Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.

The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.

The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.

Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.

The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.

The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.

Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.

Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.

Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.

In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.

In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.

In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.

JAMAC + Descartes + Colo de Vó

Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.

The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.

The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.

Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.

During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.

“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.

Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.

During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.

“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.

Devora

The study group investigates the relationship between contemporary art and food cultures, bridging the sensory and the conceptual, the individual and the collective. Through theoretical and experimental practices, it aims to understand food as material, tool, and artistic expression. The group will explore themes such as society, politics, education, economy, ecology, and health. With monthly meetings on Thursdays from 7 PM to 9 PM, the initiative seeks to expand discussions on the intersection of art and food, exploring new creative and sensory possibilities.

Devora

The study group investigates the relationship between contemporary art and food cultures, bridging the sensory and the conceptual, the individual and the collective. Through theoretical and experimental practices, it aims to understand food as material, tool, and artistic expression. The group will explore themes such as society, politics, education, economy, ecology, and health. With monthly meetings on Thursdays from 7 PM to 9 PM, the initiative seeks to expand discussions on the intersection of art and food, exploring new creative and sensory possibilities.

A group of migrating bird nests from the crested oropendola – or crested cacique – species, hangs from a dead tree branch. The nests are made of copper wires and serve as receiving antennas that capture nearby signals, creating white noise in the space. Oropendolas are native to Central and South America and are known for their long, pendulous nests made from woven plant fibers.
A team from the University of Oldenburg (Germany) found that electromagnetic noise from antennas alters the internal compass orientation of migratory birds, affecting their movement. Thus, the work plays with the idea of a parasitic symbiotic relationship between humans and birds: an antenna-nest both shelters and repels, negatively influencing the birds’ natural cycle and affecting their ability to migrate and develop freely.

Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.

Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.

Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.

While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.

Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.

Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.

While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.

Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.

Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.

While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.

Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.

Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.

While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.

Different parts of a tree trunk are suspended and supported by steel beams, resembling structures used to display archaeological architectural ruins, signaling a future where sacred trees are exhibited as extinct artifacts.

In many ancient cultures, trees represent the connection between the earthly realm, the underworld, and the heavens. Positioned at the center of the universe, they served as a channel of communication between gods and humans. Their trunks represented the earthly realm, and their branches, stretching toward the heavens, symbolized the afterlife. In Mayan mythology, certain species of trees symbolize the interconnection of the universe and the spiritual world, where nature and the divine are deeply intertwined. It was believed that the gods created the world around trees, which were considered the cosmic axis around which the universe revolved.

The work questions extractivism in opposition to the production of traditional handmade pieces. The work comments on the increasing demand for metals such as steel, valued by industry at the expense of environmental and cultural preservation.

The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.

Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.

Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.

The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.

Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.

Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.

Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.

The works in this series mix hand-made wool, cotton, and palm fiber ropes, intertwined with copper strips. The pieces are based on early computer systems, technologies that, in their initial stages, utilized artisanal and manual techniques in their fabrication.

Weaving practices significantly influenced the origins of information storage in computers, and women played a crucial role in the development of these technologies.

The works aim to subvert notions of the patriarchal origins of knowledge, as well as the universal bias towards the supremacy of Western knowledge, which rejects other forms of understanding and relating to the world, highlighting the influence of textiles on the development of science.

The video, recorded during Peru’s Independence Day celebrations in the city of Cotambambas, in the Apurímac district, depicts a group of people dancing hand in hand. In celebration, the people form circles and stomp on the ground, causing the earth to rise.

With the sound of a running engine in the background, the video highlights the duality between tradition and the threat of an accelerated modernization project.

Inflexions of Air is an installation composed of a series of rubber air chambers, partially covered by braided bamboo and reed fibers. These natural weavings limit the expansion of the chambers, creating distorted shapes when they are inflated and deflated by air from a compressor, resembling a breathing motion.
The work draws inspiration from displacements driven by the search for new territories, highlighting colonial interests in resource exploitation—such as rubber—and the economic asymmetries within the dynamics of neoliberalism and its systems of dependence that perpetuate the predatory extraction of natural resources.
Additionally, the use of air—an essential element for life—serves as a metaphor to address contemporary ecological challenges, such as pollution and environmental devastation in the context of extractivism.

In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.

_{Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel}

_{Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel}

The works in this series examine different human interventions on Earth. These works were created from Moscheta’s immersion in the Atacama Desert, where the artist encountered trails made by ancestral peoples.
Trails point to the relationship with the movement of the body through space and can be interpreted as drawings on the planet’s surface. The apacheta made by the artist in the desert creates another small intervention on the landscape, pointing to issues related to scale.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

In Substância [Substance] (2024), Moscheta inserts a salt rock into a photograph taken during one of his expeditions to a salt cave in Colombia. The work simultaneously documents and conveys his presence in the cave.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

Questions about the nature of time guide Sedimentar [Sedimentary] (2024). This series of paintings by Moscheta is created from the sedimentation of limestone derived from coccoliths. These masses of calcium carbonate are produced by algae as a form of protection. When the algae die, the coccoliths are released into the marine environment. Moscheta makes a watery pigment with the limestone powder from the coccoliths to paint surfaces prepared with acrylic gesso. The artist moves this paint across the field until it settles on the support. Moscheta returns the sedimentary rock of the coccoliths to the water, restoring the elasticity of the algae to the material. The image of the paintings resembles blurred bones, proposing a multiple pathway between materials. The temporal and material interplay of Sedimentar raises questions about the nature of creation and destruction in art.

