(this page was last updated in March 2022)
Feira de Santana, Brazil, 1973.
Lives and works in São Paulo, Brazil.
Represented by Gallery Nara Roesler.
PIPA 2014 nominee.
PIPA 2015 Winner.
PIPA 2015 Popular Vote Exhibition Winner.
Member of the PIPA Prize Nominating Committee 2016, 2019 and 2022.
Master in Visual Arts from the School of Fine Arts-UFBA. Throughout her trajectory she has held numerous exhibitions among them: 2019: Liebe und Ethnologie, HKW Haus der Kulturen der Welt, [Berlin, Germany], 2019: Feminist Histories, MASP [São Paulo, SP]; 2017-2018: History of Sexuality, MASP [São Paulo, SP]; 2017: Jogja Biennale XIV, Yogyakarta, Indonesia; 2016: La réplica Infiel, Centro de Arte 2 de Mayo [Madrid, Spain]; 2015: Rainbow in the dark: no joy and torment of Faith, Malmö Konstmuseum [Malmö, Sweden]. The artist has participated in the 31st and 27th International Biennial of São Paulo. In 2015 she won the PIPA Award popular vote and jury; in the same year she was the winning artist in the 5th Edition of the Marcantonio Vilaça Award CNI / Sesi / Senai. Commissioned artist of the 11th Berlin Biennial of Contemporary Art 2020.
Video produced by Matrioska Filmes exclusively for PIPA 2015:
Fracturing oneself for the encounter
Daily life is constituted by an armor of conducts, marked by an imaginary barrier that separates individuals, whose own consciousness is ignored and covered by identity-stigmas, stereotypical images by which they are represented. I believe that the imperative order that separates us from other forms of existence is fictitious, and the need to disobey it and cross the boundaries to venture into a different realm than the place I find myself in, is what motivates my artistic practice: becoming familiar with other social codes and allowing myself to be affected by them. This has been the basic material for my creative processes.
I come from a rural family. My parents are from the state of Paraíba and, until the age of 17, I lived in a farm in the countryside of Feira de Santana, a small town in the state of Bahia. My relationship with nature directed me towards art from an early age; without my knowing it, and introduced me to a wealth of experiences that both constitutes who I am and continuously constructs and gives voice to my artistic production. Viewing the streets as a powerful creative laboratory was the first step in my being exposed to other forms of existence. The streets took me back to nature, to the un-foretold newness that seems to unfold throughout the universe. The act of walking, observing places, situations, and the desire to infiltrate a given daily life – where social codes and rules and moral values are different, unlike those of where I am –, and experiencing the connections and disconnections these universes provoke in me, has come to motivate my creative process. In this type of interaction, there is room for contradictions, tensions, challenges, deconstructions, destabilizations and mutations. Not only is the Other unlike us – the foreigner, the outsider, the outcast –, it is also a feeling of incompleteness that keeps us in suspension, as though we are essentially unfinished, a waiting of ourselves. It is an encounter that requires time, complicity and a desire to approach what seems distant from us. Like Michel de Certeau, I believe there are corners of shadows and cunning, in the city’s empire of evidences, and the only ones who do not perceive them are those in a class “distinct” from the rest, and observation only captures the relationship between what it wants to produce and what resists it.
