Land of the future – You won’t see any country 2020 – Acrylic on canvas – 170 x 300 cm São Paulo is portrayed in a not too distant future. Water is scarce, the heat is unbearable, garbage clogs the city and the System and its omnipotent power rules its subjects’ every movement and thoughts.
Land of the future – Fort Apache 2020 – Acrylic on canvas – 150 x 230 cm The Army Headquarters is a late project by Oscar Niemeyer, carried out as part of Brasília’s Pilot Plan. The ensemble was delivered in 1973 during the government of General Emílio Garrastazu Médici, the most repressive period of the
Land of the future – The fish-face incident 2020 – Acrylic on canvas – 190 x 170 cm The idea for this painting arouse when I read about the discovery of a long-lost tile panel by Candido Portinari. According to the news, the panel was boxed since 1942 in the warehouse of the former Ministry
Land of the future – Live on YouTube 2021 – Acrylic on canvas – 120 x 190 cm The Alvorada Palace’s library has 3,406 books, covering art, philosophy, politics, literature and history. Among other works of art and rare maps, the library has also a monumental tapestry by Emiliano Di Cavalcanti – one of the
Land of the future – The year Brazil became an outcast 2021 – Acrylic on canvas – 110 x 190 cm In October 2020, the now former minister Ernesto Araújo said that if Brazil’s current foreign policy “makes us an international pariah, then let us be that pariah.” Araújo’s speech exposed the country’s isolation on
Land of the future – Glass House 2021 – Acrylic on canvas – 120 x 160 cm What is Brasília, if not the dawn of a new day for Brazil? Juscelino Kubitschek (President of Brazil from 1956 to 1961) The Alvorada Palace is the official residence of the President of Brazil. It is located on
Land of the future – Weird agenda 2021 – Acrylic on canvas – 120 x 170 cm In the week of July 20, 2021, these were the headlines: Off the agenda, Bolsonaro received deputy leader of the German ultra-right – Folha de São Paulo The president secretly receives a Nazi deputy – Uol Bolsonaro meets
Land of the future – The exile of the Orixás 2021 – Acrylic on canvas – 52 x 100 cm Djanira da Motta e Silva (b. 1914) was an African-Brazilian painter. She is known for paintings that depict Brazilian people, religious themes and landscapes. One of her paintings – entitled Orixás from the 1960s, was
The visit of Max Bill – Cacto Brasil, 2019 – Acrylic on canvas – 170 x 510 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Lauand/Castro/Carvão/Sacilotto/Bill, 2019 Acrylic on canvas 60 x 45 cm (Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like
The visit of Max Bill – Castro/Mavignier/Clark/Oiticica/Bill, 2019 Acrylic on canvas 40 x 47 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a
The visit of Max Bill – Bulcão/Bill, 2019Acrylic on canvas100 x 80 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Volpi/Sacilotto/Pape/Lauand/Oiticica/Bill, 2019 Acrylic on canvas 50 x 55 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Varandinha, 2019Acrylic on canvas90 x 120 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Pape/Clark/Serpa/Carvão/Oiticica/Bill, 2019 Acrylic on canvas 140 x 240 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of
The visit of Max Bill – Souvenirs, 2019 Acrylic on canvas 45 x 35 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Bichos, 2019Acrylic on canvas150 x 120 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes that
The visit of Max Bill – Souvenirs, 2019 Acrylic on canvas 40 x 35 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Taioba, 2018Acrylic on canvas180 x 400 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Zerbini/Bill, 2019 Acrylic on canvas 37 x 28 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period or influenced by it. The paintings fit together like a collage
The visit of Max Bill – Pedregulho, 2018Acrylic on canvas180 x 240 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes that
The visit of Max Bill – Clark/Pape/Sacilotto/Bill, 2019 Acrylic on canvas 33 x 42 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies
The visit of Max Bill – Clark/Bill, 2019Acrylic on canvas50 x 60 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Lauand/Fiaminghi/Bill, 2019 Acrylic on canvas34 x 29 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies are placed
The visit of Max Bill – Vase and wallpaper, 2018Acrylic on wood40 x 30 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number
The visit of Max Bill – Clark/Sacilotto/Oiticica/Castro/Bill, 2018 Acrylic on canvas 140 x 140 cm(Private Collection) The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies
The visit of Max Bill – Cobogós, 2018Acrylic on canvas50 x 40 cm(Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast number of changes
The visit of Max Bill – Brasílias’ subway tiles, 2017 Acrylic on canvas 210 x 170 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast
The visit of Max Bill – Bulcão/Bill 2, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Bulcão/Bill 1, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Ludolf/Clark/Carvão/Oiticica/Bill, 2017 Acrylic on gesso coated paper 130 x 80 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Carvão/Bill, 2017 Acrylic on gesso coated paper 36 x 28 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Vieira/Bill, 2017 Acrylic on gesso coated paper 40 x 55 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
