My curatorial practice begins with the artwork, but does not end there. I understand curating as the shaping of conditions through which works, artists, spaces, institutions, and publics enter into relation. Rather than treating the exhibition as a neutral container, I approach it as an active structure capable of organizing perception, access, visibility, circulation, and meaning.
I am interested in curatorial processes in which the artwork does not appear isolated from the contexts that traverse it — spatial, social, political, economic, and affective. In this sense, curating is not only about selecting and arranging works, but about creating forms of encounter between image and language, artwork and spectator, process and presentation, documentation and presence.
My curatorial work has increasingly turned toward South America as a situated field of research, exchange, circulation, and projection. Through BraSA.Art, the platform I founded in 2019, I develop exhibitions, residencies, public programmes, and research structures focused on artistic practices connected to lens-based work, integrated digital media, technologies, residues, ecologies, and politics of presence. I am especially interested in how curatorial practice can help open circuits of circulation for South American artists without reducing this production to generic geopolitical framings or fixed categories.
Mediation, documentation, and public pedagogy are also constitutive parts of my curatorial thinking. I do not understand them as layers added after an exhibition is completed, but as elements that must participate in its structure from the outset. I am interested in exhibitions that activate attention, produce friction, reorganize relations in space, and invite forms of reflection, participation, and shared presence.
More recently, in projects developed in dialogue with SOMA – People & Culture in Curitiba, my curatorial practice has expanded toward formats that articulate occupation, studio, exhibition, and public programming. In these contexts, curating has also become a way of working with process, infrastructure, circulation, and institution as parts of the same critical field.
My purpose is not to stabilize meanings or resolve contradictions, but to foster situations in which artworks can operate with density, tension, and openness. I seek to develop curatorial contexts in which art, life, structure, and presence remain in active relation.