Questions about the nature of time guide Sedimentar [Sedimentary] (2024). This series of paintings by Moscheta is created from the sedimentation of limestone derived from coccoliths. These masses of calcium carbonate are produced by algae as a form of protection. When the algae die, the coccoliths are released into the marine environment. Moscheta makes a watery pigment with the limestone powder from the coccoliths to paint surfaces prepared with acrylic gesso. The artist moves this paint across the field until it settles on the support. Moscheta returns the sedimentary rock of the coccoliths to the water, restoring the elasticity of the algae to the material. The image of the paintings resembles blurred bones, proposing a multiple pathway between materials. The temporal and material interplay of Sedimentar raises questions about the nature of creation and destruction in art.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

“My relation with the landscape rests in a first attempt to build an ideal place, an imitation of the nature as a faithful portrait of the relations of perfection and balance. By doing this, I want to cover all the ways of understanding a place, not only by sensitive medias as drawings or photographs, but through rational ways of understanding places: latitude, longitude, altitude, mathematical calculations and technical/scientific references.The mysteries of the force acting in secret in the nature are rebuilt, sometimes in a brutal manner, other, in a delicate and almost imperceptible way, in an act to fully understand the matter of what we are formed”

Marcelo Moscheta

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

The mobility of humans between spaces is celebrated in Jeremias, which features a prophecy from the Bible, specifically from the Book of Jeremiah, Chapter 35:7, inscribed on fragments of ceramics from various origins: “All your days ye shall dwell in tents, that ye may live many days in the land where ye are strangers.”

Like an archaeological excavation, the work proposes the ruin of the condition of building and material accumulation in favor of a constant state of displacement.

The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of spoons the artist have been developing. The objects were meticulously sculpted from wood logs and, here, they were cast in silver. In Colher lambe colher the silver comes to life with human features and, in a pair, seem to serve each other voluptuously. The size and material of the pieces bring the objects closer to those of daily use and has the potential to envelop the viewer – who could lead them to the mouth – in their malice.

The works from this series were conceived and developed through an investigation by Maurício Dias and Walter Riedweg on the archives, professional activity and personal life of the North American photographer, artist and activist, Charles Hovland (1954) that the pair met in the beginning of the 1990s.

In Arquivo fantasia [Fantasy Archive] (2017) Hovland’s black and white contact sheets were recreated into digital video animations. Each analog contact sheet was resized into a single sheet and transported onto a collective contact sheet with various models, showing the chemical process of the passage from negative to positive of each image on video. The result is presented in vertical videos where the audio reveals the photographer’s notes about his models read by himself. These notes, called “Log Book” by Hovland, catalog the date of the photo session, the sexual fantasy of each model and the value they paid for the execution of these images. This mixing of sound and vision makes for a new archival organization where the identity and gender of each model are substituted by each model’s fantasy.

WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.

This series is composed of a set of photographs that show masked figures manipulating snakes. The images are reminiscent of gay fetish practices associated with “sexual deviations”. The title of the series reproduces the first lines of Inferno, Canto 1, from The Divine Comedy, by Dante Alighieri. The epic poem narrates an allegorical journey through what is essentially the medieval concept of hell.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bidimensional.

The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.

For this series, Dora Longo Bahia collected images of signposts showing the presence of landmines in war zones. The title Perigo Minas [Danger Minas] plays with the danger of minefields and the expression “minas,” which, in Portuguese, designates women or girls and also landmines.

In Relâmpago [Lightning], the natural phenomenon of the same name is transposed into an internal space. Through a composition of tubular lamps, the purplish light from the radiation is reproduced, showcasing the power and fragility present in an electrical discharge. The piece is made up of ActiViva type bulbs, which, according to the manufacturer, promotes the welfare and productivity of the human being and stimulates photosynthesis. The observation of artists about how men depend on electricity, at least in urban areas, is evident. In general, the lightning is a power at the same time creator and destroyer, both observed from a scientific or mythological point of view.

In Relâmpago [Lightning], the natural phenomenon of the same name is transposed into an internal space. Through a composition of tubular lamps, the purplish light from the radiation is reproduced, showcasing the power and fragility present in an electrical discharge. The piece is made up of ActiViva type bulbs, which, according to the manufacturer, promotes the welfare and productivity of the human being and stimulates photosynthesis. The observation of artists about how men depend on electricity, at least in urban areas, is evident. In general, the lightning is a power at the same time creator and destroyer, both observed from a scientific or mythological point of view.

Insufficiency of media is present in the video Horizonte [Horizon], 2015. In this work, guitar strings form waves of different size and length based on the incapacity – or incompatibility – of the video camera to capture the vibrations generated by the string instrument.

In Deposição [Deposition], 2013, disuse appears in the form of an accumulation of printed encyclopedias cut like topographic drawings to resemble stalagmites. They therefore refer to a sedimentation of materials that are detached from their original context and begin to structure a shape made up of residues.

In Chora-Chuva, a total of 16 plastic pails containing water are arranged on tables as though to catch falling waterdrops invading the exhibition space. Under these pails, loudspeakers were installed in such a way as to create vibrations that simulate the effects of water dripping into them – It is the rain that breaks into the internal space.
This work, originally conceived for the 2014th Vancouver Biennial, gains new meanings when inserted within a different context.

In Chora-Chuva, a total of 16 plastic pails containing water are arranged on tables as though to catch falling waterdrops invading the exhibition space. Under these pails, loudspeakers were installed in such a way as to create vibrations that simulate the effects of water dripping into them – It is the rain that breaks into the internal space. This work, originally conceived for the 2014th Vancouver Biennial, gains new meanings when inserted within a different context.

