Artist, curator, critic and researcher working between Brazil and Italy

  • BIO

    Analize Nicolini (Cacoal, Rondônia, Brazil, 1974) is an artist, curator, modern and contemporary art critic, researcher, and founder of BraSA.Art....

    Analize Nicolini (Cacoal, Rondônia, Brazil, 1974) is an artist, curator, modern and contemporary art critic, researcher, and founder of BraSA.Art. Based between Brazil and Italy, her practice brings together artistic production, curatorial work, writing, and institution-building, with a particular interest in South America as a specific critical field of artistic production, circulation, and thought.

     

    Born in the Brazilian Amazon, she develops research focused on representation, self-representation, dissident bodies, normativity, memory, discard, systems of value, technology, and the politics of looking. A cis intersex woman, Nicolini does not approach this condition as an isolated identity marker, but as a situated critical position from which she examines how bodies, images, and narratives are framed, mediated, legitimized, or refused within contemporary cultural structures.

     

    She works with photography, video, performance, installation, sound, sculpture, text, and exhibition protocols, treating documentation, mediation, and circulation as constitutive dimensions of the work itself. In works such as Minha História Deixa Que Eu Conto, Nas Feridas Que Eu Alcanço, If You Need Art to Act, Pequenos Grandes Traumas, and Insistir em Existir, her practice engages narrative sovereignty, visibility, spatial normativity, care, collective responsibility, and material persistence.

     

    As a curator and researcher, she develops exhibitions, curatorial platforms, and public programmes centered on listening, shared presence, the circulation of South American artists, and the building of institutional contexts more open to tensions between image, language, territory, residue, and technology. Her curatorial projects include Anedotas sobre Origem (Venice, 2019), Daqui de Onde Estou (Venice, 2022), and AQUI ONDE ESTOU — resto, risco, ruína e rastro (Curitiba, 2025). Since 2025, she has also developed the ongoing artistic-curatorial occupation Insistir em Existir / Existir em Insistir — a room for at SOMA – People & Culture in Curitiba, within which she presented the solo exhibition Insistir em Existir: Protocolos de um Ateliê Público (2026).

     

    Since 2025, in dialogue with SOMA – People & Culture, she has also organized public programming in Curitiba, including a film screening, an artist conversation, and a public lecture with Jonathas de Andrade across different institutional spaces in the city.

     

    Her background includes a B.A. in Economics, postgraduate studies in Marketing, studies in Contemporary Art History and Environmental Humanities at Università Ca’ Foscari Venezia, training in inclusive curatorial practices at Node Center, a residency at School for Curatorial Studies Venice, curatorial studies at the University of the Arts London, and postgraduate coursework in modern and contemporary art criticism and curatorship at Parque Lage School of Visual Arts / IUPERJ Cândido Mendes, with certificate of attendance and coursework completed, but no degree awarded due to the final monograph not being submitted.

     

    Her works and series include Luzes do Leblon (2018–2019), Ending in Venice (2019–), Xingamentos (2022), Por uma Nova Ordem Mundial (2022), Nas Feridas Que Eu Alcanço (2022), Minha História Deixa Que Eu Conto (2024–), If You Need Art to Act (2024/2026), Pequenos Grandes Traumas (2025), and Projeto Neon (2021–). She is also the author of Luzes do Leblon (2019) and Solteira no Século 21 — Ode ao Amor sem dono (2018).

  • CV

    ANALIZE NICOLINI

    Cacoal, Rondônia, Brazil, 1974
    Artist, curator, modern and contemporary art critic, researcher, and founder of BraSA.Art
    Based between Brazil and Italy
    analizenicolini@gmail.com | analizenicolini.com

    Portuguese: native
    English: fluent
    Italian: currently studying

     

     

    PROFILE

    Analize Nicolini is a Brazilian artist, curator, modern and contemporary art critic, researcher, and founder of BraSA.Art. Based between Brazil and Italy, her practice brings together artistic production, curatorial work, writing, public programming, cultural production, and institution-building, with particular attention to South America as a specific critical field of artistic production, circulation, and thought.

    Her trajectory combines a background in Economic Sciences and Marketing with long-term work in contemporary art, curatorship, criticism, cultural management, public programming, and independent platform development. Through BraSA.Art, founded in 2019, she develops exhibitions, curatorial projects, research structures, institutional partnerships, and transnational exchanges focused on the circulation of South American artists and critical practices.

