Brazil

1. In Brazil, Jamille Pinheiro Dias’s collaboration with Pinacoteca de São Paulo, the oldest and one of the most prestigious art museums of the State of São Paulo, led to the production of the short documentary Fertile Land: Véxoa and Indigenous Art at Pinacoteca de São Paulo, about the Pinacoteca exhibition Vexoa: Nos Sabemos, and to a series of live streamings focused on Indigenous art, which have helped disseminate the contemporary Brazilian Indigenous art scene in the country and elsewhere. The film has been viewed more than 4000 times and its impact includes a request from the artistic director of the German festival Theaterformen, who, after watching the documentary, contacted Pinheiro Dias for advice on creating an Indigenous arts programme for the 2021 festival, which aims to integrate performing arts and anti-racism. Additionally, the documentary and the live streamings were useful materials for the director and curators of Pinacoteca, who have used them as part of negotiations to take the Véxoa exhibition to institutions in other parts of the world.

2. An exhibition, Hãhãw: uma exposição de arte antirracista, funded in part by the CARLA project, was held from 3 November until 2 December 2022 at the Museo de Arte Sacra of the Universidade Federal da Bahia. This formed part of a wider programme of events, organised by CARLA co-investigator Felipe Milanez under the title “Re-Ocupação de Arte Indígena Antirracista”, which included seminars, performances, five film screenings and mural painting. The programme of events was informed by and promoted CARLA’s anti-racist approach. The exhibition attracted over 1000 visitors, ten press articles and regional TV coverage; the five films were broadcast on regional TV, reaching an estimated 50,000 viewers. The exhibition then opened in August 2023 at the Museu da Imagem e do Som, in Fortaleza, and in October, at the Centro Cultural do Cariri in Crato, Ceará. The artists involved mobilised to get a grant from Funarte to take the exhibit to Recife’s Museu de Arte Moderna in 2024. In September 2024, Felipe Milanez won a grant from FAPESB (a state research fund) to finance the publication of a catalogue of the exhibition Hãhãw: uma exposição de arte antirracista.

3. Several of the Brazilian artists who worked with CARLA and strengthened their connections during the project went on to curate the Brazil pavilion at the Venice Biennale in April-Nov 2024: Arissana Pataxó, Denilson Baniwa, and Gustavo Caboco Wapichana.

4. CARLA research assistant and artist Yacunã Tuxá collaborated with another CARLA artist and research assistant, Arissana Pataxó, in an exhibition Floresta de Infinitos (Forest of Infinities), shown in November 2025 in the Casa das Histórias de Salvador, Brazil. Arissana’s pieces included work done specifically for the CARLA project. In February 2026, Yacunã Tuxá had a solo exhibition, Toda Árvore Tem Raiz (Every Tree Has Roots), at the CAIXA Cultural Salvador in Brazil, curated by CARLA participant, Naine Terena, who had collaborated with Yacunã during the project.