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The Police Comes, The Police Goes, 2018

acrylic on laminated glass Phto: Edouard Fraipont

The Police Comes, The Police Goes, 2018

Acrylic on laminated glass Photo: Edouard Fraipont

Os desastres da Guerra – Pinacoteca do Estado – São Paulo – Brasil, 2017

Photo: Edouard Fraipont

35º Brazilian Art Panorama: Brasil por multiplicação - Museu de Arte Moderna [MAM SP] – São Paulo – Brazil

Photo: Renato Parada

35º Brazilian Art Panorama: Brasil por multiplicação - Museu de Arte Moderna [MAM SP] – São Paulo – Brazil

Photo: Renato Parada

35º Brazilian Art Panorama: Brasil por multiplicação - Museu de Arte Moderna [MAM SP] – São Paulo – Brazil

Photo: Renato Parada

Paulista Avenue - Museu de Arte de São Paulo (MASP) – São Paulo – Brazil, 2017

Photo: Edouard Fraipont

Paulista Avenue - Museu de Arte de São Paulo (MASP) – São Paulo – Brazil, 2017

Photo: Edouard Fraipont

Olimpiadas (17-08-2016)

Acrylic on paper

Olimpiadas (21-08-2016)

Acrylic on paper

Rio Doce, 2016

acrilic e oil stick on canvas

Love Canal, 2016

Acrilic and oil stick on canvas.

Black Bloc, 2015

11 pieces of turned nylon and cement base

View of the show - Black Bloc – Galeria Vermelho – São Paulo - Brasil, 2015

Lilith, 2015

Video still In Lilith, the artist presents a lunar landscape peppered with volcanoes and geysers, interspersed by shots of a couple who seem to be conversing in a desertic, inhospitable and hostile landscape. The woman, dressed in a burqa, is listening to a man whose face is covered by a keffiyeh while he gestures senselessly. Lilith was Adam’s first companion, made of the same raw material as he was, and thus his equal. She is a “creature of the night,” the original meaning of the word lilith, and was thrown out of paradise for having disputed her importance with Adam.

Lucifer, 2015

video still In the videos Lucifer and Lilith, Dora traces a parallel between the Black Blocs and the Muslim women who wear a burqa. The artist treats on two subjects without a place in contemporaneity: the young protesters without identity and the religious women who do not show their body. In Lucifer, the protesters are shown as children who, after the fall of an angel in an idyllic and mysterious forest of vibrant colors, try to survive in a post-apocalyptic landscape. One of the children is the “bearer of light,” the original meaning of the word Lucifer, because he is holding a Molotov cocktail – a cause or a consequence of the destruction?

Black Bloc, 2014

126 silkscreen prints with ink relief on asbestos cement. 126 fiber-cement flat sheets present silhouettes of vinegar bottles silkscreened in black. They are like portraits of the participants from manifestations that have taken the country since June 2013, wearing black hoods and holding bottles of vinegar, used to neutralize the effects of the tear gas used by the police. Amidst the different vinegar bottles, the silhouette of a single Molotov cocktail stands out, emphasizing the imminent violence. Longo Bahia discusses the power of the spreading of union among a mass of faceless people.

Black Bloc, 2014

12 silkscreen prints with relief ink on asbestos cement

Come and play with Danny and Tony, 2014

Made by... Feito por Brasileiros, Cidade Matarazzo, São Paulo, Brasil. 2014.

Farsa - Goya (Fusilamentos de 27 de agosto de 1979)

2013 290x390cm Acrylic and enamel on canvas Photo: Rafael Assef

Farsa - Goya (Fusilamintos del 3 de mayo de 1808)

2013 290x390cm Acrylic and enamel on canvas Photo: Rafael Assef

Farsa – Picasso (Bagdá)

2013 350x790cm Acrylic and enamel on canvas

Farsa – Picasso (guernica)

2013 350x790cm Acrylic and enamel on canvas

Farsa – David (Edson Luiz assassinado)

2013 170x142cm acrylic and enamel on canvas Photo: Rafael Assef

Farsa – David (Che assassinado)

2013 170x142cm acrylic and enamel on canvas Photo: Rafael Assef

Farsa – David (Marat assassiné)

2013 170x142cm acrylic and enamel on canvas Photo: Rafael Assef

Ocupação Alemão, 2011

Acrylic on canvas 305 x 577cm

Gel Poetics (Bahraini Uprising 2011) - on going conflicts, 2012

Acrylic and varnish on truck canvas 172 x 165cm

Colombia - puente destrozado, 2011

Acrylic on canvas 161 x 199 cm

Yakuza X Bratva, 2010

40 crystal glasses blasted with tatoo designs of Russian and japanese mafias (view from the set of glasses with pictures of Bratva).

Escalpo Ferrado [Paquistão], 2010

Acrylic paint on iron 247 x 357 cm [poliptic of 9 pieces]

of the series Metaaal, 2010

Chrome scanned in Methacrylate 49,8 x 49,8 cm

Cisneros Fontanals Art Foundation (CIFO) – Miami – EUA, 2009

First we fell, than we fall, 2006

Carving on aluminium 2x (25x 49,8x 3 cm)

Escalpo Carioca e Outras Canções, 2006

view of the exhibition Dora Longo Bahia, MAMAM, Recife, 2006

View of "Carioca Scalp and other songs", 2006

CCBB RJ, Rio de Janeiro, 2006.

Escalpo Carioca e Outras Canções, 2006

view of the exhibition in CCBB- Rio

Na casa do Henrique, 2005

Photography 130 x 141 x 4 cm

Rocktail Bay, 2004

Photography 67 x 72 cm

Escalpo Paulista, 2004

Acrylic on wall

Escalpo Africano, 2004

Acrylic on paper

Escalpo Africano, 2004

Acrylic on paper

Canções de amor no templo do rock, 2003

Installation with 52 paintings in acrylic on cardboard, drums, guitar, bass, microphone, amplifiers, 20 MP players.

Pobre pintura (Trinidad), 2003

Acrylic paint on cardboard 22x 28,5 cm

Pobre pintura (Trinidad), 2003

Acrylic paint on cardboard

Who´s afraid of red?, 2002

Cibachrome print on light box and lacquered wood 129,8 x 190 x 20 cm

Paisagem suíça, 2001

Oil on canvas

Claire e a Medusa, 2001

Cibachrome print on light box and alabaster 13.4 x 6.4 x 11 cm

Untitled, 1999

Cibachrome

Untitled - Imagens infectas serie, 1999

silkscreen(color print) and relief (perforated sheet metal) 50 X 50 cm [each - polyptych]

Ela era uma vagabunda... Peguei a faca e fiz o que tinha que fazer...” MAA que matou a mãe no dia das mães, 1996

Oil on canvas

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February

. DORA LONGO BAHIA