PIPA Prize 2017: a selection of the best critical texts of the year

Since Luiz Camillo Osorio took on the position of curator of the PIPA Institute, in January 2016, PIPA Prize website became even more complete. That’s because Camillo started to contribute with the website with a monthly column, in which heskillfully mixes his practices both as philosopher and curator. The site already features over 40 exclusive critical texts, where he reflects upon current issues in the art world. In addition to the texts, the curator also began to conduct exclusive interviews with artists and PIPA Prize Finalists, underlining the importance of reflecting on the processes of conceiving an artwork, while also bringing the public closer to the artists.

This exclusive content is published both in Portuguese and in English in the PIPA Prize websites, which also posts daily pieces that keeps up with what the artists who participated in PIPA Prize are doing. With that in mind, the PIPA Institute team selected some of the most read texts of Camillo’s column during the year. Read the full texts by clicking on the images:


“Art is not information”, critical text by Luiz Camillo Osorio. Reflecting on the relationship between art and its public, the curator points out the fundamental role of imagination, subjectivity and mindfulness when facing an artwork, in times where art is usually mediated by explanatory and descriptive texts.

“Death in Venice”, critical text by Luiz Camillo Osorio. In the text, Camillo talks about Damien Hirst’s extravagant comeback with the huge exhibition “Treasures from the wreck of the unbelievable”, raising a discussion on the excesses and the irony of a “post-truth” world, opposing Hirst’s “delusion of excess” to the “intensity of less”.

“Art went to the toilet: crisis or solution?”, critical text by Luiz Camillo Osorio. By analyzing the “America”, by Maurizio Cattelan, the text discusses the function of art and its political power in a scenario in which art is, on one hand, appropriated by the market, and on the other, institutionalized, losing some of the impact and criticalness it’s supposed to have.

PIPA Prize 2017 Finalist Antonio Obá talks about his artistic trajectory and some of the issues that he investigates in his production – such as race, afro Brazilian religions and rituals and performance – in his conversation with Luiz Camillo Osorio.

“I am interested in the critical reading of stereotypes and clichés”, says Bárbara Wagner in her conversation with Luiz Camillo Osorio. PIPA Prize 2017 Finalist talks about her research on social class issues and Brazilian identity.

Luiz Camillo Osorio interviews Rodrigo Braga, PIPA Prize 2012 Finalist. The artist talks about his production, that often deals with the relationship between man and nature. The interview also features the artist’s relation with photography and video, his artistic training and the international reception of his work.

These were the 2017’s highlights. In 2018, PIPA Prize wishes for Brazilian contemporary art to be even more seen, discussed, and questioned.

PIPA respects the freedom of expression and warns that some images of works published on this site may be considered inappropriate for those under 18 years of age
Copyright © Instituto PIPA