Drawing as memory and survival; painting and its relationship with history


  • Sheila Cabo Geraldo
  • Carlos Zílio




Interview. Carlos Zílio. Art and politics. New Brazilian Objectivity. Painting.


In an interview with Sheila Cabo Geraldo, visual artist Carlos Zílio recalls aspects of a trajectory that turned him into a reference in the field of art in Brazil since the second half of the 1960s. The conversation emphasizes, above all, the artist’s political engagement, his imprisonment and the possible ways of resistance in that period; it also reviews the interaction with his generational peers (Gerchman, Vergara, Dias) with Iberê Camargo and French art historian Hubert Damisch. Finally, it discusses his perception about painting itself and his notion of an encounter with a “ground zero” of painting in the 1970s, projecting its chances of permanence in contemporary times.


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Biografia do Autor

Sheila Cabo Geraldo

Sheila Cabo Geraldo is an Art History researcher and professor at the Graduate Program in Arts of the State University of Rio de Janeiro (PPGArtes/UERJ). She organized the books Trânsito Entre Arte e Política (Quartet/Faper, 2012j); Narrativas e subjetividades, with Luis Cláudio da Costa (Quartet, 2012); Fronteiras: Arte, Imagem, História (Beco do Azougue, 2014). She currently develops research on memory politics and studies on colonialism and postcolonialism in Latin America.

Carlos Zílio

Carlos Zílio lives in Rio de Janeiro. The most recent group exhibitions he has taken part in include Transmissions: Art in Europe and Latin America 1960-1980, MoMA, NY, Possibilities of the Object: Experiments in Modern Brazilian Art, The Fruitmarket Gallery, Edinburg, both in 2015, Uma história da Pinacoteca de São Paulo, Roger Wright Gallery, in 2016, and Modos de Ver o BRASIL, OCA, São Paulo, in 2017. His last solo exhibitions took place in 2016 at Raquel Arnaud Gallery, in São Paulo and MAM-RJ, and in 2017 at the Anita Schwartz Gallery, in Rio de Janeiro



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Como Citar

Geraldo, S. C., & Zílio, C. (2018). Drawing as memory and survival; painting and its relationship with history. PORTO ARTE: Revista De Artes Visuais, 22(37). https://doi.org/10.22456/2179-8001.80128