el grito de los pixadores

January 20th, 2015 § 0 comments § permalink

El Grito dos Pixadores (published in Spanish 19/01/2015)

Art Democracy #4

The new movie Pixadores offers an insider perspective on the group that caused polemic in three biennials. Revealing more about this little understood avant-garde movement, the new movie shows the convergence of their art with politics, social issues and how their participation in the 28th and 29th biennales of São Paulo, and the 7th biennale of Berlin caused so much controversy.

By João Correia

Pixação, as per the article “O pixo nosso de cada dia” (Our pixo of everyday), written by one of the most outspoken Pixadores in Brazil, Cripta Djan, is not “just an stylized typography utilized in the city’s public spaces but the expression of a highly organized and conceptually consistent social and artistic movement”.

Predominantly led by youngsters from the outskirts of the big cities such as São Paulo and Rio, pixo is, in their own words “the voice of the voiceless, the scream of the invisible, the practice of a freedom of expression repressed by the false democracy we live in.”

They claim that processes of discrimination – among which the construction of walls is the most emblematic – combined with the fear in the big urban centers are a significant factor for increasing segregation.

High walls represent a failed system, a division, a restriction of access, a permanent cut off of possibilities of exchange. This is a physical, a concrete aggression to their rights; it is a gesture of social vandalism inflicted on them by society.

Pixação, as they see it, is an aesthetic response to the social and physical aggression they endure. What is vandalism for some, for them is re-appropriation. Each signed wall is the conquest of a city that was denied to them, it is an indicator of their class social dissatisfaction.

The Pixador is the urban artist who transcended the canvas and sees the city as the support of his discourse. If their work pleases or not, it is a different matter as they are indeed intended to cause reflection as this is the only path to change.

The urban space strengthens inequalities and social gaps, feature public spaces that may be everything except democratic and sensitive to contemporary thoughts of equality, sustainability and inclusion. “We must transgress to progress”, says the article.

These and other thoughts about the movement are stated in Cripta Djan’s Facebook page which is followed by 15,000 people and archive many of his interviews and articles to the Brazilian and international press such as New York Times, Financial Times and CNN.

In December 6th the dissemination of their message that besides the press already counts with the documentary “Pixo”, went a step further: “Pixadores” Film, a new movie by Amir Arsames Escandari, was screened for the first time in São Paulo featuring the story of a group of four young men Djan, Willian, Biscoito and Ricardo (the “pixadores”).

The movie reveals the insider’s perspective and thought provoking nuances of an activity that brings a singular combination of attitude and aesthetics longed for in the contemporary art scene. It also helps making the voice of an entire social class heard and promoting a better understanding among the different segments of our society.

Being contemporary is being also globally aware of the issues present in the world today, and working towards the removal of the friction between the different ideologies around us. Pixadores take risks and do their share, inviting us to dialogue.

It is down to us to reach our attention to the signs they are giving and do what we can towards truly universal standards to all. Great art is always uncomfortable at first.

João Correia is a São Paulo based art advisor.

Email: hello@ijoao.com
Website: www.ijoao.com
Twitter: @ijoaoc
Instagram: @ijoaoc


Political Correctness – The Awful Truth

December 23rd, 2014 § 0 comments § permalink

Merry Christmas and a Happy New Year!

Ooops sorry, what I should have said is…….. Happy Holidays!

Please accept with no obligation, implied or implicit, my best wishes for an environmentally conscious, socially responsible, low stress, non-addictive, gender neutral celebration of the winter solstice holiday, practiced within the most enjoyable traditions of the religious persuasion of your choice, or secular practices of your choice, with respect for the religious/secular persuasions and/or traditions of others, or their choice not to practice religious or secular traditions at all… and a fiscally successful, personally fulfilling, and medically uncomplicated recognition of the onset of the generally accepted calendar year 2015, but not without due respect for the calendars of choice of other cultures whose contributions to society have helped make our country great (not to imply that it is necessarily greater than any other country), and without regard to the race, creed, color, age, physical ability, religious faith, or sexual orientation of the wishee.