Water is also present in the paintings of the series Terrenos [Terrains] 2015, these works, drawings made with enamel paint (the same type used to paint miniature models of military vehicles) resemble camouflage patterns. In the marbling technique called ebru, the paint is placed on the surface of water, and the water’s movement is transferred to the absorbent surface of the artwork. The paintings refer to views of regions of Latin America seen by satellites (represented in their color schemes). The pieces of the series Terrenos were constructed on the basis of the different parts of a tangram puzzle. This point reinforces the idea of camouflage as a development of the logical reasoning in the analysis and distinctiveness of their shapes. By referring to this sort of pattern, the artist also points to the regions represented as zones of conflict, or as zones from which, for some reason, the other is seen (or should be seen) as an enemy. Atacama, Tapajós and São Paulo are some of the places represented in the series.Water is also present in the paintings of the series Terrenos [Terrains], 2015. In these works, drawings made with enamel paint (the same type used to paint miniature models of military vehicles) resemble camouflage patterns. In the marbling technique called ebru, the paint is placed on the surface of water, and the water’s movement is transferred to the absorbent surface of the artwork. The paintings refer to views of regions of Latin America seen by satellites (represented in their color schemes). The pieces of the series Terrenos were constructed on the basis of the different parts of a tangram puzzle. This point reinforces the idea of camouflage as a development of the logical reasoning in the analysis and distinctiveness of their shapes. By referring to this sort of pattern, the artist also points to the regions represented as zones of conflict, or as zones from which, for some reason, the other is seen (or should be seen) as an enemy. Atacama, Tapajós and São Paulo are some of the places represented in the series.

Water is also present in the paintings of the series Terrenos [Terrains], 2015. In these works, drawings made with enamel paint (the same type used to paint miniature models of military vehicles) resemble camouflage patterns. In the marbling technique called ebru, the paint is placed on the surface of water, and the water’s movement is transferred to the absorbent surface of the artwork. The paintings refer to views of regions of Latin America seen by satellites (represented in their color schemes). The pieces of the series Terrenos were constructed on the basis of the different parts of a tangram puzzle. This point reinforces the idea of camouflage as a development of the logical reasoning in the analysis and distinctiveness of their shapes. By referring to this sort of pattern, the artist also points to the regions represented as zones of conflict, or as zones from which, for some reason, the other is seen (or should be seen) as an enemy. Atacama, Tapajós and São Paulo are some of the places represented in the series.

]Water is also present in the paintings of the series Terrenos [Terrains], 2015. In these works, drawings made with enamel paint (the same type used to paint miniature models of military vehicles) resemble camouflage patterns. In the marbling technique called ebru, the paint is placed on the surface of water, and the water’s movement is transferred to the absorbent surface of the artwork. The paintings refer to views of regions of Latin America seen by satellites (represented in their color schemes). The pieces of the series Terrenos were constructed on the basis of the different parts of a tangram puzzle. This point reinforces the idea of camouflage as a development of the logical reasoning in the analysis and distinctiveness of their shapes. By referring to this sort of pattern, the artist also points to the regions represented as zones of conflict, or as zones from which, for some reason, the other is seen (or should be seen) as an enemy. Atacama, Tapajós and São Paulo are some of the places represented in the series.

Another piece linked to urban and natural landscapes is Relâmpago [Lightning Bolt], 2015. The artists created a lightning bolt made out of fluorescent tubes of the activiva type. According to the manufacturer, this type of light bulb promotes the well-being and productivity of humans, while also stimulating photosynthesis. The artists are evidently referring to man’s dependence on electrical energy, at least in the urban context. It is important, however, to investigate other aspects of the symbolism linked to lightning bolts: scientific theories indicate that electrical discharges may have played an essential role in the origin of life. In human history, lightning was possibly the first source of fire, a milestone in the process of our evolution. Generally, lightning represents a power that is simultaneously creative and destructive, when seen from either a scientific or mythological point of view. It is simultaneously life and death; a synthesis of celestial activity and its transformative actions.

Two tripods support an apparatus that rotates irregularly shaped fan blades, onto which the image of a hummingbird is projected. The image of this bird – who lives only in the Americas – is formed on the surface of helices that fragment the originally White projection, covering all the colors of moving spectrum.
It is as this nonsynchronicity gave rise to this image from the animal kingdom.

It is something natural that emerges based on the insufficiency of the electronic apparatus.

Two tripods support an apparatus that rotates irregularly shaped fan blades, onto which the image of a hummingbird is projected. The image of this bird – who lives only in the Americas – is formed on the surface of helices that fragment the originally white projection, covering all the colors of moving spectrum. It is as this nonsynchronicity gave rise to this image from the animal kingdom. It is something natural that emerges based on the insufficiency of the electronic apparatus.

In Deposição [Deposition], 2013, disuse appears in the form of an accumulation of printed encyclopedias cut like topographic drawings to resemble stalagmites. They therefore refer to a sedimentation of materials that are detached from their original context and begin to structure a shape made up of residues.

The mural shows an image found in an evangelization book where it reads “Brazil and the Apocalypse.” Applied upside down to the facade, the image will be gradually constructed throughout the exhibition period through the performance Work after 6 PM, where Ianni will chisel away at the large entrance wall of Vermelho, through which hundreds of projects have passed, in pursuit of the pictorial construction of the inverted image. The work plays with the end of the world as a tool to block imagination, through fear, and as a possibility of reinvention. The work is then completed at the end of the exhibition. Or not.

Pagode na Lata performed in the gallery´s courtyard on opening day. The collective is comprised of former workers from social assistance and healthcare services in Cracolândia (São Paulo´s skid row) who view samba as a tool for harm reduction and solidarity economy as a practice of autonomy.
Pagode na Lata, in its current lineup, consists of Raphael Escobar, Leonardo Lindolfo, Jair Junior “Racionais”, Marquinho Maia, Robson Correia “Favela”, Gustavo Luizon, Marcos Cesário “Pirata”, Raul Zito, Átila Fragozo, Caca Pinheiro, and Jurandir Emídio.

What time is it?, is a series of sculptures that address the relationship between multiple temporalities. Past, present, future, human time, and natural time appear intertwined in rocks that have been drilled to entangle with digital wristwatches. The sculptures create a dialogue between geological time and social time, bringing together different temporal scales.

Tapete [Carpet] is an ephemeral memorial, inspired by Catholic Corpus Christi processions. Stemming from a tradition initiated during the Portuguese colonization period, the holiday is marked by the creation of sawdust carpets that color the streets of various Brazilian cities. The carpets are made with designs of biblical scenes, flowers, devotional objects, and often feature local images and messages. The carpets, after being drawn and prepared for days, are dismantled as the processions pass over them.

