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 BREEZE 2024 





We are delighted to announce the project selected by our jury to come to fruition in October: the 2024 winning application was submitted by Galeria Lume, with a solo exhibition by Hal Wildson taking the idea of reforestation as an inspiration to think about Brazil's past and future, and to create kinder and wiser alternatives to societal deterioration and systems of oppression. 


The quality of the submissions in this second edition of BREEZE has made our jury's job very hard; watch this space for upcoming acknowledgements of the impressive level of creativity, intelligence and hard work shown by each of the applicants -- galleries, artists and curators. Soon we will also publish an article about the winning submission with multi-angled curatorial remarks from the jury. In the meantime, learn more about Hal Wildson according to Lume:

Multimedia artist and poet Hal Wildson was born in 1991 in the Araguaia Valley (Barra do Garças/MT - Aragarças/GO), a border region between Goiás and Mato Grosso, known as the route and gateway to the Legal Amazon, and a determining place for understanding the essence and motivations of his work. (...) The artist investigates the construction of ideas of Brazil by confronting various projects of identity, memory, and oblivion that underpin official history, as he searches for answers about his own origins.


Born into a family structure shaped by violence and abandonment, the artist’s history and work are intertwined, denouncing themes of a left-behind Brazil, the consequences of coronelismo (the rule of the local colonels, figures of atavistic power) and mining on the banks of the Araguaia River. In trying to escape a fate of social exclusion and invisibility, he discovered a project of country sustained by the violence of oblivion.















Drawing upon concepts around memory/forgetfulness, identity, and the writings and re-writings of history, the artist appropriates symbolic objects, official documents and processes, materials and techniques -- such as identity cards, stamps, typing, typescript -- used to document individualities, and therefore capable of forging histories and mythologies. In a multidisciplinary practice that spans typographic painting, infogravure, installation, video art, and the creation of objects, Hal Wildson interrogates official stories to confront agendas of social control and expose a perverse dynamic of memory and forgetfulness. (...)

For him, by growing increasingly cognisant of societal ruin, it is imperative to try and reinvent a Brazilian utopia that opens up perspectives to overcome structural conflict stemming from our colonial heritage and widespread underdevelopment. His critical thinking process then begins by altering the verbal element of the national flag, replacing the positivist motto with the word "Re-Utopya," which conveys the humanism of Teko Porã and Ubuntu philosophies, naming the transformative will of social justice sought in ancestry and the egalitarian sense of the social whole. (...)

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Hal Wildson. De volta à Floresta, 2023 [Back to the Forest, 2023], DETAIL

Hal Wildson Singularidades, 2023 [Singularities, 2023] DETAIL

singularidadess HAL WILDSON.jpg



 2024 JURY 


BREEZE is thrilled to announce the makeup of the 2024 jury, an outstanding and varied group of practitioners who lend their wealth of knowledge and experience to the challenging assessment of the remarkable submissions received. In addition to the six members who have been part of the jury since 2023, this year we are delighted to welcome three new curators, Adrian Locke, Catherine Petitgas and Tamar Clarke-Brown, and a new representative of Brazil's Ministry of Foreign Affairs, Marco Antonio Nakata.






 BREEZE 2024 





BREEZE, a unique opportunity for Brazilian galleries to hold an exhibition in the heart of London during the busiest time of the year for the art market in the UK, is pleased to announce the extension of its call for submissions, which now runs until 29 February.

Additionally, the recent partnership between the Embassy of Brazil in London / Instituto Guimarães Rosa and ABACT / Latitude is increasing the overall financial support granted to the winning proposal from £4,000 to  £8,000

That boost will add to the perks offered, including: an exclusive exhibition space in the heart of central London throughout the month of October; opening events organised by the Embassy; strategic promotion of the exhibition during Frieze Week, including private receptions for collectors and acquisition committees and international PR.


Check out our TAKE PART page, submit your proposal, and make your mark in October!
















After a successful inaugural edition, the Embassy of Brazil in London is pleased to announce the 2024 iteration of BREEZE, a programme designed to showcase contemporary Brazilian art to a global audience and strengthen its position within the international art market.

In 2024, the programme will grow in scope and emphasise its mission, thanks to a new partnership with the Brazilian Association of Contemporary Art (ABACT), an organisation that congregates 60 of the leading galleries in the country, thus bringing together some of the most influential players in the global South.

