Issue #54 contributorsFrom the newsroom


Contributors to issue #54 of ARTE!Brasileiros

Editorial: In the debacle...By Patricia Rousseaux


Read the editorial of the new edition, by Patricia Rousseaux, Editorial Director of arte!brasileiros

everything is fightBy Fabio Cypriano


In the book “What comes after the farce?”, Hal Foster analyzes the effects of Trumpism on the North American arts scene and points out forms of resistance

First the gestures, then the wordsBy Marcos Grinspum Ferraz


Benjamin Seroussi, director of Casa do Povo, talks about the reasons why the cultural center started to act directly, not only in the virtual environment, during the crisis caused by the pandemic (and by the government) and highlights the difficulties and solutions to finance the activities

Lives, a necessary tormentThe newsroom

The Virtual in the Pandemic

In times of intense virtual action by institutions and art professionals, we selected some initiatives that stood out in this context.

A vast public archive on curation in BrazilBy Marcos Grinspum Ferraz

The Virtual in the Pandemic

In more than a hundred interviews conducted virtually with curators, Raphael Fonseca presents the plurality of professionals in the country, their stories, research and the difficulties of working in a very precarious market.

The power of empathyBy Fabio Cypriano


Images made by Madalena Schwartz of the 1970s São Paulo trans scene reveal the photographer's complicity with people in front of her camera

The Grace of FaithClaudinei Roberto da Silva


Max Wíllà Morais elaborates a universe based on the invisible and the visible, in the ritualized rescue of his Afro-Diasporic ancestry, of his syncretic religiosity and in the organization of a world that gives new and sensual meaning to the subjects on which he works.

“It happens that we are cannibals!”, says the tropicalist pop by Glauco RodriguesBy Leonor Amarante


Considered a current artist by French critic Nicolas Bourriaud, Rodrigues carnivalized the visual history of Brazil within an eclectic world, sometimes exhilarating, sometimes apocalyptic.

Infinito Vai: a unique approach to the history of Brazilian architectureBy Leonor Amarante


Curated by Guilherme Wisnik and Fernando Serapião, the show is divided into six sections based on verses of songs that marked different periods of national culture.

Will robots be the artists of the future?by Miguel Groisman


Art made by Artificial Intelligence generates reflections on the nature of creativity, the importance of experience in creation and the ethical barriers of technological development

The (non)market of inclusionBy Giulia Garcia


Artists reflect on the dilemmas of including people with disabilities in the world of arts and talk about ableism and accessibility in aesthetic experiences

Matarazzo City, contemporary art and neoliberalismBy Pollyanna Quintella


Based on the luxurious real estate project being built in São Paulo, the curator and researcher points to the dangerous use of contemporary art by neoliberal logic, questions the capitalist model that claims to “defend” diversity and discusses the precariousness of labor relations.

An extraordinary “ordinary” lifeThe newsroom


About a month after the death of the British critic and curator Guy Brett, Chilean curator Alexia Tala writes about the personality and thought of one of the most important figures for the diffusion of Latin American art, especially Brazilian art, in European lands.

A centenary passing in white cloudsBy Tadeu Chiarelli


A look at the friendship between Ismael Nery and Murilo Mendes, which began in 1921, demonstrates that there is still much to be studied and written about the particular development of surrealism in Brazil.

Mapping the roles of subversionBy Maria Hirszman


Deops activity between the 1920s and 1950s is brought together by historian Maria Luiza Tucci Carneiro to analyze the directions of the graphic arts of resistance in Brazil

Rodrigo Naves talks about his new book, “Van Gogh: Salvation through Painting”By Gabriel San Martin


The writer proposes that, more than representing the difficulties of his life, Van Gogh had as his motive the creation of compositions linked to an attempt at salvation through work, the basis of Calvinist thought.