My work is endowed with an anthropological pathos; I strive to know a world that is unlike my own. I consider myself an auto-ethnographic artist (1). Human diversity is perhaps one of the hardest issues to fathom, in this endeavor I take a chance and accentuate, to viewers, the exoticism, the stigma, or even discrimination. This is the biggest challenge I am faced with when transposing lived experiences into the exhibition space. I believe I am protected by the emotional state that propels me into each of these universes, causing a kind of blindness that distorts what is real – instead of the testimony, the fable. This is the moment of “fabulation,” when the difference between what is real and what is imagined become indiscernible, and through this process the individual constitutes himself as a subject of the scene, rather than a mere object that is observed: to create a world, to believe in it, and to project oneself into it. “What is opposed to fiction is not the real; it is not the truth which is always that of the masters of or colonizers; it is the fabulatory function for the poor, insofar as it gives the false the power that makes it into a memory, a legend, a monster.” (DELEUZE). I embrace this Deleuzian notion not as a synthesis of my practice, but rather as memories peeling from the skin, the bark of an old tree that covers its hollow depth. It was my father’s country mouth that introduced me to legend and myth, and irrigated my arid countryside. Conjuring into his most commonplace stories insignias and fabulous sagas. The hero of his own stories – in every tale told, something clever that was said, a teaching that was learned, a challenge overcome, an everlasting luck in the air. My father, a self-made man: farmer, trucker, owner of a traveling cinema in the 50s, mechanic and merchant, I grew up listening to his stories, the same stories fuelled by the power of desire that gained new contours and morphed into different ones. Yes, “to know is not to seek the truth about something, about ourselves, unveiling or reproducing preexistent truths in the world. It is to create your own truths, to always constitute new worlds, new, unique forms of existence, and to make choices while risking being wrong.” (2)
The first universe I entered was that of transvestites. For about a year and a half, I rented out a small room at Sulacap, a commercial building in central Salvador. The place was designed as a meeting point for transvestites; located in an area where they live and work. The elements used in the setting were based on visual memories I have of the rooms of the transvestites who lived in a pension owned by Rosana – the first transvestite I met, who caused me to enter this universe. The outcome of this immersion is the piece Studio Butterfly (2003/2005). In the studio, the transvestites would bring me old and new photographs, taken with relatives, friends, lovers, and while sitting on the “emotion armchair,” they would tell me a few stories from their lives, which I would record in video. In return, I would do a photo shoot with them and in the end I would hand them a portfolio book. All of this experience was recorded in a journal that became a booklet of tales. From atop the Sulacap building I could see the Ladeira da Montanha hill, a place that had long caressed me with its fingers corroded by abandonment, and scraped me with nails dirty from the garbage of time. A degraded area in old Salvador, a shelter to mundane and decadent women, their sons, thieves, and those “whose violence is the habitual climate are simple in the face of themselves…” Jean Genet. I desired to descend from the Mountain and enter the opaque that my senses could not reach from the top of Sulacap, and I met Simone, a transvestite. When I met Simone, she had just moved with her companion to a ruined house on Ladeira da Montanha. Like most transvestites, Simone was a drug user, but she also spontaneously tended to a nearby fountain, the “Fonte da Misericórdia,” which she treated as a sanctuary to honor her orishas. After the first month of filming, Simone went into convulsion due to a crack overdose, followed by a mystical delirium in which she believed to have met God, an encounter that supposedly spared her from death. From then on, she ceased to be a transvestite, returned to her parents’ house, reassumed her birth name Sérgio and, in a fanatical fit, considered herself one of the last people sent by God to save mankind. This story gave rise to the video Sergio e Simone (2008/2009).
