The pages of the artists nominated for the PIPA Prize are gradually fed with content related to their work. Each participant has its page, in which there is information about their trajectory, images, texts, and/or videos about the works. These pages serve as a catalog of contemporary Brazilian art and can be updated by the artists at any time.
In this post, we present the last seven pages of the 64 names of PIPA 2021.
Agrade Camíz started her relationship with creative activities writing, as a way of self-knowledge and of creating new realities. Since 2010, she began to develop graffitis, making murals and characters. She is a multimedia artist who incorporates in her works Rio de Janeiro’s popular architecture aesthetics mixing matters related to sexuality, beauty, feminine oppression. She incorporates grids [grades] in many works, which refer to impositions and behaviour patterns. She explores the spellings of the word grade [grid]; a grade [the grid], agrade [please], agradar [to please] and from the ambiguity of the meanings of agradar [to please] and limitar [to limit], the artist questions, in various directions, the behavioural impositions made up by the social setting/environment, which limit the possibilities of existence. The choice of black and white has always been in the scope of Camila’s work construction. The colors are being added through the meeting with other artistic experiences lived by the artist.
Nina Lins (1994) graduated in Fine Arts from ECA-USP. In her work, she seeks the points of contact between visual arts and graphic design. Since 2019, she has participated in the research group After the End of Art, coordinated by artist and teacher Dora Longo Bahia. Currently, she works as a graphic designer at seLecT and ARS magazines (PPGAV postgraduate course at ECA-USP) and in other projects related to cinema, theatre and visual arts, such as the feature film Ana. Sem Título, directed by Lucia Murat, and the theatre group Comitê Invisível Johann Fatzer. Based on references from the printed universe, she has developed plastic production based on processes of copying, wearing out and error of existing images, in an attempt to establish contact both with the context in which they circulate and with the materials on the printing surfaces. She participated in the exhibitions Novas Poéticas (Curitiba, 2016), Concurso Nascente (Centro Universitário Maria Antonia, 2018), Cripta (with the group After the End of Art, Galeria Vermelho, 2019), AMARRADONA (EdA – ECA-USP, 2019) and Salão de Artes Visuais de Vinhedo (2020), among others.
Race, gender, identity, the consequences of lively and pungent coloniality in contemporary society presides as primordial issues in Priscila Rezende’s work. The images displayed in her work are visceral and regularly bring discomfort to the viewer, and when they do, they fulfill their role. By establishing a direct and clear dialogue with the public, her work proposes tensioning, causing displacements and contesting privileges, not allowing possibilities for evasion or digression.
Sara Não Tem Nome has been developing her career in several different artistic fields. Her intermediate approach to visual arts, music, and cinema has been met with praise and recognition.
Thainan Castro, born in 1990 from Rio de Janeiro – Brazil, is a visual artist with a degree in design from PUC-Rio. In addition to being a designer and illustrator, he investigates and depicts memory: the unfolding of his drawing process through a physical recovery after an accident that temporarily took away his movements, the search for ordinary moments and objects as he wanders around the city, places he passes by, and memories of other moments once lived. He seeks to rescue reminiscences in order to create a playful and nostalgic universe, worn out by time.
Daughter of the mysterious entrails of mother Bahia, Ventura Profana prophesies multiplication and abundant black, indigenous and travesti life. Doctrinated in Baptist temples, she is a missionary pastor, evangelist singer, writer, composer and visual artist, whose practice is rooted in researching the implications and methodologies of deuteronomism in Brazil and abroad, through the spread of neo-Pentecostal churches. Praises, like the sting of a dagger licked with wax and rust in Pharisees’ hearts.
Victor Galvão is a visual artist who works with the historical displacement of images. Working between the gallery, the cinema theater, and musical composition, the main subject matter in his projects is time. Time is understood both as sociopolitical dynamics and entropic phenomena. His researches are structured by written language, in narrative intersections between existentialism and dystopian literature. In his projects, the following are frequently portrayed: scenes of urban and industrial landscapes, vestiges of the progressive ideology, and remains of a decaying modern project. Different materialities come from processes such as chemical development, analog video, and digital image.