Paulo Nazareth (b. 1977) lives and works throughout the world. born in the city of Borun Nak [Vale do Rio Doce] Minas Gerais, and living as a global nomad, Paulo’s work is often the result of precise and simple gestures raising awareness to press issues of immigration, globalization colonialism, and its effects in the production and consumption of art in his native Brazil and the Global South.

Recent exhibitions include: Paulo Nazareth: STROKE, The Power Plant Contemporary Art Gallery, Toronto (forthcoming in 2022); Paulo Nazareth: VUADORA, Pivô, São Paulo (2022); Paulo Nazareth, ICA Miami, Miami (2019); Faca Cega, Museu de Arte da Pampulha, Belo Horizonte (2018); Old Hope, Mendes Wood DM, São Paulo (2017), Genocide in Americas, Meyer Riegger, Berlin (2015), Journal, Institute for Contemporary Arts, London (2014), Premium Bananas, MASP, Museum of Art São Paulo , São Paulo (2013). Recent group exhibitions include: Beyond the Black Atlantic, Kunstverein Hannover, Hannover (2020); 22nd Sydney Biennial, Sydney (2020); Our Selfie, MO Museum, Vilnius (2019); How to talk with birds, trees, fish, shells, snakes, bulls and lions, Staatliche Museen zu Berlin, Berlin (2018); EXTREME. NOMADS, MMK Museum für Moderne Kunst, Frankfurt am Main (2018); The Lotus in Spite of the Swamp, Prospect.4 Triennial, New Orleans (2017); Field Gate, Remai Modern, Sasktoon (2017); Soft Power. Arte Brasil, Kunsthal KAdE, Amersfoort (2016); Much wider than a line, SITE Santa Fe, Santa Fe (2016); New Shamans/Novos Xamãs: Brazilian Artists, Rubell Family Collection, Miami (2016); Indigenous Voices, Latin American Pavilion 56th Venice Biennale, Venice (2015).

Nosotros los Otros is a solo presentation of Brazilian artist Paulo Nazareth at the inaugural presentation of Mendes Wood DM in New York City. Nosotros los otros, brings together bodies of work from 2005 to the present, including Nazareth’s durational walk performances as well as photo, film, sculpture, and work on paper. Paulo’s performance and installation-based work draws upon his Afro-Brazilian and Indigenous heritage to investigate social constructions of race and economic inequality. Through his multi-year walk performances throughout the Americas and the African continent, Nazareth documents the nuances of border crossing. Nazareth’s practice represents a slow, real-time inquiry into his own experience and that of the individuals he encounters, tracing a subtle matrix of connections that link not only people, but communities and shared histories. Taken as a whole, these bodies of work constitute the vast circular and interconnected pattern that Nazareth seeks out in his wanderings. Humanistic and insightful, his practice presents a radical horizontality between cultures and shared histories.

Mendes Wood DM