Urban Art Circuit arrives in Northern Brazil and promotes historic edition in Manaus

Art

The event will take place from the 2nd to the 12th of August, with paintings on buildings around the Teatro Amazonas, made by the artists Denilson Baniwa and Olinda Silvano

Manaus (AM) – From the 2nd to the 12th of August, Largo São Sebastião, in the center of Manaus, will be the stage for the Urban Art Circuit (CURA) which, for the first time, arrives in the North of the country and is named CURA AMAZÔNIA. The event, which has already existed for 7 years in Belo Horizonte (MG), aims to promote a dialogue on art history, architecture, tourism, heritage, artists and the urban and public art scene, through paintings on gables (side walls of buildings), and also during a parallel program.

According to Jana Macruz, one of the creators of CURA, the invitation to promote the event in Manaus came from the company 3M, sponsor of the project. “We received the invitation at the end of last year, and we thought it was magical to be in Manaus, because in the new territory we are in, in Belo Horizonte (Praça Raul Soares), we are ‘cut’ by Avenida Amazonas. And since then we have been working a lot in the Amazon Region in CURA. We already have the presence of two indigenous collectives, Mahku, from Acre, and Shipibo-Konibo, of which the artist Olinda Silvano is a member”,

explains.

In Manaus, the Peruvian artist, muralist and weaver Olinda Silvano will be responsible for painting one of the gables and the plastic artist Denilson Baniwa, host of the event, will be responsible for painting another gable. Jana emphasizes that CURA AMAZÔNIA was created by the Amazonian collective Graffiti Queens. In addition to them, the event will feature the work of Jaider Esbell, his urban installation ‘Entidades’, created for Cura 2021, before his death.

“We got in touch with the group, through the artist Wira Tini, who introduced us to Largo São Sebastião. It is a beautiful space, with a cluster of buildings around it, something that is not very common in the city. And it is there that cultural events and large demonstrations take place. So it ended up being our choice.”

she explains.

The observation space will be located next to the Amazonas Theater, which allows a view of the two buildings that received the art of Denilson Baniwa and Olinda Silvano. “At the same time, we have a parallel three-day program that involves shows by DJs, bands and conversation circles that will ‘discuss’ the urban art scene in Manaus. CURA is a festival of great listening. So, we will arrive in the capital of Amazonas asking permission from the city, the artists and the population”,

ends.

Artists

Denilson Baniwa will host the edition. Aged 39, already well established in the international art scene, he is recognized for his work as an artist, curator and articulator of digital culture. Born in a community of the Baniwa people, in Barcelos, Amazonas, he lived for ten years in Manaus, where he studied Computer Science at the University of the State of Amazonas (UEA).

In addition, he has already exhibited his work in important art spaces in Brazil, such as: Centro Cultural Banco do Brasil (CCBB), Pinacoteca de São Paulo, Centro Cultural São Paulo (CCSP), Centro de Artes Hélio Oiticica, Museu Afro Brasil, Museu de Arte de São Paulo (Masp), in addition to countries such as France, Canada, United States, etc.

Olinda Silvano is 55 years old, Peruvian, artist, weaver and muralist from the Amazon. She is one of the leaders of the Shipibo people and through Kené art, characterized by geometric lines, she has managed to preserve the ancestral knowledge of her original people, which is located in the Cantagallo community, in Lima. The artist has a trajectory of more than 30 years and has international recognition.

CURA AMAZÔNIA is organized by Agência Urbana de Arte (AGUA), with the support of Tintas Coral, Secretariat of Culture and Creative Economy of Amazonas (SEC), Municipal Foundation for Culture, Tourism and Events (Manauscult), Casarão de Ideias Cultural Center (CCCI) and Center for Attention to Health and Safety at Work (CASST), in addition to local production by the collective Graffiti Queens and incentives from the Federal Law of Incentive to Culture.

*With advisory information

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