Skip to content

Art has never been innocent

0.6026
Chimera Difficulty Score
a synthesis of Flesch-Kincaid, Coleman-Liau, SMOG, and Dale-Chall readability metrics
Art has never been innocent Paulo Nazareth's latest show in Berlin follows the cunning architecture of power, from Germany to Brazil and across continents and epochs. There is something undeniably strange about seeing an artist’s solo exhibition in a land he refuses to set foot in. Yet, I couldn’t help but see Paulo Nazareth in one of his eight 180cm-tall posts at Meyer Riegger, Berlin. In IT’S AL...
**STEELMAN**: Nazareth’s exhibition is a potent critique of colonialism’s enduring legacy, using materiality, language, and historical references to expose how power structures persist across time and geography. The work’s strength lies in its layered symbolism—eucalyptus as extractive capitalism, propaganda posts as tools of ideological control, and the dual meaning of *mata*—to force viewers to confront art’s complicity in violence. His refusal to engage with Europe on its terms, instead cente...