This wish is limited to the customary and usual good tidings for a period of one year, or until the issuance of a subsequent holiday greeting, whichever comes first.”Holiday” is not intended to, nor shall it be considered, limited to the usual Judeo-Christian celebrations or observances, or to such activities of any organized or ad hoc religious community, group, individual or belief (or lack thereof).

DISCLAIMER: By accepting this greeting, you are accepting the following terms: This greeting is subject to clarification or withdrawal, and is revocable at the sole discretion of the wisher at any time, for any reason or for no reason at all. This greeting is freely transferable with no alteration to the original greeting. This greeting implies no promise by the wisher to actually implement any of the wishes for the wishee, him/herself or others, or responsibility for the consequences which may arise from the implementation or non-implementation of same.

This greeting is void where prohibited by law.

Not valid in KY, CA, or District of Columbia

Open Letter Bienal of Sao Paulo

October 23rd, 2014 § 0 comments § permalink

From: ARTE AL DIA International

Subject: Open Letter Bienal of Sao Paulo

Date: 22 October 2014 22:46:51 GMT-2

Open Letter Bienal of Sao Paulo

During the past few weeks, the world of contemporary art, especially in Latin America, has gone through a difficult tension. This is a direct result of the unfortunate and conflicting situation that clouded the opening of the 31st Bienal of Sao Paulo. Days before the inauguration, a cluster of participating artists requested for the organizers of the Bienal to remove the shield of Israel from the list of credited institutional sponsors. It is clear that the shield of Israel represents the presence of an entire nation.

The practice of art is historically inscribed in the cultural process with the highest capacity to critically review human conflict, and to generate new perspectives of approximation, while in many cases proposing alternate paths. For this reason, art has positioned itself as the modern antidote to abuses of power.

From the artists’ perspective, there can be many reasons to hold positions against the Palestinian-Israeli conflict, but the petition to remove the national identity and identification of the State of Israel contributes a negative image with deplorable connotations.

There are many countries participating as artist project sponsors which could be subject to the same inquiring as a consequence of their governmental action. Likewise, many of the companies that constantly support art fairs could be ethically questioned and confronted for their actions when using the ideology planted by this group of artists in the 31st Bienal.

The suppression of the shield of Israel has symbolical implications that assimilate with the will to suppress the Israeli nation far beyond confronting it’s government. Considering the historical precedents of intolerance, and the catastrophic effects they have had in the last century, it is necessary to call for solidarity against this new attempt to symbolically erase the presence of the nation of Israel.

We who sign this letter, independent of any position we hold on the politics of the Israeli government, want to raise attention on the deplorable implication of this gesture. We want to call for responsible solidarity and for the mutual respect that artistic projects should ensue regardless of the inherit symbolism in politically critical work.


