Brazilianness.

 

Gustavo Torrezan (Piracicaba, SP, 1984 – lives in Piracicaba, SP, and São Paulo, SP)

He is an artist, researcher, educator. In his artistic practice, he returns to reflect on the power structures that historically configure 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 domain relations, from which society’s processes of subjectivation 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 convey their connotations. In addition to experimenting with formal synthesis and symbolic revision procedures, he also proposes a debate on the mechanisms of power in devices of the arts system, approaching issues of archive, memory, space and place. Sometimes his works arise from specific community circumstances and approach the social processes linked to a particular locality. In this sense, the notions of collaboration and dialogue have also been exercised in its production.

 

Jaime Lauriano (São Paulo, SP, 1985 – lives between São Paulo and Porto, Portugal)

Jaime Lauriano 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, in planting, everything gives, 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; On Exhibition, Sesc, São Paulo, Brazil, 2013; and the collective ones: Vaivém, Centro Cultural Banco do Brasil, São Paulo, Brazil, 2019; A Queda do Céu, CAIXA Cultural Brasília, Brasília, Brazil, 2019; Who doesn’t fight is dead – art 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, Triângulo do Atlântico, Porto Alegre, Brazil, 2018; Levantes, SESC Pinheiros, São Paulo, Brazil, 2017; Contemporary Art Festival Sesc_Videobrasil, São Paulo, Brazil, 2017; Metropolis: Paulistana 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; Totemonumento, Galeria Leme, São Paulo, Brazil, 2016; 10TH Bamako Encouters, National Museum, Bamako, Mali, 2015; Colonial Company, Caixa Cultural, São Paulo, Brazil, 2015; Facing Euphoria, Oswald de Andrade Cultural Workshop, São Paulo, Brazil, 2015; Armadillo: football, adversity and culture of the caatinga, 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 of synthesis between the content of his research and formalization strategies, Jaime Lauriano invites us to examine the structures of power contained in the production of History. In audiovisual pieces, objects and critical texts, Lauriano shows how the violent relationships maintained between institutions of power and state control – such as police, prisons, embassies, borders – and subjects shape the processes of subjectivation of society. Thus, his production seeks to bring to the surface historical traumas relegated to the past, to confined archives, in a proposal for the collective revision and re-elaboration of History.

 

Lais Myrrha (Belo Horizonte, MG,1974 – lives in São Paulo)

She holds a master’s degree from Escola de Belas Artes, UFMG (2007) and a bachelor’s degree in visual arts from Escola Guignard, UEMG (2001). He received several awards, including the I Bolsa Pampulha (2003), I Concurso Itamaraty de Arte Contemporânea, Brasília (2011) and Prêmio Arte e Patrimônio. He participated in the Season of Projects at Paço das Artes, in São Paulo, and in the 8th Bienal do Mercosul, 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 Bienal de Arte de São Paulo with the work Two pesos, two measures, 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 unpublished work commissioned by the Fundação Bienal de Gwagju for the 12th Gwangju Biennale and, in 2019, he participated in the 13th Bienal La Hababa. In 2020, he joined the exhibition Infinito Vai, 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.

 

Laryssa Machada (Porto Alegre, RS, 1993 – lives in Salvador, BA)

laryssa machada is a visual artist, photographer and filmmaker. Born in Porto Alegre – RS (1993), currently lives in Salvador – BA. it constructs images as evocations of decolonization and new narratives of present/future. she studied journalism, social science and the arts; learned a lot from the street. her works discuss the construction of an image about lgbt’s, indigenous people, street people-walking through brazil deinvasion.

 

 

 

 

 

Lidia Lisbôa (Guaíra, PR, 1970 – lives in São Paulo)

Lidia has a degree in metal engraving from the Lasar Segall Museum, contemporary sculpture and ceramics from the Brazilian Museum of Sculpture (MuBE) and Liceu de Artes e Ofícios. The artist participated in exhibitions at the Fibra galleries, 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 Award (1998) and the II National Award for Afro-Brazilian Cultural Expressions (2012). Lidia Lisbôa works with sculpture – especially in clay – engraving, painting, sewing and crochet. Her artistic practice develops at the intersection between art objects, performance and ritual, and approaches the present and the past through autobiographical, territorial and ancestral themes. Recently, a statue by her was inaugurated in the Liberdade neighborhood (São Paulo, SP) in honor of the samba singer Madrinha Eunice, as part of a project by the Municipal Department of Culture that celebrates black personalities from São Paulo’s culture. Lidia Lisbôa lives and works in São Paulo.