In the Fábula do Olhar (2013) project I delve into the universe of the homeless. The desire to portray them came from issues relating to the widespread use of images brought about by the availability of devices and the popularization of different types of cameras. The image devoid of any value, political or aesthetic, becomes pure information. The sensation one gets is that such extent and intensity of image diffusion has rendered audiences indifferent, and all images equivalent to one another. How is it possible to reestablish the exceptional statute of an image that brings the world to an end, one that is not its expression, and is at once its emanation, a form of intuition coming from elsewhere? The fascination caused by a few old photographs gave me a clue. The enchantment is sometimes due to the fact that one does not know where these recordings come from; They come from a universe without vestiges, or from another time – they create a suggestive boundary to vision, a chimaera-like cross-section of perception. Out of all my childhood photographs, one in particular set in motion this ineluctable game between reality and imagination, causing a strange incision in my gaze. The photo-painted portrait of my first dress, made the pillars in my house yellow, dyed the white rocking chair pale blue, and under shades of grey in my hair a ruby ribbon shined, conjuring a strange magic in front of my eyes, a latency in the real. That memory gave me the idea of retrieving the profession of photo-painting, in this artistic experience, a near-extinct tradition in Northeast Brazil with a highly specific characteristic: to retouch the image with paint, adding accessories – such as suits, jewelry, makeup, dresses –, these new details granted some prestige to the character being portrayed. I decided to combine this technique with pictures of people who live on the streets, whose material poverty is confused with subjective, existential misery, looking for a way to remove that image from the information system, causing it to open up to the world in a way that we did not know beforehand, reiterating it via the art circuit. For a month and a half, I set up a photographic studio at two mess halls for homeless people in the city of Fortaleza: Refeitório São Vicente de Paulo and Casa da Sopa. I took black-and-white photographs of homeless people, recorded video statements of their personal histories, and asked a key question which directs and identifies the nature of the work: How would you like to see yourself or be seen by society? This question opens up the field of subjectivity of the individuals portrayed. Upon fabulating their condition, they make themselves into characters of the “Fábula do Olhar” exhibition. The Ceará state-born artist Mestre Júlio dos Santos, using the photo-painting technique, colored the black-and-white portraits, creating interferences on the photographs based on what each homeless individual said. The outcome is a fabulous-image that sets in motion this ineluctable game between the real and imagination.
I believe that recording what is imperceptible in the eyes of many, like a vital sign of the power of otherness, is also a function of art. As it enables the recognition of different ways of seeing and positioning oneself in the world, configuring a distinctive feature of the human experience, we discover a field that is open to the possibilities of encounter and the promotion of dialogue.
– Virginia de Medeiros
1. According to Daniela Beccaccia Verdiani’s notion, in auto-ethnography the myth of the self is confronted by the cacophony of multiple, unsynthesized voices; the description of the other as an object is replaced with the endless, tense dialogue between distinct subjectivities, and writing, generally regarded as a transparent reproduction of external realities, is questioned in favor of its performance-like statute as event.
2. Gilles Deleuze
-Masters in Visual Arts at the School of Fine Arts of the Federal University of Bahia, Salvador.
-Bachelors in Fine Art at the School of Fine Arts of the Federal University of Bahia, Salvador.
-“Studio Butterfly e outras fábulas”, Gallery Nara Roesler, São Paulo, Brazil.
-“Jardim das Torturas”, Ateliê Aberto, Campinas, Brazil.
-“Fala dos Confins”, Cultural Complex Funarte São Paulo and Gallery Flávio Carvalho, São Paulo, Brazil.
-“Faille”, La Chambre Blanche, Montreal, Canada.
Selected Group Exhibitions
-“La réplica infiel”, Centre of Art 2 of May, Madrid, Spain (forthcoming).
-“Como (…) coisas que não existem”, Serralves Museum of Contemporary Art, Portugal.
-“Rainbow in the Dark”, Malmo Kunstmuseum, Sweden.
-“Histórias”, University of South Florida, Tampa, USA.
-“Visualismo”, Rio de Janeiro, Brazil.
-“On Demmand III”, Tegenboschvanvreden, Amsterdam, Netherlands.
-“Transborda”, Casa Triângulo, São Paulo, Brazil.
-“Arte Pará”, Museum of the State of Pará, Belém, Brazil.
-PIPA Finalists Exhibition, Museum of Modern Art of Rio de Janeiro, Brazil.
-5th Edition of the Marcantonio Vilaça Prize, Museum of Contemporary Art of the University of São Paulo. Iterations at:
-Palácio das Artes, Belo Horizonte, 2015;
-Parque Dona Lindu (Gallery Janete Costa), Recife, 2016;
-House of Eleven Windows, Belém, 2016;
-Oscar Niemeyer Museum, Curitiba, 2016.