In Clara Ianni’s work, the carpet features a large drawing of a hybrid flower. The drawing originates from the combination of two halves: on one side, the image of the Brazilwood flower cut in half was taken from a botanical encyclopedia; on the other, a derivation of this drawing was generated by Artificial Intelligence (AI) software. Tapete brings one of the formative elements of what is now known as Brazil, the plant that gave it its name and which, due to its extraction for the production of red dye, was once declared extinct, alongside an image generated by corporate software that recombines images produced by users on a large scale, much like commodities. In this intersection, Tapete traces a connection with both past and present extractivism, questions the nature–culture divide, and proposes a celebration of the interdependence between humanity and its surroundings in the reproduction of life.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

What time is it?, is a series of sculptures that address the relationship between multiple temporalities. Past, present, future, human time, and natural time appear intertwined in rocks that have been drilled to entangle with digital wristwatches. The sculptures create a dialogue between geological time and social time, bringing together different temporal scales.

Angels is a series of observational drawings. Taken from the earliest maps, encyclopedias, and scientific manuals produced during the colonization of the Americas, the project gathers drawings of angels carrying barrels of goods, rulers, and compasses. Anjos addresses the relationship between economic exploitation, science, and religion.

The work deals with one of the central dynamics of capitalism, accumulation, which takes the existing world as raw material for the accumulation of wealth. Combining abstract and concrete characteristics of these mechanisms, the body of work brings to light historical, political, and social aspects, connecting extractivism to digital-financial exploitation.

What time is it?, is a series of sculptures that address the relationship between multiple temporalities. Past, present, future, human time, and natural time appear intertwined in rocks that have been drilled to entangle with digital wristwatches. The sculptures create a dialogue between geological time and social time, bringing together different temporal scales.

What time is it?, is a series of sculptures that address the relationship between multiple temporalities. Past, present, future, human time, and natural time appear intertwined in rocks that have been drilled to entangle with digital wristwatches. The sculptures create a dialogue between geological time and social time, bringing together different temporal scales.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

The idea of the reproduction of life and the interdependence between humanity and nature unfolds in this series of observational drawings. Each set in the series starts from a plant sold as a commodity in one of Brazil’s economic cycles, such as coffee, sugarcane, and soybeans. Using an image from a botanical encyclopedia and derivations of this image made by AI software, Ianni reproduces these images with graphite in hand-drawn observational drawings. The canvases are arranged in a manner reminiscent of a grid, taxonomy, or museum classification, but in deviant pathways suggesting unorderly ramifications and hybridizations.

Union (Sindicato) brings together three conventions of representation of nature (encyclopedic, freehand drawing, and AI-generated image) and questions the separation (Earth, body, machine) through the accumulation of digital byproducts, the discard of the contemporary world, the residue. The series occupies two rooms of the exhibition. In Room 1, alongside Tapete, three sets deal with the representation of the Brazilwood flower at different stages: the closed seed, the open seed, and the flower.

“The modern myth of a universal history spread by Europe appears in Clara Ianni’s Segunda Natureza [Second Nature] (2023), filmed inside the Maastricht Lutheran Church (Netherlands). The artist addresses the notion of capital accumulation (seeds, fibers, minerals…), uniting the themes of land exploitation and the exploitation of human labor. The result of the Christianized world, colonial extraction based its expansion on several separations. The split between (man’s) body and spirit for greater control over Nature stems from Western modernity. The Protestant principle Soli Deo gloria (“Glory to God alone”), by which not even life has meaning outside this order, defines other divisions: between the clergy and common people, and between true devotion and false beliefs. Yet, although the film expresses the yearning for the landscape outside the Church’s windows, it is at least an allusion to possibilities of regeneration through the qualities of interdependence and camaraderie.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

A fachada da Vermelho apresenta uma Contrafachada, projetada por Tiago Guimarães. Literalmente a maior extensão de parede da galeria, a face frontal do edifício incorpora seis estruturas de sarrafos de madeira que apresentam seu avesso. Gesto arquitetônico de uma assertividade quase singela: sustentar que não há neutralidade, até mesmo no desenho do contêiner, habitat ou tanque de guerra; tudo tem um avesso e um fundo. Toda versão oculta, uma contraversão. Inversão, contravenção e vice-versa.

Trecho de No Fim da Madrugada, de Lisette Lagnado

“[…] In this work of resignification, Pero Vaz de Caminha’s letter to His Highness The King of Portugal, in which he reported having “found” an expanse of inhabited land in 1500, becomes itself a record of extractivism and the gold rush in Brazil. The absence of iconographic documents on the invasion hence became Rosângela Rennó’s pretext for inventing the dialogues of her 2000 film Vera Cruz. According to the artist, the “old, scratched and worn-out image on the film” reinforces the gap between photographic documentation and fiction.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

–

Only three textual accounts of Pedro Alváres Cabral’s great undertaking have survived the 500 or so years that have passed since the discovery of Brazil by the Portuguese. The most complete is the letter signed by Pero Vaz de Caminha and addressed to King D. Manuel I of Portugal, informing precisely of the discovery of a new Eden.

Coincidentally, if the origin of the work is based on the solitary resistance of subtitles — the exchange of the image for its textual version — the fate of what remains of this documentary/fiction also seems to reside in translation, into as many languages as possible. The confrontation between them proposes a very peculiar and curiously didactic semantic situation: more and new (im)possible dialogues, ad infinitum, that make us reflect on the precariousness of media and perception and, above all, on the fragility of human relationships.

