When Project Afro launched its platform in June 2020, we were able to identify 135 Black artists, an expressive number at the time – a realization that informed this writing introducing readers to the process of creating the platform. Four years have passed and I have accumulated different experiences, including serving as the curator for the exhibition “Encruzilhadas da arte afro-brasileira” (Crossroads in Afro-Brazilian Art), currently on display at CCBB São Paulo. Project Afro now reaches a new stage, with an update on the number of people surveyed: 327 artists originally from all five regions of Brazil. As we continue to understand mapping as a practice of giving visibility to an artistic production that has only grown in its research interests, techniques, supports, and styles, our project has become the biggest of its kind in the Art world.

Gallery view of artists at the renewed Project Afro’s homepage. Reproduction

What once felt like an expressive figure – 135 artists –, now seems diminutive. Since 2020, exhibitions, projects, and researchers have incorporated “mapping as a practice for dislodging the center”, to paraphrase the words from fellow curator and researcher Luciara Ribeiro in an article written for this platform. One of her concerns is the predominance of artists originally from the Southeastern region, the most economically privileged area of Brazil. In her writing, Luciara builds a new set of references for reflecting about Black-made art in the country. For the past few years, Arts institutions have organized monumental exhibitions highlighting Black art, namely: “Dos brasis: arte e pensamento negro” (All of Brazil: Black Art, Black Thought), held at different venues from the Sesc network, and “Encruzilhadas da arte afro-brasileira”, held at CCBB São Paulo. These exhibitions featured works from all regions of Brazil; therefore, the realization of Project Afro’s then inability to reach all of Brazilian regions left me restless.

View of works from André Vargas and Mulambö currently showing at the exhibition “Encruzilhadas da arte afro-brasileira” (Crossroads in Afro-Brazilian Art) at CCBB SP. Photo by Project Afro

Project Afro is proud to say that it now registers in its database artists from different regions, which positions the platform as a reference source. The support from Instituto Ibirapitanga has helped us to solidify our place and develop public programs throughout 2023. The first of its kind took place on January 6 in an online environment. Called “Exercícios de Mapeamentos para alterar os centros: contribuições e provocações” (Mapping as a Practice for Dislodging the Center: Thought-provoking Contributions), the conversation featured Luciara Ribeiro and Rebeca Carapiá, with myself serving as a moderator. The following event – “Criações, gestões, coleções e consumos de artes produzidas por pessoas negras” (Artistic Creation, Management, Collections, And the Consumption of Black-made Art) – took place on September 27 as an in-person conversation at the Galeria Mitre, in Belo Horizonte, featuring Marcel Diogo, and Rodrigo Mitre – I served as a moderator yet again. The last instalment of the public program – the panel “Conversa com o artista Gustavo Nazareno e curador Deri Andrade – Encontro de encerramento da exposição Bará (Artist Gustavo Nazareno in Conversation with Curator Deri Andrade: Closing Activity for the Exhibition Bará) – took place in January 6, 2024, at the Museu Afro Brasil Emanoel Araujo.

Roundtable “Criações, gestões, coleções e consumos de artes produzidas por pessoas negras” (Artistic Creation, Management, Collections, And the Consumption of Black-made Art), with Marcel Diogo and Rodrigo Mitre, moderated by Deri Andrade. Galeria Mitre, Belo Horizonte, Minas Gerais. Photo by Vitú de Souza

As part of the actions carried out in the last year, Project Afro has published eight articles and one video essay. The pieces are titled: “Exercícios de mapeamentos para alterar os centros: Contribuições e provocações” (Mapping as a Practice for Dislodging the Center: Thought-provoking Contributions); “arte contemporânea para uma pedagogia decolonial do patrimônio cultural” (Contemporary Art for a Decolonized Cultural Heritage Pedagogy); “Por uma obra a longo prazo: da casa de bisavô bené ao presépio do pipiripau de Raimundo Machado” (Toward A Long-term Work: From My Grandpa’s House to Raimundo Machado’s Presépio do Pipiripau); “Inside – a natureza e os sistemas curatoriais” (Inside: Nature and System in Curatorship); “Poemas batedores de carteira: notas de bolso sobre Barcelona” (Pick-pocketing Poems: Pocket Notes on Barcelona); “Mãe, hoje é amanhã” (Dear Mother, Today is Tomorrow). In addition to these written pieces, Project Afro published a video essay by Vitú de Souza/Nagografia, the first artwork to join our collection.

Our social media channels have also published posts recommending works from the artists identified by our mapping, thereby reaffirming Project Afro’s role in disseminating research and conversations about the promotion of Black-made art in Brazil. The essays have been written by researchers and curators working on different fronts. The actions we have sponsored throughout 2023 have shaped the platform as of today, but they also illustrate the target we wish to reach onward.

While the exhibition “Encruzilhadas da arte afro-brasileira” represents a landmark for Project Afro’s work in an in-person environment, the carefully crafted online public program carried out last year propels the platform as a relevant site for culture and the Arts in Brazil. We hope the pathways remain open.

Instituto Ibirapitanga has supported the writing of this article.