(this page was last updated in June 2019)
Geneva, Switzerland, 1983.
Lives and works in Rio de Janeiro, Brazil.
PIPA 2019 Finalist.
PIPA 2019 nominee.
Guerreiro do Divino Amor holds a Master’s degree in Architecture. His research explores the Superfictions, hidden forces that interfere in the construction of territory and of the collective imaginary. He creates a universe of science fiction from fragments of reality, that results in films, publications and installations.
The artist has participated in the Gran bienal tropical de Porto Rico, in the Biennale of Moving Images of Geneva, in which he was the finalist of the “Generations” prize, in Arte Pará 2018 and in exhibitions at Fundação Iberê Camargo (Porto Alegre, Brazil), Casa França-Brasil (Rio de Janeiro, Brazil), MAR (Rio de Janeiro, Brazil), Centro de Arte contemporânea de Vilnius (Lithuania), among others. In 2018, he held the solo show “Superfictions” at Paço das Artes (MIS-SP, Brazil). He was an artist in residency at Pivô-Pesquisa (São Paulo, Brazil), at CAL (Brasília, Brazil) and won the Bolsa Pampulha 2019. His films were screened in several national and international festivals (Mexico, Singapore, Japan, Philippines, Spain etc) and the film “De repente Bárbara” won Best Short Film on the TrangenderFilm Festival 2015 (Kiel, Germany).
Guerreiro is also a member of the group and carnival academy Bunytos de Corpo, which satirizes the cult of the body through collective performances in the streets of Rio de Janeiro.
Video produced by Do Rio Filmes exclusively for PIPA 2019:
Preface of the “SuperRio Superficções” magazine
by Bernardo José De Souza
The world is moved by dark forces.
Existing right alongside what we call reality, there is a supernatural level with connected symbolic figures, a dimension that is just as deceitful and insidious as it is effective in manipulating the political arena governing our planet in the early decades of the 21st century.
Beyond the sociological spectrum based on scientific models which owe much to the theoretical legacy of the 20th-century, a fictional landscape comes into view that defies the most basic laws of nature, the wicked and evil economic practices and the established but imaginary political, spiritual and even geographical order of the world.
Superficções (“superfictions”) is a cosmogony developed by Antoine Guerreiro do Divino Amor to explore a reality that lies beneath our – artificial and camouflaged – mainstream existence. It is a map of rare beauty and acuteness. It may appear paradoxical, but giving a short summary of that other world – which is actually our own world – requires a clear head and some rational thinking, which might help us, even if only a little, to understand the artist’s motives for dreaming up such madness that is brimming with insights and visionary talent. (If I were to claim that it wasn’t a challenge to figure out the meaning of the artist’s work, I would also be talking fiction; and although I take my inspiration from him, his fiction would take precedence over mine in exposing the crude and banal reality of life.)
Antoine Guerreiro do Divino Amor holds a degree in architecture from the École Nationale Supérieure d’Architecture de Grenoble. As the child of a Swiss father and a Brazilian mother from Rio de Janeiro, he is a half-breed in the best postcolonial sense of the word. The name Guerreiro (meaning “warrior”) comes from his mother’s side, while the name Divino Amor (“divine love”) was taken from one of his stepmothers, a pastor in an evangelical church in Rio de Janeiro. In his early investigations of the underlying reality of the world, he had recourse to the philosophers and masters who construed the universe according to the perspective and mindset of Western civilisation. But the canon of works that conquered the world after the unfortunate advent of modernity forced the artist to perform a radical shift in his thinking to be able to challenge the traditional power structures, which are unstable and ineffective despite their apparent robustness and are directly linked to the vertical hierarchies of academia and science.
Interested at first in the powers that conspire to determine the course of our epic misfortunes on this planet, the artist ultimaltely abandoned the global perspective and, as a consequence, the project of developing a new sociopolitical and symbolic theory of megalomaniac proportions. Instead, he headed south in an iconoclastic return to the maternal tropics, which inspired him to explore the complex reality of the New World – following the example set by Lévi-Strauss almost a century earlier.
Bathed in the sunlight and the warm equatorial waters of this new environment, Antoine Guerreiro do Divino Amor rediscovered not only the scents and memories of his childhood, but also the fears, adventures and fantasies that had marked his adolescence: sex and religion wrapped in a euphoric haze, transgression and authoritarianism. And because tensions dominate the world, and advances are possible only because of them, the revolution in his theoretical thinking in Brazil gave fresh impetus to his seminal explorations of the social dynamics and political upheavals of humanity.
