27 de March de 2023

Instituto Inclusartiz participates in the 19th edition of SP–Arte

Institution from Rio de Janeiro will present works by Hal Wildson, Lucas Lugarinho, Marcela Cantuária, Mulambö, Tadáskía, and Vivian Caccuri

Between March 29th and April 2nd, Instituto Inclusartiz participates in SP–Arte, a prominent  art fair in São Paulo that this year reaches its 19th edition. The institution from Rio de Janeiro will present at its booth works by six young Brazilian artists who are renowned in the contemporary art circuit and who have already participated in or developed projects in partnership with the Institute: Hal Wildson, Lucas Lugarinho, Marcela Cantuária, Mulambö, Tadáskía, and Vivian Caccuri.

Assembled under the theme A New Tomorrow – a proposal to build new bridges for more sustainable, sensitive and diverse futures –, the selected works are made of reflections and debates about environmental, identity and language challenges that impose to and traverse current practices, pointing to art as an outlet. Not because of the object, but because of the transformative power it permits.

“Within our activities, we are concerned with offering a setting of support and cooperation so that initiatives conceived by artists, curators and researchers who are or have been part of our trajectory can generate projects with a constructive social and environmental impact. We understand this is an important development factor not only for culture, but for all other instances that govern society,” reinforces Lucas Albuquerque, coordinator of Instituto Inclusartiz’s Artist Residency and Research Program.

The selected works, of a single print run, will be sold at the fair as part of the Support a Resident project, which aims to support artists, curators and researchers who are part of Instituto Inclusartiz’s Residency Program. This network aims to encourage the development of the production from prominent names in today’s scene, who will benefit from the cultural exchange promoted by the program at Inclusartiz’s headquarters, in Rio de Janeiro, or at other partner institutions.


On Saturday, April 1st, Instituto Inclusartiz will also promote an Open Studio with Luisa Brandelli, as part of Circuito SP–Arte, a program in parallel with the fair. Brandelli, who in 2022 was awarded a residency grant at the institute based on an unprecedented partnership with SP–Arte, will open her studio to the public to present works produced over the last year, including those developed during her two-month stay at Inclusartiz’s headquarters.


(2022), by Hal Wildson

Made in papilloscopy, Singularidades (2022) gathers 441 fingerprints that function as particular drawings found on fingers’ papillae, singling out and identifying each of the represented characters. In this work, the artist from Goiás uses his own fingerprints to build images through typing, mixed with documentary photographic records belonging to public archives. Taking as starting point the signs of memory and identity, Hal Wildson investigates the imagetic building of this Brazilian symbolic bridge.

Singularities (2022), by Hal Wildson / Photo: publicity

Criticism of Anthropophagy II (2021), by Lucas Lugarinho

The famous Youtube videos from the Primitive Survival subcategory show racialized people performing the construction of apparently contemporary structures (such as swimming pools and two-story houses), but using instruments considered archaic. Based on those videos, which tension Western imageries about the idea of primitive human beings, Lucas Lugarinho generates virtual artifacts that unfold in parallel with the Anthropophagic Movement of Brazilian modernism. The painting Crítica à Antropofagia II is the result of an artistic investigation that aims to explore, review, study and propose possible new alliances between observers and images.

Criticism of Anthropophagy II (2021), by Lucas Lugarinho/ Photo: publicity

Stabbed Egg (2019), by Marcela Cantuária

The series Oráculo Urutu (2019–2021), by artist Marcela Cantuária, from Rio de Janeiro – to which the painting Ovo Estagnado (2019) belongs – presents a dreamlike universe in which film, soap opera, music and literature underlie a base of color and shape, revealing struggles for emancipation linked to growing insurrection movements in the face of the colonial imagery, which persists embedded in the structures of modern societies and institutions. This process includes citations to works by Clarice Lispector, Conceição Evaristo, Glauber Rocha, Gilberto Gil, Guimarães Rosa, João do Vale, Carlos Drummond de Andrade, Linn da Quebrada, among several others.

Stabbed Egg (2019), by Marcela Cantuária / Photo: publicity

Red, from the series Slave Ship (2019), by Mulambö

The series O Navio Negreiro (2019) is based on the homonymous poem written by Castro Alves, one of the main names in Brazilian romanticism, in 1868. The text is considered an important anti-slavery manifesto, denouncing the trafficking of enslaved people 18 years after the practice was banned in the country. Alves’ poem narrates images that confront the collective conscience of his time, created by the colonial system, and also brings to light his nonconformist vision of the “status of bitterness,” molded by the surreal experience of black people in a white world. The series of works developed by artist Mulambö, from Rio de Janeiro, was specially conceived for a new edition of Castro Alves’ publication released in 2022 by Antofágica.

Red (detail), from the series Slave Ship (2019), by Mulambö / Photo: publicity

The Planet (2021), by Tadáskia

The Planet (2021) is a diptych produced with nail polish, spray, dry pastel, charcoal and colored pencils. In these works, named by curator Clarissa Diniz as “a pair of sisters, cousins or similar, a family (not necessarily by blood),” artist Tadáskía, from Rio de Janeiro, mixes pigments on paper without fixative, spreading with her hands shadows and marks that create an eclipsed mixture of her imagination about the world.

The Planet (2021), by Tadáskia / Photo: publicity

Vessel in Stereo
(2022), by Vivian Caccuri

Vessel in Stereo (2022) is part of a series of works in which Vivian Caccuri investigates the phenomenon of vibration and its capacity of generating transformative collective experiences. Inspired by how different rhythms and frequencies can affect group dynamics (such as in temples, dance floors, and urban spaces,) the artist, born in São Paulo, analyzes the multifaceted relationships between bodies and sound waves. Pointing to the invisible dimensions of life and subjectivity, her works highlight the invisible ties that connect us to each other, reflecting on how sound can integrate communities and dismantle preconceived ideas about what bodies are, can do and can become.

Vessel in Stereo (2022), by Vivian Caccuri / Photo: publicity



SP–Arte 2023
| Mar.29 to Apr.02
Bienal Pavilion (access through Gate 3) – Av. Pedro Álvares Cabral, n/n – Parque Ibirapuera, São Paulo – SP.
More information at https://www.SP–Arte.com/

Circuito SP–Arte – Open Studio: Luisa Brandelli | Apr.01, from 2 pm to 5:30 pm
Rua Goiás, 10, apto 41, Higienópolis, São Paulo – SP.