Rosângela Rennó, 2000 – 2011

“’My people’, says Carmézia Emiliano, a Macuxi artist whose people have always known that nature has inherent rights. It is the title of a painting, in which more than two-thirds of the canvas is filled by a flutter of butterflies bursting from the earth’s humus and flying over the narrow strip of a village. The question remains: what can we learn from her notion of ‘people’, which embraces living beings and biomes?”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“The end of daybreak is about time awareness, but also a figure of speech. As a metaphor, it evokes whatever comes after collusions under cover of darkness, and it embraces waves of indignation and anger. Among countless examples of manipulation and intrigue, one can mention the burning of the archives on slavery, under the responsibility of Minister of Finance Ruy Barbosa, on May 13, 1891. I nourished the winds, I unlaced the monsters — persistent denunciations by social movement activists are finally making Brazil confront institutions founded upon structural racism.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

–

“This work displays with fire marks the date of the burning of the slavery archives ordered by Ruy Barbosa, a historical fact that makes it difficult to recover an important part of black people’s history in Brazil by those who seek to uncover the trajectory of their ancestors”

André Vargas

“Archives and documents on coloniality must have their categories reconfigured if we want to surmise hypotheses and produce reversals of meaning. Artist and educator bruno o., an active member of Acervo Bajubá, a “project recording memories of Brazilian LGBT+ communities”, chose to highlight the story of Marcos Puga, “a transvestite and plant thief”. The work on display is part of an ongoing investigation on cataloging, documentation, and archive reorganization practices. Bruno considers other types of testimonies, recognition and activation of memories, places and bodies involved in gathering situated knowledge. He explains that “Marcos Puga’s case questions the reproduction of the epistemicide colonial operations responsible for the indexation of life within monolithic orders”. What was it like, under the Brazilian civilian-military dictatorship, to tell the story of a person whose only remains are material fragments… and rumors?

In his search for information, bruno o. located a niece of Marcos Puga’s, who defended him when he was illegally arrested and tortured in 2001 after an anonymous tip. She says Marcos had been a baby left on her grandmother’s doorstep. A kind and beloved child, he found family care and, in turn, cared for his adoptive aunts and grandparents. His niece does not remember much about the fern thefts; she thinks it is a lie. She says that she knew he performed in a nightclub, but never saw anything, not even a wig; he probably left everything somewhere else. She only knows that he shaved his body. Marcos disappeared in 2002, and she was contacted years later by a São Bernardo do Campo police team who had found human remains they supposed were his — since he had been adopted, no identification was possible.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Archives and documents on coloniality must have their categories reconfigured if we want to surmise hypotheses and produce reversals of meaning. Artist and educator bruno o., an active member of Acervo Bajubá, a “project recording memories of Brazilian LGBT+ communities”, chose to highlight the story of Marcos Puga, “a transvestite and plant thief”. The work on display is part of an ongoing investigation on cataloging, documentation, and archive reorganization practices. Bruno considers other types of testimonies, recognition and activation of memories, places and bodies involved in gathering situated knowledge. He explains that “Marcos Puga’s case questions the reproduction of the epistemicide colonial operations responsible for the indexation of life within monolithic orders”. What was it like, under the Brazilian civilian-military dictatorship, to tell the story of a person whose only remains are material fragments… and rumors?

In his search for information, bruno o. located a niece of Marcos Puga’s, who defended him when he was illegally arrested and tortured in 2001 after an anonymous tip. She says Marcos had been a baby left on her grandmother’s doorstep. A kind and beloved child, he found family care and, in turn, cared for his adoptive aunts and grandparents. His niece does not remember much about the fern thefts; she thinks it is a lie. She says that she knew he performed in a nightclub, but never saw anything, not even a wig; he probably left everything somewhere else. She only knows that he shaved his body. Marcos disappeared in 2002, and she was contacted years later by a São Bernardo do Campo police team who had found human remains they supposed were his — since he had been adopted, no identification was possible.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Archives and documents on coloniality must have their categories reconfigured if we want to surmise hypotheses and produce reversals of meaning. Artist and educator bruno o., an active member of Acervo Bajubá, a “project recording memories of Brazilian LGBT+ communities”, chose to highlight the story of Marcos Puga, “a transvestite and plant thief”. The work on display is part of an ongoing investigation on cataloging, documentation, and archive reorganization practices. Bruno considers other types of testimonies, recognition and activation of memories, places and bodies involved in gathering situated knowledge. He explains that “Marcos Puga’s case questions the reproduction of the epistemicide colonial operations responsible for the indexation of life within monolithic orders”. What was it like, under the Brazilian civilian-military dictatorship, to tell the story of a person whose only remains are material fragments… and rumors?