With the aim of finally capturing the superreality that keeps us going as we wearily go about our business day in day out, he focused on the local sins and crimes as well as on the unscrupulous façades of a country that insists on making a clean sweep of its history and always refers to a promising future which it has never actually experienced. This is why the author Stefan Zweig came up with the slogan “Brazil, country of the future!” and why the former Brazilian president Juscelino Kubitscheck coined the phrase “50 years in 5 years” (under Kubitscheck, it took only such a short period of time to build the city of Brasília, which the architect Sérgio Bernardes described as a blatant “historical blunder” for a variety of reasons, such as shutting the people out of the centres of power).
Now, well into the new millenium, we know that our representative democracy is a sham – just like many others around the globe, incidentally. We know that we are still governed by the oligarchs who ruled our country for much of history, and by the dominant media outlets and their cunning advocacy of reactionary ideas that are currently stirring up the country. Therefore, it is imperative that we look for semantic and symbolic alternatives that can make sense of the inferno created by a fascist and secretive political elite, which is activating the same old mechanisms of corruption that come attached with power – not to mention the prominent role played by the evangelical church in the process of imposing outrageous tax laws on people in the name of the “divine” power.
Superficções takes a closer look at Rio de Janeiro, the place that represents the quintessence of the Brazilian way of life, where racism, prejudice and government brutality are swept under the carpet, a tableau presented to the masses, painted in tropical colours with a sublime, fictional beauty which it scatters over the world as an antidote against their ranting. The “sociological” categories conceived by Antoine Guerreiro do Divino Amor undermine the maintenance plans of the traditional echelons of power, replacing them with a new order that operates above and beneath the realm of us mere mortals. Its gassy, poisonous effects can no longer be sublimated and rise to the surface like lava from volcanoes, an allegorical reflection of the horrific underworld that might even blind the dull eyes of the dignitaries who look down on the rabble from their golden governmental palaces.
While we insist on living within the matrix of the artificial reality without asking any questions, the superfictions reveal a new universe that is as productive as the workers who are generating our mystical wealth, always promised but never attained. Everything is political, as the artist would have us know.
Like a sort of sphinx on LSD, he asks a riddle: “Open your eyes and tell me, what is it that flows in the open veins of the Brazilian people – mud or glitter?”
Grant holder for the programme “Imersões Poéticas”, Casa França-Brasil, Rio de Janeiro, Brazil
Grant holder for the seminar “imagem em movimento”, EAV Parque Lage, Rio de Janeiro, Brazil
Grant holder for the technical training course “Sound and Video Design”, Cimdata Medienakademie, Berlin
Instituto La Cambre Artes visuais (Brussels): Atelier “Espaços Urbanos”
Master’s degree in Architecture from École Nationale Supérieure d’Architecture de Grenoble (France) and La Cambre (Brussels)
Paço Das Artes, MIS São Paulo, curated by Clarissa Diniz
– “Renovação Carismática”, Caixa Preta, Rio de Janeiro, Brazil
– “Palavras somam”, MAB-FAAP (Museum of Brasilian Art), São Paulo, Brazil
– Arte Pará 2018, curated by Paulo Herkenhof and Vânia Leal, Belém, Brazil
– “Somos Muitxs”, curated by Bernardo Mosqueira and Catarina Duncan, Solar do Abacaxis, Rio de Janeiro, Brazil
– “Comuna Intergaláctica”, Planetário do Ibirapuera, São Paulo, Brazil
