DALTON PAULA, Zeferina, 2018 Oil on canvas, 45×61 cm/ Artist's collection, Goiânia, Brazil/ Credit: Paulo Rezende

In 2018, the Museu de Arte de São Paulo (MASP) dedicated its entire program to Afro-Atlantic histories. The strategy, which is to develop an annual thematic axis with stories that challenge traditional historical narratives, was put into practice.

Masp receives works with a counter-hegemonic focus

There were 21 works by 19 Afro artists donated to the museum. Abdias Nascimento, Chico Tabibuia, Dalton Paula, Emanoel Araujo, Flávio Cerqueira, Jaime Lauriano, José Alves de Olinda, Lucia Laguna, Maxwell Alexandre, Mestre Didi, Rosana Paulino, Rosina Becker do Vale, Rubem Valentim, Sènéque Obin, Sonia Gomes, and the Ad Júnior, Edu Carvalho & Spartakus Santiago and Frente 3 de Fevereiro collectives are part of the new collections.
The set of works reinforces the presence of Afro artists at MASP and marks the 2018 cycle in the collection of a museum until then well known for its classic European collection. As of April 2019, many of these works will be on display at the Collection under transformation. long run show stores the MASP collection on Lina Bo Bardi's iconic glass easels.
The museum’s artistic director, Adriano Pedrosa, said that the program dedicated to Afro-Atlantic histories began with research since 2014. “These acquisitions leave a definitive mark on the collection, known for its classical European masters.” Following the museum's mission, Pedrosa says that the same efforts made in relation to the works of Afro artists will be dedicated to women artists. “We will continue to expand the scope of works that we bring to our collection and exhibit on the glass easels”, he concludes.
All works donated were exhibited in the monographs dedicated to the artists Araujo, Gomes, Valentine e Lagoon, or in the collective exhibition Afro-Atlantic Stories. In partnership with Tomie Ohtake Institute, the last of which was dedicated to relations between Africa, the Americas, the Caribbean and also Europe, from the 16th to the 21st century, elected the best of 2018 by the New York Times and Hyperallergic, and winner of the Association's Critic's Grand Prix Paulista of Art Critics (APCA).

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