Leon Amitai – Collector, Bogotá, Colombia
Plinio Apuleyo Mendoza – Writer/ Journalist, Bogotá, Colombia
Maria José Arjona – Artist, Bogotá, Colombia
Juan Araujo – Artist, Bogotá, Colombia
Luis Aristizabal – Gallery Director, Bogotá, Colombia
Felipe Arturo – Artist, Bogotá, Colombia
Gustavo Arroniz – Gallery Director, México DF, México
Emilia Azcárate – Artist, Madrid, Spain
Lydia Azout – Artist, Bogotá, Colombia
Katha Barón – Collector, Bogotá, Colombia
Alvaro Barrios – Artist, Barranquilla, Colombia
Sonia Becce – Curatora, Buenos Aires, Argentina
Jimmy Belility – Collector, Madrid Spain
Tanya Brillemborg- Collector, Miami, USA
Estrellita Brodsky – Curatora y Collector, NY, USA
Andrés Cabrera – Cultural Journalist, Bogotá Colombia
Johanna Calle – Artist, Bogotá, Colombia
Barbarita Cardoso – Artist, Bogotá, Colombia
Claudia Cisneros – Collector, NY, USA
Natalia Castañeda – Artist, Bogotá, Colombia
Alejandro Castaño – Collector, Bogotá, Colombia
Rafael Castoriano – Collector/ Gestor de Arte, NY, USA
Jaime Cerón – Curator, Bogotá Colombia
Alberto Chehebar – Collector, NY, USA
Simon Chehebar – Collector, Bogotá, Colombia
Jacky Cohen – Lima, Perú
Sady Cohen – Collector, Madrid, Spain
Pamela Crystal – Collector, London, UK
Robin Cymbalest, Cultural Journalist, NY, USA
Marisela de la Campa – Collector, Bogotá Colombia
Perla Douer – Collector, Bogotá, Colombia
Maria Fernanda Currea – MISOL Foundation Director, Bogotá Colombia
Diego Costa Peusar – Director Arte al Día, Miami, USA
Beatriz Esguerra – Gallery Director, Bogotá, Colombia
Luis Felipe Farias – Collector, Caracas, Venezuela
Carlos Ferreira – Collector, Bogotá, Colombia
Sergio Ferreira – Collector, Bogotá, Colombia
Fanny Finkelman – Artist, Bogotá Colombia
Aida Furmanski – Collector, Bogotá, Colombia
Maria Paz Gaviria – Collector, Bogotá, Colombia
Felipe Grimberg,Art Dealer,Miami,USA
Anilú Gómez – Collector, Caracas, Venezuela
Mauricio Gómez Jaramillo – Gallery Director y Collector, Bogotá Colombia
José Darío Gutierrez – Collector, Bogotá, Colombia
Judith Houett Benamou – Writer/Curator, Paris, France.
Carlos Hurtado – Gallery Director, Bogotá, Colombia
Susy Iglicky – Artist, Caracas Venezuela
Sofia Imber – Journalist / Cultural Promotor, Caracas, Venezuela
Estaban Jaramillo – Gallery Director, Bogotá, Colombia.
Leo Katz – Collector, Bogotá, Colombia
Cota Knobloch – Collector, Miami, USA
Uriel Ladino – Artist, Bogotá, Colombia
Rafael Londoño – Collector, Barcelona, Spain
Juanita Madriñan – Cultural Promotor, Bogotá, Colombia
Kevin Mancera – Artist, Bogotá Colombia
Alejandra Matiz – Cultural Promotor, Bogotá Colombia
Adriana Meneses – Gestora Cultural,Caracas,Venezuela
Rafael Miyar – Collector, MIAMI, USA
Solita Mishaan – Collector, Bogotá, Colombia
Edwin Monsalve – Artist, Medellín, Colombia
Alex Mor, Gallery Director ,Paris Francia
Sandra Mulliez – Collector, President SAM ART Projects
Rafael Nieto L. – Collector, Bogotá, Colombia
Estaban Peña – Artist, Bogotá, Colombia
José Perez – Collector, Bogotá, Colombia
Gabriel Pérez Barreiro – Curator, NY, USA
Luis Pérez Oramas – Curator/Art Critic, NY, USA
Erika Ordosgoitti,Artist,Caracas,
Esther Perez Seinjet – Collector, Bogotá, Colombia
Sagrario Perez Soto – Collector, San Juan, Costa Rica
Vivian Pfeiffer – Cultural Promotor, Miami, USA
Patricia Phelps de Cisneros – Collector, NY, USA
Julián Posada- Cultural Critic , Bogotá, Colombia
Luis Fernando Pradilla – Gallery Director, Bogotá, Colombia
Irene Pressner – Artist, Caracas Venezuela
Juliana Restrepo – Cultural Promotor, Medellín, Colombia
Silvana Roiter – Cultural Promotor, Bogotá Colombia
María Belén Sáez de Ibarra – Curator, Bogotá, Colombia
Saul Sanchez – Artist, Bogotá, Colombia
Manuel Santaren – Collector, Boston, USA
Alberto Simhon – Coleccionista, Bogotá, Colombia
Jaime Tarazona – Artist, Bogotá, Colombia
Patricia Tavera – Artist, Bogotá Colombia
Valentina Tintori – Collector, Miami, USA
Silvia Tcherassi – Fashion Designer, Barranquilla, Colombia
Mauricio Torres – Collector, Barcelona, Spain
Jenny Vila – Gallery Director, Cali, Colombia
Alejandra Von Hartz – Gallery Director, Miami, USA


