his video was produced for the series Art in Tension: Artists & Scholars in Conversation II, organized by PLAS: Program in Latin American Studies at Princeton University (USA).

The video’s first presentation was part of a conversation between Cecilia Fajardo-Hill and Dora Longo Bahia on April 7, 2021, moderated by Gabriela Nouzeilles.

Invited by curator Cecilia Fajardo-Hill to discuss her work, Longo Bahia created this, the first in a series of lecture-videos, where the artist overlays her work with materials appropriated from other authors, following the logic of détournement. Coined by Guy Debord in his book The Society of the Spectacle (1967), this concept, among many points, positions copying as the opposite of citation, referring to the practice of transforming an image or element to subvert its original use, rather than simply reproducing or quoting it.

From this, Longo Bahia developed a metalinguistic method of discourse where self-reference gives way to a cacophony that shapes her research.

Corpo Político [Political Body], 2021, is a video produced for the program Political Bodies, Gender and Race, for the virtual conference WORLDVIEWS : Latin American Art and the Decolonial Turn, held at the Centre for Visual Culture of the University of Cambridge.

The work, originally shown as a videoconference, is divided into chapters: the Introduction includes excerpts from an audiobook version of Thomas Hobbes’ Leviathan (1651). Chapter I focuses on Western Civilization [the head (mind or spirit) vs. the body]; chapter II on Colonization [the “human being” (or the “civilized” white man) vs. the other], chapter III on Power [the phallus (or the State) vs. her], chapter IV on Rape (the male subject vs. the female object), chapter V on the Reified Body (body vs. flesh), chapter VI on the Collective Body (the system vs. the “numerous”), and chapter VII on Revolution.

Autobiografia obscena [Obscene Autobiography], 2022, is a video created for the Latin American Speaker Series (LASS) hosted by Sur Gallery (Toronto, Canada) in May 2022. In the video, initially shown as a videoconference, images and sounds from various works by Longo Bahia are superimposed or juxtaposed. A female voice narrates a story created from the appropriation and collage of texts from different authors in the English and the Portuguese language. The text was translated into Portuguese for the audio with English subtitles. The title Autobiografia obscena is the result of the mutilation and appropriation of two of the texts used in the video: Autobiography of Red, by Canadian Anne Carson, and A obscena senhora D [The Obscene Lady D], by Brazilian Hilda Hilst.

The video New Babylon (2024) is a collage of texts and images produced between February and June 2024 during a Fellowship at NIAS (Netherlands Institute for Advanced Study). It is the result of a theoretical-practical investigation into the social role of the artist, highlighting the similarities and differences between the actions of the International Situationists and Provos.*

The video aims to demonstrate the relevance of the concepts and procedures of the Situationists and Provos in shaping a representation of contemporary reality and to foster an in-depth debate on the relationship between art, politics, and political activism.

_{*International Situationists: an international artistic-political movement founded in Italy (1957–1972).
Provos: a Dutch anarchist protest movement founded in Amsterdam (1965–1967).}

This video was produced for the event “Arte e política, histórias de uma relação crítica” (Art and Politics: Histories of a Critical Relationship), organized by the curatorial group of Ateliê397.

Presented during the debate on aesthetics and politics with Dora Longo Bahia and Vladimir Safatle, moderated by Thais Rivitti, the video was part of the program at the Centro de Pesquisa e Formação do SESC São Paulo on April 11, 2023.

The event took place in a context of transformations in Brazil, alongside artistic manifestations in different parts of the world, revisiting those that persist or reemerge with new approaches. The course explored the relationship between art and politics through five sessions, discussing philosophical thought in artistic-political action, art as collective production, exhibitions as political acts, the role of art in journalism, and the connections between art and the ecological crisis.

Dora Longo Bahia and Vladimir Safatle examined the intersections between aesthetics and politics from the perspectives of philosophy and artistic practice, outlining key issues for contemporary artistic-political practice.

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

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.

his video was produced for the series Art in Tension: Artists & Scholars in Conversation II, organized by PLAS: Program in Latin American Studies at Princeton University (USA).

