• Não Deixe o Samba Morrer/Acabar, da série Samba Exaltação
  • Don't Let Samba Die/End, from the Samba Exaltation series
  • Não Deixe o Samba Morrer/Acabar, da série Samba Exaltação
  • Não Deixe o Samba Morrer/Acabar, da série Samba Exaltação
  • Não Deixe o Samba Morrer/Acabar, da série Samba Exaltação

Felipe Moraes

“Don't Let Samba Die/End, from the Samba Exaltation series”

Don't Let Samba Die/End, from the Samba Exaltation series

(SKU. 12852)

  • Date

    2021-2024
  • Technique

    backlight mounted lenticular printing
  • Dimensions

    (H x W x D) 51 x 40 x 7 cm
  • Edition

    15 + 3PA

  • Comes with certificate of authenticity


" In the year of the absent Carnival of 2021, in which the streets could not be swallowed by the desire of liberated bodies dressed in delirium, we occupied the city with light and samba, red and silence. Whether through the evidence of its absence or the affirmation of its presence, the project brings rhythm not only as music, but as ancestral knowledge. When we find ourselves without paths, we return to the elders for guidance, and so we turn to samba with the reverence directed at those who taught us to walk, dance and, above all, inhabit and tension precariousness and entropy. elements of the works.

This urban intervention project took place simultaneously at Estação da Luz and the Mário de Andrade Library in São Paulo. In the first, we illuminated the cry “No Leave the Samba M orrer/ A cabar”, by Edson Conceição and Aloísio Silva, which became known in the voice of Alcione in 1975. In the second, “Canta Forte/Canta Alto”, evoking the chorus of “Canta, canta, minha gente”, recorded by Martinho da Vila in 1974. In front of the workers, men and women, citizens who travel, inhabit and transform the c age, samba materializes as a voice that emanates from the street and insists on shining silently. elements of the works.

For Carbono Galeria, we transformed images recording urban interventions into lenticular prints mounted on backlight . The technique allows us to see the two phrases of each work, revealing the two verses of each song as we move around the light boxes. In this way, the works are positioned between photography and cinema, graphic light and projected light, poem and song.

Thus, as the ultimate way of reinventing our existences, we return to samba as a knowledge that flows from the terreiros and sets itself in motion in the world. We seek in it the symbolic cure for our presence. We therefore call upon song, trickery and the ancestral knowledge of the crossroads as the ultimate ways of existing and resisting."

Felipe Moraes

Works from Felipe Moraes

Biography

Felippe Moraes - Carbono Galeria

Felipe Moraes

b. 1988, Rio de Janeiro (RJ), Brazil | Lives and works between São Paulo (SP) and Rio de Janeiro (RJ), Brazil.

Felippe Moraes is an artist, researcher, and independent curator since 2009. He holds a Master's degree from the University of Northampton in the United Kingdom, and his research investigates the epistemology of reason and its relationships with spirituality, mythology, and ancestry as possibilities for the re-enchantment of the world.

Among her most recent solo exhibitions, “Solfejo” (2025) at Caixa Cultural Curitiba stands out, a presentation that expands on her investigations into language, rhythm, and sensory experience. She also presented “Ovo Cósmico” (2023-24) at Galeria Verve and “Samba Exaltação” (2021), a series of neon signs with quotations from Brazilian songs presented as an urban intervention in Vale do Anhangabaú, São Paulo, and also exhibited at MAC-Niterói and the Museu de Arte do Rio. In 2021, she presented “Samba da Luz” at the Biblioteca Mário de Andrade and Estação da Luz.

In 2019, she exhibited “Solfejo” at the FIESP Cultural Center and “LUZIA” at the Science Museum of the University of Coimbra, in Portugal. Previously, she held solo exhibitions such as “Imensurável” (2018) at Caixa Cultural Fortaleza; “Proporción” (2018) at Espacio de Arte Contemporáneo (EAC) in Montevideo; “Cosmografia” (2017) and “Ordem” (2014), both at Baró Galeria in São Paulo; and “Progressão” (2016) at MAC-Niterói.

He is the author of the public works “Monumento ao Horizonte” (2016), in Niterói, and “Monumento a Euclides” (2017), in Romania. His work is part of collections such as those of the Museu de Arte do Rio, MAM-SP, MACRS, MAC-Niterói and CCSP.

Representative galleries

Verve Gallery , São Paulo