October 12th, 2014 § 0 comments § permalink

The concept of this site is: i – joao – com (municate) and here is all what you need to know about me in 13 pictures before you move on:

01. I was born in an artsy family, my dad was offering engravings to my mum while she was pregnant of me. Isn’t that romantic? 1977


02. So, it was natural and logic that I ended up making engravings and printing other people’s at an early age (1981).

Joao C @ Artist's Studio

03. What interested me, however, was the business side of the arts. Brazil had more talents than art imprezarios, so I got started. Here is a painting I reluctantly negotiated when I was 13. 1990. (I wanted to have kept it in my collection).


04. I also liked to cause trouble (as I still do – this has not changed) so I asked artists to make provocative clothes for me in reference to Bill Clinton’s scandal. Some teachers did notice it was both a flame and a vagina and told me of at school. 1995

Hillary Clinton's

05. Acting in São Paulo art world was not enough. I wanted to be international. I moved to Paris, but my dad and Wesley persuaded me that London was the grand centre of the art market in Europe. (1996 I guess, strong emotions sometimes compromise memory).

06. So I moved to London and had no money, no contacts, no visa, nothing. BUT, I had faith in destiny. I quickly devised a money making cards game that allowed me to move on with my projects (2002).

Untitled 6

07. This and other creative moves got me to launch a gallery in Regent Street, with a mission of giving visibility to modern Latin American art. Creative moves continued to happen at the gallery thereafter. 2004.


08. During this stay in Europe I got to met many great artists like Jesus Soto, Armando Morales, David La Chapelle, Henry Cartier-Bresson and Takashi Murakami. Guess what? They don’t see the world as most people do… and I could learn from that. (No dates here, as these are timeless events).

09. I also negotiated paintings by artists who were no longer alive such as Frida Kahlo (in the pic), Magritte and Picasso. Well, in fact, I did not sell this particular portrait because we had doubts about its provenance. 2005.


10. But I wanted to feel intellectually connected with my time so I set up a discussion group with a new mission: help me, and others, to better understand contemporary art – 750 members, 200 events made, and counting. The group’s name? I Know What I Like. 2011.


11. In 2012 I moved to São Paulo and continued to put my ideas across. We got to say what we think. Talks were done in coordination with big players like Itau Private, Sotheby’s Institute (below), University of São Paulo, and Santander Bank. I got published on Capital Aberto, Art Democracy, Valor, Exame, and many others. 2013.


12. Most importantly, got good collections build and talents spotted too which is how I make my living. Here is a 1970’s picture by Julio Le Parc which I acquired for a client recently at a significant discount. I love helping my clients buy more for less.

Le Parc
 You know what, the truth is that I can’t stay put because deep down I think that the world is not in good order and it is our responsability to do something about it. Disseminating culture whenever we get the chance is one way of doing it (Art Industry Forum, Madrid, Arco). 2014.

2014-02-23 03.06.30
Culture is an agent of change. Culture is a navigation tool to steer human evolution towards a more universal condition. The concept of culture alone is a call to action.

But the world needs help. BADLY. So yes, if this looks like an ultimatum, a strong call to action. It is.

Your contribution is urgent.

Sem juízo 7


PS. I always had personal logos. Companies spend millions on them, don’t they? Why shouldn’t individuals who experience much deeper existential and identitarian questioning care about having one? This is my latest which was made by an artist old friend of mine.




October 6th, 2014 § 0 comments § permalink

Kunstkompass 2014