"Sorriso Cougar", 2020, acrylic on canvas, 30 x 30 cm

PIPA Archive: Watch the 2021 videointerview with Denilson Baniwa, one of the curators of the Brazilian pavilion at the Venice Biennale

PIPA Prize is not only an award that takes place at a specific time of the year: it is also a platform full of material on contemporary Brazilian art. PIPA works as a source of research for curators, artists and professors, with videos, texts, interviews, images of works, CVs, catalogues available for free, and much more.

Aiming to circulate this material more and more, every Thursday we will share a video from our extensive archive, inviting the public to dive into other contents. In this tab, for example, you can see the videos by year, and in this one, by the work’s media. Both tabs, and others, are contained in the “Videos” tab at the top of the website.

The 2024 Venice Biennale, entitled “Foreigners Everywhere” (Stranieri Ovunque) and open until November, is curated by Adriano Pedrosa, director of the São Paulo Museum of Art (Masp). Denilson Baniwa, who was an Awarded Artist in 2021 and the winner of PIPA Online 2019, is one of the curators of the Brazilian pavilion at the Biennale, alongside Arissana Pataxó and Gustavo Caboco Wapichana – Pataxó participated in 2016 and was one of the winners of PIPA Online that year, and Caboco participated in PIPA 2023 and 2022. So, for this week we’ve selected the 2021 videointerview with Denilson Baniwa, recorded on the occasion of his second participation in PIPA Prize. In it, Denilson comments that his work involves political, indigenous and environmental issues, focusing mainly on who the current indigenous person is and how they relate to the world and society. Baniwa talks about his most recent work at the time, “Nada que é dourado permanece”, divided into three parts and developed for the exhibition Véxua: Nós Sabemos, at the Pinacoteca de São Paulo (Brazil). The three productions explore how museum collections can be useful for the history of the construction of the Brazilian territory.

All the artists who accept to participate in the Prize are invited to have a videointerview recorded with a production company, so they can share more about their artworks, technique and research, and this record will make up the page created for each one on the PIPA platform.

© CABREL Escritório de Imagem / Fundação Bienal de São Paulo

The Brazilian pavilion at the Biennale was named Hãhãwpuá Pavilion, which is how the Pataxó call this territory that was given the name Brazil, and which before the arrival of the colonizers was called by so many other names. The exhibition received the title “Ka’a Pûera: we are birds that walk”. According to the curatorial text by Arissana, Denilson and Gustavo, the space tells a story of Indigenous resistance in the country, of adaptations in the face of climate emergencies and of the body present in the retaking of the land. The project developed reminds everyone that it is important to recognize Brazil as an Indigenous land and that the more than three hundred nations that live in this land continue their struggles today in defense of their memories and traditional knowledge. The exhibition addresses issues of marginalization, deterritorialization and violation of territorial rights, inviting reflection on resistance and on the shared essence of humanity, birds, memory and nature. The Brazilian pavilion features the Tupinambá mantle made by Glicéria Tupinambá, one of the PIPA 2023 Awarded Artists, together with the community of the Serra do Padeiro indigenous village (find out more here). Glicéria’s participation is also accompanied by the artists Olinda Tupinambá and Ziel Karapotó.

Born in Barcelos, in the interior of Amazonas (Brazil), Denilson Baniwa is an indigenous person of the Baniwa people. Currently, he lives and works in Niterói, Rio de Janeiro (Brazil). As an activist for the rights of indigenous peoples, he has held lectures, workshops and courses since 2015, acting strongly in the south and southeast regions of Brazil and also in Bahia. In 2018, he held the exhibition “Terra Brasilis: agro is not pop!”, at the Universidade Federal Fluminense Art Gallery, as part of the project “Brasil: A Margem”, promoted by the university. In the same year, he participated in the artistic residency of the fourth edition of the Festival Corpus Urbis, held in Oiapoque, Amapá (Brazil). He has been in exhibitions at CCBB, Pinacoteca de São Paulo, CCSP, Centro de Artes Helio Oiticica, Museu Afro Brasil, MASP, MAR and the Biennale of Sydney. In addition to being a visual artist, Denilson is also an advertiser and articulator of digital culture and hacking, contributing to the construction of an indigenous imagery in various media, such as magazines, films and TV series.

Watch the videointerview below, produced by Do Rio Filmes, which the artist recorded exclusively
when he was nominated for PIPA Prize in 2021:

Find out more about Baniwa’s production by visiting his page, and also by reading the catalogue of the PIPA edition in which he was awarded: download the catalogue here, which includes a bio of the artist, images of his work, an interview with Luiz Camillo Osorio, curator of the PIPA Institute, and a critical text about Denilson’s work, written by Rachel Cecília de Oliveira. You can also check here the artist’s works that are part of the PIPA Institute’s collection – among them is the video recording of the performance “Pajé-Onça Hackeando a 33ª Bienal de Artes de São Paulo” (photo below), which took place in 2018.

As another source on Denilson’s work, listen to the eighth episode of the PIPA Podcast (available in Portuguese only), in which our team interviewed and had a conversation with the artist.

Brazil’s Pavilion at the 60th International Art Exhibition – La Biennale di Venezia
Comissário: José Olympio da Veiga Pereira, President of the São Paulo Biennial Foundation
Curatorship: Arissana Pataxó, Denilson Baniwa and Gustavo Caboco Wapichana
Participants: Glicéria Tupinambá, Olinda Tupinambá and Ziel Karapotó
Local: Hãhãwpuá Pavilion (Brazil’s Pavilion)
Address: Giardini Napoleonici di Castello, Padiglione Brasile, 30122, Venice, Italy
Date: April 20 to November 24, 2024, from 10am to 6pm

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