In his search for information, bruno o. located a niece of Marcos Puga’s, who defended him when he was illegally arrested and tortured in 2001 after an anonymous tip. She says Marcos had been a baby left on her grandmother’s doorstep. A kind and beloved child, he found family care and, in turn, cared for his adoptive aunts and grandparents. His niece does not remember much about the fern thefts; she thinks it is a lie. She says that she knew he performed in a nightclub, but never saw anything, not even a wig; he probably left everything somewhere else. She only knows that he shaved his body. Marcos disappeared in 2002, and she was contacted years later by a São Bernardo do Campo police team who had found human remains they supposed were his — since he had been adopted, no identification was possible.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“There is no denying that images can mobilize public opinion and awaken it from torpor, indifference or ignorance. In the drawn-out demarcation process of the Yanomami Indigenous Land, the release of Claudia Andujar and Carlo Zacquini’s photographs played a fundamental role in raising awareness. Despite this historic achievement, however, ongoing invasion waves by miners and businessmen in search of gold and cassiterite, with the direct or indirect support of the State and the Armed Forces, keep causing social and environmental disasters due to contamination by mercury and other pollutants. In the Vermelho exhibition, we decided not to expose the victims and to highlight the seductive aesthetics of imperialism. The language of the gold rush assimilates typical codes of touristic ads, with their (western movie!) chromatic scales and typography filled with subliminal messages. While Andujar’s Metais Ltda. [Metals LLC] (1989) assembles a set of travel agency posters of Amazon charter flights, the scenes recorded by Zacquini are self-explanatory: in the heart of the Indigenous territory, you can see a tent belonging to the gold mining company and the helicopter runway. A photographer who has been a Consolata missionary since 1957 and moved to Boa Vista in 1965, he reveals that “the company owner was elected and re-elected a federal representative for the Roraima state and was known as the ‘man with the golden gun’”. This documentation work was conducted during a trip of the Action for Citizenship, at the invitation of Senator Severo Gomes, to investigate crimes against human rights on the Yanomami Indigenous Land. Its truthfulness constitutes irrefutable evidence of the ongoing genocides, whose national and international repercussions are meant to reverse or, at least, control situations of abuse.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“There is no denying that images can mobilize public opinion and awaken it from torpor, indifference or ignorance. In the drawn-out demarcation process of the Yanomami Indigenous Land, the release of Claudia Andujar and Carlo Zacquini’s photographs played a fundamental role in raising awareness. Despite this historic achievement, however, ongoing invasion waves by miners and businessmen in search of gold and cassiterite, with the direct or indirect support of the State and the Armed Forces, keep causing social and environmental disasters due to contamination by mercury and other pollutants. In the Vermelho exhibition, we decided not to expose the victims and to highlight the seductive aesthetics of imperialism. The language of the gold rush assimilates typical codes of touristic ads, with their (western movie!) chromatic scales and typography filled with subliminal messages. While Andujar’s Metais Ltda. [Metals LLC] (1989) assembles a set of travel agency posters of Amazon charter flights, the scenes recorded by Zacquini are self-explanatory: in the heart of the Indigenous territory, you can see a tent belonging to the gold mining company and the helicopter runway. A photographer who has been a Consolata missionary since 1957 and moved to Boa Vista in 1965, he reveals that “the company owner was elected and re-elected a federal representative for the Roraima state and was known as the ‘man with the golden gun’”. This documentation work was conducted during a trip of the Action for Citizenship, at the invitation of Senator Severo Gomes, to investigate crimes against human rights on the Yanomami Indigenous Land. Its truthfulness constitutes irrefutable evidence of the ongoing genocides, whose national and international repercussions are meant to reverse or, at least, control situations of abuse.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“There is no denying that images can mobilize public opinion and awaken it from torpor, indifference or ignorance. In the drawn-out demarcation process of the Yanomami Indigenous Land, the release of Claudia Andujar and Carlo Zacquini’s photographs played a fundamental role in raising awareness. Despite this historic achievement, however, ongoing invasion waves by miners and businessmen in search of gold and cassiterite, with the direct or indirect support of the State and the Armed Forces, keep causing social and environmental disasters due to contamination by mercury and other pollutants. In the Vermelho exhibition, we decided not to expose the victims and to highlight the seductive aesthetics of imperialism. The language of the gold rush assimilates typical codes of touristic ads, with their (western movie!) chromatic scales and typography filled with subliminal messages. While Andujar’s Metais Ltda. [Metals LLC] (1989) assembles a set of travel agency posters of Amazon charter flights, the scenes recorded by Zacquini are self-explanatory: in the heart of the Indigenous territory, you can see a tent belonging to the gold mining company and the helicopter runway. A photographer who has been a Consolata missionary since 1957 and moved to Boa Vista in 1965, he reveals that “the company owner was elected and re-elected a federal representative for the Roraima state and was known as the ‘man with the golden gun’”. This documentation work was conducted during a trip of the Action for Citizenship, at the invitation of Senator Severo Gomes, to investigate crimes against human rights on the Yanomami Indigenous Land. Its truthfulness constitutes irrefutable evidence of the ongoing genocides, whose national and international repercussions are meant to reverse or, at least, control situations of abuse.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“There is no denying that images can mobilize public opinion and awaken it from torpor, indifference or ignorance. In the drawn-out demarcation process of the Yanomami Indigenous Land, the release of Claudia Andujar and Carlo Zacquini’s photographs played a fundamental role in raising awareness. Despite this historic achievement, however, ongoing invasion waves by miners and businessmen in search of gold and cassiterite, with the direct or indirect support of the State and the Armed Forces, keep causing social and environmental disasters due to contamination by mercury and other pollutants. In the Vermelho exhibition, we decided not to expose the victims and to highlight the seductive aesthetics of imperialism. The language of the gold rush assimilates typical codes of touristic ads, with their (western movie!) chromatic scales and typography filled with subliminal messages. While Andujar’s Metais Ltda. [Metals LLC] (1989) assembles a set of travel agency posters of Amazon charter flights, the scenes recorded by Zacquini are self-explanatory: in the heart of the Indigenous territory, you can see a tent belonging to the gold mining company and the helicopter runway. A photographer who has been a Consolata missionary since 1957 and moved to Boa Vista in 1965, he reveals that “the company owner was elected and re-elected a federal representative for the Roraima state and was known as the ‘man with the golden gun’”. This documentation work was conducted during a trip of the Action for Citizenship, at the invitation of Senator Severo Gomes, to investigate crimes against human rights on the Yanomami Indigenous Land. Its truthfulness constitutes irrefutable evidence of the ongoing genocides, whose national and international repercussions are meant to reverse or, at least, control situations of abuse.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“[…] how can artistic language abolish the rule of the lords?

Pastor Ventura Profana’s research focused on the methodology of neo-Pentecostal churches. She was educated in Baptist temples and claims to be a prophetess “of the abundance of Black, Indigenous and transvestite life”. Composed after the liturgy of a true hymn to life (to “eternal life”, no less), the music video for the song Eu não vou morrer [I am not going to die] (2020) evades the Lord to honor the female Orixás (Yabás). Profana’s epiphanic release allows a vertiginous plunge into what has been the annihilation of ancestries, intelligences and utopias. One listens to a psalm praising people finally free from colonial policies of extermination, and one exults with the path from the furnace to the living waters in Calunga, da Cruz à Encruzilhada [Calunga, from the Cross to the Crossroads]. This work evokes intergenerational dreams and visions through a fabulous dialogue with matter (who does not want to learn how to fly?), ushering in the time of the Black trans women inside the white cube of the art “cathedral”.

