THE
Museum of Modern Art of São Paulo announces
Germano Dusha and
Thiago de Paula Souza as curators of the
38th Panorama of Brazilian Art , which will be exhibited between October 2024 and January 2025. The title of this edition,
Mil Graus indicates the curator's objective of outlining a multidimensional horizon of contemporary artistic production in Brazil, in order to critically elaborate on the country's current reality under the sense of urgency and the capacity for transformation of what they call a “heat limit” – a temperature at which everything melts, disintegrates and transmutes. “The Panorama of Brazilian Art is a fundamental exhibition in the history of MAM and a milestone in the history of art in the country. At each edition, the biennial exhibition presents projects that contribute to the debate on latent issues in contemporary art,” he comments.
Elizabeth Machado , president of MAM São Paulo.
Cauê Alves , the museum’s chief curator, says that the selection of the curatorial project for the 38th Panorama of Brazilian Art at MAM was a process discussed by the MAM Arts Commission. “We invited several curators to submit proposals. After meeting with them in hand, we chose
A thousand degrees to be executed. It is a project that invites us to reflect on art and the contemporary world from extreme conditions, both in terms of historical and sociopolitical issues, as well as in relation to ecological and technological discussions”, he explains.
(Leticia-Rheingantz/CASACOR)
A thousand degrees
The title chosen by the curators of this 38th edition comes from a colloquial expression that can take on multiple meanings depending on the context, but which invariably functions as an index of high intensity. In the introductory text about the project,
Germano Dusha and
Thiago de Paula Souza explain that “as a theme, the idea of a temperature opposite to absolute zero, an insurmountable maximum temperature, the incidence of which results in total molecular agitation, that is, capable of melting any existing matter, serves as a point of imagination to think about contexts with a high rate of environmental variation and situations involving combustion processes, electricity and friction. In this sense, the project is guided by the interest in formulations linked to experimentation, intense risk, radical situations, extreme conditions marked by heat — metaphysical, metaphorical and climatic —, and the states — of the soul and of matter — that place us before transmutation as an inevitable and immediate destiny”.
The body of the exhibition – which will be announced in March 2024 – will bring together artists who address, in a singular or subjective way, historical issues, sociopolitical , ecological , technological and spiritual .
Entrada do MAM SP / (Daniel Guimarães/A2IMG/CASACOR)
The curators
Germano Dusha Born in Serra dos Carajás (PA), Germano Dushá is a curator, writer, critic and cultural agent. With a degree in Law (FGV-SP) and a postgraduate degree in Art: Criticism and Curatorship (PUC-SP), he lives and works in São Paulo. His research brings together aesthetics, criticism and esoteric traditions, and his practice takes multiple forms — in curatorial, literary and hypermedia experiments — to investigate social imaginaries and the energy linked to radical subjective experiences and processes of transmutation. Throughout his career, he has collaborated with institutions, galleries and publications in different countries. Among the most recent exhibitions he curated are:
Frontal Sphinx , from the Mendes Wood DM Gallery (São Paulo) and
It Bends But It Doesn't Break , by Almeida & Dale (São Paulo), both from 2023;
Universal Heat, at Pace Gallery (Hamptons) and
Every other week, from Casa Zalszupin (São Paulo) in 2022; and
A Hora Instável , at Bruno Múrias (Lisbon), in 2019. He is currently coordinator of Fora, a multidisciplinary organization founded in 2018 that works with cultural projects and institutional strategies.
Curator and educator, Thiago de Paula Souza's research permeates the desire to expand and rework the exhibition format, and the power of contemporary art and education in rethinking the past and producing new ethical codes. Thiago's practice intersects different configurations of knowledge and power, articulating the construction of infrastructures to imagine a world in which violence is no longer its foundation. He has a degree in Social Sciences from Unesp and is a PhD candidate at HDK-Valand at the University of Gothenburg, Sweden. Among the institutional projects in which he has worked are
While We Are Embattled (2022), from Para Site, in Hong Kong, where he was co-curator; and
Acts of revolt , at MAM Rio; was part of the curatorial teams of the 3rd edition of
Frestas — Arts Triennial (2020 - 2021), organized by Sesc São Paulo;
We don't need another hero — 10th Berlin Biennale (2018); and was a curatorial consultant for the 58th Carnegie International (2012/2022). He is currently collaborating on a curatorial research program with Vleeshal, in the Netherlands, and is a member of the curatorial committee of the Ners Foundation.
About the Panorama of Brazilian Art at MAM São Paulo
The Panorama of Brazilian Art series of exhibitions began in 1969 and coincided with the installation of MAM São Paulo at its headquarters on the Ibirapuera Park marquee. The first editions of the Panorama marked the history of the museum by having contributed directly and effectively to the formation of its contemporary art collection. Throughout the 37 exhibitions held so far, the Panorama of MAM has sought to establish productive dialogues with different notions about Brazilian artistic production, our history, culture and society. Held every two years, it always produces new reflections on the most urgent debates of contemporary Brazil.
About MAM Sao Paulo
Founded in 1948, the São Paulo Museum of Modern Art is a non-profit civil society of public interest. Its collection includes more than 5,000 works produced by the most representative names in modern and contemporary art, mainly Brazilian. Both the collection and the exhibitions prioritize experimentalism, opening up to the plurality of global artistic production and the diversity of interests of contemporary societies.
The Museum offers a wide range of activities, including courses, seminars, lectures, performances, musical shows, video sessions and artistic practices. The content of the exhibitions and activities is accessible to all audiences through guided tours in sign language, audio descriptions of the works and video guides in sign language. The collection of books, periodicals, documents and audiovisual material comprises 65 thousand titles. Exchanges with museum libraries in several countries keep the collection alive. Located in Ibirapuera Park, the most important green area in São Paulo, the MAM building was adapted by Lina Bo Bardi and, in addition to the exhibition rooms, it includes a studio, library, auditorium, restaurant and a store where visitors can find design products, art books and a line of MAM-branded objects. The museum's spaces are visually integrated into the Sculpture Garden, designed by Roberto Burle Marx and Haruyoshi Ono to house works from the collection. All areas are accessible to visitors with special needs.
Service 38th Panorama of Brazilian Art: A Thousand Degrees Curation:
Germano Dusha and Thiago de Paula Souza Exhibition period:
October 2024 to January 2025 Museum of Modern Art of São Paulo Address:
Ibirapuera Park (Av. Pedro Álvares Cabral, s/nº - access through gates 1 and 3) Schedules:
Tuesday to Sunday, 10am to 6pm (last entry at 5:30pm) Tickets:
R$30.00 full price and R$15.00 half price. On Sundays, admission is free and visitors can contribute any amount they wish. For advance tickets, visit mam.org.br/visit *Half-price admission for students, with identification; low-income youth and seniors (+60). Free admission for children under 10 years old; people with disabilities and their companions; teachers and principals of the state and municipal public schools of São Paulo, with identification; friends and students of MAM; employees of partner companies and museums; members of ICOM, AICA and ABCA, with identification; employees of SPTuris and employees of the Municipal Department of Culture.
