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版权 此作品仍被视为受版权保护。jonathas de andrade 出生于 1982，且无记载的逝世日期；版权在艺术家逝世后持续 70 年。此处展示图像仅供课堂参考；相关权利仍归权利人所有。
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Me, mestizo — jonathas de andrade
阴影：jonathas de andrade 的生卒年 (1982–?) ▲ 此作，2017
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Me, mestizo — jonathas de andrade
Between 1950 and 1951, researchers coordinated by anthropologist Charles Wagley, from Columbia University, Thales de Azevedo, from the University of Bahia, and Luiz de Aguiar da Costa Pinto, from the University of Brazil (current UFRJ), carried out field studies in three communities to understand the economic, political, cultural and psychological factors that influenced race relations. The project valued the community studies as a way of addressing complex social situations, matching empirical investigation with interpretative theories. Photography had a special role amongst the different research tools. During the visits to the villages, photographs of men and women considered white, mulatto, black or mixed-race were shown to the inhabitants, who were asked to select those which showed “most, less, or least of a given attribute.” The survey chose six attributes – wealth, beauty, intelligence, religiosity, honesty, and fitness for the job – and analyzed the results. They also asked standard questions: “Would you accept this person as a neighbor?” “Would you invite this person to dinner?” “Would you accept this person as a brother or sister-in-law?” The results of the research were published under the title Race and Class in Rural Brazil: a UNESCOstudy (1952). While the book did not give examples of the images used by the researchers, it did include some photographs taken by Pierre Verger. With the book in his hands, Jonathas de Andrade walked the streets of various Brazilian cities photographing people of different types in all sort of poses, some spontaneous, others posed. Between 2016 and 2017, he set up his portable studio in São Paulo, Maranhão, and Bahia, and produced hundreds of portrait photographs, ranging from full body shots to 3×4s. The portraits were then grouped and printed on cheap cardboard, of the type used by stores to display full-sized images of celebrities and products. An extensive line of words extracted from the research are stitching the work’s perimeter.
艺术家与博物馆
出生于 Maceió, Brazil
Jonathas de Andrade, born in the coastal city of Maceió, Brazil, in 1982, emerged as a significant voice in contemporary art through a multidisciplinary practice encompassing film, photography, and installation. His formative years in Pernambuco state—a region steeped in rich cultural heritage and complex social histories—profoundly shaped his artistic trajectory. Rather than adhering to a single medium, de Andrade embraced a fluidity of expression, allowing the conceptual core of his work to dictate its form. He studied communications at the Universidade Federal de Pernambuco in Recife, a city that served as both an intellectual incubator and a constant source of inspiration, blending colonial remnants with modernist architectural influences.
De Andrade’s artistic investigations center on themes of identity, culture, and history, particularly within the context of Northeast Brazil. He doesn't present these concepts as static entities but rather as dynamic constructs shaped by power dynamics, collective memory, and personal experience. His work often challenges conventional narratives surrounding Brazilian national identity, exposing the complexities and contradictions inherent in its formation. A key element of his approach is a deliberate engagement with archival materials—historical photographs, sociological studies, and forgotten documents—which he recontextualizes to provoke critical reflection on the past and present.
One of de Andrade’s most recognized works is the film ‘jonathas' forest’, which premiered at the prestigious Festival do Rio in 2012. This project exemplifies his signature style: a poetic exploration of place, memory, and the human relationship to the natural world. However, it is perhaps the photographic series ‘Me, Mestizo’ (2017) that best encapsulates his artistic concerns. Inspired by a 1950s study entitled “Race and Class in Rural Brazil” commissioned by UNESCO, ‘Me, Mestizo’ features portraits of individuals re-enacting scenes from the original research, accompanied by excerpts from the study itself. The work powerfully confronts issues of racial categorization and social stratification, prompting viewers to question the constructed nature of identity.
De Andrade's artistic vision has garnered international acclaim, with exhibitions at prominent institutions such as the Centre Pompidou in Paris, France, and the New Museum of Contemporary Art in New York. His participation in events like Performa 15 further solidified his position within the global contemporary art landscape. Beyond his individual practice, de Andrade is a founding member of A Casa como Convém (The House as It Should Be), an artist collective based in Recife dedicated to fostering dialogue and collaboration within the local artistic community. This collaborative spirit reflects his belief in the power of shared creation and the importance of engaging with specific social contexts.
