10 meetings: Tuesdays from 19pm to 20:30pm, from March 19th to May 21st Teachers: Lisette Lagnado (4 meetings) With André Pitol (3 meetings) and Yudi Rafael (3 meetings)

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Lisette Lagnado She has a PhD in Philosophy from USP, an art critic and independent curator. In 1995, she co-founded the Leonilson Project and published Leonilson. There are so many truths (Sesi, 1996). He directed the Parque Lage School of Visual Arts (Rio de Janeiro, 2014-2017). Among his projects, the 27th São Paulo Biennial (2006), “Desvíos de la deriva” at the Museo Reina Sofía in Madrid (2010) and the 11th Berlin Biennial (2019-2020) stand out. She curated the exhibition “The Parable of Progress”, with André Pitol and Yudi Rafael (Sesc Pompeia, 2022-23).

Andre Pitol He is a researcher and curator. He develops documentary research practices on photography, archives and migrations, from an Afrotopian perspective of art history. He studied at the Museu do Sol in Penápolis, the Fundação das Artes de São Caetano do Sul and the University of São Paulo. He was deputy curator of The Parable of Progress (Sesc Pompeia, 2022). He is a curator of Edival Ramosa – New Totemic Construction, in the moraes-barbosa collection (SP, 2024)

Yudi Rafael is a researcher and curator, with a master's degree in Latin American and Iberian Cultures from Columbia University. He was curator, among other projects, of The Sun's Path (Gomide&Co, 2023), adjunct curator of The Parable of Progress (Sesc Pompeia, 2022) and co-curator of Residência Artística Cambridge (Occupation Hotel Cambridge, 2016). He is the coordinator of Transoceanic perspectives, a research and exhibition program dedicated to artistic practices in the Asian diaspora, at Almeida & Dale. 


Class 1: March 19 – by Lisette Lagnado

Curation today: why review the myth of Brazilian hospitality?


  • Introduction to curatorial thinking and the challenges of a discipline linked to power. Ethical and care issues.
  • Temporal considerations: how to narrate collective stories: the “parable” (Octavia Butler), in the counterflow of a totalizing history.
  • Spatial considerations: analysis of the program and project by Italian-Brazilian architect Lina Bo Bardi for the Sesc Fábrica da Pompeia, opened in 1982.
  • Notions of coexistence and territory according to the criteria of modernity.


Class 2: March 26th – by Yudi Rafael 

Specters of modernism


  • Hauntings of Brazilian modernism: artists, works and themes confronted with issues of race, class and gender.
  • Modern and contemporary in perspective: the display in the exhibition “A parabola do Progresso” (Sesc Pompeia, October 2022 to April 2023).
  • Critical approaches: Anita Malfatti in the light of Alina Okinaka and Alice Yura; Lasar Segall in the light of Márcia Falcão, Rafael RG and Maria de Jesus; Mário de Andrade in the light of Carmézia Emiliano, Jaider Esbell and Gustavo Caboco; Victor Meirelles and Candido Portinari in the light of Emília Estrada.


Class 3: April 02nd – by André Pitol 

Origins of quilombism


  • How can the exhibition space welcome diasporic contributions (individual, collective and community) in face-to-face and discursive terms?
  • Study of founding documents of countercolonial initiatives: Afropindorama and the Society for the Study of Black Culture in Brazil (SECNEB)
  • Religious racism and environmental racism in the examples of Quilombo Santa Rosa dos Pretos and Mãe Beata de Iemanjá.
  • Bilateral interests and the “Casa do Benin” mission in Bahia: Pierre Verger and Arlete Soares.


Class 4: April 09th ​​– by Lisette Lagnado

Our Ladies of Brazil


  • From the motherland, what other narratives constituted a community utopia against the Patriarchy?
  • Beginnings in the Jungle: The Legend of Mount Roraima Meets Guatemalan Poet Mario Payeras.
  • Sacred mothers: Odoyá (Ani Ganzala) and Mãe Stella de Oxóssi (Arlete Soares).
  • Ancestral mothers: from Inaicyra Falcão to Pélagie Gbaguidi (Towards the spirit of the womb).
  • Wet nurses: Tarsila do Amaral, Maria Auxiliadora and Elson Júnior.


Class 5: April 16nd – by André Pitol

Curators in dialogue: corpus in Exposition


  • How do historical and contemporary artistic and curatorial practices feed into each other in the present?
  • Lina Bo Bardi (“The Hand of the Brazilian People”), Alexandre Wollner (“Design in Brazil: history and reality”) and Emanoel Araújo (“The Afro-Brazilian Hand”);
  • Tiago Gualberto (The Brazilian People's Head) and Rosângela Rennó (Head, corpus and members).


Class 6: April 23rd – by Yudi Rafael

The Pacific in the Atlantic: transits and transgressions


  • Art at the Juquery Psychiatric Hospital: Osório César, Flávio de Carvalho and the “month of children and crazy people” of 1933; the transoceanic images by Ioitiro Akaba and Masayo Seta in the collection of the Osório César Art Museum;
  • Seibi-Kai between the ghetto and the global stage;
  • Mario N. Ishikawa’s “guerilla art”: alternation of linguistic codes, critique of nationalism and Brazil as an authoritarian society.


Class 7: April 30nd – by André Pitol

Iconographies: the portrait in curation


  • How does the category of portrait operate in the critical task of coloniality?
  • Visages: the black Admiral by Bruno, Anita by Alice, Brazilian by Aurora, Colombo by Ubirajara, Mother Olga by Madalena, Mario by Flavio, Mestre Abdias by Arlete, the Black woman by Tarsila, and the Death Sworn by Márcio.


Class 8: May 07th – by Lisette Lagnado

An Italian in the Tropics to think about national formation


  • The Bardi couple and the imaginary of modern architecture in the magazine Habitat.
  • The concept of coexistence in the analysis of four exhibitions by Lina Bo Bardi: “Bahia no Ibirapuera” (1959), “Nordeste” (1963), “The hand of the Brazilian people” (1969) and “Black Africa” (1988).
  • The “Popular Art Box” (1978). Folklore and kitsch.


Class 9: May 14th – by Yudi Rafael

Territories in dialogue: Kalipety, Comalapa and Subúrbio Ferroviário


  • Journey of seeds: cultivation of the Guarani language, agriculture and cuisine in Aldeia Kalipety, Tenondé Porã Indigenous Territory of São Paulo.
  • Kalipety and Comalapa: the artistic residency of Edgar Calel, a Maya Kaqchikel artist from Guatemala, in the context of the exhibition “The Parable of Progress”.
  • The memory of the Salvador Railway Suburb in the Laje Collection: building a peripheral cultural space on its own terms.


Class 10: May 21th – by Lisette Lagnado

The black Atlantic and post-war diasporas: identities, migrations and dictatorships


  • State terrorism: The exile of Argentine artist León Ferrari in Brazil.
  • Through two case studies, we discuss how an exhibition can articulate historical identities that transcend the borders of the nation-state. The Jewish experience (Casa do Povo, Bom Retiro, São Paulo: culture, community and memory) and living spaces in the West and non-West (SAVVY Contemporary, Wedding, Berlin).