BRAZIL’S HISTORY OF REPRESENTATION THROUGH ART

Exhibited simultaneously in both institutions, the exhibition is curated by Claudinei Roberto da Silva and brings together paintings, engravings, photographs, sculptures and documents by more than 30 Brazilian afro-descent popular, academic, modern and/or contemporary artists. The exhibition celebrates and revisits the legacy of A Mão Afro-Brasileira (The Afro-Brazilian Hand), an exhibition held at MAM in 1988 –the centenary year of slavery abolition in Brazil– curated by Emanoel Araujo and which marked the history of art in the country.

The exhibition’s idea was shared with Emanoel Araujo (1940 - 2022), artist, curator, creator and director of the Museu Afro Brasil, who was enthusiastic about carrying out the institutional partnership, but was unable to see the project come to fruition. The current exhibition is also a tribute from both institutions to his legacy.

The exhibition features artworks by Agnaldo Manuel dos Santos, Aline Bispo, Almandrade, André Ricardo, Arthur Timótheo da Costa, Betto Souza, Claudio Cupertino, Cosme Martins, Denis Moreira, DiogoNogue, Edival Ramosa, Edu Silva, Emanoel Araujo, Emaye - Natalia Marques, Eneida Sanches, Estevão Roberto da Silva, Flávia Santos, Genilson Soares, Heitor dos Prazeres, João Timótheo da Costa, Jorge dos Anjos, José Adário dos Santos, Leandro Mendes, Luiz 83, Maria Lídia Magliani, Maurino de Araújo, MayAgontinmé, Mestre Didi, Néia Martins, Nivaldo Carmo, Otávio Araújo, Paulo Nazareth, Peter de Brito, Rebeca Carapiá, Rommulo Vieira Conceição, Rosana Paulino, Rubem Valentim, Sérgio Adriano H, Sidney Amaral, Sonia Gomes, Taygoara Schiavinoto, Wilson Tibério and Yêdamaria.

Curator Claudinei Roberto explains that Mãos: 35 anos da Mão Afro-Brasileira (Hands: 35 years of the Afro-Brazilian Hand) reviews the historic exhibition from 35 years ago, based on now historicized productions and other contemporary achievements that, naturally, were not present in the 1988 exhibition, but that, in any case, provide evidence of the current panorama of Afro-Brazilian art.

“Epistemicide is the term created to mark the processes of erasure and silencing of the history and culture of a given group. In a social scenario historically marked by profound inequality of race, class and gender, epistemicide is also a result of structural racism that creates conditions for education, art and cultural institutions to neglect the symbolic productions of weakened social sectors that consequently remain subordinate. Therefore, the current emergence and appreciation of Afro-Brazilian and Afro-diasporic art has its rhythm influenced by the advancement of the struggles for civil rights undertaken by black women and men in the country”, reflects Claudinei in the catalog’s text.