Critical Texts


‘Is this art? Search me’, by Luiz Camillo Osorio

In the new critical text, Luiz Camillo Osorio, curator of the PIPA Institute, discusses the “place of art”. Analyzing the possibilities of aesthetic experience, Camillo argues that the viewer’s perspective must be one of displacement, of “being shifted from one’s place towards the not knowing”. In this shift, there is an inclination of the individual towards another (unexpected) knowledge that is presented by the artist. Read the full text!

‘JOHN BERGER: think with the eye, act with the text’, by Luiz Camillo Osorio

After reading the biography of the writer and art critic John Berger, the PIPA Institute curator compares the politics of the 20th century (of ‘thinking the impossible’) with the 21st-century experience. This second one, according to the curator, configures somber times marked by the non-thought

‘MoMA gets a wake-up call’, by Luiz Camillo Osorio

In this text, PIPA Institute curator Luiz Camillo Osorio comments on the recent expansion of MoMA in New York, a reform with an investment of US$ 450 million. See what are the museum’s historical transformations to adapt to contemporary art, as well as Camillo’s view on the repositioning of the American museum


Luiz Camillo Osorio in conversation with Denilson Baniwa

PIPA Institute curator talks to PIPA Online 2019 Winner, Denilson Baniwa. Originally from Amazonas and now based in Rio de Janeiro, Denilson Baniwa discusses, in this conversation, how his artistic practice and trajectory are related to his indigenous origin and how it exists in the context of the globalized contemporary art.


A degenerate biography: Emil Nolde and Nazism

In his column, Luiz Camillo Osorio, curator of the PIPA Institute, discusses the complexity between politics, art and history using as a basis for this theme the case of Emil Nolde, an anti-Semitic painter from Nazi Germany who, due to the exasperated and “deformed” aesthetics in his works he was an artist denied by the regime he personally defended. “How to deal with this contradiction between author and work?” and “Is this an exclusively German past?” are some of the questions Camillo brings up in the text

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