 

Luiz 83 (São Paulo, SP, 1983 – lives 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 streets of the city as a “pichador”, an activity that offered the beginning of a plastic vocabulary that has been refined from 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 a assembler of art exhibitions also offers him the opportunity to remain in close contact with works of a classical and contemporary nature, an opportunity that results in sensibly assimilated knowledge. In his works, it is possible to perceive a very peculiar and undoubtedly sophisticated concretism in the formal solutions and in the conceptual and POP nature arrangements, quality also perceived through a chromaticism that generally favors bright colors with intense luminosity. The artist has also been dedicated to performances where he questions the social place of black people and thematizes the relationship of the body with his artistic work and interactions with the city. The artist participated in several individual and group shows, among which the individual “Z” at the Tato gallery and the group shows “Tendências da Street Art” at the Brazilian Museum of Sculpture and “Pretatitude: insurgencies, emergencies and affirmations in Afro-Brazilian contemporary art” stand out. ” at SESC Ribeirão Preto, São Carlos, Vila Mariana and Santos”.

 

Marcelo D’Salete (São Paulo, SP, 1979 – lives in São Paulo)

Marcelo D’Salete is a comic book author, illustrator and teacher. He studied graphic design, has a degree and a 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 U.S. category. Edition of International Material. Angola Janga – Uma História de Palmares (Veneta, 432 pages, 2017) deals with the old 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 Screenplay in South America). 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.

 

Maria Laet (Rio de Janeiro, RJ, 1982 – lives in Rio de Janeiro)

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 has participated in the Bienals: 33rd Bienal de São Paulo: Afinidades Afetivas (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 of 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); Tangents (MSK, Gent, Belgium, 2015); Crossroads (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 (Museum of Contemporary Art in Niterói 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 (Maceió, AL, 1980 – lives in Berlim)

Marina Camargo’s work is based on research that materializes 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 shifting 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, built nature / the naturalization of artificial landscapes, are some of the themes that permeate your job. The maps, recurring in her work, also indicate a direct relationship with spaces and places. In the act of mapping a space, there are a series of choices, distortions and deletions that reveal the presence of mechanisms of power. With her work, Marina Camargo not only alters 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 she published the artist’s book “Como se faz um festa”, in which she investigates the origins and context of the Brazilian sertão. 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 Museu de Arte do Rio, MARGS, Centro Cultural São Paulo, MAC-RS, Museu de Arte Aloísio Magalhães, among others.

 

No Martins (São Paulo, SP, 1987– lives in São Paulo)

The production of No Martins articulates the languages ​​of painting, installation and performances, through which Martins investigates everyday interpersonal relationships, especially the coexistence of the black population in urban daily life, questioning social conflicts such as racism, mortality from violence and the over-incarceration of Brazilian population. His works are in museum collections such as MASP – São Paulo Art Museum, São Paulo State Pinacoteca, Inhotim and Slavery Museum, Luanda – Angola.
Among his most recent exhibitions, the following stand out: Political Encounters at the Mariane Ibrahim Gallery in Paris – France; Social signs at Jack Bell Gallery in London – UK (2020); Everything under control, at the 29th CCSP Exhibition Program (Centro Cultural São Paulo), in São Paulo – Brazil (2019); To those who are gone, to those who are here and to those who will come, at Instituto Pretos Novos, Rio de Janeiro – Brazil (2019). And the group shows: 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 Histories at MASP (Museu de Arte de São Paulo) and ITO (Instituto Tomie Ohtake), São Paulo – Brazil (2018).

 

RODRIGUEZREMOR
Denis Rodriguez (São Paulo, SP, 1977 – lives in Igatu, BA)
Leonardo Remor (Estação, RS, 1987 – lives in Igatu, BA)

As a duo, our work interrogates visible and invisible imposed boundaries, such as the separation of nature and culture, contemporary art and folk art, modern architecture and vernacular architecture, technology and para-technology, artist and critic, curator and researcher. , authorship and collaboration. Divisions, binaries that distance us from our integrity and from the complex matrix of life, in which contradictory and complementary forces take turns 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 works that invest in a critical look at 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 from Anthropology with the aim of questioning the western ethnography that documents, describes or narrates a cultural practice, only systematizing, without recognizing this ancestral knowledge as a sustainable alternative to the collapsing world resulting from the ideas of modernity and progress.

Denis Rodriguez and Leonardo Remor 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 ancestral knowledge and technologies of popular creators and the native peoples of eastern South America. Since August 2020, they live 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.

 

Sérgio Lucena (João Pessoa, PB, 1963 – lives in São Paulo)

Interested in the most diverse subjects, Lucena started and then left the bachelor’s degree courses in physics and psychology, both at the Federal University of Paraíba (UFPB), in João Pessoa, still unfinished. In 1982, he began to study drawing and painting techniques with the artist Flávio Tavares (1950). He spent a period in Chapada dos Guimarães and, on 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 your production. It is at this stage that he began to paint in oil.