ABACT manager Adriane Freitag explains the context of the partnership: “ABACT has a programme in partnership with ApexBrasil (Brazilian Export and Investment Promotion Agency) named Latitude – Platform for Brazilian Galleries Abroad. Since 2011, it has been a pioneering and successful project, which supports and promotes Brazilian contemporary art galleries, and we are very proud to announce this partnership with the Embassy. It will certainly strengthen business ties, in culture and beyond, between Brazil and the United Kingdom.”


The new call for submissions, due for release on the 1st of November, will be open exclusively to ABACT-member galleries. By targeting this particular community, BREEZE will be fostering a more institutionalised approach to the international development of artistic careers, while encouraging collaboration and partnership with individual artists, curators, cultural organisations, and galleries who are not members of ABACT, since they can still participate, as long as they apply in association with an ABACT-affiliated gallery (visit ABACT for the full list of eligible galleries).

The partnership with ABACT underscores some of BREEZE’s fundamental values: by galvanising a dense network of expertise, BREEZE 2024 will further incentivise professionalism, cultural entrepreneurship, knowledge exchange, and strategic thinking within the art industry. The initiative also re-signifies Brazil's presence in current dialogues, as it creates a platform for artworks that engage in topical debates and critically address today's pressing issues.

As Ambassador Antonio Patriota stated at the opening of BREEZE 2023: “We cannot shy away from the moral duty of reflecting on the countless issues that contemporary societies fact. As a space for artistic expression, BREEZE is a territory to engage in such debate. But it also represents one of our responsibilities as a government, which is to create platforms for creative development and economic growth in all sectors, including the arts.”

Camilla Barella, art collector and Latin America VIP consultant to Frieze, comments: “It’s very meaningful to have the Embassy opening its doors and welcoming the Brazilian art community during the Frieze week, which is nowadays the most effervescent period for the arts in the UK. BREEZE gives an institutional reassurance for the contemporary art of our country, which is already recognised as one of the most powerful artistic productions in the world, having an important representation in international fairs, like Frieze."


The open call for BREEZE 2024 will run from 1 November 2023 to 29 February 2024. The winning proposal will receive production support and an exhibition space from September until October 2024 at the Sala Brasil, the Embassy’s main cultural space, located within a short distance from the National Gallery, in the heart of London.

Applicants are invited to present a proposal for either a group show or a solo exhibition, with no restrictions on themes and formats. This year's edition presented the solo show False Symmetry, by Brazilian painter Osvaldo Carvalho, represented by São Paulo-based Janaina Torres Galeria. The series of eight large-scale paintings utilises bold colours and numerous references to art history and mass culture to delve into social and environmental impacts of human actions and the asymmetry of power relations.

The open call f
or the next edition will feature exciting updates, with an increase in support to the winning project, publications and more hot additions; subscribe to our mailing list for first-hand news.








       01 NOV 2023

       to 29 FEB 2024

              ANNOUNCEMENT OF

              WINNING PROPOSAL

              12 APR 2024

                     EXHIBITION PERIOD

                     26 SEP 2024

                     to 31 OCT 2024








BREEZE Inaugural Exhibition to Showcase

Rising Name of Brazilian Figurative Painting


As announced in April, the BREZE panel of curators sifted through nearly two dozen projects submitted by galleries during a call open from October 2022 until January 2023, ultimately selecting a solo show by Osvaldo Carvalho as the winning proposal. Represented by Janaína Torres Galeria, Carvalho is São Paulo-based, Rio de Janeiro-born artist, who frequently delves into imagery from mass culture, advertising, household objects, interior spaces, and urban landscapes, using bold colours to scrutinise power dynamics.Osvaldo de Carvalho, whose solo show was chosen to launch the Embassy of Brazil’s contemporary art programme, employs vibrant colours to convey an acute social commentary.


Osvaldo Carvalho's artistic construction includes the use of canvases that deliberately deviate from traditional square dimensions, figures with intentionally skewed proportions for compositional balance, and colour palettes that, within the framework of classical painting, may be considered unconventional.


