“Culture on Target (triptych)”
Culture on Target (triptych)
(SKU. 14878)
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Date
2026 -
Technique
Two-component ink and screen printing on tambourine. -
Dimensions
(H x W x D) 30.2 x 30.2 x 5.2 cm -
Edition
16 + 2PA -
Comes with certificate of authenticity
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“Cultura ao Alvo” (Culture in Focus) begins with the history of the pandeiro, an instrument present in various ancient cultures and incorporated into Brazil since the colonial period, becoming a symbol of popular music for its lightness, versatility, and fusion of African and European influences. Widely disseminated from the 1930s and 1940s onwards, the pandeiro transcends styles and contexts, maintaining its strength as a ritualistic, cultural, and collective expression.
The work unites this popular instrument with an abstract visual pattern associated with target systems, creating a direct contrast between culture and symbolic violence. By merging these universes, the edition points to conflicts in which syncretic and popular cultural manifestations are attacked by conservative discourses, jeopardizing fundamental rights such as freedom of expression, cultural manifestation, and religious practice. In this scenario of artificial polarizations and global tensions, culture emerges as something exposed, vulnerable, and constantly at risk.
Biography
Beto Shwafaty
Beto Shwafaty is an artist, curator, researcher, and writer based in Brazil. His practice develops from research processes and critical investigations that articulate histories and spaces through spatial devices such as objects, furniture, and installations, traversing fields such as politics, urbanism, architecture, art, and design.
Since the early 2000s, she has been building a body of work based on research that connects political, social, and cultural issues to the field of art. She holds a bachelor's degree in Visual Arts from Unicamp (2001), a master's degree from the Nuova Accademia di Belle Arti in Milan (2010), was a visiting student at the Städelschule in Frankfurt (2011), and participated in the Independent Program of the São Paulo School (2012).
Among his solo and duo exhibitions, highlights include After the Silence, Orlando, São Paulo (2025), Uncertain Heritage, Capela do Morumbi, São Paulo (2024), Silent Catastrophe, Dresden Kunstverein, Germany (2020), Tomorrow I Will Remember Nothing, Galeria Luisa Strina, São Paulo (2019), Functional Park, Museu de Arte Contemporânea de Niterói and Funarte, Brasília (2017), and Hablemos de Reparaciones, Prometeogallery, Milan (2016).
She has participated in group exhibitions such as the Havana Biennial (2006), the Mercosur Biennial (2013), and the Panorama of Brazilian Art at MAM São Paulo (2013 and 2017), as well as exhibitions at institutions in Brazil and abroad.
Her work is part of collections such as the Guggenheim Museum, Kadist Foundation, Museum of Modern Art of Medellín, Museum of Art of Rio, National Museum of the Republic, MAC Niterói and FAMA Amaro Collection. She has received awards and institutional support, including the Museum is the World Prize (2023), the Funarte Prize for Contemporary Art (2015) and nominations for the PIPA Prize (2014 and 2016) and the BMW Art Journey (2016).
Destaques da carreira
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"Remediações", videoinstação, Paço das Artes, 2014.
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"Contrato de Risco", Galeria Luisa Strina, 2015.