Profana explains in several statements that this Lord transcends religious order and must be projected onto other patriarchal figures (the landowner, the gun advocate, the patron saint…). It is her pastoral mission to invest the insurrectional fury of peripheral bodies attacked by extractive capital against all the explicit and implicit patriarchy of a Brazilian state conceived through its enslavement history. […]”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“In the same room as Andujar, Zacquini and Profana, Cultivo [Tillage] and Bancada [Caucus] (2021), two photographs from the “Cotidiano” [Daily] series by militant transsexual artist and performer Vulcanica Pokaropa, expands the above agenda with the ongoing fight against the landowners’ congressional faction, which protects agricultural companies known for their deforestation and invasion of protected areas.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“In the same room as Andujar, Zacquini and Profana, Cultivo [Tillage] and Bancada [Caucus] (2021), two photographs from the “Cotidiano” [Daily] series by militant transsexual artist and performer Vulcanica Pokaropa, expands the above agenda with the ongoing fight against the landowners’ congressional faction, which protects agricultural companies known for their deforestation and invasion of protected areas.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“In the same room as Andujar, Zacquini and Profana, Cultivo [Tillage] and Bancada [Caucus] (2021), two photographs from the “Cotidiano” [Daily] series by militant transsexual artist and performer Vulcanica Pokaropa, expands the above agenda with the ongoing fight against the landowners’ congressional faction, which protects agricultural companies known for their deforestation and invasion of protected areas.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“There is no denying that images can mobilize public opinion and awaken it from torpor, indifference or ignorance. In the drawn-out demarcation process of the Yanomami Indigenous Land, the release of Claudia Andujar and Carlo Zacquini’s photographs played a fundamental role in raising awareness. Despite this historic achievement, however, ongoing invasion waves by miners and businessmen in search of gold and cassiterite, with the direct or indirect support of the State and the Armed Forces, keep causing social and environmental disasters due to contamination by mercury and other pollutants. In the Vermelho exhibition, we decided not to expose the victims and to highlight the seductive aesthetics of imperialism. The language of the gold rush assimilates typical codes of touristic ads, with their (western movie!) chromatic scales and typography filled with subliminal messages. While Andujar’s Metais Ltda. [Metals LLC] (1989) assembles a set of travel agency posters of Amazon charter flights, the scenes recorded by Zacquini are self-explanatory: in the heart of the Indigenous territory, you can see a tent belonging to the gold mining company and the helicopter runway. A photographer who has been a Consolata missionary since 1957 and moved to Boa Vista in 1965, he reveals that “the company owner was elected and re-elected a federal representative for the Roraima state and was known as the ‘man with the golden gun’”. This documentation work was conducted during a trip of the Action for Citizenship, at the invitation of Senator Severo Gomes, to investigate crimes against human rights on the Yanomami Indigenous Land. Its truthfulness constitutes irrefutable evidence of the ongoing genocides, whose national and international repercussions are meant to reverse or, at least, control situations of abuse.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“The iron sculpture Sentinela avançada, guarda imortal [Advanced Sentinel, Immortal Guard] (2020) heralds the stormy encounter between the warrior Iansã, materialized in the Senhor do Bonfim red satin ribbons, and the colonial poison that drips from the premises of Christianity — beat it, evil grigri, you bedbug of a petty monk.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“The modern myth of a universal history spread by Europe appears in Clara Ianni’s Segunda Natureza [Second Nature] (2023), filmed inside the Maastricht Lutheran Church (Netherlands). The artist addresses the notion of capital accumulation (seeds, fibers, minerals…), uniting the themes of land exploitation and the exploitation of human labor. The result of the Christianized world, colonial extraction based its expansion on several separations. The split between (man’s) body and spirit for greater control over Nature stems from Western modernity. The Protestant principle Soli Deo gloria (“Glory to God alone”), by which not even life has meaning outside this order, defines other divisions: between the clergy and common people, and between true devotion and false beliefs. Yet, although the film expresses the yearning for the landscape outside the Church’s windows, it is at least an allusion to possibilities of regeneration through the qualities of interdependence and camaraderie.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Interestingly, popular memory holds ancestral knowledge and war strategy to be equivalent. After a trip to Angola in 2018, Ani Ganzala has researched the influence of botany on the Black Diaspora. Only an initiated look can apprehend the diversity of vegetation and identify the physical and spiritual healing possibilities of each species. Ganzala was certainly not indifferent to the story of the beatings inflicted by local resistance forces on Portuguese sailors with nettlespurge stalks. Even though no documentary evidence has been found on freed slave Maria Filipa’s, her actions during Bahia’s independence process live in the Itaparica islanders’ imagination. In this critical dimension of historically marginalized bodies, the Black feminism of artist-activists like Ganzala joins a growing chorus, along with studies aimed at recognizing Bahia’s legacy in the formation of contemporary Brazil.”

Excerpt from No fim da madrugada, by Lisette Lagnado

“Interestingly, popular memory holds ancestral knowledge and war strategy to be equivalent. After a trip to Angola in 2018, Ani Ganzala has researched the influence of botany on the Black Diaspora. Only an initiated look can apprehend the diversity of vegetation and identify the physical and spiritual healing possibilities of each species. Ganzala was certainly not indifferent to the story of the beatings inflicted by local resistance forces on Portuguese sailors with nettlespurge stalks. Even though no documentary evidence has been found on freed slave Maria Filipa’s, her actions during Bahia’s independence process live in the Itaparica islanders’ imagination. In this critical dimension of historically marginalized bodies, the Black feminism of artist-activists like Ganzala joins a growing chorus, along with studies aimed at recognizing Bahia’s legacy in the formation of contemporary Brazil.”

