An old man born in Nak Borun [Vale do Rio Doce], Minas Gerais, and living as a global nomad, Paulo Nazareth (1977) often creates works that arise from precise, simple gestures that unfold into broader ramifications, raising awareness of issues related to immigration, racism, and colonialism. Although his work can take the form of video, photography, and collected objects, his strongest medium is the cultivation and construction of relationships with individuals he encounters — especially those marginalized because of their legal status or repressed by governmental authorities.

His solo exhibitions include Honey, John Jay College of Criminal Justice, New York (2025); Patuá/Patois, WIELS, Brussels (2025); LUZIA, Museo Tamayo, Mexico City (2024); Vuadora, Pivô, São Paulo (2022); The Journal, Institute for Contemporary Arts, London (2014); Premium Bananas, MASP, São Paulo (2012). Recent group exhibitions include: Chosen Memories, MoMA, New York (2023); Histórias Brasileiras, MASP, São Paulo (2022); Afro-Atlantic Histories, National Gallery of Art, Washington DC (2022); 34th São Paulo Biennial, São Paulo (2021); and Indigenous Voices, Latin American Pavilion, 56th Venice Biennale (2015).

MORTE Y RESSURREIZSAN’O DE CARLOS MARIGHELLA is a charcoal drawing on pollen paper in which Nazareth depicts the assassination of Carlos Marighella, founder and national leader of the Ação Libertadora Nacional (ALN) and one of the main figures of the armed struggle against the military dictatorship in Brazil. The drawing reproduces a well-known and widely circulated image of the time, showing Marighella’s body inside the car where he was executed on November 4, 1969, by officers of DEOPS-SP, in São Paulo.