project 1.

Brazil’s Soft Power - Modernity, Identity and Diplomacy

Modernity, Industrialisation and the Urban Flâneur

Where is the living love,
Where is it?

Roads of my city:
I run after my friend,
Where is he?

Streets of my São Paulo:
Love greater than food,
Where is it?

Roads of my city:
An answer to my request,
Where is it?

Streets of my São Paulo:
The fault of the restless one,
Where is it?

It must be in the past:
In the damned centuries,
There it is.
— Streets of my São Paulo, Mário de Andrade

Caetano Veloso and Gilberto Gil, Sampa

1. Tarsila do Amaral, Workers, c. 1933, Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo. Tarsila do Amaral: Inventing Modern Art in Brazil, 2018, MoMA, New York

2. Flávio de Carvalho, Alameda Lorena Housing Complex, c. 1936 - 38. CEDAE Archive Universidade de Campinas - UNICAMP - SP

3.  Roberto Burle Marx, Mineral roof garden, Banco Safra Headquarters, 1983, São Paulo. Roberto Burle Marx - Brazilian Modernist, 2015, The Jewish Museum, New York

4. Flávio de Carvalho, in his 1956 New Look performing in the streets of São Paulo CEDAE Archives, Universidade de Campinas - UNICAMP - SP

Antropofagia, Identity, Tropical Nature 

“Brothers of Three Colors Macunaima caught sight of . . . a hollow the shape of a giant’s footprint, full of water. . . . The hero, squealing because the water was so cold, washed himself all over. But this water was magic water, for the hollow was St. Thomas’ footprint. . . . When the hero had finished his bath he was white- skinned, blue-eyed and fair-haired; the holy water had washed away all his blackness. . . . As soon as Jiguê saw this miracle he sprang into St. Thomas’ footprint. But by this time the water was very dirty from the hero’s ivory blackness, so . . . (Jiguê) was left the colour of freshly minted bronze. . . . Then Maanape went to wash, but Jiguê had splashed all the water out of the pool . . . so that Maanape could wet only the palms of his hands and the soles of his feet. That’s why he remained black like a good son of the Tapanhuma tribe. . . . The three brothers made a superb picture . . . one fair, one red- skinned, one black. All the denizens of the forest looked at them in amazement”.
— Macunaíma, Mário de Andrade

1. Tarsila do Amaral, Anthropophagy, c.1929, Acervo da Fundação José e Paulina Nemirovsky, Pinacoteca do Estado de São Paulo. Tarsila do Amaral: Inventing Modern Art in Brazil, 2018, MoMA, New York. 

2. Roberto Burle Marx, Interior Gardens at Itamaraty Palace, Ministry of Foreign Affairs, 1965, Brasília. Roberto Burle Marx Brazilian Modernist, 2015, The Jewish Museum, New York.


3. Roberto Burle Marx, Landscape, c.1943, Brighton and Hove Museums and Art Galleries. The Art of Diplomacy - Brazilian Modernism Painted For War, 2018. Embassy of Brazil London. 


Short Film Records depicting a "Baba Antropofágica", “Anthropophagic Slobber”, proposed by the Neo-Concrete artist Lygia Clark (1920 - 1988). Performed at the Clark Art Center (CAC), Rio de Janeiro, with Jards Macalé. Direction and Script: Walmor Pamplona. Curatorial and Production: Clark Art Center.

4. Magazine O Cruzeiro, 'The Truth Walked Naked', 1949. A Cidade do Homem Nu Exhibition curated by Inti Guerrero. Museu de Arte Moderna de São Paulo, 2010.

5. Beatriz Milhazes, Sonho Tropical Rio Azul show, 2018, White Cube Gallery, London

6. Tarsila do Amaral, Hill of the Favela, c.1924. Hecilda and Sérgio Fadel Collection, Rio de Janeiro. Tarsila do Amaral: Inventing Modern Art in Brazil, 2018, MoMA, New York.