Bio

Arissana Pataxó is a visual artist, teacher and researcher. She is an indigenous woman from Porto Seguro – Bahia (BRAZIL) and belongs to the Pataxó people. In 2024, she was part of the curatorship of the Hãhãwpuá Pavilion at the Venice Biennale together with Denilson Baniwa and Gustavo Caboco. In the same year, she stood out for her work together with Sandra Benites and Francineia Baniwa as a holder of the Olavo Setúbal Chair of Art at USP. To create her works, she uses various techniques and media, bringing discussions that permeate experiences with her family and her people, with themes that discuss struggle, territory, memory, etc. Since 2005, she has held several solo and group exhibitions in Brazil, and has also participated in group exhibitions in Portugal, Norway, England, and the United States. She has been working in indigenous school education since 2002, also developing activities with teacher training and production of teaching materials. She has a degree in Fine Arts, a master’s degree in Ethnic and African Studies from the Federal University of Bahia, and is currently a doctoral student in Visual Arts at the same university.

Amilcar Packer was born in Santiago de Chile, 1974, and lives and works in São Paulo, Brazil, since 1982. Packer unfolds an experimental and non-disciplinary art and collaborative research-based practice, informed by curatorial and editorial operations, in view of transformative social justice. His work seeks to intervene in artistic, political and social imaginaries by the means of mid and long-term public programs, presentations and debates, workshops, study groups, online platforms and archives, research trips, and editing, translation and free distribution of texts and publications (printed and online). He graduated in Philosophy at USP (1999), has a MA in Clinical Psychology at PUC-SP (2015), and is currently enrolled in a PhD at the Gender, Race, Sexuality and Social Justice, at the University of British Columbia.

As a curator, he organized exhibitions in institutions such as the Centre Rhénan d’Art Contemporain (Altkirch, France, 2022/2023), Museu de Arte Moderna da Bahia (Salvador 2018), Centro de Arte Hélio Oiticica (Rio de Janeiro, Brazil, 2017/ 18), Ludlow 38, New York, USA; He co-organized artistic-curatorial initiatives and platforms such as Ventres da Mata Atlántica (2018) and EhChO (2020/2022), and was co-director of the artistic residency program CAPACETE, Rio de Janeiro, Brazil between 2012/2013.

As an artist, he has participated in group shosw such as: “Abduction” (Oslo, Norway, 2020), “Incerteza Viva – 32nd São Paulo Biennial (2016); “Modifiy as Needed”, MOCA, Miami, USA. (2011); “Práxis: Art in Times of Uncertainty – 2nd Thessaloniki Biennale of Art” (Thessaloniki, Grécia, 2009); “Farewell Postcolonialism – 3rdGuangzhou Triennial, China (2008); “On Reason and Emotion”, 14th Sydney Biennale, Australia (2004).

Part of his practice takes place in educational and art mediation programs at institutions such as The Royal Danish Academy of Fine Arts, Copenhagen, Denmark (2024; 2023; 2022; 20217); ENSBA, Paris, France (2013); “History Matter” (2012), CCA-Lagos, Nigeria; Hobart and Launceston Schools of Arts, Tasmania, Australia; “1st Pernambucan Week of the Arts” (2001), Recife, Brazil.

Geni Núñez is an indigenous Guarani and queer activist, psychologist and writer. She is currently a Postdoctoral researcher at the Institute of Advanced Studies at the University of São Paulo (USP). They have a doctorate in the Interdisciplinary Postgraduate Program in Human Sciences from the Federal University of Santa Catarina (UFSC), where they also completed a master’s degree in Social Psychology and a degree in Psychology. They are a member of the Human Rights Commission (CDH) of the Brazilian Federal Psychology Council (CFP) and the Guarani Yvyrupa Commission (CGY).