Artista

O Bastardo

1997 en Rio de Janeiro, Brasil

Datos generales
Algoritmo AI

Residencia:

Reside en Paris, Ile-de-France, Francia

Profesionales que le han comisariado:

Carollina Lauriano en:

Pretos de Griffe, 2021

Lilia Moritz Schwarcz en:

O Retrato do Brasil é Preto, 2023

Marcelo Campos en:

O Retrato do Brasil é Preto, 2023

Ferias en las que participa con OBRA :

SP-Arte 2024
Art Basel Miami Beach 2023
Artissima 2023

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Galerías y otras organizaciones que le representan:

A Gentil Carioca

Profesionales con obra:

Jessica Cinel

Etiquetas:

Arte urbano Capitalismo Graffiti Historia Pintura Sociedad de Consumo Violencia

Descripción del Artista

O Bastardo [Rio de Janeiro, 1997. Lives, works and studies between Rio de Janeiro, Brazil and Paris, France]. Currently studying at Beaux-Arts Paris, France, O Bastardo graduated from the program Formação e deformação coordinated by Ulisses Carrilho, Clarissa Diniz and Gleyce Kelly Heitor, in 2019; studied painting at EAV – Escola de Artes Visuais do Parque Lage, Rio de Janeiro, Brazil. In 2016, received a scholarship to atend Suzana Queiroga’s course at the same institution. Among his group exhibitions are: Estopim e Segredo curated by Ulisses Carrilho and Clarissa Diniz, at EAV Parque Lage, Rio de Janeiro, Brazil, 2019; Patifaria at Escola de Belas Artes/UFRJ, Rio de Janeiro, Brazil, 2019; Margem at SESC Madureira, Rio de Janeiro, Brazil, 2019; Escola em transe curated by Lisette Lagnado and Ulisses Carrilho, at EAV Parque Lage, Rio de Janeiro, Brazil, 2017; Extramuros at Solar dos Abacaxis, Rio de Janeiro, Brazil, 2016. Born in 1997, ... O Bastardo was raised in Mesquita, municipality of Baixada Fluminense, on the outskirts of Rio de Janeiro. Working initially using urban languages such as graffiti, the artist elaborates a direct dialogue between autobiographical issues and pictorial thought, a conquest developed between family experiences and art schools such as EAV Parque Lage, Rio de Janeiro and currently Beaux-Arts de Paris. In recent paintings, the issues held in the works lead us to cross between everyday practices of empowerment of black people and usual gestures of belonging to social groups, such as asking for blessing or bleaching hair. In the portrait scenes, in series such as Pretos de grife and Só Lazer, consumerism, leisure and vanity are some of the identifications exhibited by groups that are supposedly absent from this type of representation. Leisure and consumerism are increasingly recurrent subjects in works by racialized artists, as history has highlighted the gestures of violence and survival as a means of insertion and denouncement of the atrocities perpetrated against the majority of Brazilian population. O Bastardo [The Bastard] makes of his own name, preceded by the definite article, a link of subversion of his own history, maintaining the classificatory word that, in art scenes, starts to redirect the subject and alert to the practice of exoticizing the margins. Marcelo Campos