With a finger on the pulse of current societal issues that go far beyond the Brazilian reality, the concise yet striking selection proposed for Breeze’s inaugural exhibition communicates a sociological reflection by Carvalho. In his words, "false symmetry can represent the erroneous notion that actions carried out by agents from varying social strata, genders, races, or economic standings would yield the same outcomes." As a series, False Symmetry is described by curator Cadu Gonçalves as tackling "the many consequences of more than 500 years of unilateral progress based on genocide and the expropriation of land […] as an entity constantly forced to absorb, the blood of its sons and daughters, whose bodies are not included in countless ecological treatises and discussions [...]".


Carvalho describes his artistic interest as socially concerned from its very beginning. As a 6th grader, he delivered an art class assignment by thematising unrealistic expectations of major achievements based solely on individual effort. Despite not receiving high marks for the impressive precociousness of his ideas and their boldly conceptual materialisation, his urge to analyse society through art remained steadfast throughout his life.That urge led him to pursue artistic studies at EAV- Parque Lage (Rio de Janeiro, Brazil) and Museu do Ingá (Niterói, Brazil), and obtain a master’s degree in Visual Poetics.


“For me, becoming an artist has been, and still is, an inevitable call,” declares Carvalho. In relation to the issues addressed in the False Symmetry series, he posits that “each person has a very different point of departure in life, whether as a woman, as a racialised and/or LGBTQ+ individual; there is a whole array of people and communities who are inherently excluded and do not have the same starting point as others. The sooner we critically address this myth, the sooner we tackle those false symmetries, the sooner we can reach common ground as a society. Until then, we are nothing but upholding privileges that are ultimately so damaging.”



Born in 1966, Carvalho holds a Master's degree in Visual Poetics from the University of São Paulo. Beyond his most recognisable output as a painter, Carvalho's practice encompasses drawing, sculpture, photography, and video. Having been previously exhibited in countries including France, Belgium, Sweden, Denmark, Portugal, Colombia, and Brazil, his work is held in art collections such as MARGS (Museu de Arte do Rio Grande do Sul), the National Library of Rio de Janeiro, and the SESC Amapá Collection.




5 – 29 OCTOBER >>> Monday – Friday >>> 10 am to 6 pm >>> Free admission

SALA BRASIL >>> 14-16 Cockspur St >>> London SW1Y 5BL


press kit





During the open call, ran from October 2022 to January 2023, the organisers received dozens of queries and applications, from galleries and artists from Brazil, the UK and other countries.


A distinguished jury of renowned specialists, from various backgrounds and diverse spheres in the professional art world – ranging from a cultural foundation to a leading art magazine, from charitable and educational initiatives to major international museums and heritage-focused organisations – has selected the winning application (more about the curating committee below).

Having reviewed proposals of the highest standing, we are pleased to announce that the selected project is False Symmetry, a solo show by Osvaldo Carvalho, represented by Janaina Torres Galeria. Combining his most recent work with select pieces from his award-winning exhibition Promising Land (2011-2017), Osvaldo Crvalho’s False Symmetry lays bare the social and environmental impacts of human actions, and the role the asymmetry of power relations play in this process.



Osvaldo Carvalho’s False Symmetry series is more than pertinent to contemporary Brazil – as well as to current international debates. With lyrical storytelling, bold use of saturated colours and innovative compositions, his work is provocative and critical without falling into the trap of political literality. The large-scale paintings capture everyday life in the streets of Rio de Janeiro’s periphery, yet their subject matter is anything but peripheral. Often sub-sectioned into different views, angles and sequential time-lapses, they attest the local impact of global phenomena, from the pandemic to the climate crisis. Carvalho is as much at ease in responding to social commentary expressed through graffiti, as he is in making ironic references to the art historical canon. Such is the case of the anamorphic skull that can be seen in the lower register of The Negationists (2021): unlike Holbein’s famous painting that reminds the viewer that even esteemed emissaries are mere mortals, Carvalho’s picture invokes the dire consequences of conspiracy theories and other far-fetched polemics that have proliferated in recent years. His poetic portrayal of the reality of life in Brazil will be a counterpoint to the cacophony of Frieze week. In addition, it is a call to arms and a reminder that social justice is racial justice is climate justice. And that we are better when we work together to address these global challenges.

To learn more about Osvaldo Carvalho's work, visit his Instagram page and  Janaina Torres Galeria website.


Black Skin, White Mask (2020)

Acrylic on canvas. 170x190cm


Um defeito de cor (2020)

Acrylic on canvas. 191x186cm


The Negationists (2021)

Acrylic on canvas. 188x192cm




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