The starting point of his pictorial work resided in the representation of invented and fanciful beings. The typical figurations of this beginning of his career made reference to the fantastic imagination of the Northeast, in which the present and permanent interest that crosses his entire trajectory was already identified: the complex and mysterious relationship between light and shadow. When he moved to São Paulo in 2003, he began to dedicate himself to painting gods, hybrid beings or chimeras that, little by little, gave way to the luminous research that has dominated his production for almost two decades.

Since then, Lucena’s painting (always sensitive to the forces of nature) reveals her direct reference to the landscapes of the sertão, rescued from her childhood memories, in canvases that are usually large-format that suggest landscapes with a horizon as far as the eye can see. In more abstracted works, the horizontal line is diluted in fields of color, with a delicate infinite gradient. As a true invitation to contemplate the immensity and variety of the reflections of his colored lights produced from an immense range of pigments, his paintings are built 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 on canvas.

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 Museum of Sculpture (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. In addition, 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 Award, in the Contemporary Artist category.

 

Sidney Amaral (São Paulo, SP, 1973 – same, 2017)

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 by the material and contextual displacement of objects, as well as to the approach of ethnic-racial themes, including the condition of the black population and, in particular, of the black man in Brazil, addressed, often through his self-portrait. Sidney Amaral began his career in the 1990s, when he studied at the Lyceum of Arts and Crafts in São Paulo, at the Panamerican School of Arts and at the ECOS School of Photography. In 1998, he graduated in Art Education from Fundação Armando Álvares Penteado. The following year, he was a student of the artist Ana Maria Tavares (1958-) in the course of guidance and development of artistic projects 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 2nd Funarte Award for Black Art and the artistic residency at the Tamarind Institute (New Mexico, USA) in 2012, and he participated in important exhibitions, such as “Mestiça Stories” (2014) at the Tomie Ohtake Institute. , and “Dialogos Ausentes” (2016-2017) at Itaú Cultural. In early 2017, Sidney Amaral was diagnosed with pancreatic cancer, which, in a few months, led to his premature death.

 

Tadáskía (Rio de Janeiro, RJ, 1993 – lives between Rio de Janeiro and São Paulo, SP)

Tadáskía (b. 1993, Brazil) is a black and transgender 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 on the visible and invisible experiences of the black diaspora, resulting from family 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 Asterides Triangle in Marseille; in Madragoa, in Portugal; and at Sé, Pivô, Auroras and at the Casa de Cultura do Parque, in São Paulo.

 

 

Xadalu Tupã Jekupé (Alegrete, RS, 1985 – lives in Porto Alegre, RS)

Xadalu Tupã Jekupé is a mestizo artist who uses elements of serigraphy, painting, photography and objects to approach the tension between indigenous and western culture in cities in the form of urban art. His work, the result of experiences in the villages and conversations with wise men around the fire, became one of the most powerful resources of the visual arts against the erasure of indigenous culture in Rio Grande do Sul. The dialogue and integration with the Guarani Mbyá community allowed the artist to rescue and recognize his own ancestry. Xadalu has its origins 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-grandparents. The work made for the Clube de Colecionadores features an indigenous head, such as those carved at the base of the Porto Alegre cathedral, which symbolize the dominance of Christianity over indigenous culture and the extermination of native peoples. In Guarani, the artist writes “There is a city about us”, in clear allusion to the buried indigenous territory and the archaeological remains found in the region.

 

Service

37th edition of Panorama da Arte Brasileira: Under the ashes, ember

Curatorship: Cauê Alves, Claudinei Roberto da Silva, Cristiana Tejo e Vanessa K. Davidson
Exhibition period: July 23, 2022 (from 1 pm) to January 15, 2023
Correlation: MAM and Sesc
Location: Museum of Modern Art of São Paulo
Address: Ibirapuera Park (Av. Pedro Álvares Cabral, s/nº – Gates 1 and 3)
Opening hours: Tuesday to Sunday, from 10 am to 6 pm (last entry at 5:30 pm)
Phone: (11) 5085-1300
Tickets: R$25.00 in full. Free on Sundays.

 

Museu Afro Brasil
37th edition of Panorama da Arte Brasileira: Under the ashes, ember

Exhibition period: July 23rd 2022 – october 23rd 2022
Opening hours: Tuesday to Sunday, from 10 am to 5 pm. Free n Wednesdays.

 

Half-price for students, with identification; low-income youth and the elderly (+60). Free for children under 10 years old; people with disabilities and accompanying persons; teachers and directors of the state and municipal public network of SP, with identification; MAM members and students; employees of partner companies and museums; members of ICOM, AICA and ABCA, with identification; employees of SPTuris and employees of the Municipal Department of Culture.