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BREEZE 2024 WINNING PROPOSAL ANNOUNCED


We are delighted to announce the exhibition selected by our jury to come to fruition in October: the winning application was submitted by Galeria Lume, featuring a solo show by Hal Wildson. A curatorial statement from our jury will be published post haste; for now, learn more about Hal Wildson's project in Lume's words:


Hal is part of a generation of young Brazilian artists who produce politicized works, sometimes in confrontation with the power established, sometimes giving voice to those who have been silenced and made invisible, sometimes inserting messages that are averse to colonialism or obscurantism. Regardless of the differences in context and language, it is as if the flame of political art produced in Brazil at the end of the 1960s and throughout the 1970s, in objection to the Military Dictatorship (1964-1985), has been rekindled. However, this rekindling goes hand in hand with the discourses and demands of the present. Concerned with creating works that are based on aesthetics and ethics, the artist understands that there is a need to reinvent alternatives to the crisis that is taking over the

spheres of national public life, with the aim of helping to minimize or contain the growing process of ruin in Brazilian society. Thus, he uses the language of art to introduce a political reflection that allows us to glimpse a utopian place.


The artist’s reinvention takes place by looking to the past, seeking references in the knowledge of black and indigenous ancestry, in ways of thinking about society that are capable of leading to reparations for the mistakes and misunderstandings made. This is how he intends to base his work on a utopia, a dream of an equal and just society.


For the artist, faced with societal collapse, one must reinvent a Brazilian utopia that opens up the prospect of overcoming the structural conflicts that stem from its colonial heritage and determine the condition of underdevelopment that affects a large part of the population. Thus, Hal Wildson began his critical thinking by changing the verbal element of the National Flag, replacing the positivist motto with the word “Re-Utopya”, which carries within it the humanism of the Teko Porã and Ubuntu philosophies, naming the transformative will for social justice sought in ancestry and in the egalitarian sense of the social whole.


In the exhibition proposed to Breeze, Hal Wildson develops 18 works in which he encourages viewers to consider alternative and decolonial visions of the future and their potential role in promoting positive change.





Hal Wildson

Multimedia artist and poet, 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, a determining place for understanding the essence and motivations of his work. His research emerges from his experience in the backlands of the Midwest, marked by the configuration of his mixed-race and marginalised family. The artist investigates the construction of Brazil by confronting the 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 “forgotten” Brazil, the result of coronelismo, or the rule of the colonels, and mining on the banks of the Araguaia River. In trying to escape the fate of the social exclusion and visibility, he discovers a project of “Brazil” sustained by the violence of oblivion.

Unfolding on the concept of memory-forgetfulness, identity and the “writing-writing” of history, the artist appropriates official symbolic objects and documentation processes that have been used in recent decades (such as typing, typescript, identity cards, stamps), materials and technical processes used to document the official and therefore capable of forging the mythology and history of a country and marking individuality. In his multidisciplinary research, moving between typographic painting, infogravure, installation, video art and the creation of objects, Hal Wildson uses the resources of documenting the official to question the projects of “memory and forgetting” applied as policies of social control, his work dares to confront and dispute the power of the symbolic as an alternative to creating fairer realities.

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