Jonathas de Andrade’s work occupies a crucial space within contemporary art, offering a nuanced and critical perspective on Brazilian history and culture. His ability to seamlessly blend personal narrative with broader socio-political concerns resonates deeply with audiences worldwide. He doesn't offer easy answers but instead invites viewers to engage in a process of questioning and re-evaluation. Through his evocative imagery and thought-provoking installations, de Andrade challenges us to confront the legacies of colonialism, inequality, and the ongoing construction of identity in a rapidly changing world. His art serves as a powerful reminder that history is not simply a matter of dates and facts but a living force that continues to shape our present and future.
展出地点 里约热内卢, 巴西
坐落于里约热内洛依郁郁葱葱的怀抱之中，
莫雷拉·萨莱斯学院
(IMS) 宛如一座闪耀的丰碑，见证着巴西文化永恒不灭的精神。它不仅仅是一座博物馆，更是一个有生命、有呼吸的圣殿，在这里，历史与现代在光影的无缝舞动中交汇。该机构由富有远见的银行家兼外交官沃尔特·莫雷拉·萨莱斯于 1992 年创立，其诞生源于一种深切的冲动，即保护巴西身份那多层面的丰富内涵。最初的一项专注文化事业的尝试，如今已绽放成为艺术领域的多面支柱，而其里约热内内卢分馆更是成为了求知欲与自然壮丽景观交织的惊艳之地。对于艺术爱好者或独具慧眼的收藏家而言，IMS 提供的不仅是一场展览，更是一次与巴西灵魂本质的深刻邂逅。
IMS 里约的建筑体验本身就是一部现代主义优雅的杰作。这座由 Olavo Redig de Calas 于 20 世纪 50 年代设计的建筑，体现了世纪中叶人类创新与有机世界和谐共生的理想。建筑设计利用宽阔的玻璃墙和开放式走廊，消融了室内展厅与周围茂密植被之间的边界。这种与自然的对话，因传奇景观设计师
Roberto Burle Marx
的加入而进一步升华。他精心打造的花园以富有节奏感的几何图案排列着巴西本土植物，宛如活生生的雕塑，勾勒出博物馆现代主义的线条。对于室内设计师或空间美学鉴赏家来说，阳光穿透蒂茹卡森林（Tijuca Forest）树冠、洒满博物馆大厅的方式，为氛围构图与宁静沉思提供了一场无与伦比的视觉课。
IMS 体验的核心在于其非凡的馆藏——这是一场涵盖摄影、音乐、文学和电影的文化表达万花筒。摄影档案或许是该机构最珍贵的瑰宝，馆内收藏了惊人的两百万幅图像，记录了巴西从 19 世纪到当代时期的视觉演变。参观者可以通过
Augusto Malta
和
Marc Ferrez
等大师的先驱镜头，追溯这个国家的叙事脉络，并由此过渡到探讨复杂社会与政治景观的现代作品。这种视觉之旅得到了听觉与文字深厚底蕴的补充；学院在颂扬桑巴（samba）与波萨诺瓦（bossa nova）节奏遗产的同时，还通过策划讨论会和新书发布会，培育着充满活力的文学社区。
正是这种多学科的方法——将图像、声音与文字视为同一幅织锦中地位平等的丝线——使得 IMS 成为那些渴望理解巴西遗产真实广度的人们的独特目的地。尽管里约热内内卢馆址目前正处于一个雄心勃勃的翻修期，旨在扩大存储空间并提升参观体验，但莫雷拉·萨莱斯学院的精神依然保持着旺盛的生命力。通过合作展览和数字化资源，该机构持续在历史保护与当代创新之间架起桥梁。随着博物馆准备在 2025 年揭开其焕然一新的物理空间面纱，它已蓄势待发，准备再次重申其作为创造力灯塔的角色，确保沃尔特·莫雷拉·萨莱斯的遗产将继续照亮通往文化丰富与艺术发现之未来的道路。
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Me, mestizo — jonathas de andrade
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