PIPA and Camden Sentido – Ayrson Heráclito and Tatiana Blass

PIPA Institute, in partnership with Camden Sentido, will be exhibiting an online screening programme, curated by Luiz Camillo Osorio, under the theme ‘Brazil, one country, many worlds’. Ten artists were selected and their works are going to be shown in pairs in accordance to the same topic as described below by Camillo. The screenings, exclusive to our website, will be on view throughout the months of June to October.

The second screening will feature the works Buruburu”, by Ayrson Heráclito and Metade da Fala no Chão – piano” by Tatiana Blass.


‘Brazil ­one country, many worlds’

The issue of a Brazilian identity is a very problematic one. From colonialism to postmodernism what has been Brazil’s main features is its diversity and its adversity. It is a continental country mixing mega­cities as São Paulo with a gigantic forest as the Amazon. There co­exists, in conflict and tension, many different religions, ethnicities, skin colours, cultural backgrounds. In this critical moment, where the social, economical and political crisis has grown, it is up for artists to be the voice of resistance, bringing to the fore our diverse adversity. For curatorial objectivity, there were selected four topics (under the main idea of one country, many worlds / diversity, adversity) with a selection of two artists in each of them: 1 post­coloniality and altermodernity ; 2 ­ religion and politics; 3­ tropicalism and gender; 4 ­ social conflict and class issues in a fractured society. ­


Ayrson Heráclito “Buruburu”, 2010. Duration: 2’27”, two-channel video installation.

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Tatiana Blass, “Metade da Fala no Chão – piano”, 2012. Duration: 19’20”.

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Introduced by Luiz Camillo Osorio.

Ayrson Heráclio (Bahia, Brazil, 1968) and Tatiana Blass (São Paulo, Brazil, 1979) form the second duo of Brazilian artists presented in Camden Sentido. The videos “Buruburu”(2010) by Heráclito and “Metade da fala no chão – piano” [“Half of the speech on the floor – piano”], by Blass, reveal a multiplicity of voices operating inside Brazilian culture. Together and in tension, they articulate bodies, music, oppressions and silences. The Afro-Brazilian culture when in touch with Chopin’s music – both dislocated, muffled and reinvented in the poetic gesture of the artist – suggest a game of conflicts that tainted the coexistence, not in the least harmonious, of the Casa Grande and the Senzala [the Masters and the Slaves] throughout Brazilian history.

To search and rescue symbolic references negleted by the colonizing culture and to dignify a body dehumanized by torture, traverses Heráclito’s videos. The struggle in the search of the music that we see in the performance of the pianist in Blass’ video is felt and dislocated by the body bathed in popcorn – symbol of the healing in the Afro-Brazilian rituals – that searched for their own musicality.

The desperation and struggle before the silence that has been imposed from the outside (by the Beckkettian character that keeps insistently throwing wax buckets in the piano’s interior) and the insistence of the bodies and cultures in reinventing themselves resisting oppression, are a common link between these videos/performances by Heráclito and Blass. These are distinct movements and conflicts, yet both define themselves struggling. Other songs and new cultures are always resurfacing in the struggle for other modernity and for the permanence of threatened religious expressions.

Luiz Camillo Osorio (Curator of PIPA Institute, former Chief ­Curator of MAM-­Rio and Director of the Philosophy Department at PUC-­Rio).


Tatiana Blass has been pursuing a career as a professional artist working with painting, sculpture, video and installation. As from 1998, the year she began to forge her artistic career, Blass has been showing regularly in art salons, studio shows, and group and solo exhibitions in Brazil and abroad. She presented her work at the 29th São Paulo International Biennial and was shortlisted at the Nam June Paik Award, in Germany. She was a recipient of the 2010 Grants & Commissions Program of the Cisneros Fontanals Art Foundation, in Miami. In 2011, Blass was nominated for the PIPA Prize, having won the Jury Award and the Popular Vote Award for her body of works. As part of the prize, she attended an artistic residency at the Gasworks, in London. In 2014, she participated in an artistic residency in Norway, invited by 3,14 Stiftelsen Foundation.

Ayrson Heráclito’s works transition between installation, performance, photography, and audio visual media, dealing frequently with elements of Afro-Brazilian culture in its connections between Africa and its diaspora in America. Recently, in 2015, Heráclito was honoured at the Bamako Encounters – African Photography Biennial in Mali and nominated in the award Novo Banco Photo 2015 at the Museum Coleção Berardo in Lisbon for the project “Os Sacudimentos – a reunião das margens atlânticas”. Heráclito participated in the group exhibitions: “A nova mão afro-brasileira” at the Museum Afro Brazil (São Paulo, 2013); “Afro-Brazilian Contemporary Art, Europalia. Brazil”, Brussels, Belgium (2012); Triennial of Luanda, Angola (2010); and MIP 2, International Performance Manifestation, Belo Horizonte (2009).


PIPA Institute in partnership with Camden Sentido will be exhibiting a curated online screening programme, exclusive to our website, throughout the months of June to October. View the complete release schedule.

Camden Sentido is an annual arts programme hosted by the Borough of Camden (London, UK). To coincide with the 2016 Rio Para/Olympics and the São Paulo Art Biennale, this year Camden will highlight all things Brazil. Camden Market will be home to a central programme which includes performances, gigs, talks, exhibitions and workshops by partners including Central Saint Martin’s, Wembley to Soweto Foundation, Mais Um Disco, Walls on Walls, Argent and Camden Tour Guides. Camden Sentido will also produce projects in partnership with Roundhouse, Latitude, PIPA and Frieze London.

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