Seven young artists present at Panorama de Arte Brasileira that you need to know

In a lambe lambe series, Laryssa Machada works with the Afro-futuristic aesthetic (Photo: Karina Sergio Gomes)

This is the year of ephemeris: centenary of the Week of Modern Art of 1922 and bicentennial of Independence. Anchored in the celebrations and reflections that the dates give rise to, the 37th. edition of Panorama da Arte Brasileira, a biennial exhibition of the Museum of Modern Art of São Paulo that opens this Saturday (23), has as its theme: “Under the ashes, ember”.

The curatorial group, formed by the museum’s chief curator, Cauê Alves, and curators Claudinei Roberto da Silva, Cristiana Tejo and Vanessa Davidson, believe that this is an opportunity to review myths and facts from the past, raising new discussions – such as the ember which, when stoked, can continue to generate light and heat, or even ash, which can be a reflection of the destruction of the fires, but also serve as fertilizer.

The exhibition features works by 26 artists and collectives from different regions of Brazil. One detail that stands out among those selected is the percentage of young people. About 40% of artists are 40 years old or younger. “The Panorama, in addition to being one of the most important exhibitions in Brazil, is characterized as a platform for institutional recognition and the dissemination of artists”, says Cauê Alves to the NeoFeed. “The exhibition has this role of giving visibility to the work of those who are emerging to a wide audience.”

Panorama emerged in 1969 as a way for MAM to rebuild itself after its founder, businessman Ciccillo Matarazzo, removed his collection from the museum and donated it to the University of São Paulo, with which he would found the Museum of Contemporary Art.

The main feature of the show was to map the national production, present it and acquire some new works for the construction of its new collection. Until 1993, the exhibition was held every year, then it became a biennial. Due to the Covid-19 pandemic, the current edition, which should have taken place in 2021, was delayed a year.

According to Alves, the curatorial approach of this 37th edition highlights the interest of artists – especially younger ones – in research related to ancestry. “Instead of a utopian exhibition, looking to the future or how the future will be, the works propose a vision of the future with a return to an ancestral state”, he says. Meet the seven youngest artists whose work is featured in Panorama:

The artist Davi de Jesus do Nascimento explores his family origins in his work (Photo: Karina Sérgio Gomes)

David de Jesus do Nascimento (Pirapora, MG, 1997 – lives in Pirapora)
He works with painting, drawing and sculpture. His research has its origins in the history of his family and the riverside culture of the São Francisco River, where he was born. The artist usually says that his investigation always starts from the course of the river. The installation, presented in the Paulo Figueiredo room, is part of a collection of family photos, drawings of frowns – an element very present on boats – and records of performances that the artist makes on the banks of the São Francisco.

Laryssa Machada (Porto Alegre, RS, 1993 – lives in Salvador, BA)
Working mainly with photography and video, the artist proposes new narratives for the construction of the image of LGBTQIA+ people, homeless and indigenous. Machada’s proposal is the “disinvention of Brazil”. In the video “note that your intention is not to deliver the maps”, she discusses the vulnerability of images and the valorization of what is only visible on the surface of the facts. The artist also presents a series of photographs in lambe-lambe, with which she works with the Afro-futurist aesthetic.

Sun and Mountain I and II (2021), by Tadáskia (Photo:Guilherme Sorbello)

Tadáskia (Rio de Janeiro, RJ, 1993 – lives between Rio de Janeiro and São Paulo)
Drawing is Tadáskía’s main means of expression. With tropicalist references and African culture, the artist makes abstract drawings on large and small scales – like the surface of an eggshell. The works present in the show explore colorful rhythm like a graphic of a dance, which nods to the drawings made by the American ballerina Trisha Brown.

Detail of one of the paintings from the series “Political Encounters”, by No Martins (Photo: Karina Sergio Gomes)

at Martins (São Paulo, SP, 1987 – lives in São Paulo)
Multidisciplinary artist, works with painting, installation and performances. Her investigation mainly reflects the daily life of the black population, discussing social conflicts and racism. For Panorama, she brings the series “Political Encounters”, a series of paintings of black people on the beach. The work, presented in the museum’s corridor, proposes that the spectator interacts with the scenes very closely. In some of his paintings, Martins leaves messages – as in a man’s t-shirt with the date: “1888?”, the year in which the Lei Áurea was signed, which would free blacks from the condition of slaves.

The artist Xadalu Tupã Jekupé rescues the Guarani culture in his works (Photo: Karina Sergio Gomes)

Xadalu Tupa Jekupé (Alegrete, RS, 1985 – lives in Porto Alegre)
Of Guarani origin, the artist uses serigraphy, painting, photography and objects to address the tension between indigenous and western culture in cities. His work is a struggle against the erasure of the culture of his ancestors in Rio Grande do Sul. In Panorama, he presents a series of paintings of vibrant colors and sharp lines, in a pop aesthetic, which presents the culture, history and legends of the Guarani.

Installation “Árvore Nacional”, by Jaime Lauriano (Photo: Karina Sergio Gomes)

Jaime Lauriano (São Paulo, SP, 1985 – lives between São Paulo and Porto, Portugal)
The artist’s research proposes reflection and re-elaboration of the power structures contained in the production of official history. The installation “Árvore Nacional” makes an intervention in the MAM sculpture garden, with 27 vases with Brazilian wood seedlings, forming the design of the stars of the national flag. With the work, the artist discusses the concept of heritage in “a country marked by constant violence and violations, whether the land or the bodies of its inhabitants”, he writes.

Sculptures by Luiz 83 bring reference to the iconography of picho (Photo: Conrado Thunas Corrêa)

Luiz 83 (São Paulo, SP, 1983 – lives in São Paulo)
Luiz dos Santos Menezes, known as Luiz 83, is self-taught. His artistic training is based on the experience acquired in the streets as a “pichador”. In the show, he presents a series of sculptures based on the iconography of graffiti words. The sculptures are made of fiberglass, like car bodies, and painted with automotive paints, reinforcing the urban character of his work. The artist, however, raises his sculptures on a base, giving the status of art to the urban iconography expressed in buildings, walls and bridges, always questioned – would graffiti be art or not?

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