– “Unânime Noite, volume 3”, curated by Bernardo De Souza, Fundação Iberê Camargo, Porto Alegre, Brazil
– “Aqui, bem ao Sul”, curated by Marcos Moraes, Bienalsur, MAB (Museu de arte brasileira), São Paulo, Brazil
– “Vivemos na melhor cidade da América do Sul”, curated by B. J. De Souza and V. Gorgulho, Fundação Iberê Camargo, Porto Alegre, Brazil
– “Suposto Norte | Suposto Sul” , curated by de João Paulo Quintella and Michelle Sommer, Cafuné, Berlin
– “Unanimous Night”, curated by Bernardo de Souza, Contemporary Art Centre, Vilnius, Lithuania
– “O terceiro mundo pede a bênção e vai dormir”, DESPINA, Rio de Janeiro, Brazil
– Swiss Art Awards 2017 (Parallel to Art Basel)
– “Imersões”, Casa França Brasil, Rio de Janeiro, Brazil
– “Abre Alas 13”, Galeria A Gentil Carioca, Brazil
– 2nd Gran Bienal Tropical de Puerto Rico
– Biennale of Moving Images, Centre d’Art Contemporain, Geneva, Switzerland
– “Vivemos na melhor cidade da américa do sul”, Átomos, Rio de Janeiro, Brazil
– “Linguagens do corpo carioca”, curated by Paulo Herkenhof, MAR, Museu de Arte do Rio, Rio de Janeiro, RJ
– “Unânime Noite”, curated by Bernardo de Souza, Galeria Bolsa de Arte , São Paulo, Brazil
– Mostra imagem em movimento do Parque Lage, Casa França Brasil, Rio de Janeiro, Brazil
– “Da urgência de cada um”, curated by Jõao Modé and Alexandre Sá, DESPINA, Largo das Artes, Rio de Janeiro, Brazil
– “A Mão Negativa”, curated by Bernardo De Souza, EAV parque Lage, Rio de Janeiro, Brazil
– “Brazil” , Galeria Substitut, Berlin
– Swiss Art Awards 2008 (Parallel to Art Basel)
– Cultural center of the Brazilian embassy in Brussels, presentation of the project “SuperRio”
– Project “Mémoire en Demeure ”, by Tadashi Kamamata, França (design of the structure)
– Beneflux, Urban Art Festival, Brussels, “Diner Chic” installation.
– Part of the collections from MAR Rio de Janeiro’s art museum, Rio de Janeiro, Brazil
– MAB – FAAP São Paulo, Brazil
Awards and competitions
– Cine Esquema Novo (honorable mention)
– Swiss Art Awards 2017 (finalist)
– Finalist Generations Prize at the Biennale of Moving Images in Geneva
– Best short film (De repente, Barbara), Transgender Film festival in Kiel, Germany
– “Angu de Ouro 2015”, Best curator’s film, Cineclube Mate com Angu, Duque de Caxias, RJ, Brasil
– Finalist for the film award “Grande Prêmio Vivo do cinema brasileiro” (with the film “Clube da Criança”)
– Swiss Arts Awards 2008 (finalist)
– Winner of the award “La Cambre Architecture“ “ The Battle of Brussels”
– Residência CAL UnB, Brasília, Brazil (September and October)
– Pivô Pesquisa, São Paulo, Brazil (April until July)
– FAAP, São Paulo, Brazil (August until December)
Participation in festivals and screenings
– Institute of Contemporary Arts Singapore, special screening of “Artifice and Fiction”, La Salle college
– Festival Curta Cinema, Rio de Janeiro, Brazil
– Itaú Cultural SP, “Conversations in São Paulo: cultural exchanges in asymmetric contexts”, São Paulo, Brazil
– Festival Cine Esquema Novo, Porto Alegre, Brazil
– Centro de Arte Dos de Mayo (Madrid), Mostra «Hasta que las cosas y los cuerpos sean como queremos que sean», Spain
– Tokyo Fetish Film Festival, Tokyo, Japan
– Mostra do filme livre 2009, 2012, 2015, 2016, 2017 (CCBB SP/RJ/DF/BH) (Rio de Janeiro, São Paulo, Belo Horizonte, Brasilia, Brazil)
– Semana Cinerama, UFRJ, Rio de Janeiro, Brazil
– Festival Mix México, Ciudad do Mexico, Mexico
– Mostra Strangloscope, MIS Museu da imagem e do som, Florianópolis, Brazil
– FFF San José, Costa Rica
– Antebellum Festival, Los Angeles, USA
– Transgender Film Festival Manila (Filipinas), Copenhague, London e Kiel
– Mostra Kino Olho Rio Claro
– Curta Santos
– Maranhão na tela
– Vira Cultura maratona cultural, Conjunto nacional, São Paulo, Brazil
Researcher and editor (artist’s films, fiction, documentaries, institutions), 2D and 3D animation, graphic designer, teacher, VJ and art producer for various films and projects in Brussels, Berlin and Rio de Janeiro.