    Born in the Brazilian Amazon, Nicolini investigates representation, self-representation, dissident bodies, normativity, memory, discard, systems of value, technology, and the politics of looking. Her work includes a situated investigation of intersex self-enunciation, not as an isolated identity marker, but as a critical position from which to examine how bodies, images, and narratives are framed, mediated, legitimized, or refused within contemporary cultural structures.

    Working across photography, video, performance, installation, sound, sculpture, text, and exhibition protocols, she treats documentation, mediation, circulation, public presence, spatial arrangement, and technical support as constitutive dimensions of the work itself. Her artistic and curatorial practice engages questions of narrative sovereignty, visibility, spatial normativity, care, collective responsibility, institutional structures, material persistence, and the unstable relations between body, city, ecology, political imagination, and the material conditions of existence.

     

     

    INDEPENDENT PLATFORM / LEADERSHIP

    2019–present
    Founder and Director, BraSA.Art
    Independent platform dedicated to art, criticism, curatorship, research, public programming, and the circulation of South American artists through exhibitions, institutional partnerships, transnational exchange, residencies, and cultural projects.

    BraSA.Art operates as a platform for artistic and curatorial research, exhibition-making, public programming, cultural mediation, and the development of structures for the circulation of contemporary art from South America.

     

     

    ONGOING ARTISTIC-CURATORIAL OCCUPATION

    2025–present
    Insistir em Existir / Existir em Insistir — a room for
    Artistic and curatorial occupation
    SOMA – People & Culture, Curitiba, Brazil

    Ongoing artistic-curatorial room developed since June 2025 as a live studio, exhibition programme, and critical-affective agenda. The occupation functions as a space for artistic production, curatorial experimentation, public programming, institutional dialogue, and the continuous activation of works, processes, and research.

    Within this context, Nicolini presented the solo exhibition Insistir em Existir: Protocolos de um Ateliê Público in 2026, with critical text by Kamilla Nunes.

     

     

    FORMAL EDUCATION

    1997
    Bachelor of Economic Sciences
    Faculdade de Educação Superior do Paraná / Instituto de Ciências Sociais do Paraná
    Curitiba, Brazil

    1998
    Postgraduate Studies in Marketing Administration
    Faculdade de Educação Superior do Paraná / Instituto de Ciências Sociais do Paraná
    Curitiba, Brazil

     

     

    CURRENT AND PREVIOUS UNIVERSITY STUDIES

    2026
    Single Course in Contemporary Art History — in progress
    FT0230 — Contemporary Art History I — in progress
    Università Ca’ Foscari Venezia
    Venice, Italy

    2021–2022
    Previous coursework in Environmental Humanities
    Università Ca’ Foscari Venezia
    Venice, Italy

     

     

    CURATORIAL, CRITICAL AND CONTEMPORARY ART TRAINING

    2022–2023
    Inclusive Curatorial Practices: Accessibility, Representation and Diversity
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2022
    Developing Art and Ecology Projects
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Art, Activism & Environment: Practical Approaches to Contemporary Ecologies
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Towards a New Definition of Museums: Curatorial Theory and Practice
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Decolonizing Curatorial and Artistic Practices
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Curating on the Web: Exhibiting Internet-based Art
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Launching an Independent Art Space: Conceptual and Practical Skills
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2021
    Ethics of Practice
    School for Curatorial Studies Venice
    Workshop with Marysia Lewandowska and Aurora Fonda
    Venice, Italy / Online

    2020
    Curating in Art, Science & Technology: Potentials and Pitfalls
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2020
    Creative Art Criticism and Writing
    Node Center for Curatorial Studies Online
    Berlin, Germany / Online

    2019
    Summer School in Curatorial Practice and Contemporary Arts
    School for Curatorial Studies Venice / Galleria A plus A
    Venice, Italy

    2018–2020
    Postgraduate coursework in Modern and Contemporary Art Criticism and Curatorship
    Escola de Artes Visuais do Parque Lage / IUPERJ Cândido Mendes
    Rio de Janeiro, Brazil
    Certificate of attendance; coursework completed; final monograph not submitted; degree not awarded.

