Artigo:

"In the current context of exhaustion, it is crucial to prioritize the telling of silenced stories, the preservation of ancestral knowledge, and the exploration of alternative worldviews as urgent actions to deconstruct the anthropocentric paradigm of modern design, a framework that has exacerbated the crises of our time. Exhibitions, as public-facing platforms, serve as significant communicators and are intrinsically tied to discourse, aesthetics, ethics, and politics. Exhibitions are narrative devices and narrative is inherently political. For the exhibition ""O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies"" held at Haus der Kulturen der Welt in Berlin, I was tasked with developing a communal space inspired by quilombos, self-governing communities established by freed and escaped enslaved individuals in Brazil. This space was designed to embody Abdias do Nascimento's concept of quilombismo, centered around ""radical solidarity"" and the thoughts of Beatriz Nascimento. The exhibition, featuring 68 artists, intertwined artworks from Africa, the African diaspora, and oppressed communities from various regions, both historically and in contemporary contexts. The project's display language drew inspiration from Abdias do Nascimento's visual artwork, the impactful geometric and symbolic piece, ""Oshunmaré Rising"" (1972), representing the spirit orisha Oshumaré, is a central figure in the Yoruba religion and its diasporic forms, such as Brazilian Candomblé and Santería, connected to rainbows, snakes, and the harmonization of dualities in life. Its symbolism and roles highlight the dynamic nature of life and the potential for continual renewal and transformation. This painting influenced the color palette seen across the exhibition's walls, floors, and seating, creating a cohesive aesthetic that resonated with Nascimento's distinctive artistic style. Still exploring non-Western epistemologies and references, Adinkra symbols representing concepts and proverbs in Akan culture, played a significant role in the exhibition ""Dos Brasis—Arte e Pensamento Negro"" (2023) at Sesc Belezinho, São Paulo. Known as the widest exhibition exclusively dedicated to production of black artists ever held in Brazil, featured around 240 artists—encompassing individuals of all genders and backgrounds, from various Brazilian regions, spanning centuries of artistic production. The ""gyawu atiko"" adinkra symbol were introduced to the free-standing wall display, symbolizing the courage to stand up for and defend one's community. By reflecting on political and semantic issues, showcasing diversity, and cultivating heightened sensitivity, exhibitions can become catalysts for transformative change. It invites a reevaluation of the exhibition's role, devices, and displays not just as showcases but as powerful platforms for advocating social and political discourse, ultimately serving as agents of meaningful change. Ainda explorando epistemologias e referências não ocidentais, os símbolos Adinkra representando conceitos e provérbios da cultura Akan, desempenharam um papel significativo na exposição “Dos Brasis—Arte e Pensamento Negro” (2023) no Sesc Belezinho, São Paulo. Conhecida como a maior exposição dedicada exclusivamente à produção de artistas negros já realizada no Brasil, apresentou cerca de 240 artistas—abrangendo indivíduos de todos os gêneros e origens, de várias regiões brasileiras, abrangendo séculos de produção artística. O símbolo adinkra “gyawu atiko”; foi introduzido na exibição de parede autoportante, simbolizando a coragem de se levantar e defender a comunidade de alguém. Ao refletir sobre questões políticas e semânticas, mostrar a diversidade e cultivar sensibilidade elevada, as exposições podem se tornar catalisadoras para mudanças transformadoras. Convidam a uma reavaliação do papel, dispositivos e suportes da exposição não apenas como vitrines, mas como plataformas poderosas para defender o discurso social e político, servindo, em última análise, como agentes de mudanças."