The video’s first presentation was part of a conversation between Cecilia Fajardo-Hill and Dora Longo Bahia on April 7, 2021, moderated by Gabriela Nouzeilles.

Invited by curator Cecilia Fajardo-Hill to discuss her work, Longo Bahia created this, the first in a series of lecture-videos, where the artist overlays her work with materials appropriated from other authors, following the logic of détournement. Coined by Guy Debord in his book The Society of the Spectacle (1967), this concept, among many points, positions copying as the opposite of citation, referring to the practice of transforming an image or element to subvert its original use, rather than simply reproducing or quoting it.

From this, Longo Bahia developed a metalinguistic method of discourse where self-reference gives way to a cacophony that shapes her research.

Corpo Político [Political Body], 2021, is a video produced for the program Political Bodies, Gender and Race, for the virtual conference WORLDVIEWS : Latin American Art and the Decolonial Turn, held at the Centre for Visual Culture of the University of Cambridge.

The work, originally shown as a videoconference, is divided into chapters: the Introduction includes excerpts from an audiobook version of Thomas Hobbes’ Leviathan (1651). Chapter I focuses on Western Civilization [the head (mind or spirit) vs. the body]; chapter II on Colonization [the “human being” (or the “civilized” white man) vs. the other], chapter III on Power [the phallus (or the State) vs. her], chapter IV on Rape (the male subject vs. the female object), chapter V on the Reified Body (body vs. flesh), chapter VI on the Collective Body (the system vs. the “numerous”), and chapter VII on Revolution.

Autobiografia obscena [Obscene Autobiography], 2022, is a video created for the Latin American Speaker Series (LASS) hosted by Sur Gallery (Toronto, Canada) in May 2022. In the video, initially shown as a videoconference, images and sounds from various works by Longo Bahia are superimposed or juxtaposed. A female voice narrates a story created from the appropriation and collage of texts from different authors in the English and the Portuguese language. The text was translated into Portuguese for the audio with English subtitles. The title Autobiografia obscena is the result of the mutilation and appropriation of two of the texts used in the video: Autobiography of Red, by Canadian Anne Carson, and A obscena senhora D [The Obscene Lady D], by Brazilian Hilda Hilst.

The video New Babylon (2024) is a collage of texts and images produced between February and June 2024 during a Fellowship at NIAS (Netherlands Institute for Advanced Study). It is the result of a theoretical-practical investigation into the social role of the artist, highlighting the similarities and differences between the actions of the International Situationists and Provos.*

The video aims to demonstrate the relevance of the concepts and procedures of the Situationists and Provos in shaping a representation of contemporary reality and to foster an in-depth debate on the relationship between art, politics, and political activism.

_{*International Situationists: an international artistic-political movement founded in Italy (1957–1972).
Provos: a Dutch anarchist protest movement founded in Amsterdam (1965–1967).}

This video was produced for the event “Arte e política, histórias de uma relação crítica” (Art and Politics: Histories of a Critical Relationship), organized by the curatorial group of Ateliê397.

Presented during the debate on aesthetics and politics with Dora Longo Bahia and Vladimir Safatle, moderated by Thais Rivitti, the video was part of the program at the Centro de Pesquisa e Formação do SESC São Paulo on April 11, 2023.

The event took place in a context of transformations in Brazil, alongside artistic manifestations in different parts of the world, revisiting those that persist or reemerge with new approaches. The course explored the relationship between art and politics through five sessions, discussing philosophical thought in artistic-political action, art as collective production, exhibitions as political acts, the role of art in journalism, and the connections between art and the ecological crisis.

Dora Longo Bahia and Vladimir Safatle examined the intersections between aesthetics and politics from the perspectives of philosophy and artistic practice, outlining key issues for contemporary artistic-political practice.

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi

“(…)Dora also displays a set of cloths she used for years to clean her brushes. Each one, imbued with accidental pictorial qualities and much time spent in the studio, bears the name of a red pigment, a fundamental color in her work.(…)”

– Excerpt taken from the text “Dora’s Labyrinth”, by Gabriel Zimbardi