    2018
    Creative Processes, with Charles Watson
    Escola de Artes Visuais do Parque Lage
    Rio de Janeiro, Brazil

    2018
    Research and Practice Laboratory in Art Writing, with Fernanda Lopes
    Escola de Artes Visuais do Parque Lage
    Rio de Janeiro, Brazil

    2016–2017
    Fundamental Questions in Painting, with Luiz Ernesto
    Escola de Artes Visuais do Parque Lage
    Rio de Janeiro, Brazil

    2016
    Theories of Art, with Fernando Cocchiarale
    Escola de Artes Visuais do Parque Lage
    Rio de Janeiro, Brazil

    2011
    Workshop 75: Curating Contemporary Art Exhibitions
    University of the Arts London / Central Saint Martins
    London, United Kingdom

     

     

    ARTISTIC PRACTICE / WORKS

    2026
    Insistir em Existir
    Installation composed of a modular cement column, smaller cement artifacts with embedded gloves of different typologies, a punching bag, and a suspended tatami; variable dimensions; Curitiba, Brazil. The work reorganizes impact, labour, resistance, and material persistence as unstable architecture.

    2025
    Pequenos Grandes Traumas
    Participatory installation with traversable vertical modules, canvas, plastic strip curtain, modular structure, and public activation; Florianópolis / Curitiba, Brazil. The work engages memory, symbolic reorganization, and collective traces through a protocol of participation.

    2024–ongoing
    Minha História Deixa Que Eu Conto
    Ongoing body of work unfolding across four acts: mirror-based intervention, suspended spatial installation, video-performance / public reading, and sculptural body cast. Across these acts, the project investigates narrative sovereignty, visibility, legibility, spatial normativity, rights discourse, and the inscription of systems of value, classification, and language onto the body.

    2024, 2026
    If You Need Art to Act
    Live performance with acrylic paint on waste bins; first edition at Largo do Carmo, Lisbon, Portugal; second edition at SOMA – People & Culture, Curitiba, Brazil. Also developed as a multimedia installation with photographs and video.

    2023
    Anular — Transições Luminares
    Photographic work / triptych based on chromatic and atmospheric variation.

    2022
    Nas Feridas Que Eu Alcanço
    Happening; sound, photographic, and video documentation; costume in biodegradable polyamide created in collaboration with designer Fernando Cozendey; later unfolded into a multimedia installation with framed photographs and a single-channel video; Curitiba, Brazil. The work stages healing, trauma, cyclical vulnerability, and care as individual and collective urgency.

    2022
    Por uma Nova Ordem Mundial
    Sculpture minted in recycled silver; Curitiba, Brazil. By minting a new coin, the work resignifies value and proposes reflection on more human and sustainable economic practices.

    2022
    Xingamentos
    Single-channel sound installation, 5’26’’; Curitiba, Brazil. Built from captured everyday sounds and oral outburst, the work develops as a manifesto and imperative intervention.

    2021–ongoing
    Projeto Neon
    Ongoing neon project based on the archiving of phrases derived from observation, research, reflection, and interlocutions across the artist’s life, intellectual trajectory, and practice. Includes Aqui Todos Nos Lamberemos (2023), Aqui Nos Resta Ser Feliz (2022), and A Vida Não é Só o Agora, Beleza? (2022).

    2021
    O Que Me Rodeia
    Photographic work listed as a distinct series within the artist’s practice.

    2020–ongoing
    Destroços de uma Intimidade
    Ongoing photographic series developed from domestic space, intimacy, isolation, memory, and unstable relations between presence and absence. Includes works such as Presença, O Que Me Rodeia V, Fundo de Poço Tem Porão, and untitled photographs.

    2019–ongoing
    Ending in Venice
    Ongoing project combining performance, posters, and public circulation. Includes the triptych Ato I – Invasão (2020), printed on paper and shown in Venice and Curitiba.

    2018–2019
    Luzes do Leblon
    Photographic series, site-specific performance, and artist’s book developed through systematic observation of sky and sea in Rio de Janeiro over the course of one year. Includes multiple pigment prints in varying formats and editions.

    2005–2009
    Cidades e Intimidade
    Photographic series developed through urban observation and intimate spatial relations. Includes works such as Telhados em Paris I and Telhados em Paris II.