-“Artemovendo”, Goethe-Instituet São Paulo, Brazil.
-“Esto no es un Museo. Artefactos Móvilles al Acecho”, Cultural Centre São Paulo, Brazil.
-“Ficções”, Caixa Cultural Rio de Janeiro and Gallery 3, Rio de Janeiro, Brazil.
-“Poetry in Between – South/South”. Video exhibition: “Crossings and passages: the unequal accumulation of time”, Goodman Gallery, Cape Town, South Africa.
-“Cães sem plumas”, Musem of Modern Art Aloísio Magalhães, Recife, Brazil.
-“Missão”, Cultural Centre São Paulo, Brazil.
-3rd Biennial of Bahia: “É tudo Nordeste?”, Museum of Modern Art of Bahia, Salvador, Brazil.
-“Rainbow in the Dark”, SALT Galata, Istanbul, Turkey.
-“Salón de Belleza [Beauty Salon]”, “Utopian Pulse – Flares in the Darkroom”, Secession of Vienna, Vienna, Austria.
-31st Biennial of São Paulo: “como (…) coisas que não existem”, Biennial Pavilion, Brazil.
-“Das viagens, dos desejos, dos caminhos”, Museum Vale, Vila Velha, Brazil.
-“Cidade Política”, Sala de Arte Santander, São Paulo, Brazil.
-“Do Valogo a Favela”, Museum of Art of Rio de Janeiro, Brazil.
-“Roesler Hotel #24 – Cães sem plumas [prólogo]”, Gallery Nara Roesler, São Paulo, Brazil.
-Museum of Contemporary Art New Acquisitions Project: “Dos percursos e das poesias”, Dragão do Mar, Fortaleza, Brazil.
-“Missão”, Cultural Centre São Paulo, Brazil.
-Institute Cervantes, São Paulo, Brazil.
-“Metrô de Superfície”, Paço das Artes, São Paulo, Brazil.
-N-Minutes Video Art Festival, Shanghai, China.
-“Itinerários, Itinerâncias: 32o Panorama de Arte Brasileira”, Museum of Modern Art of São Paulo, Brazil.
-Video Guerrilla 2011, VisualFarm – Linguagens Visuais, Rua Augusta, São Paulo, Brazil.
-“Entretanto Primeira Edição: O desvio é o alvo, Ocupação”, São Paulo, Brazil.
-SP STAMP, Atelier Paulista, São Paulo, Brazil.
-“Geografias Emocionais, Arte e Afectos – Projeto 3 Pontes”, 2nd Triennial of Luanda, Palladium Space, Angola.
-Satirianas 2010, Espaço Visumix, São Paulo, Brazil.
-9th Festival of Art of Serrinha, Bragança Paulista, São Paulo, Brazil.
-Satirianas 2009, Espaço Visumix, São Paulo, Brazil.
-“É Claro que Você Sabe do que Estou Falando?”, Gallery Vermelho, São Paulo, Brazil.
-“Sonhos Explícitos”, 5th Week of Visual Arts of Recife, Brazil.
-“Geração da Virada 10 + 1: os anos recentes da arte Brasileira”, Institute Tomie Ohtake, São Paulo, Brazil.
-27th International Biennial of São Paulo, Biennial Pavilion, Brazil.
-“Entre o Público e o Privado: Transições na Arte Contemporânea”, Centre Dragão do Mar of Art and Culture, Fortaleza, Brazil.
-“Paradoxos Brazil”, Paço Imperial, Rio de Janeiro, Brazil and Itaú Cultural, São Paulo, Brazil.
-Festival of Free Sexual Expression, Salvador, Brazil.
-“Apropriações / Coleções”, Santander Cultural, Porto Alegre, Brazil.
-Installations Bahia 2001, Museum of Modern Art of Bahia, Salvador, Brazil.
-“+100 Artistas Plásticos da Bahia”, Gallery Prova do Artista, Salvador, Brazil.
