Paulo Nazareth

Paulo Nazareth’s work often takes the form of simple gestures with far-reaching implications, drawing attention to frequently overlooked issues of migration, racism and colonialism in his native Brazil and beyond. Although his practice encompasses video, photography, performance and found objects, one of its most significant dimensions lies in the relationships he develops with people encountered during his journeys—particularly those rendered invisible by their legal status or subjected to repression by state authorities. In some respects, Nazareth adopts the romantic figure of the wandering artist in order to subvert reductive assumptions about national identity, cultural history and human value. At a time of unprecedented exposure, when systemic oppression can be documented and disseminated by anyone carrying a smartphone, his commitment to making marginalised people and experiences visible remains especially relevant. Recent solo exhibitions include Honey, John Jay College of Criminal Justice, New York (2025); Patuá/Patois, WIELS, Brussels (2025); LUZIA, Museo Tamayo, Mexico City (2024); Esconjuro, Inhotim, Brumadinho (2024); En la casa de mi hermano, Proyectos Ultravioleta, Guatemala City (2023); BIRDMAN, Stevenson, Amsterdam (2022); STROKE, The Power Plant, Toronto (2022); Vuadora, Pivô, São Paulo (2022); Melee, Institute of Contemporary Art, Miami (2019); Faca Cega, Museu de Arte da Pampulha, Belo Horizonte (2018); The Journal, Institute of Contemporary Arts, London (2014); and Premium Bananas, MASP, São Paulo (2012). Recent group exhibitions include Ancestral Futures, Rencontres d’Arles, Arles (2025); Anozero’24—Coimbra Biennial of Contemporary Art, Coimbra (2024); Chosen Memories, Museum of Modern Art, New York (2023); Brasil Futuro: As Formas da Democracia, Museu Nacional da República, Brasília (2023); Histórias Brasileiras, MASP, São Paulo (2022); Afro-Atlantic Histories, National Gallery of Art, Washington, D.C. (2022); the 34th São Paulo Biennial (2021); Beyond the Black Atlantic, Kunstverein Hannover (2020); the 22nd Biennale of Sydney (2020); How to Talk with Birds, Trees, Fish, Shells, Snakes, Bulls and Lions, Hamburger Bahnhof—Nationalgalerie der Gegenwart, Berlin (2018); The Lotus in Spite of the Swamp, Prospect.4, New Orleans (2017); Soft Power: Arte Brasil, Kunsthal KAdE, Amersfoort (2016); New Shamans/Novos Xamãs: Brazilian Artists, Rubell Family Collection, Miami (2016); and Indigenous Voices, Latin American Pavilion, 56th Venice Biennale (2015).