     

     

    SOLO EXHIBITIONS

    2026
    Insistir em Existir: Protocolos de um Ateliê Público
    Solo exhibition
    Critical text: Kamilla Nunes
    SOMA – People & Culture, Curitiba, Brazil

    2022
    Nos Resta Ser Feliz
    Solo exhibition
    SOMA – People & Culture, Curitiba, Brazil

    2019
    Luzes do Leblon
    Site-specific performance
    Leblon Beach, Rio de Janeiro, Brazil

     

     

    SELECTED CURATORIAL PROJECTS

    2025
    AQUI ONDE ESTOU — resto, risco, ruína e rastro
    Group exhibition
    Curator: Analize Nicolini
    Production: BraSA.Art
    SOMA – People & Culture, Curitiba, Brazil

    2022
    Daqui de Onde Estou
    Group exhibition, co-curated with Fernanda Andrade
    Production: BraSA.Art and SOMA – People & Culture
    We Exhibit, Venice, Italy

    2019
    Anedotas sobre Origem
    Group exhibition
    Galleria A plus A
    Venice, Italy

     

     

    PUBLIC PROGRAMMING / CURATORIAL ACTIONS

    2026
    Public programme with Jonathas de Andrade
    Curitiba, Brazil
    Film screening, artist conversation, and public lecture developed within the context of the artistic-curatorial occupation Insistir em Existir / Existir em Insistir — a room for and in dialogue with Insistir em Existir: Protocolos de um Ateliê Público.

    2025
    Laboratório de Curadoria em Processo
    Open curatorial workshop during the final installation phase of AQUI ONDE ESTOU — resto, risco, ruína e rastro
    SOMA – People & Culture, Curitiba, Brazil

     

     

    SELECTED GROUP EXHIBITIONS

    2025
    Estar aqui de paisagem
    Grupo Impossibilidade de Esgotamento
    Curated by Kamilla Nunes
    Florianópolis, Brazil

    2025
    Deixar de Nos Mentir
    Grupo Impossibilidade de Esgotamento
    Curated by Kamilla Nunes
    Florianópolis, Brazil

    2022
    Daqui de Onde Estou
    We Exhibit
    Venice, Italy

    2019–2020
    D’Água
    Espaço de Fotografia Judith Munk
    Araras, Petrópolis, Rio de Janeiro, Brazil

     

     

    APPROVED / CONCEIVED CULTURAL PROJECTS

    2018–2022
    braZil: um Retrato de uma Nação
    Solo exhibition of photographer Olaf Heine
    Paço Imperial, Rio de Janeiro, Brazil
    Approved by the Brazilian Ministry of Culture / PRONAC 190066; not realized due to lack of fundraising.

    2019–ongoing development
    #CONTEÚDO+ / #CONTENT+ / #CONTENIDO+
    Integrated digital media, lenses, and technologies from Brazil and South America in dialogue with Canada and India
    Approved by the Brazilian Ministry of Culture / PRONAC 200521; not realized in its original configuration due to lack of fundraising.

    2022
    YaYaYa
    Research, website, and digital presence initially developed for an international open call linked to the International Day of Zero Tolerance for Female Genital Mutilation.

     

     

    RESIDENCIES

    2021–2023
    BraSA.Art Artistic Residency
    Environmental Humanities research
    Venice, Italy

    2018–2019
    Ruth&PedrinaCULT Artistic Residency
    Development of the photographic research for Luzes do Leblon
    Rio de Janeiro, Brazil

     

     

    PUBLICATIONS

    2019
    Nicolini, Analize. Luzes do Leblon. Rio de Janeiro: R&P Books.

    2018
    Nicolini, Analize. Solteira no Século 21 — Ode ao Amor sem dono. Rio de Janeiro: R&P Books.

     

     

    AWARDS

    2012
    Jabuti Prize — Editora Ahom Educação
    Founding partner

    2009
    Jabuti Prize — Editora Aymará
    Marketing

     

     

    SELECTED KEYWORDS

    Contemporary art; curatorship; art criticism; cultural management; public programming; South America; Brazil; Italy; intersex self-enunciation; dissident bodies; representation; self-representation; normativity; memory; discard; ecology; technology; institutional critique; exhibition protocols; lens-based practices; integrated digital media; artistic research.