-V Biennial of Recôncavo, Cultural Centre Dannemann, São Félix, Brazil.
-XXVII Regional Salon of Fine Arts of Bahia, Cultural Centre of Valença, Brazil.
-IV Biennial of Recôncavo, Cultural Centre Dannemann, São Félix, Brazil.
-XXI Salão Regional de Artes Plásticas da Bahia, Centro Cultural de Alagoinhas, Alagoinhas, Brazil
-XI Salão FASC de Artes Plásticas, Galeria de Arte Florival Santos, Aracajú, Brazil
-XIRegional Salon of Fine Arts of Bahia, Cultural Centre Amélia Amorim, Feira de Santana, Brazil.
-III Biennial of Recôncavo, Cultural Centre Dannemann, São Félix, Brazil.
-PIPA 2015, Rio de Janeiro, Brazil.
-Residency Award, Manchester Metropolitan University, UK.
-5th Edition of the Marcantonio Vilaça Prize, CNI/Sesi/Cenai.
-Residency Award, 18th Festival Videobrasil, São Paulo, Brazil.
-6th Edition of the Marcantonio Vilaça Prize, National Foundation of Art, Rio de Janeiro, Brazil.
-Funarte Incentive for Production in the Visual Arts Grant, Ministry of Culture, Rio de Janeiro, Brazil.
-Residency Award, Foundation Joaquim Nabuco and Coordination of Arts.
-Visuals of Cultural Centre Bank of the Northeast, Fortaleza, Brazil.
-Publication: “Livro de Arte Studio Butterfly,” Edital Setorial de Artes Visuais, Cultural Foundation of the State of Bahia, Salvador, Brazil.
-PIESP Grant, Space of Contemporary Culture of the School of São Paulo, Brazil.
-Rede Nacional Funarte Visual Arts 2009, São Paulo, Brazil.
-Programa Rumos Itaú Cultural Visual Arts, São Paulo, Brazil.
-Grants Vitae de Artes 2003, São Paulo, Brazil.
-Prize Copene of Culture and Art, Salvador, Brazil
-Honorable Mention, XXVII São Regional of Visual Arts of Bahia, Valença, Brazil.
-Distinguished by jury, XI Regional Salon of the Fair of Santana, Brazil.
-Residency Unlimited, Institute of Contemporary Culture, New York, USA.
-Cultural Foundation Joaquim Nabuco, Fortaleza, Brazil.
-Women for Peace, Dili, East Timor.
-La Chambre Blanche, Montreal, Canada.
-Cultural Institute Inhotim, Brumadinho, Brazil.
-Museum of Art of Rio de Janeiro, Brazil.
-Cultural Centre São Paulo, Brazil.
-Cultural Association Videobrasil, São Paulo, Brazil.
-Cultural Centre Bank of the Northeast, Fortaleza, Brazil.
-City Art Collection, São Paulo, Brazil.
-Cultural Centre Dragão do Mar, Fortaleza, Brazil.
Video produced by Matrioska Filmes exclusively for PIPA 2014:
- Check out the Nominating Committee of PIPA Prize 2022
- “Standing on the shoulders of giants”: visit the OVR
- The 11th Berlin Biennale starts on September 5th
- International Women's Day: meet the five PIPA Prize female winners
- Meet the members of the PIPA 2019 Nominating Committee
- The PIPA Institute opens “Lost and Found”, featuring pieces from its collection
- PIPA Prize 2018 nominees to be announced shortly
- Biennale Jogja XIV opens this week featuring 12 Brazilian artists
- "How to remain silent?" addresses the current state of affairs in Brazil
- Itaú Cultural celebrates 30 years of existence with a constellation of Brazilian art
- Artist in Residence | Watch the exclusive interview with Virginia de Medeiros
- Virginia de Medeiros | Nominated Artist 2015
- Virgínia de Medeiros | Nominated Artist 2014