“Aymorés是一家饼干品牌公司。当人们看到'Aymoré'时，他们会想起饼干，而不是人。这不仅是对一个民族的种族灭绝，也是对他们记忆的毁灭，把人们变成了饼干。”

——Paulo Nazareth

DRY CUT [from BLACKS IN THE POOL - Tommie], Rockefeller Center, New York, 2019

Melee, ICA Miami, Miami, 2019

Faca Cega, Museu de Arte da Pampulha, Belo Horizonte, 2018

NNOMINATE, Mendes Wood DM, New York, 2017

Old Hope, Mendes Wood DM, São Paulo, 2017

Old Hope, Mendes Wood DM, São Paulo, 2017

Old Hope, Mendes Wood DM, São Paulo, 2017

The Journal, Institute for Contemporary Arts, London, 2014

The Encyclopedic Palace, 2013, 55 Biennale di Venezia, Venice, Italy

Banderas Rotas, Galleria Franco Noero, Turin, 2014

Che Cherera, Mendes Wood DM, São Paulo, 2014

Paulo Nazareth颠覆了人类学和考古学话语的权威，绘制了跨越个人历程、祖先的道路、历史、神话和小说的过程，以创造一种推测性的叙事。一些人类学家提出，Luzia可能是从澳大利亚 / 美拉尼西亚移民到美洲的人口，Paulo Nazareth能够画出一些推测性的联系，以及一段穿越时间和不同地点的想象旅程，这既涉及他自己的家谱，又与前往澳大利亚的旅程有关。这反映了他利用自己的身体和旅行来挑战占主导地位的流动历史，并反思土著认识论和跨国和两元关系的更广泛的做法。

NITIAL STUDY FOR A COMPARATIVE MORPHOLOGY BETWEEN BIRDS AND PEOPLE [Some people have the ability t fly even if locked in a captivity], 2021, Chalk on paper, 42.5 × 58 cm

Get out From The Garden [THE GANS IN HIS HAND] THE ANGEL AGAIN, 2021, Acrylic on canvas, 40 × 40 cm

From the series Hans Staden or the eden Garden [He seat], 2019, Acrylic on canvas, 30 x 40 cm

MAAHES KNEW THAT NO GOD WOULD SURVIVE THE EXTINCTION OF HIS FELLOW MEN, WHICH IS WHY THE HUMAN GOD HAD BEEN KILLING LIONS, HIPPOPOTAMUS AND RHINOCEROS, 2021

Obatalá, 2021, Acrylic on canvas, 40 × 30 cm

Elegua, 2021, Acrylic on canvas, 40 × 30 cm

Sem titulo, da serie Produtos de Genocidio, 2013, Dyer and bleached natural fiber, paper and wood, 25.1 × 41.9 × 2.9 cm

Sem título [ muro do fundo ], undated, Bricks and wire, 62.5 × 29.5 × 20 cm

UNTITLED [LUZIA REMEMBER], 2020, Drawing and engraving on stone, 27 × 26 × 22 cm

UNTITLED [WORKER], 2020, Maize seed and rock, 39 × 18 × 16 cm

Untitled (d'obra ou de obra), 2020, Concrete and Havaiana sandals, 25.5 × 28.5 × 11 cm

COP BOOT BEAT, 2019, Found objects (stones, rubber boot), 40 × 35 × 30 cm

UNTITLED [FROM N'TOMO SOCIETY], 2021, Drawing on paper, 43 × 35.5 cm

Slave Ships For Sale, 2014, Lithograph on paper, 30 × 24 cm

Nazareth在他的艺术旅行中通常用步行的方式与各种各样的人建立关系，这些人经常成为他艺术作品的灵感来源。他挖掘历史，与人融合并从中拾取故事。从本质上讲，这项工作的核心是人类学，它是由“在现场”经历的社会反应形成的。Nazareth 是巴西人，他的着装、非洲发型、蓬乱的胡须和混血儿的传统几乎传达出一种萨满教的风格，他是一位知道如何巧妙地揭露艺术史上存在的文化和种族刻板印象的艺术家。他的作品融合了巴西前卫的色彩和贫穷的艺术模式，以及该国公共行为的历史，但同时嘲弄了当代艺术中的这些历史参考。例如，在 2011 年版的迈阿密海滩巴塞尔艺术展上，他从卡车上卖香蕉，通过对殖民时期水果的种植和商业化的暗示，与当前西方对巴西艺术的渴望相提并论。在美洲之旅的一张照片中，这位艺术家举着一个牌子，上面写着“我出售的异国男人形象”。Nazareth的艺术是一种拥抱画廊之外的世界，但在此过程中挖掘艺术自身历史的艺术：它是一种基于矛盾和复杂性的实践，一种极具诗意的传递。

CA – Sem título [LIMITED], 2018, Photo printing on cotton paper, 68.5 × 92 cm

Untitled [Luna Game], 2017, Photo printing on cotton paper, 75 × 100 cm

Untitled, from Notícias de América series, 2012, photo printing on cotton paper, 45 × 60 cm

Untitled, from Notícias de América series, 2011/2012, photo printing on cotton paper, 18 × 24 cm

Untitled, from Notícias de América series, 2011, photo printing on coton paper, 60 × 80 cm

Pig, from Cadernos de África project, 2011/2012, print on newsprint (pile with 1000 prints), 67,5 × 90 cm

Untitled, from Noticias de America series, 2011, Photo printing on cotton paper; diptych

Untitled, from Objetos para tampar o Sol de seus olhos (Objects to Keep the Sun out of Your Eyes) series, 2010, photo printing on cotton paper, 90 × 60 cm

| 点击关键词，直达往期精选 |

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Robert Rauschenberg Erwin Wurm  

Anne Imhof    Hito Steyerl  Wolfgang Tillmans

 Vito Acconci  Christo and Jeanne-Claude

Roni Horn  Mark Leckey  Mariko Mori