Excerpt from No fim da madrugada, by Lisette Lagnado

“…From the depths of these nebulous surfaces, a Black boy draws our attention, wearing a white short-sleeved shirt, dark shorts, ankle socks and black polished moccasins. Despite documenting an event, the image hides several other worlds. The result offers a diagnosis of the relations of power and domination that have always affected Afro-Brazilian citizenship. Several hands skillfully adjusted this small body to prepare it for the sacrament of the Eucharist and for the paper image to be proudly distributed among the maternal uncles. Placing the ethical status of photography under suspicion, Neves blurs his own portrait to display a torn childhood: the child’s left hand holds an element of the imposed culture; his right hand, the instrument of his ancestral resistance”.
Lisette Lagnado

“…From the depths of these nebulous surfaces, a Black boy draws our attention, wearing a white short-sleeved shirt, dark shorts, ankle socks and black polished moccasins. Despite documenting an event, the image hides several other worlds. The result offers a diagnosis of the relations of power and domination that have always affected Afro-Brazilian citizenship. Several hands skillfully adjusted this small body to prepare it for the sacrament of the Eucharist and for the paper image to be proudly distributed among the maternal uncles. Placing the ethical status of photography under suspicion, Neves blurs his own portrait to display a torn childhood: the child’s left hand holds an element of the imposed culture; his right hand, the instrument of his ancestral resistance”. Lisette Lagnado

“Artist Eustáquio Neves’s Sete [Seven] (2023) lends a new breadth to the Catholic religion. We have before us six photographic enlargements (photographic emulsion on cotton paper and oil painting) along with a digital copy from an original file of the author’s first communion, now covered in countless layers of pigments and chemicals. From the depths of these nebulous surfaces, a Black boy draws our attention, wearing a white short-sleeved shirt, dark shorts, ankle socks and black polished moccasins. Despite documenting an event, the image hides several other worlds. The result offers a diagnosis of the relations of power and domination that have always affected Afro-Brazilian citizenship. Several hands skillfully adjusted this small body to prepare it for the sacrament of the Eucharist and for the paper image to be proudly distributed among the maternal uncles. Placing the ethical status of photography under suspicion, Neves blurs his own portrait to display a torn childhood: the child’s left hand holds an element of the imposed culture; his right hand, the instrument of his ancestral resistance.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Artist Eustáquio Neves’s Sete [Seven] (2023) lends a new breadth to the Catholic religion. We have before us six photographic enlargements (photographic emulsion on cotton paper and oil painting) along with a digital copy from an original file of the author’s first communion, now covered in countless layers of pigments and chemicals. From the depths of these nebulous surfaces, a Black boy draws our attention, wearing a white short-sleeved shirt, dark shorts, ankle socks and black polished moccasins. Despite documenting an event, the image hides several other worlds. The result offers a diagnosis of the relations of power and domination that have always affected Afro-Brazilian citizenship. Several hands skillfully adjusted this small body to prepare it for the sacrament of the Eucharist and for the paper image to be proudly distributed among the maternal uncles. Placing the ethical status of photography under suspicion, Neves blurs his own portrait to display a torn childhood: the child’s left hand holds an element of the imposed culture; his right hand, the instrument of his ancestral resistance.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Interestingly, popular memory holds ancestral knowledge and war strategy to be equivalent. After a trip to Angola in 2018, Ani Ganzala has researched the influence of botany on the Black Diaspora. Only an initiated look can apprehend the diversity of vegetation and identify the physical and spiritual healing possibilities of each species. Ganzala was certainly not indifferent to the story of the beatings inflicted by local resistance forces on Portuguese sailors with nettlespurge stalks. Even though no documentary evidence has been found on freed slave Maria Filipa’s, her actions during Bahia’s independence process live in the Itaparica islanders’ imagination. In this critical dimension of historically marginalized bodies, the Black feminism of artist-activists like Ganzala joins a growing chorus, along with studies aimed at recognizing Bahia’s legacy in the formation of contemporary Brazil.”

Excerpt from No fim da madrugada, by Lisette Lagnado

“While playful bodies punctuate several works in the exhibition, it is in Vulcanica Pokaropa’s Mambembes [Carnies] series (2022), that their protagonism takes on an interpretation inseparable from the darkness of dawn. A transvestite and circus artist for Cia Fundo Mundo, Pokaropa was raised and received her Confirmation upstate São Paulo, a region dominated by monoculture (soy and eucalyptus) and agribusiness. The word “mambembe” refers to an artistic expression that plays with its derogatory connotation (“inferior”, “poorly done”). These records intend to boost the precarious visibility of the LGBTQIAP+ population in the circus world, and certainly also in theater and performance.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“While playful bodies punctuate several works in the exhibition, it is in Vulcanica Pokaropa’s Mambembes [Carnies] series (2022), that their protagonism takes on an interpretation inseparable from the darkness of dawn. A transvestite and circus artist for Cia Fundo Mundo, Pokaropa was raised and received her Confirmation upstate São Paulo, a region dominated by monoculture (soy and eucalyptus) and agribusiness. The word “mambembe” refers to an artistic expression that plays with its derogatory connotation (“inferior”, “poorly done”). These records intend to boost the precarious visibility of the LGBTQIAP+ population in the circus world, and certainly also in theater and performance.”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“At the end of daybreak” is taken from a verse in the Notebook of a Return to the Native Land, the first work by Martinican writer Aimé Césaire (1913-2008). This poem went through several editions between its beginning in 1935 and its 1956 definitive version and was soon acclaimed for its monumental lyricism. The verse inspired the curatorship of the exhibition, whose aim was to transpose to the Brazilian context the poetic subjectivity of a voice from the generation that founded the Negritude movement in the Antilles.”

Excerpt from No fim da madrugada, by Lisette Lagnado